Cell, The


The Cell



 FADE IN:

 A SPECK OF DUST

    Grains of sand dance in the wind.  As we glide over a VAST
    DESERT, the speck of dust becomes a HORSE AND RIDER. 
    CATHERINE YOUNG straddles the beautiful black animal, her
    mesmerizing eyes scanning the horizon.  A curious breeze
    blows across her exquisite face and she drinks it in, as if
    the wind itself were telling something to her...

    Catherine sees a FLICKERING LIGHT in the sand.  She pulls the
    reins and the horse stops moments before the dune drops into
    nothingness.  She dismounts, affectionately scratches the
    horse's neck, and follows the LIGHT.  When she looks over her
    shoulder, the Arabian is now a child's WOODEN HOBBY HORSE. 
    Not surprised, Catherine smiles and walks down a dune, sand
    sliding beneath her feet...

    She finds herself in a valley of dead trees whose decayed,
    gnarled limbs appear to form hands.  The light dances across
    her face.  She shades her eyes and pinpoints the source...

    A SMALL MIRROR reflecting rays of bright sun, housed within a
    locket and chain.  It's held by EDWARD, a haunted-looking boy
    of seven with a precocious grin and piercing eyes.  He sits
    on a fallen tree trunk, patiently waiting for her arrival.

             CATHERINE
        Thanks for the horse.

    He's a shy child, yet comfortable with Catherine.

             EDWARD
        You liked him?

             CATHERINE
        He's beautiful...

    Edward smiles, delighted he made her happy.

             CATHERINE (CONT'D)
        But I thought we were going sailing.

    The boy frowns.

             CATHERINE (CONT'D)
        You promised.

    A devilish glint in his eye, Edward redirects the mirror. 
    Catherine follows the flicker to a TOY BOAT in the sand.

             CATHERINE (CONT'D)
        We can't fit into that!

    Edward shines light in her eyes, momentarily blinding her,
    then snaps the locket shut.  When her vision clears,
    Catherine sees a GIANT SHIP perched among the dunes.  A craft
    weighing hundreds of tons just sitting there in the desert.

             CATHERINE (CONT'D)
        That'll do.

    She walks toward it, but Edward doesn't follow.

             CATHERINE (CONT'D)
            (coaxing him)
        Come on, Mister E.

    She extends her hand, but he adamantly shakes his head no.

             CATHERINE (CONT'D)
        What now?

             EDWARD
            (nods at the ship)
        's broken.

    Undaunted, she... finds herself standing on the DECK.

             CATHERINE
            (calling to him)
        Who says?

             EDWARD
        Mocky-Lock.

             CATHERINE
        Oh no... No you don't.

             EDWARD
        "Mocky-Lock is the bogeyman.  Mocky-Lock
        wants me where I am."

             CATHERINE
        I bet we can fix it.

    She opens a rusted iron DOOR.  It makes an HORRIFIC
    SCREECHING SOUND.  Similar to metal-on-metal, but more
    piercing, more pained.  As if made by a living thing.

             CATHERINE (CONT'D)
            (familiar with the noise, a
            warning to him)
        Ed-ward...

    The boy's FACE CONTORTS, turning into something half-human,
    half-animal.  A monster.  Mocky-Lock.  He SCREECHES, trying
    to frighten Catherine, but she cocks her head...

             CATHERINE (CONT'D)
        We agreed.  No more Mocky-Lock.

    The creature sticks its tongue out and DIVES.

             CATHERINE (CONT'D)
        Edward!

    But it's too late!  Edward/Mocky Lock slithers into the sand
    and disappears.  Resigning herself to a failure, she opens
    the palm of her left hand, revealing a SMALL BUMP in the
    flesh between thumb and forefinger.  She presses hard and...

 PICTURE AND SOUND DISTORT AND CHANGE

 INT. LABORATORY - DAY

    We are looking at a large SCREEN showing an electronically
    generated three-dimensional view of a human brain featuring
    color-coded neurological activity.  In a specific section of
    the image, cells flash from yellow to red...

    PULL BACK TO REVEAL HENRY WEST surrounded by computers,
    monitors, electronics, and keyboards.  DR. MIRIAM KENT stands
    before a peculiar diagnostic machine scrutinizing data and
    images.  Both wear garb favored by surgeons or microchip
    assemblers.  The impressive, weird computer system HUMS as it
    shifts programs, the unusual brain image changing colors.  

    THROUGH A LARGE WINDOW, we see into an ADJOINING ROOM within
    which a HUMAN FIGURE hangs suspended in mid-air by a series
    of cables designed to simulate flotation.

    AT THE CONSOLE, Miriam uses a pen to hit specific areas of
    the touch-sensitive screen, changing the complex CHEMICAL
    SYMBOLS displayed there.

    IN THE PROCEDURE ROOM, a series of pharmaceuticals are
    injected into an intravenous tube feeding the sleeve/arm of
    the figure.  A featherweight cloth MASK electronically rises,
    revealing the sleeping face of Catherine.

    AT THE CONSOLE, Miriam hits a button and speaks into an
    intercom microphone.

             MIRIAM
        Sing a song of sixpence...

    IN THE PROCEDURE ROOM, there is no reaction from Catherine.

             MIRIAM (O.S.) (CONT'D)
        Sing a song of sixpence...

             CATHERINE
            (hoarse, groggy)
        A pocketful of rye...

             MIRIAM (O.S.)
        Four-and-twenty blackbirds.

    Catherine's eyes open.

             CATHERINE
        Baked in a pie...

    IN THE CONTROL ROOM, Henry hits a switch and Catherine is
    lowered to the pedestal.  Miriam checks Monitors displaying
    Catherine's vital signs and continuing what must be a
    routine, presses numbers on a keypad to open the PRESSURIZED
    AIRTIGHT DOOR separating the two areas.

    IN THE PROCEDURE ROOM, lights come on and Miriam eases
    Catherine out of the apparatus.  She checks her pupil
    dilation, pulse, throat, and reflexes.  She pokes and prods
    with a familiarity that would seem rude to an outside
    observer, but is nothing to them.  Getting to her feet, we
    see that Catherine's BODYSUIT is made of an unusual dark
    fabric almost liquid in consistency.

    AT THE CONSOLE, Henry moves to another section and for the
    first time, we see there are two elaborate neural monitors. 
    And the "brain" pictured here is smaller.  Younger...

             HENRY
        "Mister E." is doing fine.

    REVEAL A SECOND FIGURE suspended from the ceiling in the
    PROCEDURE ROOM.  A SMALL BOY is lowered to the pedestal and
    as Miriam records data, Catherine removes the child's "mask,"
    displaying the haunted face of Edward.  Clearly, the boy is
    in some kind of catatonic state.

             MIRIAM
        Did we go sailing?

             CATHERINE
        Almost.  Mocky-Lock showed up.

             MIRIAM
        "Mocky-Lock is the bogeyman, Mocky-Lock
        wants me where I am."

             CATHERINE
        Mocky-Lock is a pain in the ass.

    Henry communicates with them via the intercom.

             HENRY
        Where did that come from again?

    Catherine looks annoyed - How could he forget?

             CATHERINE
        A nursery rhyme.

    Catherine detaches the cables and eases Edward's frail body
    into a waiting wheelchair.  Miriam takes a penlight and
    examines the boy's eyes... An emotionless void, oddly
    beautiful.

             MIRIAM
            (thinking aloud)
        Nursery rhymes, fairy tales, the
        bogeyman... All preparation for the
        horrors of the real world.

    Making certain the child is comfortable, Catherine covers him
    with a blanket, rests a teddy bear on his lap, and pushes him
    into the CONTROL ROOM, accompanied by Miriam.  Henry types in
    a command and moves to join them.

             HENRY
        Anybody hungry?  I'm hungry...

    A BUZZER sounds and ANOTHER DOOR HISSES OPEN... A constantly
    fretting administrator, BARRY COOPERMAN, is waiting for them
    in the corridor.

             COOPERMAN
        Edward's parents are here.

    We can see it in Catherine's face - this isn't good news.

 EXT. CAMPBELL CENTER - DAY

    Situated in a corporate/industrial area north of San Diego,
    California, a series of well-secured buildings form a mini
    compound.  A sign near the gate reads CAMPBELL CENTER - A
 DIVISION OF SUNERSET INDUSTRIES.

 INT. CAMPBELL CENTER - EDWARD'S ROOM - DAY

    Although this is a hospital room filled with medical
    equipment, its sterility has been camouflaged with toys,
    posters, photographs, and drawings to make it more "homey." 
    (Some hint at aspects of Edward's fantasy world).  Every
    comfort has been provided and no expense spared.

    Henry, Miriam, and Catherine, now wearing funky/casual
    clothes under a lab coat, stand opposite Cooperman.  Sitting
    on the bed with Edward is ELLA BAINES, an elegantly dressed
    woman in her mid-40's.  There is a soulfulness to her, but
    the husband, LUCIEN BAINES, 60's, possesses the icy demeanor
    of a corporate tycoon.  One might write him off as cold, but
    we sense a genuine love for his wife and child.  Ella smiles
    and caresses Edward's hair.

             ELLA
        He needs a haircut.

             CATHERINE
        I'll tell the nurse.
            (sensing something in Edward)
        God, he loves when you visit.

             ELLA
        My husband wonders if that's true.
            (delivering bad news)
        He wants to place Edward in a hospital.

    Seeing an unfunded future, Henry's ready to disassociate
    himself from Miriam and Catherine...

             HENRY
        There are other applications for the
        scanner, Mr. Baines...

             LUCIEN
        I realize that, Henry...
            (to Miriam)
        And I know your work, Dr. Kent, is
        invaluable to this company...

             CATHERINE
        You don't know about me, though, do you?

             LUCIEN
        Catherine, we've waited eighteen months
        for signs of progress...

             CATHERINE
        There's been progress.

             LUCIEN
        Yes, but there is no proof the procedure
        works.  All I have is a belief that your
        interaction with my son is not a
        hallucination.

    Catherine is hurt and vulnerable due to exhaustion and the
    intensity of her experience with Edward, but feels she must
    defend herself.

             CATHERINE
            (to Cooperman, Miriam, Henry)
        You picked me, remember?  And I took the
        job.  Gladly.  This is the next wave and
        I want to be part of it...

             COOPERMAN
        No one is doubting your ability.

             CATHERINE
        Then what is it?

    Introspective and solemn-eyed, Lucien takes a moment, then:

             LUCIEN
        I've invested millions of dollars in
        this study... And I've convinced others
        to do the same.  I suppose I should feel
        responsible to them, but I don't.  I
        could care less if they see a profit. 
        I'm responsible to my boy, that's all
        that matters.
            (looks her in the eye)
        You tell me... Am I doing the right
        thing?

 OFF CATHERINE'S FACE...

 INT. WHITE ROOM - DAY

    At first, we're not sure where we are or what's happening. 
    It's too bright, the space confining.  As our eyes adjust, we
    seem to be in a bathroom or shower stall.  We HEAR a WOMAN
    CRYING and the camera finds ANNE VICKSEY.  Dark circles
    beneath eyes red and puffy from crying.  Hair wet and ratted. 
    Sweater and pants damp and stained.  Barefoot, she shivers
    from cold and fear...

    PULL BACK to show more of her surroundings.  The white-tiled
    10' x 8' room features a SHOWER HEAD, TOILET, and a push
    button SPIGOT for drinking water.  Two walls are SOLID, the
    other two MIRRORED, the glass covered by thick clear plastic.

    The floor is littered with empty food wrappers - candy bars,
    juice boxes.  In the center of the floor is a DRAIN and above
    her, on the ceiling, a FLUORESCENT LAMP, also encased in
    clear plastic.

    There is no door.

    A mechanism CLICKS. Then a RUMBLING... Anne seems to know
    what's coming.  She presses against the wall, removes her
    arms from the sleeves of the sweater, hunches down, and
    raises the garment over her head, forming a tent.

    WATER ERUPTS from the shower head.  There is no steam, so
    this water must be cold.  Shaking, Anne whispers a count to
    herself - "One-one thousand, two-one thousand, three..." and
    so on.  The spray hits everything in the room - mirror,
    toilet, floor - and a food wrapper drifts toward the drain.

             ANNE
        Thirty.

    She peeks up from the tent, but the water has not stopped,
    and that isn't what she expected.  We hear a soft SUCKING
    NOISE and a CLICK.  The wrapper rises on a puddle of water. 
    Anne POUNDS her fist on the wall.

             ANNE (CONT'D)
            (angry, scared)
     THIRTY!

    A puddle forms around her feet and she realizes the drain has
    somehow been sealed shut.  Her panic intensifies as we hear
    another CLICK and the water pressure increases.

 INT. CAMPBELL CENTER - LABORATORY - DAY

    In the darkened procedure room, Miriam finds Catherine
    standing between the two suspension devices, alone.

             MIRIAM
        You okay?

    Catherine turns, nods, and tries to smile.  Has she been
    crying?  Miriam steps further into the room.

             CATHERINE
        He hates me.

             MIRIAM
        Lucien Baines?

    Catherine nods.

             MIRIAM (CONT'D)
        I wouldn't say "hates."  Dislikes,
        distrusts, maybe.

    Catherine laughs.  Exactly what Miriam wanted.

             MIRIAM (CONT'D)
        She adores you.

             CATHERINE
        She thinks I can bring Edward back.

             MIRIAM
        Someday you can.  We all believe that...

    Catherine halfheartedly nods, but her mind is elsewhere,
    focused on the two apparatuses.

             CATHERINE
        I want to try it.  Please.

    Miriam knows what this is about.

             MIRIAM
        We've been over this a dozen times.  No.

             CATHERINE
        Why not?  Just once.  A trial run.  What
        harm could it do?

             MIRIAM
        I don't want to find out.

    Ever the doctor, Miriam finds herself surreptitiously
    examining Catherine's eyes, flesh tone, a slight trembling in
    her fingertips.

             CATHERINE
        Why is it taking so long for us to reach
        him?  Because we've been reactive,
        that's why.  And we need to be active.

    Miriam reaches for Catherine's wrist and takes her pulse.

             CATHERINE (CONT'D)
            (annoyed)
        Miriam...

             MIRIAM
        Shush.

    As Miriam examines her, Catherine continues:

             CATHERINE
        He creates the obstacles, he decides
        which games to play.

             MIRIAM
        I've heard this argument before.  It's
        not happening.

             CATHERINE
            (frustrated)
        It could take years for me to get past
        the barriers he's created.

             MIRIAM
        If we reverse the feed and bring Edward
        into your mind, it could be devastating
        for him.  Imagine the shock of suddenly
        existing in a whole other world.

             CATHERINE
        I do it all the time!

             MIRIAM
        Yes, but, you're a willing participant. 
        Picture Edward in a strange place, lost,
        frightened...

             CATHERINE
        I'd be there for him.

             MIRIAM
        And he might blame you for terrifying
        him.  That one moment could erase all
        you've accomplished.  And if that
        happened, the trust he has in you is
        gone.

             CATHERINE
            (defeated)
        Okay, okay...

    Miriam takes a penlight and examines Catherine's eyes.

             MIRIAM
        Besides, I don't know what it might do
        to you.  You're already exhausted.
            (concerned)
        Have you been sleeping?

    Catherine nods.

             MIRIAM (CONT'D)
        I can prescribe something...

    Catherine shakes her head no.  Miriam shuts off the penlight
    and looks at Catherine with professional and personal
    concern.

             MIRIAM (CONT'D)
        You're sure?  Any more nightmares?

             CATHERINE
            (defensively)
        No.

             MIRIAM
        Good.  We need you healthy and relaxed. 
        You're going to eat well, meditate,
        exercise, and watch mindless television.

             CATHERINE
        Yes mother.

             MIRIAM
        I don't want you up all night reading
        Edward's case file of the nine millionth
        time.  Balance, dear girl, is the key. 
        Leave the work here.

    She taps Catherine's head.

             MIRIAM (CONT'D)
        Don't bring it home in this.

             CATHERINE
        Okay.

    Miriam gathers her belongings.

             MIRIAM
        Henry wants me to try this Vietnamese
        place he's wild about.  Want to come?

             CATHERINE
            (declining)
        I've got to feed my cat.  Besides, I
        want to get to bed early.

             MIRIAM
        That's my girl.

    Miriam exits, but Catherine remains, still curious what could
    happen if things were reversed.

 INT. CAMPBELL CENTER - HALLWAY - DAY

    The corridors are dark and most everyone has gone home.  At
    the NURSES STATION, a staff member observes the child on a
    closed-circuit monitor.  Further down the hall, Miriam and
    Henry exit.  Wearing a (chic) thrift store coat and lugging a
    worn book bag, Catherine stands outside Edward's room,
    watching him sleep.

             CATHERINE
        Pleasant dreams, Mister E.

 EXT. RURAL HIGHWAY - DAY

    A GREEN FORD PICK-UP TRUCK cruises down this deserted stretch
    of two-lane blacktop, the driver carefully maintaining the
    speed limit.  He signals and exits...

 EXT. COUNTRY ROAD - DAY

    The truck rumbles along a stretch of bumpy, unpaved road. 
    The area is desolate, depressing, and deserted.  It feels
    like no one's been anywhere near here for years.  The pick-up
    stops at a RUSTED GATE and the DRIVER, a tall, lean, sinewy
    fellow undoes a combination lock-and-chain.  We do not yet
    see his face.

 EXT. ABANDONED FARM HOUSE - DAY

    The truck parks inside a charred barn, now hidden from view,
    and the driver steps out, followed by his DOG.

    A magnificent WHITE GERMAN SHEPHERD.  We notice a GLINT in
    its BLUE EYES - the animal's an albino.  The driver points
    and whistles.  Well-trained, the Shepard sprints to the gate
    and waits, keeping a watchful eye on the road.

 INT. THE CELL - OBSERVATION ROOM - DAY

    From the outside, a passerby would never know this sanctuary
    existed.  Within the foundation of a farm building never
    completed, we find a small room in the center of a much
    larger space.  The cell.  We hear the WHIR of ELECTRONIC
    EQUIPMENT and notice VIDEO CAMERAS mounted on tripods pointed
    at the two-way glass.  We follow CABLES to a massive VIDEO
    RECORDER - the type used in surveillance, able to record for
    days without maintenance, and an elaborate TIMING DEVICE
    connected to a series of VALVES and SWITCHES.

    As if in a beatific trance, the driver moves to the window
    and gently rests his palm on the glass.  ANNE MOVES!  Arms
    flailing, mouth gasping, eyes filled with dread.  The last
    spark of life... The driver JUMPS, startled and frightened.

    Almost shamefully, he turns and hides, unable to look at her. 
    Suddenly, his body tenses and writhes, as if seized by
    torturous pain.  He opens his mouth in a silent scream.

    And then, quickly as it came, the pain subsides.  Hidden in
    shadow, he breathes deeply, regaining self-control.  He
    waits, then moves back to the glass.  Anne's dead face floats
    past him.  Almost angelic.  He watches her and leans his head
    against the window, closer.  And the driver catches his own
    reflection in the mirror.

    Meet CARL STARGHER.

 EXT. CATHERINE'S HOUSE - NIGHT

    Small and isolated, the nearest neighbor a block away.

 INT. CATHERINE'S HOUSE - NIGHT

    The place is a mess.  Computer print-outs, dirty dishes,
    unopened mail, videotapes, and notepads cover tables, chairs
    and floor.  On the crammed bookshelves, psychology texts sit
    next to volumes on mythology, religion, and the occult. 
    Totems, figurines and artifacts (Central and South American
    in origin) adorn the walls and tables.

    As Portishead plays on the stereo, we find Catherine
    suffering from insomnia, wearing goofy-yet-hip eyeglasses,
    sweatpants and a UCSD T-shirt, sharing a late-night snack
    with her pet CAT.  She shuts the refrigerator door and we
    linger on an odd POSTCARD taped to the surface.  A kitschy
    postcard of a warrior/goddess.

 INT. BASEMENT - NIGHT

    We MOVE out of shadow, toward a bright focused light,
    following the albino German Shepherd - VALENTINE - as it
    enters a VAST SUBTERRANEAN ROOM.  Most of the walls have been
    knocked down, leaving only thick support posts.  Valentine
    finds Stargher in a DUGOUT PIT - about five feet deeper than
    the rest of the room - polishing a stainless steel table.  A
    bright tungsten work light hangs above, and near it is the
    chain, cables and hooks of a customized MECHANICAL HOIST.

    The dog picks up an unpleasant scent and follows it to a far
    corner where there are empty jugs of BLEACH sitting next to a
    long, deep cast iron TUB.  Stargher WHISTLES and Valentine
    obediently retreats to a KENNEL CAGE.  Stargher gives him a
    chew toy and locks the dog inside before moving to the tub.

    Soaking in the bleach is the nude corpse of Anne Vicksey. 
    The interior of the tub is glazed with gleaming porcelain and
    the whiteness of her flesh makes it appear as though she is
    floating in nothingness, but what hypnotizes and appalls are
    her eyes.  Wide open, transformed by the chlorine into
    something ghostly, they are unforgettable.

    As the bleach gurgles down the drain, Stargher lifts Anne
    from the tub and carries her to the table.  He places her
    face up and dries her with a clean white towel.  He moves her
    limbs, lips, hips, and hands into desired positions then
    retreats into shadow.  In the harsh light, against the shiny
    table, the bleached body has the quality of an apparition and
    we almost expect her to move...

    We HEAR Stargher remove his clothes and he steps into the
    pool of light.  Nude, we see that his lean, muscular frame is
    laced with some rough tatoos.  When he turns his back to us,
    we find EIGHT METAL RINGS, thick and strong, PIERCED through
    his flesh.  Two columns of four on either side of the spine,
    running from shoulder blade to just below the waist.  What in
    God's name are they for?

    Stargher shuts off the work light and moves to an area where
    he keeps TELEVISION MONITORS and VCRs.  He inserts a
    videocassette taken from the surveillance deck and watches
    the screen.

    In BLACK AND WHITE, we see Anne awaken in the cell.  Her
    first moments inside.  Disoriented, terrified, trapped, she
    examines her surroundings.

    Stargher is mesmerized by her fear.  Fast-forwarding to her
    death, he presses a remote and we get SOUND.  Anne screaming,
    begging for her life.  Aroused, stimulated, Stargher drinks
    it in like a symphony.  Valentine cowers in the back of his
    cage, hating this.

 INT. CATHERINE'S HOUSE - BEDROOM - NIGHT

    Lying on her bed (a waterbed), Catherine sleepily stares at
    the ceiling, rolls onto her side, and feels herself drawn
    into the comforter.  The folds of the fabric become ripples. 
    Ripples become dunes.

 EXT. EDWARD'S WORLD - DAY

    And we find ourselves in the DESERT of EDWARD'S WORLD.

    We fly over dunes and come up behind Catherine as she
    struggles through waves of sand.  The tree trunk is up ahead
    and we glimpse someone hiding inside.

    Catherine reaches.  MOCKEY-LOCK ERUPTS FROM WITHIN THE TREE
    TRUNK!  SNARLING!  Catherine retreats, silently screaming.

 INT. CATHERINE'S HOUSE - BEDROOM - DAWN

    IN HER OWN BED, Catherine's eyes are open.  In sharp contrast
    to a typical reaction to a nightmare, she remains calm.  No
    sweaty face, no gasp, no reaction at all, really.  She might
    as well have been dreaming of puppy dogs.  Wide awake, her
    eyes return their gaze to the ceiling.

             CATHERINE
        Go.  To.  Sleep.

 INT. STARGHER HOUSE - BASEMENT - NIGHT

    CHAINS attached to bizarre HOOKS dangle from the ceiling. 
    Admiring Anne's body, Stargher links the hooks to the rings
    in his back.  He presses a remote unit and up in the rafters,
    a series of GEARS click into motion.  The sound is torturous
    as the mechanical hoist LIFTS Stargher off the ground,
    pulling at the rings, strips of flesh rising.  Stargher
    grimaces, but clearly he wants the pain, needs it.  As the
    hoist clicks into another gear, it carries Stargher over the
    table until his body is perfectly positioned above Anne's.

    In the flickering weird light of the television screen,
    Stargher resembles something from the twisted imagination of
    William Blake - a levitating demon ready to debauch an
    innocent angel.  With his free hand, he touches himself,
    chains clinking and swaying.

 EXT. RIVER BANK - DAY

    A railroad bridge and highway span an almost-bone-dry creek
    bed.  Gathered beneath the overpass are the POLICE, CORONER,
    CRIMINIALISTS, AND A LOCAL FBI.  A SEDAN travels down a
    service road and stops nearby.  TWO MEN exit, identify
    themselves as FBI and move to the crime scene.

    Special Agent GORDON RAMSEY is well-groomed, prides himself
    on professionalism, and follows the Bureau party line. 
    Special Agent PETER NOVAK is rough around the edges,
    introspective, and intense.  A loner who marches to the tune
    of a peculiar drummer, he's unconventionally handsome with
    probing eyes.  He moves slowly, observing the scene - the
    world, for that matter - from a unique perspective.

    As Ramsey finds the FBI's local liaison - AGENT COLE - Novak
    oblivious to the people around him, touches dirt, smells the
    air, and examines road, river, bridge and sky.

             RAMSEY
        Who found her?

    Cole nods at a visibly shaken WORKMAN seated in a patrol car.

             COLE
        Surveyor for the railroad... 'Bout six
        this morning.

    Novak sees a FEMALE BODY wrapped in plastic and bound by
    wire.  Supervising the examination of the woman is FBI
    PATHOLOGIST DR. THEODORE "TEDDY" LEE, a polite, dapper
    southern gentleman.

             NOVAK
        Thanks for waiting, Teddy.

    Teddy gives Novak a friendly, respectful salute - "My
    pleasure."  Novak dons gloves, nods to an FBI PHOTOGRAPHER
    and assists Teddy Lee in snipping wire and peeling back thick
    clear plastic.  As the photographer reacts to a strong smell,
    Teddy comments.

             TEDDY LEE
        Bleach.

    As the man snaps pictures, Ramsey and Cole join them.  Sadly,
    Novak recognizes the face.

             NOVAK
        Anne Marie Vicksey.

    We recognize her, too.

             COLE
        She the one from Santa Cruz?

             NOVAK
        Just graduated law school.  Single mom. 
        Had a two-year-old daughter.

    He and Teddy expose the bleached flesh of her torso, neither
    man surprised.  Coldly thorough, Novak finds another of the
    killer's tell-tale signs.

             NOVAK (CONT'D)
            (instructing the photographer)
        The semen on her legs and abdomen.

    FLASH! Photos are taken.

             TEDDY LEE
        Someone looking after her little girl?

             NOVAK
        Grandparents.  Live over in Davis.

    Novak looks into the dead white eyes of Anne Vicksey, trying
    to imagine the horrors she beheld.  He moves to the creek and
    sees only a few inches of water.  His eyes move from the drop
    site to the highway above.

             TEDDY LEE
        The poor thing.

    FLASH!  We're up there now, ON THE OVERPASS, with the
    photographer and Novak, examining TIRE TRACKS in the soft
    shoulder.  Novak peers over the edge at the crime scene,
    steps back, and focuses on the highway - imagining the
    killer's truck as it disappeared into the night.
 
 
 
 EXT. OFFICE PLAZA - DAY

     A PRETTY YOUNG WOMAN, JULIA HICKSON, shares lunch with her
    fiancee, JOHN TRACY.  They talk, laugh and kiss, not a care
    in the world.

 INT. PICK-UP TRUCK - ACROSS THE STREET - DAY

    As TALK RADIO plays, Carl Stargher watches them, specifically
    Julia, his eyes never off her for too long as his hands work
    on something banal but unseen.

             TALK RADIO HOST
        ...complaining about government
        subsidies for farmers...

    The voice on the radio becomes DISTORTED as we hear it
    through Stargher's ears...

             TALK RADIO HOST (CONT'D)
        ...but without subsidies, families will
        starve, and I'm nodd
        exagggeerrrrr....ayding.  Iff id werrrr
        up tooooo meeeee.....

    The host's voice fades into a guttural, monstrous groan.

             TALK RADIO HOST (CONT'D)
        Meeeee gawwwwwdd Caaaarrrrlll.  Mee god
        cum...
            (returning to normal)
        Meeeee....wwuuuuuddunnnnttttt... be
        spending billions on other countries
        when we've got problems right here.

    He opens his eyes and watches John kiss Julia goodbye as she
    returns to work.  Stargher looks down and we see what he's
    been working on - A TOY DOLL.  Female.  Stripped of its
    clothes, a single metal ring stuck through its plastic neck.

 INT. COFFEE SHOP - DAY

    His lunch finished, Ramsey is on a cell-phone talking to his
    wife.  Chain-drinking coffee, Novak scrutinizes photos of the
    tire tracks.

             RAMSEY
        Well, honey, what's worse?  Doing it
        yourself or asking your mother for help?
            (gets his answer)
        Can it wait 'til I get back/
            (listens, answers)
        I have no idea, Jeannie.

    Novak checks his watch and the street.  Clearly waiting for
    someone or something.

             RAMSEY (CONT'D)
        Well all right.  Good luck with the
        Monster.  I love you too.  Bye-bye.

    Ramsey snaps shut the cell-phone.

             RAMSEY (CONT'D)
        We call Jeannie's mother "The Monster"
        because, well... she just is.

    Novak is oblivious, pouring over tire-related info.

             RAMSEY (CONT'D)
        I know you could care less about my
        personal life, Peter, but I do
        appreciate the occasional, "How's your
        wife, Gordon?"

    He waits.  Novak obliges:

             NOVAK
        How is she?

             RAMSEY
        Pregnant.  Thanks for asking.

    Novak is distracted by Teddy Lee entering the diner.

             NOVAK
        Here he is.

             RAMSEY
        Damn, man, I give up.  Your partner
        tells you his wife's gonna have a baby,
        and all you care about is a coroner's
        report!

    Ramsey assesses the exhausted, lonely, intense man sitting
    across from him.

             RAMSEY (CONT'D)
        I feel for those girls too, Pete.  And
        their families.  But it's just a job. 
        Someday it'll be over.  And then what'll
        you have?

    Much to Novak's appreciation, Teddy Lee's arrival provides an
    escape from answering the question.

             TEDDY LEE
        Hot off the presses.

    He gives them copies of the AUTOPSY REPORT and FORENSIC
    ANALYSIS of Anne Marie Vicksey.  The WAITRESS sees Teddy,
    approaches, and offers a menu.

             TEDDY LEE (CONT'D)
            (doesn't need it)
        Chicken fried steak, mashed potatoes,
        garden salad with Thousand Island
        dressing and an iced-tea.  Thank you
        darlin'.

    She nods and moves to the kitchen.  Novak and Ramsey flip
    through the documents.

             TEDDY LEE (CONT'D)
        Water in her lungs.  Same brand of
        bleach.  Match on the semen.  Lots of
        hair.

             RAMSEY
            (unenthused)
        More hair.  I could knit this guy a
        toupee.

    Novak finds something in the report that catches him by
    surprise.  He double-checks and shows the item to Teddy.

             TEDDY LEE
            (reading)
        So?

             NOVAK
        Anne Vicksey didn't own a dog.

    Ramsey checks his copy.

             NOVAK (CONT'D)
        I need it.

             TEDDY LEE
        Now?

             NOVAK
        Now.

 INT. FORENSIC LABORATORY - DAY

    A MONITOR shows a SINGLE HAIR under a video microscope. 
    Teddy Lee plays with the dials and gets a spectral view.

             TEDDY LEE
        Complete absence of melanin.

    Novak and Ramsey stand over his shoulder.

             RAMSEY
        And that means?

    Teddy moves aside and takes another bite of his lunch
    (chicken fried steak now carry-out).

             NOVAK
        The dog's an albino.
            (pictures it)
        He'd love an animal like that.

             TEDDY LEE
        Gentlemen, I believe an albino dog is
        rare indeed.

 INT. PARKING GARAGE - NIGHT

    Exiting an elevator, Julia heads for her little Toyota. 
    Smart girl that she is, her eyes scan the area and her
    fingers hold a can of mace.

 INT. TOYOTA - NIGHT

    Julia climbs in, checks her mirror and backs up.  WHAM!  Did
    she hit something??  She brakes, puts the car in park, and
    checks her sideview mirror.

    Reflected there is a WOUNDED DOG.  A white German Shepherd. 
    She rolls down her window and can hear the poor thing
    whimpering.

             JULIA
        Oh no...

 INT. PARKING GARAGE - NIGHT

    Julia exits her car and kneels next to Valentine, who appears
    to be in terrible pain.

             JULIA
        God... I didn't see you.

    STARGHER'S HANDS COME AT HER FROM BEHIND!  One grabs her hair
    and the other covers her face with a chloroform-soaked towel. 
    He presses so hard, she cannot scream, cannot move.  After a
    brief struggle, he SHOVES her into her car and holds her
    until she passes out.  Stargher pushes Julia into the
    passenger seat and starts the car.  Pulls a dog treat from
    his pocket and WHISTLES.  The Shepherd instantly perks up. 
    Perfectly healthy.  And jumps into the car.

             STARGHER
            (feeds him a treat)
        Good boy.

 INT. RIVERSIDE COUNTY SHERIFF'S STATION - DAY

    In a BRIEFING ROOM we find Teddy Lee, Ramsey, Cole and local
    cops.  All in need of caffeine.  They complain, gossip, and
    shoot the shit.  Resembling a demanding professor, Novak
    enters and through presence alone, lacking any self
    consciousness about his dishevelled appearance, takes control
    of the room by holding up a PHOTOGRAPH of a young woman.

             NOVAK
        Donna Krozin.
            (a new picture every time)
        Helen Francis, Teresa Manicki...

    The chatter dies.

             NOVAK (CONT'D)
        Antoinette Simms, Natalie Pagels, Grace
        Cassatt... Anne Vicksey.

    Every person is solemn and focused.

             NOVAK (CONT'D)
        Smart, gentle, attractive young women. 
        Just starting out in life. 
        Embarking on careers, going to school,
        getting married...

    He's hooked them.  The victims, these women, now mean
    something to them.  With great effect, he holds up grisly
    post-mortem photos.

             NOVAK (CONT'D)
        They were killed.  Kidnapped, tortured,
        and murdered.  By a white male.  About
        30-years old.
            (significantly)
        Who owns an albino dog./

    Everyone knows this is a real clue and awareness is
    heightened.  Ramsey chimes in.

             RAMSEY
        A purebred German Shepherd.

    Novak shows them a picture of a WHITE GERMAN SHEPHERD taken
    from a resource on the Internet.

             RAMSEY (CONT'D)
        Breeders typically destroy albino pups,
        so this animal is truly unique.

             NOVAK
        Nicole Labetzki.  Victim seven. 
        Forensics found dog hair in her car, but
        they had a K-9 unit at the scene and
        never had it checked.

             TEDDY LEE
        The Phoenix office tested that hair
        thirty minutes ago.  And we got the
        match.

             NOVAK
        It's his dog.

    Ramsey holds up a thick list.

             RAMSEY
        Registered breeders of German Shepherds.

    The list is long and a few of the cops GROAN.  Novak silences
    them with a fierce look that says, "I will not rest until
    this man is found and neither should you."

             NOVAK
        Be thorough, but be fast.  This guy's
        accelerating. 
        He only waited six days this last time. 
        When he started, two months could pass.

    A DESK SEARGENT enters the room and hands a FAX to Ramsey. 
    Novak is curious about it, but continues.

             NOVAK (CONT'D)
        This can mean different things.  He
        thinks we're stupid and can't catch him. 
        He's having fun and needs more.  Or...
            (thinking it through)
        This dog hair thing is sloppy.  The body
        this morning was found in less than
        three inches of water.  He knew we'd
        find her.  He wants to be caught.  But
        if we can't stop him...

    Gravely concerned, Ramsey moves across the room.

             NOVAK (CONT'D)
            (dreading what's on that fax)
        ...he can't stop himself.

 INT. STARGHER HOUSE - BATHROOM - DAY

    Stargher, the awful PAIN eating away at his skull.  He
    searches the medicine chest.

             DISTORTED VOICE
        Me god feed on pain.

    The VOICE echoing inside his skull.

             DISTORTED VOICE (CONT'D)
        Pain good.  Cumm home to meee...

 INT. STARGHER HOUSE - KITCHEN - DAY

    Struggling to stay on his feet, he moves to the KITCHEN. 
    Valentine paces nervously, whimpering concern.  Stargher
    reaches for a bottle of vodka but falls to the floor. 
    Valentine BARKS, but gets no reaction from master.  We MOVE
    IN on Stargher's unblinking eyes.

             DISTORTED VOICE
        Go sleep Carl.  Me god wake up now.

 INT. THE CELL - DAY

    Julia Hickson finds the snack foods, drinking spigot, toilet,
    shower, and drain.  Her bare feet try to adjust to the tile
    floor, but it's fucking cold.  She glimpses herself in the
    mirror and is startled by what she sees - a terrified girl.

 INT. SUBURBAN HOUSE - DAY

    A TAN SEDAN sits in the driveway of this modest middle-class
    home.  A VENTURA COUNTY SHERIFF'S CAR sits nearby, a deputy
    keeping watch.

 INT. SUBURBAN HOUSE - DAY

    A distraught middle-aged couple, MR. AND MRS. HICKSON, sit on
    the couch of their living room.  FAMILY PHOTOS show them with
    Julia, whose fiancee, John, does his best to comfort the
    mother.  Novak and Ramsey have the unfortunate task of
    interviewing them about their daughter's disappearance.

             RAMSEY
        She was still living at home?

             MR. HICKSON
        Yes, sir.

             JOHN
        We were looking at apartments.

             MR. HICKSON
            (important they know)
        But nobody was moving in together 'til
        after the wedding.

    Novak hasn't said much.  Instead, he looks at something in
    his hands - a plastic evidence bag containing the TOY DOLL.

             RAMSEY
        John, you came to pick her up when?

             JOHN
        Eight o'clock.  We were going out for my
        birthday.

             MR. HICKSON
        Maybe you made a mistake.  Maybe she...
        she...

    Novak hides the doll.

             RAMSEY
        No sir.  I'm sorry.

    Ramsey's cell-phone rings and he excuses himself to a corner
    of the room, leaving Novak alone to deal with this
    uncomfortable, sad situation, no one saying a word until an
    emotionally shattered Mrs. Hickson, fingering a rosary, feels
    compelled to tell him.

             NOVAK
        After three years she remembers what the
        guy drove?

             RAMSEY
        She remembers because it was her "dream
        truck."  Wanted one just like it.

 EXT. SMALL AIRPORT - DAY

    Ramsey and Novak exit a small jet and are met by FBI Agent
 STOCKWELL.

             STOCKWELL
        Ramsey, Novak?

    They nod and he directs them to a waiting GMC SUBURBAN.

             STOCKWELL (CONT'D)
        Agent Stockwell.

             NOVAK
        Where is he?

             STOCKWELL
        Edison.  Just east of Loma Park.  SWAT's
        had the house under surveillance for
        about twenty minutes.
            (info memorized)
        Suspect is Carl Rudolph Stargher.  No
        registered weapons, no priors.  Got a
        license for his dog, though.  Named him
        Valentine...

 INT. GMC SUBURBAN - DAY

    Stockwell is behind the wheel, racing down the highway. 
    Ramsey's in the passenger seat, Novak in back.  Shotguns and
    body armor line the cargo area.  Novak's eyes target the FAX,
    a copy of Stargher's license and registration, and the grainy
    dot-matrix image of the suspect's face.  And Novak knows he's
    found him.

             NOVAK
        You're the bad man, aren't you, Carl?

 EXT. STARGHER HOUSE/NEIGHBORHOOD - DAY

    A sparsely populated lower-middle class neighborhood.  A half
    dozen plain houses at the end of a cul-de-sac.  Bare trees. 
    Brown lawns.  Crows in the air.

    The house furthest from the main road has a white Ford F250
    pick-up in the driveway.  Green trim.

    THE SUBURBAN, hidden from Stargher's house, four-wheels it
    through a prairie and stops outside the backyard of a
    PRESCHOOL, where two more Suburbans and a van already wait.

 INT. PRESCHOOL - DAY

    Stockwell introduces Ramsey and Novak to BROCK, leader of the
    FBI Tactical Unit, a calm, confident ex-Marine wearing a
    black uniform and body armor.

             BROCK
        Glad you could make it.  We lose the sun
        in half an hour.

    Novak and Ramsey join him at the shaded window to observe
    Stargher's house.  Children's drawings fill the wall.  As
    Brock explains, Novak checks with binoculars.

             BROCK (CONT'D)
        Perimeter's two-hundred yards around the
        house.  Three men at the rear, two on
        each side, four up front.  I've got two
        marksmen on the roof.

             NOVAK
        Have they seen him?

             BROCK
        No.  There's been movement in the
        kitchen.  But it could be the dog.
            (important)
        You think she's in there?

    Novak is careful with his answer.

             NOVAK
        We proceed assuming she is.

             RAMSEY
        Let's give old Carl a call.  Tell him
        he's got company.

             NOVAK
        No.
            (to Brock)
        Can you get a man close?

 EXT. STARGHER HOUSE - DAY

    Quiet.  Calm.  And then we catch a glimpse of a FIGURE
    advancing, using any cover he can, until he is right outside
    the house.  The sneaky SWAT team member, ERICSON, whispers
    into his throat mic.

             ERICSON
        I'm at the back door.

             BROCK (V.O.)
            (in Ericson's earpiece)
        Check the kitchen.

    Ericson maneuvers his way to the kitchen window and uses a
    MIRROR to sneak a peek.  In the REFLECTION we see a
    motionless man lying on the floor.

             ERICSON
        I have a man down.  Repeat, man down.

             BROCK (V.O.)
        Stargher?

    Ericson chances a quick visual check and pops his head up
    before reporting.

             ERICSON
        Can't see his face.

 INT. PRESCHOOL - DAY

    Brock looks to Novak, urgency and tension mounting.  Novak
    knows how much is riding on this specific moment.  All the
    various outcomes.  And decides.

             NOVAK
        Go.

 EXT. STARGHER HOUSE - DAY

    The SWAT TEAM SWARMS towards the house.

 INT. STARGHER HOUSE - DAY

 ERICSON KICKS IN THE BACK DOOR.  GUN READY!

             ERICSON
     FBI!

    He and THREE OTHERS rush inside!

    BAM!  FOUR MEN KICK in and proceed through the FRONT DOOR!

             SWAT TEAM MEMBER
     FBI!

    An odd quiet is all they encounter.  IN THE BACK, Ericson
    moves through a LAUNDRY ROOM and finds VALENTINE hiding
    behind a pile of dirty clothes, frightened by these masked
    figures in black.

             ERICSON
            (into throat mic)
        I've got the dog!

    He points for someone to secure the animal and MOVES into the
    KITCHEN, aiming his gun at the man on the floor, finally
    getting a look at his face.

             ERICSON (CONT'D)
            (recognizing him)
        Carl Stargher!  Do not move!

    No problem there.  Stargher appears lifeless.  As various
    SWAT team members secure the house, Ericson removes his mask
    and CUFFS Stargher, startled at the sight of the horrible
    RINGS piercing his back.

             ERICSON (CONT'D)
        Jesus Christ...

 EXT. PRESCHOOL/STARGHER'S HOUSE - DAY

    As an AMBULANCE emerges from a hiding place behind another
    garage, we FOLLOW NOVAK and RAMSEY as they run from the
    preschool into the house.

 INT. STARGHER HOUSE

    As a K-9 UNIT secures Valentine, Novak storms into the
    kitchen, checks Stargher for a pulse and barks at SWAT>

             NOVAK
        Paramedics.  NOW.

    Ramsey pushes through and Novak informs him.

             NOVAK (CONT'D)
        He's alive.

 EXT. STARGHER HOUSE - DAY

    FBI AGENTS and local police cordon off the area.

 INT. STARGHER HOUSE - KITCHEN - DAY

    Valentine is muzzled and led away as the PARAMEDICS load
    Stargher onto a stretcher.  Agent Stockwell turns to a
    worried Novak.

             STOCKWELL
        They'll take him to County General. 
        Reid's already there.

             NOVAK
        Make sure he stays cuffed.  Two men on
        him at all times.  I don't want anyone
        treating him but Reid.  Not so much as a
        thermometer up his ass.  Understand?

    Stockwell nods and follows the stretcher outside.  A stoic
    Ramsey enters from the living room and Novak can see the
    disappointment in his eyes.

             RAMSEY
        She's not here.

    Novak would give anything for that not to be true.

             RAMSEY (CONT'D)
            (it gets worse)
        You should come downstairs.

 INT. STARGHER HOUSE - BASEMENT - DAY

    Ramsey leads Novak into Stargher's "workroom."  It's all
    here, the table, the piercing supplies, the bleach.  An odd,
    grisly collection of DOLLS fills cubby holes in a wooden
    storage/shelf unit.  Novak's eyes are like a camera,
    documenting and storing as much information as possible, but
    it's overwhelming.

    He moves through the basement.  Careful not to touch
    anything.  He stops and focuses on the hoist and eight hooks
    situated over the stainless steel table.  (NOTE: ON THE
 WINCH'S MOTOR IS A WORN PLAQUE READING "CARVER INDUSTRIAL
    EQUIPMENT" with a logo).

    Ramsey switches on the video monitor and the screen fills
    with images of Anne dying in the cell.

    Novak is painfully, tragically drawn to this.  Although he's
    seen his share of horrific things, Novak is truly disturbed
    by the sight of Anne, desperate to escape, drowning, slowly
    dying, and he knows: This is what will happen to Julia
    Hickson unless he finds her.

 INT. THE CELL - NIGHT

    CLICK.  WATER SPRAYS FROM THE SHOWER.  Caught by surprise,
    Julia blocks the spray with her hands and searches for a shut
    off valve.  Of course, there is none.  Thirty seconds later,
    the water stops.  Like an animal caught in a trap, Julia's
    eyes dart around her "cage."  What kind of hell is this? 
    Shivering, she catches herself in the mirror and looks deeply
    into it.  Something's odd about the glass.  Is someone
    watching her?  She bangs on it with her fist.

             JULIA
        Hey!

 POUND, POUND, POUND!

             JULIA (CONT'D)
     LET ME OUT!!!

    But there's no response.  Only her reflection.

 INT. KERN COUNTY HOSPITAL - EXAMINATION ROOM - NIGHT

    A HUMAN EYE.  No movement, no deviation of the iris.  A fixed
    stare.  The catatonic Stargher lies in a hospital bed, wrists
    cuffed to the frame.  An IV feeds him fluids and monitors
    report his vital signs.  As a nervous NURSE exits, we see TWO
    POLICEMEN standing guard in the outer hallway.  Novak, Ramsey
    and Teddy Lee stand by as the killer is examined by DR.
    MILTON REID, a brilliant forensic M.D. currently shining an
    opthalmoscope into Stargher's eyes.  He pulls away and checks
    the ELECTROENCENPHELOGRAM already on a lightbox.

             REID
        Minimal activity in the dorsolateral
        prefrontal cortex.  And here, the
        anterior cingulate cortex.
            (to Novak and Ramsey)
        It's what helps distinguish between
        external and internal stimuli.

             RAMSEY
        What the hell does that mean?

             TEDDY LEE
            (answering for Reid)
        He's schizophrenic.

    Novak doesn't like this.  Not one bit.

             RAMSEY
        What're you doing here, Reid?  Paving
        the way for his insanity defense?

             REID
        No need.  There won't be a trial.  This
        is no act.  The coma is real.

             RAMSEY
        Whoa.  Wait a minute.

             REID
        You ever hear of Whalen's Infraction?

    Clearly not.

             REID (CONT'D)
            (re: the EEG)
        In any schizophrenic, these areas would
        be affected.  But in someone with
        Whalen's, they're hit hard and hit fast.

    Novak's worry intensifies.

             REID (CONT'D)
        Stargher's neurological system was
        infected by a virus in utero.  It lay
        dormant.  In his case for about...
            (guesses at Stargher's age)
        ...thirty years.  Most likely, he's
        exhibited symptoms for awhile now, but
        the infraction - the breach - didn't
        occur 'til today.  You never know when
        it'll happen, at what age, or why.  The
        triggers vary, but the results don't.
            (fascinated by Stargher)
        He has no ties to reality.  No awareness
        of this world or the people in it.

             TEDDY LEE
        What about Thorazine? Or... Desoxyn?

             REID
        The normal psychotropics don't work. 
        He's not just catatonic, he's...
        disappeared.  Like having a dream and
        never waking up.

             NOVAK
        This girl.  Julia Hickson.  Only he
        knows where she is.

             REID
        Then I'm sorry.  For her and for you.

    Novak is past angry.  He's bordering on devastation.  Ramsey
    attempts to placate him.

             RAMSEY
        We'll go back to his house, Pete. 
        There's still a lot to do.  Analyze the
        videos, track sales of the bleach, go
        through his records.  Maybe he owns
        property somewhere.

             NOVAK
        They're in that fucking thing for forty
        hours, Gordon.  Four-oh.  He got Julia
        at seven-thirty last night.  You know
        what time it is now...?!

    Ramsey backs off, knowing his partner is on the verge of
    really losing it.  Reid thinks perhaps he shouldn't, but
    sensitive to Novak's pain and anger, mentions it anyway - if
    only to keep his friend from true hopelessness.

             REID
        Peter?  This is a longshot.  I mean a
        real long shot.  You're gonna think I'm
        crazy...

 EXT. EDWARD'S WORLD - DAY

    The ship's engine ROARS TO LIFE and the PROPELLER spins
    through sand.

             CATHERINE (O.S.)
        It's fixed!

    AT THE TREE TRUNK, Catherine extends her hand and suddenly
    Edward is there, quite close, reaching out.  Catherine's hand
    trembles.  The boy is startled.

             CATHERINE (CONT'D)
            (surprised, to herself)
        I'm not signalling...

    Her hand tenses and shakes uncontrollably.

             VOICE (O.S.)
        Sing a song of sixpence...

             CATHERINE
            (angry, to the heavens)
        I'm not signalling!

    Edward is frightened by what's happening and runs away. 
    Catherine tries to call out, but her throat constricts,
    making speech difficult.

             CATHERINE (CONT'D)
        I'm not...
         
         
         
         INT. CAMPBELL CENTER - LABORATORY - DAY

    Catherine's face is covered by a cloth floating down from the
    sky.  The sky is replaced by the ceiling and overhead lights
    of the LABORATORY, but Miriam's face remains constant.  Now
    conscious, Catherine finds herself in the lab at the Campbell
    Center, the suspension device lowering.

             MIRIAM
            (on intercom)
        Sing a song of sixpence.

             CATHERINE
            (hoarse)
        A pocketful of fucking rye.
            (worried)
        What's wrong?

             MIRIAM
            (cagey)
        Nothing.

             CATHERINE
            (disappointed)
        Why did we stop?

    Cooperman appears in the window and explains.

             COOPERMAN
            (on intercom)
        I asked them to.
            (with gravity)
        We have a situation.

 INT. CAMPBELL CENTER - CONFERENCE ROOM - DAY

    A SMALL TV SCREEN shows footage of Anne drowning in the cell. 
    Catherine, Cooperman, Henry, and Miriam watch with curiosity,
    disgust, pity.  Novak and Ramsey flank the portable
    monitor/VCR, knowing this is a disturbing but powerful tool. 
    There's someone else in the room.  John Tracy.  He cannot
    watch the video, not again.  Catherine glances at him,
    uncomfortable with his presence.

             MIRIAM
        When did he lapse into the coma?

             NOVAK
        Sometime yesterday morning.

    John tries to keep his composure, but Novak's making this
    tough for him.  Novak wants the scientists to see, to
    understand the boy's pain.

             NOVAK (CONT'D)
        Each tape is the same.  He provides
        food, drinking water, a toilet. 
        Periodically, a shower starts.  It's on
        some kind of timer - he's clever with
        machines, building things.  I think he
        wants them to believe this is a simple
        kidnapping.  That there's a possibility
        of rescue.  Of survival.  But it's just
        a form of torture.  At the end of the
        fortieth hour, the drain shuts.  The
        water starts and doesn't stop.
            (gravely)
        We've already lost more than a day.  If
        she isn't found tonight.  She dies like
        the rest.

             COOPERMAN
            (to Miriam, Henry and
            Catherine)
        John and Ella Baines - as well as the
        Sunerset Board of Directors - have given
        their approval, but the decision is
        yours.

             MIRIAM
        What about the legalities of this...?

             NOVAK
        Stargher is in custody.  The functional
        equivalent of being under arrest. 
        Normally, we'd Mirandize him, and if he
        didn't lawyer up, we'd interrogate him. 
        But because of his condition, he doesn't
        have the capacity to waive those rights.

             HENRY
        So what you're asking us to do is
        illegal?

             NOVAK
        No, not at all.
            (explains)
        We're dealing with exigent
        circumstances.  Somewhere there's a
        kidnapped woman still alive.  If we
        weigh the suspect's Constitutional
        Rights against the public safety. 
        The Law favors the victim and gives us a
        lot of leeway.  It's called the Public
        Safety Exception.

             COOPERMAN
        So what can you do?

             NOVAK
        Pretty much anything we want.  There's a
        chance to save a human life.  Because of
        that, Stargher has no reasonable
        expectation of privacy.

    Miriam, Henry and Cooperman appear to be onboard.  Novak's
    made a persuasive, heartfelt argument.  Only one person still
    remains uncertain.

             CATHERINE
        What if...?

    All eyes turn to her.

             CATHERINE (CONT'D)
        What if he wasn't like this?  What if he
        was "normal?"  Conscious.  How far would
        you go?

             NOVAK
        As far as I needed.

    Catherine nods, analyzes Novak's eyes, gestures, body
    language, and "interrogates" him.

             CATHERINE
        Do you think he'd tell you what you need
        to know?

    John's discomfort is increasing and Novak is sensitive to it.

             NOVAK
        There's always a chance they'll confess.

             CATHERINE
        Really?  I don't work with violent
        cases, I work with children.  But even a
        kid lies.  They love it when they get
        you to believe something that isn't
        true.  Don't you think Stargher would do
        the same?

             NOVAK
        Sometimes... Once they've been caught
        they feel a need for disclosure.  They
        have so much they want to tell. 
        But they've never had a sympathetic ear. 
        They need someone to understand why.
            (focusing on Catherine)
        Stargher used to hide the bodies very
        carefully.  It was part of the ritual. 
        Some weren't found for weeks and any
        physical evidence had been meticulously
        wiped clean.  But these last three...
        They were still in water - always in
        water - but
            (clarifies)
        Listen, he wasn't just careless.  It
        went beyond that...

             CATHERINE
        Okay.  Let's assume he wanted you to
        find him, that some part of him hated
        what he was doing... Most likely, that
        part is dead.  Schizophrenics with
        Whalen's Infraction sever all ties with
        the real world.  I'm sorry, I really am.

             RAMSEY
        Is it possible?

             CATHERINE
        If he came to trust me, yes, but it
        takes months to build that kind of
        trust.  Someone like Stargher can't
        distinguish between fantasy and reality. 
        It's all the same.  He might tell me
        she's in Timbuktu and absolutely, one
        hundred percent believe it to be true,
        but she's...

             JOHN (O.S.)
        Julia.

    They turn to John Tracy.  His vulnerable, barely audible
    voice forcing everyone to listen.

             JOHN (CONT'D)
        Not "she."  Julia.  Not thing, or it, or
        her.  Do you know anything about her? 
        Do you know what we've been through? 
        Julia is everything to me.  Can you say
        that about anyone?  

    Catherine hangs her head.  And finds herself looking at
    photograph of the girl in question.  A smiling Julia Hickson
    looking right at her.

 WHOOP-WHOOP-WHOOP-WHOOP.  POUNDING REVERBERATIONS...

 EXT. CAMPBELL CENTER - DAY

    WHOOP-WHOOP-WHOOP-WHOOP.  A HELICOPTER descends onto the pad. 
    A stretcher is removed from the side door of the helicopter.

 INT. CAMPBELL CENTER - VARIOUS/TRAVELLING - DAY

    The STAFF watches with a mixture of fear and curiosity as a
    stretcher bearing the catatonic Stargher is wheeled FAST
    through the corridors by an FBI escort team.

 INT. CAMPBELL CENTER - CONFERENCE ROOM - DAY

    Hundreds of photographs, drawings, diagrams, maps,
    blueprints, and documents - Novak's case material - cover
    every inch of wallspace.  The table is littered with
    reference books, atlases, telephones, a fax machine, short
    wave radio, and computer/Internet terminal.  An FBI
    TECHNICIAN completes the electronics work and points out the
    "speed dial" functions to Novak and Ramsey.

             FBI TECH
            (listing them)
        Quantico.  San Diego Field Office. 
        S.D., L.A., and San Francisco P.D. 
        California, Arizona, Nevada State
        Police.  Nine and ten are open lines.
            (re: radio set up)
        Direct link to the chopper.
            (re: the computer)
        That gets you into the Bureau Database.

             NOVAK
        Thanks.

    Once he's gone, Ramsey takes this moment "alone" to question
    his partner.

             RAMSEY
        You sure you want to go through with
        this?

             NOVAK
        What else do we do?!

             RAMSEY
        I don't know, Pete, but for god's
        sake... This is nuts.  Do you really
        understand what they're going to do?

             NOVAK
        I don't have to.

             RAMSEY
        Why jeopardize what we've already done? 
        We caught the sonofabitch.  Carl
        Stargher.  That's going to be like
        Bundy, Gacy, Dahmer.  A case that makes
        careers.  But if we push our luck.  If
        this is all bullshit and we come out
        smelling like it.

             NOVAK
        Tell you what.  If this thing burns us,
        I take that heat.  I give you permission
        to point your finger at me and say "It
        was all his idea."

             RAMSEY
            (offended)
        That's not what I'm talking about, Pete. 
        I'm talking about waking up and
        realizing this girl's gonna die.

    The words are anathema to Novak.

             NOVAK
        That won't happen.

    Cooperman appears in the doorway and informs them...

             COOPERMAN
        They're ready.

    Ramsey looks to his partner, but Novak is already on
    Cooperman's heels.  Resignedly, Ramsey follows.

 INT. CAMPBELL CENTER - LABORATORY - DAY

    Cooperman guides Novak and Ramsey into the lab.  The FBI men
    are impressed, but neither is quite sure what to make it all. 
    The FBI escort team leader gets Ramsey's signature and Novak
    undoes the cuffs from Stargher's wrists and ankles. 
    Following Miriam's direction, the escorts guide the gurney
    carrying Stargher into the procedure room.  As Cooperman
    shows them out, Henry seals shut the door.  Miriam assumes
    responsibility for Stargher's care and checks his pulse, IV,
    pupil dilation, and vital signs...

             HENRY
        Shouldn't we get a catheter in him?

             MIRIAM
        They took care of that, thank you,
        Henry.
            (getting him out of her hair)

             MIRIAM (CONT'D)
        Why don't you give our guests a little
        tour?

    Proud of his computer, but uncomfortable around strangers,
    Henry directs Novak and Ramsey to the console.

             HENRY
        Gentlemen, you stand before the one and
        only Neurological Cartography and
        Synaptic Transfer System.

    Although he's listening, Novak's eyes never really stray from
    his prisoner as Miriam uses safety scissors to cut away
    Stargher's clothes.

             HENRY (CONT'D)
        It provides a highly detailed map of the
        human mind.  Not the brain - any MRI can
        do that.  The mind.
            (self-impressed)
        It reads and processes electronically
        allowing information to be transferred
        and interrupted.
            (for the laymen)
        Let's say your thoughts could be stored
        on DVD.  If someone had the right kind
        of player, they could watch and listen
        to what you're thinking.

    Novak observes Miriam as she "undresses" Stargher and Ramsey
    pokes around the lab.

             HENRY (CONT'D)
        But we can't record or store the data. 
        The connections between nerve cells are
        constantly being modified.

    Miriam needs a moment to fully take in the scars.  Henry
    continues, eager to focus attention back to him, but even he
    is fascinated by Stargher's skin.

             HENRY (CONT'D)
        It's like the early days of television. 
        The subject sends out a live feed and
        you receive it during time of broadcast. 
        Whatever happens, happens.  All you have
        to do is "tune in."

    Miriam gives Stargher an alcohol bath, the clinical procedure
    taking on the quality of ritual.  Her wash cloth moves under
    Stargher's chin and over his face.  She's careful around the
    eyes and finds herself unable to look at them for long.

             HENRY (CONT'D)
        But you do more than tune in... You
        become part of the snow.

    Catherine enters from a dressing area wearing the bodysuit. 
    Filled with curiosity, Novak watches Miriam and Catherine fit
    Stargher into his suit.

             NOVAK
        I still don't understand why I can't do
        this... This isn't some "troubled kid"
        you're dealing with.

             CATHERINE
        I realize that...

             NOVAK
        How hard could it be...?

    Catherine and Miriam try to hide their laughter.

             CATHERINE
        The first... What?  Six or seven times I
        went in.   Remember what happened?

             MIRIAM
        Disorientation, nausea, migraines,
        hallucinations, insomnia, paranoia.

             CATHERINE
        Like a New Year's Day hangover.

             MIRIAM
        He needs to be turned over.

    Novak and Catherine roll Stargher onto his stomach.

             NOVAK
        This man is deeply disturbed, he...

             CATHERINE
        You don't know the procedure.

             NOVAK
        I know him.

             MIRIAM
        That may be true, but you don't have
        Catherine's gift.  She...
            (distracted by Stargher's back)
        What happened here?

    We see a series of EIGHT BANDAGES.

             RAMSEY
        We removed eight metal rings.

    Miriam peels away a bandage and examines the flesh.

             CATHERINE
        Then he should like this.

    Catherine connects Stargher to the SUSPENSION APPARATUS and
    it HOISTS him off the table.

             CATHERINE (CONT'D)
        They're comforted by the feeling of
        weightlessness.  Like floating in water.

    Henry catches Ramsey poking his nose near a THIRD SUIT AND
    APPARATUS in the dressing area.

             HENRY
        Don't touch that, please.

             RAMSEY
        Sorry.

    Miriam prepares a series of CHEMICAL CARTRIDGES and loads
    them into a container connected to the IV-like tubes linked
    to the suspension device.

             MIRIAM
            (intimate, quiet)
        This isn't your responsibility. 
        Remember that.  Don't let them use guilt
        as a tool.  If you want to stop, say so.

             CATHERINE
        I'll be fine.

             MIRIAM
        She said convincingly.

    Catherine focuses on the procedure and makes the necessary
    connections.  Reluctantly, Miriam retreats to the monitoring
    station.  She "locks down" the procedure room and joins
    Henry, Novak, and Ramsey at the console.

             NOVAK
            (eyes on the chemical/drug
            monitors)
        That's the stuff?

             HENRY
        About twelve years of research, right
        Miriam?

             MIRIAM
        Don't remind me.

             RAMSEY
        What is it - are they - exactly?

    That's like asking her to explain the rules of cricket.

             MIRIAM
        Psychostimulants, serotonin,
        stabilizers, meprobamate, Neurontin,
        lithium carbonate.  And my baby.  It
        duplicates and expands upon the effects
        of a chemical called oxytocin, forcing a
        break in the neuron connections that
        hold experience.  So new experience can
        form.

    Ramsey is utterly lost and just sort of nods, but Novak is
    fascinated.  Catherine presses the bump on her hand.  A RED
    INDICATOR LIGHT flashes on.

             HENRY
        There's a touch-sensitive microchip
        implanted in her hand.  If she becomes
        frightened, disoriented, or simply wants
        to end the session, she signals us to
        abort.

    Catherine presses again and the red light shuts off.

             MIRIAM
        Although none of what she experiences is
        real, she can be tricked into thinking
        it is.  The mind is awfully gullible, so
        she needs to monitor herself.

    Catherine and Stargher are suspended from the ceiling.  Henry
    types and the lights dim to a more somber, tranquil level. 
    Various screens flicker to life, displaying the vital signs
    of both "feed" and receive."  Miriam initiates the injection
    program.

             MIRIAM (CONT'D)
        Catherine?  I'm about to start.  If you
        want me to wait, or...

             CATHERINE
        No.  No.

    IN THE PROCEDURE ROOM, we see chemicals mix with her blood,
    then feed the IV.  AT THE CONSOLE, as Henry types furiously
    at the computer keyboard, Novak asks Miriam:

             NOVAK
        You said she has a "gift."

    Overhearing, Henry interrupts, pointing at a section of
    Catherine's "mind map."

             HENRY
        Not a gift.  A highly evolved area in
        her cerebral cortex, that's all.  A
        genetic fluke.

             MIRIAM
        Catherine has a tremendous capacity for
        empathy.
            (clarifies)
        When we started, there were a number of
        test subjects - other therapists - who
        acted as "receivers."  All they did was
        observe and report.  Nothing more.  But
        Catherine, she had the ability to feel
        what was happening.  She understood. 
        And the patient responded.  Edward
        engaged her in dialogue, took her
        places, showed her things.  He knew she
        cared.

    A hopeful, solemn Novak gazes through the window, watching
    Catherine's body as it becomes parallel to Stargher's...

    IN THE PROCEDURE ROOM, Catherine takes a deep breath and as
    the drugs take effect, feels herself losing consciousness. 
    She glances at Stargher, a man who tortures and kills women,
    then looks up as the CLOTH MASK descends from the ceiling.

             MIRIAM (O.S.) (CONT'D)
        Intravenous administration complete.

             HENRY (O.S.)
        Initiating connection.

    We follow fibrous wires running from Catherine's mask to
    Stargher's.  Their blood mixing with chemicals in the IV-like
    containers.  The computer system humming.

             HENRY (O.S.) (CONT'D)
        Transfer begins 1100 hours, 34 minutes,
        12 seconds.

    Catherine's eye focuses on the mask.  As it comes closer, we
    see the lining is laced with thread-like wires and microchips
    forming hyper-miniature circuit boards.  Catherine's eye
    blinks.  The mask covers her face.  Catherine's eye shuts.

    Vision fades.  Darkness.  A faint light.  Microscopic veins
    in the eyelid become wires connected to chips.  And we're
    MOVING, into the circuitry.

 ENTRANCE ONE

 INT. STARGHER'S WORLD

    The pattern of the electronics grows into something more
    organic, textured, concrete.  Evolving into a world.  Black
    and shadow-filled, it resembles a labyrinthine complex of
    vertical walls with cubicle like rooms carved deep into its
    core.

    Our journey into this bleak, grim place continues and we
    occasionally glimpse brief images of a boy's baptism.

    INTERCUT with this journey are sections of cloudy blackness
    and fragmented visions of CATHERINE connected to the
    apparatus, face masked, DESCENDING into this world.

    There is an abrupt SHIFT from still images to regular motion
    and we find ourselves gliding over a tidepool filled with
    tiny fish and tadpoles.  At water's edge, lying on rough,
    pebble-strewn ground, is a HAND.

    Catherine's hand.  We sense MOVEMENT, but she remains still. 
    From the darkness comes a DOG.  Black in color and
    featureless, it sniffs Catherine, dismisses her, and meanders
    into a cubicle opposite her, disappearing from view.  After a
    moment of odd quiet, a DROP OF BLOOD hits the mask and we
    follow Catherine's hand as it moves to the cloth and removes
    it from her own face.

    IN MACROSCOPIC SUPER SLOW-MOTIONS, another BLOOD DROPLET
    sails 64 into the air and comes crashing down, hitting a RED
    ANT, catapulting it onto what looks like a tree, but is just
    a TWIG.  As the insect scurries away, MORE DROPS pound the
    earth, splatter against "twig trees," and explode into pools
    of stagnant water...

    As we begin to realize that this miniature landscape is the
    world into which Catherine descended.

    She sits up, shivering, and breathes deeply, acclimating to
    her surroundings.  The "floor" is covered with filth, ash,
    pebbles, and insects.  Water is present in many forms,
    puddles, moisture, dripping ceilings.

    Eyes focusing, queasy, not fully "awake," Catherine notices
    the crimson stain on the cloth mask and the blood droplets
    showering the air.  She turns and finds the source.

    THE BLACK DOG stands in the opposite room next to a tub full
    of BLOOD, shaking himself dry after his "bath."  Satisfied,
    the animal stops and trots away.  Still adjusting to this
    nightmarish realm, Catherine at first doesn't hear it, but
    then realizes that somewhere, a child is CRYING.  She looks
    around, then through a crack in the "floor," briefly catches
    sight of a BOY beneath her, on a level lower than hers.  As
    he disappears into corridor ending in "nothing," we PULL BACK
    to show a MASSIVE LANDSCAPE of blocks, cubicles, crawlspace,
    walls, stairs, and ladders.  Leading everywhere and nowhere.

    Catherine spots the boy as he crawls into a specific "room." 
    Shortly after, a LIGHT comes on within the cubicle and she
    moves to it.  We feel as though we're looking at a series of
    interlocked tenement rooms, some walls of which have been
    torn away to expose rooms within, rooms with no windows or
    doors.  Following a path of fragile steps, Catherine makes
    her way to the LIGHTED ROOM and enters.

 INT. STARGHER'S WORLD - LIGHTED ROOM

    A mottled HORSE stands with its head down, nose kissing the
    floor, allowing the BOY to caress its neck.  This sweet
    animal is an incrongruous vision in this hellish world and
    Catherine approaches with respect.

             CATHERINE
        Hello?

    The frightened child retreats into a corner of the
    claustrophobic room, but the horse does not startle. 
    Surprisingly - to the boy - the horse takes an affectionate
    step toward Catherine, inviting her to take over.  Catherine
    allows the mare to smell her, then vigorously scratches along
    the mane and shoulder, much to the horse's delight.

             CATHERINE (CONT'D)
        Yeah, you like that, don't you?

    She can see the boy hiding in the corner, stealing glances at
    her from the shadows.

             CATHERINE (CONT'D)
        Is your name Carl?

    The boy - YOUNG STARGHER - is startled and intrigued by the
    question - How did she know that?! - but says nothing.

             CATHERINE (CONT'D)
        Another little boy I know, he has a
        horse, too.

    The boy reacts to an unusual SOUND coming from the CEILING.

             CATHERINE (CONT'D)
        His name's Edward.  The boy, not the
        horse...

    The boy takes a few steps toward her, out of the shadows, but
    he seems more concerned about something in the ceiling than
    "connecting" with Catherine.  Very anxiously, he looks at the
    wall behind Catherine and watches an old wind-up kitchen
    TIMER click down.

             CATHERINE (CONT'D)
        What's the matter, Carl?

    Again, a sharp SOUND from the ceiling.

             CATHERINE (CONT'D)
        What's wro---?

    Young Stargher RUNS at her and SHOVES her hard!  Catherine
    FALLS BACK just as EIGHT SHEETS OF GLASS drop from the
    ceiling!  Like oversize razor blades, they slice the horse
    into four clean sections.  They separate and compact the
    quadrants until four glass-contained sections of dissected
    horse stand within the room.  Catherine SCREAMS, but the mare
    barely acknowledged what happened.  Betraying no emotion, the
    boy runs.  The shaken Catherine takes a moment to collect
    herself, then gives chase.

 INT. STARGHER'S WORLD - THE LABYRINTH

    Young Stargher knows his way around the landscape, but
    Catherine has difficulty simply keeping him in sight.  She
    runs, climbs and crawls.  Until she's utterly lost and
    disoriented.  Tired and having difficulty breathing, she
    drops to her knees and "cools down."  She hears a NOISE
    nearby, gets to her feet, and finds a GEARED MECHANISM
    connected to some kind of SHUTTERED DOOR composed of an
    almost metallic-looking glass.  Curious yet cautious, she
    examines the nearby walls, floor, and ceiling for any signs
    of "traps" akin to the glass blades.  Finding none, she pulls
    the mechanism and quickly steps back.

    The shutter opens and Catherine knows there's something alive
    in the tiny cubicle beyond.  She retreats into shadow,
    hiding.  Released from the chamber is a WOMAN.  As she moves
    out of a darkness, we see VICTIM ONE.

    Ghostly pale and adorned in eerie fetish garb, she appears to
    "sense" the presence of a stranger, targets Catherine in the
    shadows, and ATTACKS!

    Catherine's had enough and moves to press the implant, BUT
 THE VICTIM IS ALREADY THERE! 
    She brutally grabs Catherine, THROWS her against the wall and
    SMACKS her head against it.  Catherine drops to the floor
    like a rag doll.

    Victim One hefts Catherine onto her shoulder and with great
    purpose, carries her deep into the labyrinth, toward the
    core.  Passing in and out of consciousness, between darkness
    and light, a dazed Catherine is taken on a "tour" of
    Stargher's world.  Passing mausoleum-like chambers filled
    with IMAGES of unspeakable horror and/or disturbing
    intensity.  At one of the rooms, we think we see Young
    Stargher silently observing...

    Sitting of standing in individual cubicles are STARGHER'S
    OTHER VICTIMS (TWO thru SIX), each woman resembling the
    grotesque porcelain dolls glimpsed in the cubbyholes in
    Stargher's basement.  Dressed by a fetishistic sadist (Nine
    Inch Nails meets the Brides of Dracula), they resemble bored
    housewives, barely acknowledging the new member of the
    "harem."
 
 
 INT. STARGHER'S WORLD - THE CORE

    VICTIM ONE drops Catherine in the center of the room and, job
    done, crawls away.

    Groggy, feeling sick, Catherine sits up.  Unbeknownst to her,
    she is sitting at the base of a pedestal with her back to the
    kind of THRONE.  And someone is there.  In the dim pool of
    light above the pedestal, we see a MAN rise from the throne. 
    The wall behind him is covered in BLOOD RED CLOTH, and as he
    descends, we realize it is a CAPE connected to EIGHT METAL
    RINGS pierced through the flesh of his back.  In a fluid
    motion, waves of red give way to harshly textured concrete as
    the man reaches the floor.  Catherine knows he is there. 
    Unable to stop herself, she turns.  And sees the terrifying
    face of STARGHER.  But no the same Stargher.

    This is STARGHER KING.

             STARGHER KING
            (primitive, guttural)
        Where you come from priddy thing?

    In a split second, Catherine presses the implant on her hand.

 INT. CAMPBELL CENTER - CONFERENCE ROOM - DAY

    Apparently capable of staying awake if properly caffeinated,
    Novak sits cross-legged on the floor, shoes off, analyzing
    RECENT PHOTOS AND DOCUMENTS sent to him via courier. 
    Ignoring a snoring Ramsey napping on a nearby cot, Novak
    looks at blow-ups from the videos, blueprints of Stargher's
    house, detailed shots of the basement, and a draftsman's
    conceptual drawing of the cell itself.

             HENRY (V.O.)
        Gentlemen?

    Novak looks at an INTERCOM SPEAKER.

             HENRY (V.O.) (CONT'D)
        She's back.

    Novak doesn't wait for his just-stirring partner and moves.

 INT. CAMPBELL CENTER - LABORATORY

    As he enters, Novak sees a concerned Henry checking a print
    out of the procedure.

             NOVAK
        What happened?

             HENRY
        Must've been rather unusual.

    Noting Novak's confusion, Henry points to a CENTRAL MONITOR
    resembling a futuristic V.U. meter, gradiated in sections of
    white, yellow, orange, and red.

             HENRY (CONT'D)
            (re: white/yellow area)
        If her neural activity stays within this
        range, I know she's self-cognitive.
            (clarifies)
        As if she were having a dream, but she
        knows she's dreaming.  She can "wake up"
        any time she wants to...

    As Ramsey joins them, Novak nods, understanding, but his eyes
    are on Catherine, who's just coming back to consciousness.

             HENRY (CONT'D)
            (re: orange section)
        However, if her level of involvement is
        rather intense, as it was just now, she
        can perceive things as true.  It's
        difficult to keep perspective.

    As Novak lingers on that question, Ramsey gestures at the red
    section.

             RAMSEY
        What happens here?

             HENRY
        We don't talk about that.

             NOVAK
        What happens?

             HENRY
        Well, Theoretically, while she's inside. 
        If she came to believe that Stargher's
        world is her world, her mind has the
        power to convince the body that anything
        done to it is, um, actually done.

    Novak doesn't like the sound of that.

             HENRY (CONT'D)
        That's why we monitor the use of the
        drugs so closely.  We don't want her
        getting to that degree of perceptual
        disorientation.

             MIRIAM
        Pump in two liters of pure oxygen,
        please Henry.

    Henry types a command and Novak speaks into the intercom.

             NOVAK
        Dr. Kent?

    IN THE PROCEDURE ROOM, Miriam eases Catherine back to
    consciousness.

             MIRIAM
        Deep breaths.

    When she sees Stargher, Catherine's flesh crawls.

             CATHERINE
        Is it cold in here?

             MIRIAM
        What happened?

    No response.

             MIRIAM (CONT'D)
        What's wrong?

    Incapable of being in the same room as him, Catherine tears
    out of the apparatus and anxiously exits.

             MIRIAM (CONT'D)
        Catherine!

 IN THE PROCEDURE ROOM:

             NOVAK
        I'll get her...

 INT. CAMPBELL CENTER - DAY

    A worried Novak searches the halls of the Campbell Center. 
    He's about to ask the staff for help, but stops when he sees
    through the window to Edward's room.

 INT. CAMPBELL CENTER - EDWARD'S ROOM

    Catherine sits next to the boy's bed, holding Edward's hand,
    softly singing a lullaby (to him, to herself).  Feeling that
    he must speak to her, Novak intervenes.

             NOVAK
        Edward Baines, I presume.
            (to the catatonic child)
        Hi, Ed.  I'm Pete.

             CATHERINE
        Do you think that's funny?

             NOVAK
        No.  Not at all.  From what I
        understand, he knows I"m here, isn't
        that right?

    Catherine nods.  Novak picks up Edward's fallen teddy bear
    and rests it in the crook of the child's arm.

             NOVAK (CONT'D)
        I read about a woman in TExas who was in
        a coma for seven years.  Every time her
        husband came to visit, her heart would
        beat faster.  Isn't that something?  I
        don't know what name scientists have for
        something like that...

             CATHERINE
        It doesn't have much to do with science.

             NOVAK
        What then?

             CATHERINE
        The soul.  The spirit.  Whatever you
        want to call it.

             NOVAK
        Ah, the part of us that can't be
        explained.

    She appreciates his understanding.  And finds herself
    comforted by his presence.  Catherine scrutinizes Novak, his
    intensity, his honesty, his complexity.  And asks:

             CATHERINE
        Agent Novak?

             NOVAK
        Peter, okay?

             CATHERINE
        Do you feel there's a side of yourself
        you don't show people?

    The question catches Novak off-guard, but he's willing to
    answer.  Anything to get her talking.

             NOVAK
        Absolutely.
            (realizing it's too personal)
        I suppose everyone does.

             CATHERINE
        Just like we all have fantasies, right? 
        Things only we know, that we don't
        share.

             NOVAK
        That's what therapists are for, right?

    Catherine laughs.  It helps her relax.  If only slightly.

             CATHERINE
        During the sessions.  When I'm inside. 
        I see those things.  What a person
        hides, what they despite, what they want
        to control.  With Stargher...

    This is difficult for her.

             CATHERINE (CONT'D)
        With Stargher I saw things...

             NOVAK
        What did you see?

             CATHERINE
            (professionally)
        A kingdom.  His utopia. 
        Life without consequence or restriction. 
        He's not even Carl Stargher anymore. 
        He's this... idealized version of
        himself who can do anything he
        pleases... Without fear.  A horrible
        primitive ugly thing.
            (uncomfortable; re: Edward)
        I don't want to talk in here.

    She kisses Edward's forehead and exits.

 INT. CAMPBELL CENTER - CONFERENCE ROOM/COURTYARD - DAY

    Catherine and Novak sit on a bench in the center of the
    courtyard.  John Tracy is visible in the reception area,
    unable to sleep, desperately trying to fight frustration.

             CATHERINE
        Why'd you bring him here?

             NOVAK
        You're the shrink, you tell me.

             CATHERINE
            (already knows)
        As soon as I met him, you knew I'd say
        yes.  He makes Julia real for me.

    Novak nods.  Guilty.

             NOVAK
        It's an old lawyer trick.  Target the
        emotions.  Do it right, you get a
        reluctant witness to testify, a scared
        kid to confess.

    Catherine looks at him with disbelief.  "You?!"

             NOVAK (CONT'D)
        Before I was with the Bureau, I was an
        attorney, a prosecutor.  Mr. Law and
        Order.  And then... I had a murder case
        in North Carolina.  Charles Gish. 
        Butchered seventeen people in three
        days.  And because of one tiny piece of
        tainted evidence, he walked.
            (no regrets)
        That's when I quit the DA's office and
        joined the FBI.

    Catherine can see the pain and frustration in Novak's eyes. 
    She gives him a moment and asks:

             CATHERINE
        You thought Stargher wanted to be
        caught.

             NOVAK
        I did, yeah.

             CATHERINE
        You were right.  There's a part of him
        that knows the truth.  About what he
        did, about himself.

    Novak's curiosity is piqued.

             NOVAK
        What about Julia?

             CATHERINE
        This is going to sound terrible, but...
        I don't think she matters anymore.  Not
        to him.  He never finished her.  The
        others...he was able to make them his.

             NOVAK
        You think you can do this, don't you?

             CATHERINE
        He might tell me about Julia.  The part
        of him that wants to help, that feels
        shame and remorse.  Who wants to be
        redeemed.

             NOVAK
            (skeptically)
        This is Stargher we're talking about?

             CATHERINE
        Not Stargher, not really.  He's split
        himself right down the middle. 
        Good/evil, right/wrong, merciful/cruel. 
        A monster.  And an innocent child.  If I
        could reach the boy.

             NOVAK
        Whoa.  Hold on.  Aren't they the same
        guy?

             CATHERINE
        Don't you feel there are different sides
        to every personality?  Maybe even the
        worst of us is capable of one decent
        act.  We're all human.

             NOVAK
        It's hard for me to see Stargher as
        human, capable of something like
        "remorse."

             CATHERINE
        Then what is he?

             NOVAK
        Evil.

             CATHERINE
        If you believe that.

             NOVAK
        Maybe this is a big fucking waste of
        time.

             CATHERINE
            (sensing something)
        What happened to Charles Gish?

    Novak doesn't respond.  She prods him.

             CATHERINE (CONT'D)
        What happened?

             NOVAK
        What difference does it make...?

             CATHERINE
        Tell me.

    God, he does not want to do this.

             NOVAK
        Right after the trial, the night after
        he was released.  Mr. and Mrs. Frank
        Simmons found Charlie sitting in their
        living room watching TV with their
        twelve-year old daughter Margaret.  He'd
        cut her right down the middle with a
        carving knife.

             NOVAK (CONT'D)
        Found the girl's heart in the freezer -
        he thought they might want to keep it.
            (grim humor)
        Luckily, the next thing he did was slit
        his own throat.
            (bleakly)
        I am convinced of one thing. 
        Charles Gish could've been raised by
        Ozzie and Harriet and the same thing
        would've happened.

    He can see Catherine doesn't accept that.

             NOVAK (CONT'D)
        A child can experience abuse worse than
        Charlie's.  And grow up to be someone
        who would never, ever hurt another
        living thing.

             CATHERINE
        You're sure of that?

             NOVAK
        Yes.  I am.

    Catherine realizes that was a confession.

             RAMSEY (O.S.)
        Where the hell you been?

    They turn to see Ramsey.

             NOVAK
        Right here.

             RAMSEY
        Next time, tell me, okay?

             NOVAK
        But you looked so cute.  All sleepy...

    Ramsey shoots him a murderous look, then asks Catherine.

             RAMSEY
        Your colleagues want to know what to do
        with Stargher.

    Novak looks to Catherine for the answer.  Through the window
    blinds, she watches John Tracy lower his head.

             CATHERINE
        Tell them to prep him.  And that I'll be
        right there.

    Ramsey nods and heads back to the lab.

             NOVAK
        Thank you.

    Briefly, he touches her hand.  Catherine looks away from John
    to Novak's hand, to the photographs on the wall.  Stargher's
    house, Valentine, the pick-up truck.  Valentine...

             CATHERINE
        I need something.

 INT. CAMPBELL CENTER - CORRIDOR - DAY

    A K-9 UNIT FBI AGENT escorts VALENTINE to the lab.

 INT. CAMPBELL CENTER - LABORATORY - DAY

    As the agent brings the frightened animal into the monitoring
    area, Catherine and Valentine share a moment of "connection." 
    Slowly, confidently, she approaches the Shepherd, kneels, and
    removes his leash and muzzle.  She strokes him and the dog
    instantly warms up to her.

             FBI K-9 AGENT
        Sure wasn't like that with me.

    Novak signs a document and the K-9 Agent exits.

             CATHERINE
        You're a good boy, aren't you,
        Valentine?

    The dog picks up a scent from the procedure room and moves
    it, Catherine and Novak following.

    IN THE PROCEDURE ROOM, Stargher lies face down on a gurney. 
    Now taped to the wall near Stargher are PICTURES from the
    basement - his dolls, the hoist, etc.  Miriam (in surgical
    mask and gloves) carefully re-inserts the METAL RINGS (taken
    from an FBI EVIDENCE BAG) into the eight straps of flesh on
    his back.  When he sees this, Valentine whimpers and hides. 
    Catherine comforts him.  Miriam finishes her task and removes
    her mask.

             MIRIAM
        I hate to admit it, but there's
        something perversely satisfying about
        this.

             HENRY
        I think that's the whole point.

    Valentine runs to his "sleeping" master and barks at
    Catherine as if asking for help.  She encourages the animal
    to lick and sniff Stargher's face and hands.

             HENRY (O.S.) (CONT'D)
        That's interesting.

    IN THE CONTROL ROOM, he scrutinizes the monitor showing the
    detailed "map" of Stargher's brain.

             HENRY (CONT'D)
        Increased neural activity in the frontal
        lobes.  Rising dopamine levels in the
        basal ganglia.  Ever since the dog
        walked in.

    IN THE PROCEDURE ROOM, Catherine readies herself in the
    "receive" apparatus.  As Stargher is lifted off the pedestal,
    the doors HISS shut and Valentine curls up on the floor
    beneath his master.  As Catherine is lifted, she smiles at
    the animal, then looks to Stargher.

             NOVAK
            (comforting and coaching her)
        Remember, Julia Hickson is priority
        number one.  Nothing else matters.  Find
        out where she is.

             CATHERINE
        Okay, okay...

    LIGHTS FLICKER.  Catherine's eyes shut.  FADE TO BLACK...

             HENRY (O.S.)
        Uh-oh...

    LIGHTS FLICKER.  We hear an ELECTRICAL HUM rise and fall. 
    Catherine opens her eyes and the LIGHTS blink on and off in a
    weird pattern, making it difficult to see clearly.

             CATHERINE
        Don't kid around, Henry...

    Her suspension apparatus DESCENDS on the floor.

             HENRY (O.S.)
        I'm not.  It's a power problem.  I need
        you to go to the circuit breaker and
        check switches six through twelve.

    Catherine moves toward the electrical panel.

             HENRY (O.S.) (CONT'D)
        Try to stay awake, okay?

             CATHERINE
        Yeah, yeah, yeah.  I'm not sleepy.

    As she moves toward the panel, everything becomes larger.  By
    the time Catherine reaches the circuit breaker, it is the
    size of a garage door.  Curiouser and curiouser...

    She turns around to see the LABORATORY IS EMPTY and DEAD
    QUIET.  And she sees herself - Catherine as small as a mouse
    trapped in a giant walled space.

    AT THE CONSOLE, Novak, Miriam and Henry observe the procedure
    room.  And Catherine.  Suspended in the apparatus. 
    Motionless...

 ENTRANCE TWO

 INT. STARGHER'S WORLD

    Catherine turns to see... Catherine lying in the fetal
    position, locked in a BOX made of thick clean glass.  The
    electronic HUM becomes RHYTHMIC, AMBIENT NOISE.. INSIDE THE
    BOX, staying calm, she searches for and finds a TRAP DOOR on
    the floor.  She pushes out.  The camera executes a complete
    180-degree perspective change.

    Catherine plummets.  She tries to reach out, to stop her
    descent, but cannot.

    Catherine falls through a dark CAVERNOUS ROOM resembling a
    mammoth hollowed-out rib cage.  Below her is a DOME-LIKE
    STRUCTURE "growing" out of the floor, a HOLE in the center of
    its crest.  Dozens of other such domes are visible in the
    murky hell-hole, but Catherine has no choice.  She's dropping
    into this one.

    Once she passes through the hole, INSIDE THE DOME,
    Catherine's body looks as though it's moving through water,
    but there is no water.  Like an aerial artist, she reverses
    her position so she's "heads up."  Standing, stable, on the
    floor.  Sensing something with her.  And knows it is...

             CATHERINE
        Valentine?

    Out from the darkness, moving in normal motion, comes the
    white German Shepherd, but in the thick haze, his face is
    indistinct and ghostly.

             CATHERINE (CONT'D)
        Hi sweetie...

    And as she steps toward him, his face DISSOLVES into a STARK
    LANDSCAPE.  An ear becomes a hill, the nose a stone, mouth a
    path, and the eye a HOUSE. 
    YOUNG STARGHER retreats towards the bleak structure as
    CATHERINE ENTERS FRAME.  Seeing the invitation, she presses
    on.

 INT. STARGHER'S WORLD - BOYHOOD HOME - KITCHEN

    Young Stargher is at the sink WASHING DISHES, an anxious eye
    on the clock.

             CATHERINE
        Need some help?

    As Catherine enters the claustrophobic house, the boy
    hesitantly pushes a towel toward her, but doesn't look.  She
    reaches the counter and starts to dry, much to Young
    Stargher's relief.  As he washes, Catherine hands him a
    MIRROR LOCKET just like Edward's.

             CATHERINE (CONT'D)
        Carl, I want to give you a present.

    He's hypnotized by the thing, his eyes lighting up.

             CATHERINE (CONT'D)
        If you need me, or if you feel that I'm
        around but can't find me, just shine it,
        like this.

    She shines reflected light onto the walls.  Carl hands
    Catherine the wet plate and takes the locket.  The dish slips
    from her fingers and SHATTERS on the floor.  The boy's eyes
    fill with dread.  The kitchen clock reads 5:30.  He PUSHES
    Catherine toward a broom closet and shoves her inside.

             CATHERINE (CONT'D)
        What's wrong honey?

    With a finger to his lips, he pockets the locket and shuts
    the door.  FROM WITHIN THE CLOSET, she watches the terrified
    child through a CRACK in the door.  IN THE KITCHEN, Young
    Stargher desperately tries to hide the broken plate. 
    Startlingly, his father, Martin Stargher, is already in the
    room.  Cruel, imposing, manipulative man.

             MARTIN
        What did you do know?  You make a mess? 
        I hate a mess.

    Young Stargher backs into a corner, fearing what will come.

             MARTIN (CONT'D)
        Don't lie, now, Carl.

    IN THE CLOSET, Catherine pushes, but the door won't budge. 
    She POUNDS.  IN THE KITCHEN, we hear no sound.

             MARTIN (CONT'D)
        Remember what I said about liars?  Liars
        will be punished.

 INT. CLOSET - CONTINUOUS

    Catherine hears the child SCREAM.  But the scream comes from
    behind and she spins around.

 INT. STARGHER'S WORLD - LIVING ROOM

    Young Stargher is forced to sit on the lap of an ugly MIDDLE
    AGED WOMAN barely wearing a man's robe.  On a nearby table
    are whisky, tumblers, and an ashtray filled with butts.

             WOMAN
        I got you a present, cutie-pie.

    She gives him a TOY DOLL.  Drunk, she hugs and kisses him. 
    Embarrassed, the boy tries to squirm away.

             WOMAN (CONT'D)
        Oh no.  You're not going anywhere.

    Martin enters and sneers at the boy.

             MARTIN
        Go back to bed, worm.

             WOMAN
        It's okay, we was just.

             MARTIN
        Shut up, cunt.

    The woman cowers, familiar with his violent moods.  The boy
    hurries to his room, but Martin grabs him by the collar.

             MARTIN (CONT'D)
        What is that?

    He pulls the doll from the child's hands, turns to the woman,
    and SMACKS her across the face with it, gashing her cheek.

             MARTIN (CONT'D)
        You give him nothing.  Whore.  Are you
        his mother?  ARE YOU?

    Terrified, she shakes her head "no."  Martin sees Young
    Stargher quietly crawling away, hoping to escape. 
    Martin lifts the boy off the floor with one hand and holds
    him in front of the woman.

             MARTIN (CONT'D)
        You see that?  SEE IT?  You slithered
        out one of them.  But where is she now,
        Carl?  As far from you as she could get,
        that's where.
            (shoves him at the woman)
        You want a mommy?  Is that what you
        want?

    The poor boy trembles with fear.  And Martin notices a puddle
    of urine on the floor.  He drops the boy and laughs.

             MARTIN (CONT'D)
        Little worm pissed his pants.

    Humiliated, Carl covers himself and hides in a corner. 
    Martin and the woman LAUGH AND LAUGH, delighting in the boy's
    humiliation.

 INT. CLOSET

    Feeling the boy's shame, Catherine turns and finds a FADED
    POSTCARD taped to the wall.

 INT. STARGHER'S WORLD - BEDROOM

    Martin has discovered his son's secret hiding place - a
    camouflaged corner of the attic.  Arranged in deliberate,
    artistic fashion are scavenged DOLLS.  Heads, limbs and
    torsos held together with twine, tape and wire.  Some wrapped
    in filthy plastic.  Faded photographs (including one of his
    MOTHER), mementos, and most disturbingly, the feathers and
    bones of dead birds, insect carcasses, and dissected,
    desiccated mice.  There's something peculiarly beautiful
    here, but Martin doesn't see it.  Not at all.

             MARTIN
        Only girls play with dolls...

    He turns and we see Carl is bound to a wooden support beam, a
    piece of tape covering his mouth.  The boy is stripped to the
    waste, barely conscious, face streaked with tears and sweat.

             MARTIN (CONT'D)
        What kind of thing are you?

 INT. CLOSET

    A WEIRD NOISE snaps Catherine back to "reality."  She turns
    just as a door opens behind her.  Responding to the
    "invitation," she moves through it.

 INT. STARGHER'S WORLD - BATHROOM

    The adult Carl Stargher sits at the edge of the tub, his back
    to us, smoking a cigarette.  A white German Shepherd PUPPY
    clicks across the tile floor and YIPS at Catherine.  She
    again hears the WEIRD NOISE.  A STAINLESS STEEL BOWL wobbles
    as Stargher's bloody rubber-gloved hands fill it with
    something.  Stargher knows she's there and isn't surprised by
    her presence, but he's not sure what to make of her.  What to
    do with her.  He rises and walks past her to the sink.  He
    pulls off the gloves and washes his hands, glancing at her in
    the mirror.

    Catherine cannot resist looking in the tub.  She sees a dead
    girl, her torso sliced open.  Disgusted and mortified, she
    pulls back.

             STARGHER (O.S.)
        She was the first...

    She turns, and Stargher is no longer at the sink.

             STARGHER (O.S.) (CONT'D)
        Didn't know what I was doing...

    She turns, where's this voice coming from?!  She steps back.

             STARGHER (O.S.) (CONT'D)
        Be careful...

    The bumps into the stainless steel bowl and it topples to the
    floor, spilling its contents of human organs.  Wobble-wobble
    wobble.  The bowl makes its now-familiar noise.

             STARGHER (O.S.) (CONT'D)
        What did you do now?  You make a mess?

    And she can see him coming out of the shadows.  Catherine
    backs into a corner, fearing what will come.

             STARGHER (CONT'D)
        I hate a mess.

    Stargher steps into a pool of light, shooshes the puppy into
    the hall, shuts the bathroom door, and looks right at
    Catherine.

             STARGHER (CONT'D)
        Why are you here?

    God almighty, what does she say?  What does she tell him?!

             STARGHER (CONT'D)
        Don't lie, now...

    SCRITCH-SCRITCH-SCRITCH.  The puppy scratches at the door and
    whimpers, but Stargher's not about to let him back in. 
    Moving slowly, carefully, he approaches Catherine.

             STARGHER (CONT'D)
        Liars will be punished.  

    Catherine makes a break for the door.  "Playfully," Stargher
    makes a half-hearted attempt to block her, but she evades him
    and reaches for the knob.  But the door's not there.  SCRITCH
    SCRITCH-SCRITCH.  She can still hear the dog, but there's no
    damn door.  She turns:

    No door.  No window.  The girl's body and bloody remains have
    vanished.  An OVERHEAD LIGHT flickers on, giving the room the
    look and feel of the cell.

             STARGHER (O.S.) (CONT'D)
        Where do you think you're going?

    Catherine turns, back to the wall, calm and intimidating,
    Stargher stands in the center regarding her with great
    curiosity.  Catherine's ready to press the sensor.

             STARGHER (CONT'D)
        Don't do that.

    She hesitates.

             STARGHER (CONT'D)
        If you go away, you'll never find her.

    How did he know?

             STARGHER (CONT'D)
        If you never find her, she dies.  Like
        the rest.

    Catherine stops and listens.  She can't leave now.  The path
    to Julia has appeared.

             STARGHER (CONT'D)
        I mean, that's why you're here, right? 
        Why you came to my happy little home?

    He reaches for her and she flinches.  Expecting such
    behavior, Stargher grins.

             STARGHER (CONT'D)
        You're pretty.  A pretty, pretty thing.

    Catherine cannot show her fear, not now.  She composes
    herself and approaches him.

             CATHERINE
        I want to help you, Carl.

    His grin broadens to a smile and he almost laughs.

             STARGHER
        Help me?  That's good.  That's a good
        one.
            (malevolent)
        Liar.  Whore.  Cunt.

    Catherine stands her ground.

             CATHERINE
        You sound like your father.

    He gets close to her face and sneers.

             STARGHER
        I am not like him.

    Stargher retreats into the shadows, but Catherine persists.

             CATHERINE
        Then help me.  Where is Julia Hickson?

             STARGHER
        Why?

             CATHERINE
        Maybe, because you want to.

             STARGHER
        Is that right?  You think you know me?
         
         
         INT. CAMPBELL CENTER - LABORATORY - DAY

    Henry sees a rapid rise in Catherine's warning meter.

             HENRY
        Miriam...

 INT. STARGHER'S WORLD - BATHROOM

    A wave of fear, of impending doom, overtakes Catherine.

             STARGHER (O.S.)
        You wanna know who I am?  You stupid
        bitch!

    And when he emerges from shadow, Stargher is STARGHER KING.

             STARGHER KING
        Now shud you mouth, priddy thing, or me
        god slice you from the kunt to the tits.

    Catherine moves to touch the sensor in her hand.  He GRABS,
    LIFTS and SLAMS her onto the floor, the back of her head
    HITTING HARD.  Her vision blurs.  Ears are ringing.

             STARGHER KING (CONT'D)
        Me god want you stay.

    Stargher King straddles Catherine and pins her arms behind
    her back.  She's unable to touch the sensor.  With the tip of
    the TOOL he traces a line from her pelvis up the center of
    her suit.

             STARGHER KING (CONT'D)
        Me god mek you beaudiful...

    He shoves the tool through her neck and presses the trigger.  
    A COLLAR CLAMPS SHUT around Catherine's neck and...

    She blacks out.

 INT. CAMPBELL CENTER - LABORATORY

    A SENSOR ALARM SOUNDS on the computer.  Henry and Miriam
    express shock at the sight of the monitor peaking in the red
    and move to the "map" of Catherine's mind.  As it becomes
    "cool," Stargher's becomes "hot."

             MIRIAM
        Son of a bitch!

    IN THE PROCEDURE ROOM, VALENTINE BARKS!  Startling everyone. 
    The dog GROWLS and backs away.  As if he senses something
    horribly wrong within his master.

    IN THE CONTROL ROOM, Novak questions the scientists.

             NOVAK
        When we got here, you just topped and
        pulled her out.

             MIRIAM
        That was with Edward.  She's accustomed
        to his world.  Stargher's mind is
        unfamiliar territory.  She's "lost."
            (looks at the third suit)
        Someone has to go in. 
        Remind her what's really happening.  And
        get her out.  Until then, she's at his
        mercy.

    Mercy.  Novak's mind reels.

             NOVAK
        Into Stargher.  Inside...

             MIRIAM
        Yes.

    Novak knows who that person will be.

 INT. CELL - DAY

    Fueling herself with candy and juice, Julia examines the cell
    for a way out, but finds tight seals everywhere.  THE SHOWER
    ERUPTS WITH WATER!   She counts until thirty, it stops. 
    Shivering, Julia stars at the drain as the water spirals
    down.

             JULIA
            (trying to remember the words)
        Our Father, who art in heaven, hallowed
        be thy name.  Thy kingdom come, thy will
        be done.

    ON THE OTHER SIDE OF THE GLASS, we watch her through one-way
    glass from the video camera's point-of-view.  She looks right
    at "us," in the mirror, saddened by the dark circles under
    her bloodshot eyes.

             JULIA (CONT'D)
        ...on Earth as it is in Heaven.

    We drift to the right and see the l.e.d. counters CLICKING
    AWAY.  01:44:54, 01:44:53, 01:44:52... Less than TWO HOURS to
    live and she has no idea.

 INT. CAMPBELL CENTER - LABORATORY

    IN THE PROCEDURE ROOM, Novak lies in a hastily-rigged THIRD
    APPARATUS/SUSPENSION DEVICE.  Miriam connects him to the IV
    cylinder and tubes.

             MIRIAM
        I have done this, you know.  Been
        inside.

             NOVAK
        No.

    Miriam nods, knowing he won't accept an opposing argument.

             MIRIAM
            (instructs him)
        Deep breaths.

    IN THE OBSERVATION ROOM, Henry adjusts monitors showing
    Novak's vital signs.

             HENRY
        Pulse is rapid, pressure's a little
        high...

    IN THE PROCEDURE ROOM, Miriam asks:

             MIRIAM
        Nervous?

             NOVAK
        Absolutely.

    She loads a MICROCHIP SENSOR into a high-pressure injection
    gun and IMPLANTS it in NOVAK's HAND.  He winces from the
    brief pain as she loads the chemical cartridges.

             MIRIAM
        I have to ask you some things... Are you
        taking any prescription drugs?

             NOVAK
        Prevacid.  For my stomach.

             MIRIAM
        Any psychiatric medication?

             NOVAK
        No.  

             MIRIAM
        What about narcotics?

             NOVAK
        No.

             MIRIAM
        I know your partner's here, but it's
        very important that you're honest.

             NOVAK
        I am.  I'm a pretty boring guy.

             MIRIAM
        I doubt that.

    Henry checks the "maps,"  Catherine's vitals and reports.

             HENRY
        We should hurry.

    Miriam walks Novak through what's about to happen.

             MIRIAM
        The first five minutes will be
        disorienting.  Give yourself time.  Let
        the drugs do the work.  If you can see,
        smell, feel, hear, taste things - you're
        on the right track.  Once you've
        acclimated, try to get a feeling for
        Catherine.  Instinct plays a huge role
        in this.  Trust it.

    She gives him a supportive touch on the shoulder, exits and
    shuts the door.  IN THE OBSERVATION ROOM, Miriam continues
    via intercom.

             MIRIAM (CONT'D)
        You can control how you see yourself -
        clothes, shoes, that kind of thing - but
        the rest of it is up to him.  Use only
        what he provides.  Don't try to change
        anything.  Or introduce something of
        your own.  It'll only upset him.

    IN THE PROCEDURE ROOM, Novak flexes his fingers and sees the
    little bump beneath his flesh.

             HENRY (O.S.)
        Agent Novak?  Press the sensor.

    Novak does and the red light comes on.  As Novak is LIFTED,
    he looks at Catherine, then Stargher.  Valentine YIPS and
    settles beneath Novak.  The suspension device clicks into
    place and the MASK descends.

             MIRIAM (O.S.)
        No matter what happens, Peter, remember
        one thing: It's not real.

    Novak's eyes fix on the clear liquid contained in the IV-like
    cylinder.  A liquid cloud of his blood grows within. 
    Preparing the mixture for injection.

    The viscosity of the fluid starts to thicken and the CAMERA
    MOVES INTO THE MIXTURE.  As blood and chemical swirls take
    shape, we MOVE FAST.  Deeper into the fluid at a molecular
    level.  We feel like we're SOARING over some kind of liquid
    landscape.

    NOVAK HYPERVENTILATES.  He's having difficulty making the 98
    transition.

    Flying faster, faster, faster.  Through an entire universe.

    Novak is in the procedure room.  Alone.  His face contorted
    as if feeling the effects of tremendous G-FORCE.

 ENTRANCE THREE

 INT. STARGHER'S WORLD

    CLOUDS hover above a dark, gloomy landscape dotted with
    hills.  THREE IDENTICAL WOMEN sit on black earth, their
    bodies positioned in a uniform pattern.  PULL BACK TO REVEAL
    NOVAK at their feet, in a kneeling fetal position, face down
    in the gritty soil, a piece of cloth draped over his head. 
    With difficulty, practically inhaling black grit, Novak
    breathes deeply and rises to his knees.  His hand moves to
    his face and he's briefly astounded by the texture of the
    gravel, the sharpness of it against his face.  Removing the
    shroud-like cloth, he looks at the soil, smells it, tastes
    it.

             MOTHER ONE (O.S.)
        Have you seen him?

    Novak finds the first of the three - VISIONS OF STARGHER'S
    MOTHER - addressing him.  She, like the other two, speaks in
    a ghostly monotone, nearly devoid of emotion.

             MOTHER ONE (CONT'D)
        My boy, my little one.  His father took
        him from me.  Have you seen him?

    As she continues, almost mantra-like, WOMAN TWO BEGINS:

             MOTHER TWO
            (similar monotone)
        My child is an abomination.  He is
        damned.  He has no soul.

    The women's repetitive "monologues" overlap.  Aurual layers
    now added by THREE.

             MOTHER THREE
        Me god me boy.  Me god good son.

    Novak takes a moment to absorb his surroundings.  The sights,
    sounds and feel of the place.  Like being within a dream.  As
    he backs away from the odd quartet, SHIMMERING LIGHT dances
    across his face.  Shading his eyes.  Novak searches for the
    source.

    Opposite him, across the valley, is a SHEER ROCK WALL.  A
    massive cliff face pockmarked with rough "windows."  Like a
    star, the LIGHT sparkles inside one of them, a fragment of
    MIRROR reflecting a beam away from Novak's face to a PATH
    cutting across the valley floor to the base of the wall.

    The light guiding him, Novak follows the path and starts to
    CLIMB, finding stairs or ladders, passing deep, seemingly
    infinite passages.  Like tombs, or the "drawers" of a
    mausoleum.  Deep within one of them, THE LIGHT FLICKERS. 
    Fades.  And Novak crawls into darkness.

 INT. STARGHER'S WORLD - THE DEN

    Novak emerges in a cavernous room dripping with decadence. 
    The place reeks of sex, pain, lust, and cruelty.  As he moves
    deeper into the chamber, Novak sees YOUNG STARGHER perched
    atop some kind of pedestal, crouching, fingering his mirror
    LOCKET, bouncing sparkles of light into the dark corners of
    the room

    The FLICKERING LIGHT pinpoints a FIGURE emerging from the
    darkness.  It is Catherine.  Altered to an image of
    Stargher's victims.  Her skin, face, clothing, eyes, are just
    like the Victims'.  It's a shocking, strange image, made even
    more disturbing by the look of pleasure on her face.  Novak
    is staggered by the sight.  His vision and hearing become
    affected by blurred vision, sharp sounds - then focus to
    clarity as he reminds himself...

             NOVAK
        Not real...

    Like an ethereal queen of the damned, she strides toward him,
    narrowing her eyes.

             NOVAK (CONT'D)
        Catherine.

    She exhibits no recognition of her name.  Catherine
    seductively moves closer to Novak, their bodies almost
    touching, her hands caressing his hair, lips, neck...

             NOVAK (CONT'D)
        Jesus.  Catherine.  Listen to me...

    She presses her finger to his lips and forces him down, onto
    the floor, his back to the pedestal.  Catherine straddles
    Novak, and when he tries to stand, she holds him down,
    forcing him to stay.

             NOVAK (CONT'D)
     LISTEN TO ME!

    She steals a glance over his shoulder and glimpses a MALE
    FIGURE coming toward them, coming into the light.  Novak is
    utterly unaware of what's happening.  Catherine is keeping
    him occupied.  Waiting for the arrival of...

 STARGHER KING

    Catherine LAUGHS.  Novak catches only a fleeting glimpse of
    the monster before Stargher King GRABS him by the throat and
    SMASHES his head against a pedestal.

 BLACKOUT.

 INT. STARGHER'S WORLD - THE DEN

    Eyelids rise and flutter.  Novak becomes conscious.  And
    instantly realizes what's happened.

    He lies on the pedestal, face up, spread-eagle, his wrists
    and ankles bound to the cold stone surface with leathery
    cords.  Standing over him, in a pool of light, is Stargher
    King.  Wearing what could be seen as CEREMONIAL GARB, a
    silent, solemn Stargher King prepares himself for execution
    of a ritual by polishing and arranging an assortment of
    shiny, sharp, macabre TOOLS.

    Novak shuts his eyes and silently tells himself, Not real. 
    He opens them, breathes deeply and focuses on Catherine.

             NOVAK
        You're Catherine Young.  You majored in
        Psych at UC San Diego.  You work for
        Sunerset Industries.

    Stargher King's fingers pass over an array of horrific
    instruments - the throat piercer/collar mechanism, a cleaver
    knife, a misshapen hammer, a long slender needle...

             NOVAK (CONT'D)
        Your grandmother raised you after your
        parents died in a car crash...

    Stargher King lifts the blade-like NEEDLE.  So far, Catherine
    looks at Novak like he's speaking gibberish.

             NOVAK (CONT'D)
        When you were twenty-one, you were
        arrested for possession and got off with
        community service.

    Stargher King SLICES through Novak's clothes, exposing the
    flesh of his abdomen.

             NOVAK (CONT'D)
            (reminding himself)
        Not real, Pete...This is not real...
            (urgency)
        You had to work at a center for abused
        kids for three months.  You stayed on
        two years for no pay.  You give half
        your fucking salary to the nursing home
        your grandmother stays at...

    Stargher King grabs his throat and traces the blade down the
    center of Novak's torso.  Novak struggles and pleads with
    Catherine.

             NOVAK (CONT'D)
        I know this because I work for the FBI. 
        Peter Novak, remember?!?!
            (a desperate request)
        Remember.  You are Cath-

    Stargher King cuts his flesh and INSERTS the needle into his
    stomach.  NOVAK SCREAMS!  This fucking hurts!

             NOVAK (CONT'D)
        Help me!!!

    Stargher King wiggles the needle, pulls it out, and digs his
    finger into the wound.  NOVAK CRIES IN PAIN.

             NOVAK (CONT'D)
            (tears forming, horrified)
        Fucking FEELS real!

    The intensity of Novak's cries hit Catherine like a
    thunderbolt.  There's a glimmer of life, of recognition in
    her eyes.

             STARGHER KING
            (finally speaking)
        Me god gut you like a dear.

    Although we don't see it, we HEAR something awful.  Like
    Stargher King fishing around inside the wound.  A pale,
    sweating Novak tries to stay conscious.  He will not go into
    shock...

             NOVAK
        Not real.  Not real.  Not real.

    A FEMALE HAND grabs the tool from the tray.

             STARGHER KING
            (mimicking Novak, laughing)
        Nod reel, nod reel, nod reel...

 STARGHER KING IS SLAMMED FROM BEHIND!  CATHERINE RAMS THE
    THING THROUGH HIS THROAT!   As Stargher King stumbles away
    gagging, blood pouring form his neck, we see that she has
    returned to normal.  The "bride" persona is gone.  As
    Stargher King emits animalistic growls, Catherine turns and
    sees an intact Novak standing next to her.  As if nothing had
    happened.

    Catherine and Novak RUN out of the den, into the tunnel from
    which Novak gained access.  He stops, ready to press the
    sensor, when a FLICKER OF LIGHT dances across Catherine's
    face.

             CATHERINE
        Wait...

             NOVAK
        Like hell "wait."

    But she won't listen and he's forced to play catch up as she
    moves further from the den toward the cliff face.  The
    FLICKER OF LIGHT shines on the entrance to a specific TUNNEL.

             CATHERINE
        He wants us to follow.  The little
        boy...

             NOVAK
        Little boy?!  That's him!

             CATHERINE
        He brought you to me, didn't he?  If you
        want Julia to live, trust me.  Trust
        him.

 INT. TUNNEL/CUBBYHOLE

    On her hands and knees, she enters the TUNNEL, not waiting
    for him to respond.  She knows what he'll do... Catherine and
    Novak crawl through the dark, grimy claustrophobic space,
    playing with his mirror locket.

             CATHERINE
        Carl...

    He so desperately wants her affection, but fear prevents him
    from reaching out to her.

             CATHERINE (CONT'D)
        This is Peter.

    Scared, he shakes his head "no."

             CATHERINE (CONT'D)
        Don't be scared.  You're my friend and I
        would never hurt you.

    She extends her hand.  Oh-so-hesitantly he takes it.

             CATHERINE (CONT'D)
        Will you take us to her?  To Julia?

    Shyly, hesitantly, he nods.  She smiles gratefully and
    affectionately touches the boy's face.  Clasping her hand,
    Young Stargher leads Catherine and Novak into utter darkness.

 INT. STARGHER'S WORLD - THE IDEALIZED CELL

    More stylized than the actual cell, it's bigger and ornately
    decorated, with the atmosphere of a church.  Individual
    IMAGES hang like SHRINES, each showing Julia Hickson from
    different angles.

    Central to the room is a WINDOW INTO THE CELL ITSELF.  Where
    we find a beautiful, mermaid-like JULIA HICKSON floating in
    water.  Peaceful, joyous.

    IN THE CENTER OF THE ROOM, we find Novak and Catherine, she
    holding the hand of Young Stargher, he stunned at the sight
    of Julia.  The child looks at Catherine with beatific, sad
    eyes, regarding her as one would a saviour.

             NOVAK
        Where the hell are we?

             CATHERINE
        Carl, do you know?  Like on a map...

    He shakes his head and buries his face in her shoulder.

             CATHERINE (CONT'D)
        It's okay, it's okay.  You helped so
        much already.  I'm proud of you.

    As a frustrated Novak searches for anything identifying,
    Catherine comforts the boy and looks deeply into his sad,
    haunted eyes.

             CATHERINE (CONT'D)
        Carl, I think I can help you.  Would you
        like that?  Even if Peter can't find
        Julia, I want to help you.

    The boy leans against her and she caresses his face.

             CATHERINE (CONT'D)
        I promise.

    Novak finds himself standing in front of the idealized cell. 
    Mounted beneath the glass is a shiny, perfect metal plaque
    reading CARVER INDUSTRIAL EQUIPMENT, with a logo.  Novak
    recognizes it from the hoist in Stargher's basement.

             NOVAK
        Let's go.

    He pulls her to her feet.  Feeling betrayed and rejected, the
    child breaks away from her.  THE ROAR OF STARGHER KING shakes
    the cell.  Terrified, the boy searches for a place to hide.

             CATHERINE
     CARL!

    Novak feels what's coming.

             NOVAK
     COME ON!

             CATHERINE
        I can't leave him!

    STARGHER KING APPEARS!  His throat wounded, bloody mess, he
    descends out of dark nothingness, HOWLING with rage.  He
    reaches for Catherine, but Young Stargher runs in front of
    her.  

 STARGHER KING CLAMPS HIS MASSIVE ARMS AROUND THE CHILD! 
    Little Carl opens his mouth in a silent scream... Catherine's
    arms reach out to him, but Novak clasps her hand and presses. 
    And she is haunted by the sight of a frightened child in the
    arms of a monster...

 INT. CAMPBELL CENTER - LABORATORY

    Henry notices significant activity on the monitors.

             HENRY
        They're back.

    Everything happens fast.  He and Miriam frantically cease the
    procedure. 
    Novak and Catherine are lowered and Novak startles them by
    quickly regaining consciousness.  Miriam attempts to inject
    him with stabilizing drugs, but he's already trying to tear
    himself out of the apparatus.

             NOVAK
        Get me out!

    Miriam MOVES into the PROCEDURE ROOM.

             NOVAK (CONT'D)
     GET ME OUT!

    Miriam tries to follow protocol, but Novak is moving like a
    fish caught in a net, ripping and tearing his way out of the
    apparatus and suit.  He gets to his feet, but soon falls to
    his knees, dizzy and disoriented.

             MIRIAM
        Don't move!

    Novak is not listening.  Fighting off any after-effects- both
    physical and mental - he moves for the door.

             MIRIAM (CONT'D)
        Agent Novak!

    Catherine is coming back and Miriam moves to her.  Novak
    pauses just for a moment.

             NOVAK
        Is she alright?

             MIRIAM
        Yes.  But you're going to sit down right
        now.  I have to...

    Novak is already gone.

 INT. CAMPBELL CENTER - CONFERENCE ROOM

    Novak speed-dials a number on speaker-phone, hurriedly
    dresses, and locates a photograph of Stargher's basement. 
    When he hears someone pick up the line, he barks:

             NOVAK
        This is Novak, who've I got?

    A confused Ramsey enters and listens.

 INT. STARGHER HOUSE - BASEMENT

    A team of FBI AGENTS is meticulously going through every inch
    of Stargher's house. 
    Crisscrossed wooden beams have been laid across the pit
    allowing forensics experts to search without disturbing
    anything.  On the other end of the direct line is COLE...

             COLE
        Agent Cole.

 (INTERCUT WITH NOVAK AND RAMSEY)

             NOVAK
        I need you to find something in the
        basement...

             COLE
        Already there.

             NOVAK
        That hoist, with the winch...

    WE FOLLOW Cole as he moves to the machine.

             NOVAK (CONT'D)
        There's some kind of plaque, a metal
        plate, with a logo.  On the base.

    Cole locates it.

             COLE
            (reading)
        Carver Industrial Equipment.

 INT. CAMPBELL CENTER - CONFERENCE ROOM

    Novak instructs him...

             NOVAK
        Find out the history of that machine. 
        Who bought it, used it, sold it.  And
        check Stargher's pay stubs.  I want to
        know every contractor he worked for. 
        I'm calling you from the chopper in ten
        minutes.

    Dizziness and disorientation again hit Novak.  Pale and
    sweating, he winces as his stomach agonizingly cramps.

             RAMSEY
        Jesus Christ, man, you look like hell.

             NOVAK
        Considering where I've been...

    Fighting the pain, he gathers together MAPS, slips on his
    shoes and grabs gun and holster.  Ramsey is apoplectic.

             RAMSEY
        Whoa-whoa-whoa.  Mind telling me what
        the fuck is happening?

     Novak points to the photo of Stargher's basement,
    specifically the hoist.

             RAMSEY (CONT'D)
        You're bettin' the farm on something you
        saw after they pumped you full of god
        knows-what kind of shit?

             NOVAK
        I saw her.  Julia.  Alive.  I saw
        everything.

             RAMSEY
        You might've seen Jimmy Hoffa dancing
        with Timothy Leary.  I don't care.

    Novak is not stopping...

 INT. CAMPBELL CENTER - LABORATORY

    IN THE PROCEDURE ROOM, Miriam shines the penlight into
    Catherine's eyes.

             CATHERINE
        ...a pocketful of rye.

             MIRIAM
        Four and twenty blackbirds...

             CATHERINE
        Baked in a pie.

    AT THE CONSOLE, on a security monitor, Henry can see Novak
    and Ramsey exiting down the corridor.

             HENRY
        The FBI has left the building.

    IN THE PROCEDURE ROOM, Miriam appears concerned.

             MIRIAM
        Damn him.

             CATHERINE
        What's wrong?

             MIRIAM
        Agent Novak.  I didn't get a chance to
        clear him.

    Catherine encourages her.

             CATHERINE
        Go.  I'm fine.  Go.

    As Miriam hurries to catch Novak, she tells Henry.

             MIRIAM
        Keep an eye on her.

    He nods, but isn't really paying attention.  Catherine turns
    to Stargher's motionless form, still suspended, still
    connected to the machinery.

 INT. THE CELL - DAY

             JULIA
        Do something, Julia.

    She looks around the room and runs her hands along the walls,
    the tile, looking for a weak spot.  She focuses on the
    CEILING PANEL and although it's painful because of swollen
    fingers, removes her ENGAGEMENT RING.

 EXT. CAMPBELL CENTER

    A ready-and-waiting HELICOPTER is on the pad.  Novak races
    out of the Center, Ramsey right behind him, SHOUTING at each
    other in order to hear above the chopper noise.

             RAMSEY
        Pete, listen to me.  What did you really
        learn in there?  Anything new?  You
        really think Stargher gave you a save
        the-day clue?  What if this is all some
        kind of trick your head is playing on
        you?

    He won't consider that.  Novak climbs into the helicopter and
    buckles himself in.  He looks to Ramsey - you coming? -
    Ramsey pats the side of the chopper and signals for the pilot
    to take off.

 INT. CAMPBELL CENTER - LABORATORY

    Henry analyzes voluminous print-outs from the last procedure. 
    Although his eyes are on the data, he converses with
    Catherine in the PROCEDURE ROOM via intercom.

             HENRY
        ...there was a moment when we thought
        we'd lost Agent Novak as well.

    We see chemicals flow and computer programs initiate the
    procedure, but Henry is oblivious.

             HENRY (CONT'D)
        His post-procedure consciousness
        recovery was remarkably quick.  Never
        saw that before.  Hey, remember that one
        time...

    He JUMPS when the door to the procedure room SEALS SHUT and
    mechanisms HUM.

             HENRY (CONT'D)
        Catherine?

    When he looks through the window, Catherine is again
    suspended, the procedure under way.

             HENRY (CONT'D)
        What are you doing?

    He types in a command, but nothing happens.  He tires again.
    On another keyboard, but gets no response.  When he looks at
    the "map" screens, he sees something odd.  It's a small
    change, but it makes all the difference in the world.
 
         INT. THE CELL - DAY

    Like a rock climber in a crevasse, Julia shimmies up the
    walls of the cell by bracing herself in a corner and using
    her hands and feet to push up.  The tile is slippery and each
    movement precarious.

    She uses strength and balance to reach a position just below
    the Plexiglass, the fluorescent light bathing her in an eerie
    intense glow.  She sees a gap between the glass and the wall
    and uses her ENGAGEMENT RING to dig into it, SCAPE, SCRAPE,
    SCRAPING with the diamond.

    THE SHOWER SPRAYS WATER!  Julia nearly loses her balance, but
    manages to stay pressed into the corner.  She kicks the
    shower head, sending the spray as far from her as possible,
    and continues to dig at the caulking around the light
    fixture.

    IN THE OBSERVATION ROOM, we see something unexpected.  The
    clock reads 00:00:00.  That water isn't going to stop.

 INT. CAMPBELL CENTER - EDWARD'S ROOM

    Miriam and Ramsey return to the lab to find Henry anxiously
    observing from the console.

             HENRY
            (flustered)
        She changed the codes.

             MIRIAM
        What's wrong?

             HENRY
        It would take hours to re-route the
        system, and even if I did, I shouldn't.

             RAMSEY
        What are you talking about?

    Miriam analyzes the situation and regretfully, angrily,
    worriedly realizes what's happened.

             MIRIAM
        She's done it.  Stupid, stupid girl...

             RAMSEY
        Done what?

             HENRY
        Instead of going into his mind...

             MIRIAM
        She's bringing Stargher into hers.

 ENTRANCE FOUR

 INT. CATHERINE'S WORLD

    A bright, deliriously colorful realm visually reflective of
    things we saw in Catherine's home.  Unusual trees, rock
    formations, totems, statues, and a brilliant POOL OF WATER.

    The pond ripples.  Visible through the crystal-clear water is
    YOUNG STARGHER, rising to the surface like a drowning victim
    suddenly breaking through to air.  Panicked, he scrambles to
    shore and pulls himself to land.  Although the place is
    comforting and beautiful, he's in strange territory and it
    frightens him.  Shivering, he hunches down, eyes darting this
    way and that.

             CATHERINE (O.S.)
        You're all right, Carl.

    The boy turns toward the voice and finds CATHERINE, her hair
    waving in the wind, skin glowing, eyes bright, cutting a
    magnificent figure in clothes that make her a warrior
    goddess. 
    She opens her arms and the boy runs to her, basking in the
    comfort of her embrace.  He shivers and she holds him
    tightly.

             CATHERINE (CONT'D)
        It's okay, honey, you're with me now. 
        You're safe here.

    She looks deeply into his eyes and reassuringly explains.

             CATHERINE (CONT'D)
        I promised I would help you, and I
        always keep my promises.

             YOUNG STARGHER
        Can...

    Catherine is astonished and relieve to hear him speak.  A
    sad, trembling little voice.

             YOUNG STARGHER (CONT'D)
        Can I stay here?

    She is touched that he would ask and strokes his face.

             CATHERINE
            (regretfully)
        Oh...no, honey, I'm sorry.  It's doesn't
        work that way.

    The boy breaks away from her, turning his back.  She gently
    takes his hand but he yanks it free.

             CATHERINE (CONT'D)
        But what if I told you you could come
        visit?

    He slowly turns to her.

             CATHERINE (CONT'D)
        I'll make sure it happens, Carl.  I'll
        get them to let me do it.  And maybe...
        maybe we can...

    Young Stargher's eyes open wide with silent terror.  Over his
    shoulder, she sees a SNAKE slither through the pool. 
    CENTIPEDES CRAWL over her legs and hair.  She stands and
    brushes them off.  The atmosphere grows darker and ominous.

             YOUNG STARGHER
        He found me...

    Catherine bristles as STARGHER KING RISES FROM THE POOL like
    a human serpent.  The brilliant colors of Catherine's world
    fade to GRIM TONES.

             YOUNG STARGHER (CONT'D)
        He always finds me.

    Stargher King SCREECHES with anger and confusion.

             STARGHER KING
        Where thiisss att?!?!  Me god no like id
        here...

    He snarls when he sees Catherine.

             STARGHER KING (CONT'D)
        You.  Priddy bish-hor-kund.  You big
        trubble-mekker...
            (sneers at the boy)
        And you.  You cumm home now, liddle
        cogsugger worm.  Or me god haffa punish
        you...

    Young Stargher tightens his embrace of Catherine.  She steps
    back, away from the pond, hugging the boy tightly.

             CATHERINE
        No.!

             STARGHER KING
        No?!??!?!?!?

    Stargher King laughs.

             STARGHER KING (CONT'D)
        Hoo you thing you are?? Himm Muther?

    He comes close and reaches for the boy...

             STARGHER KING (CONT'D)
        You gimme liddle worm.

    For a moment, Catherine appears frightened and intimidated. 
    Perhaps near an emotional breakdown.  But that is not the
    case.  She quietly lowers little Carl to the ground and
    whispers something in his ear.  As the boy nods, runs and
    hides, a ferocity grows within her.

             CATHERINE
        I said no.

    Like a vengeful Valkyrie, she emits what can only be called a
    BATTLE CRY!  STARGHER ATTACKS!  Arms reaching for her. 
    Catherine BLOCKS, PUNCHES, AND KICKS.  Stargher King doubles
    over.  Catherine grabs his ears and pulls his face into her
    bent KNEE, breaking his nose.

             CATHERINE (CONT'D)
        Welcome to my world.

    As blood flows from his nostrils, Stargher King grins...

             STARGHER KING
        You funny.  You thing you stop me god?

    HE CHARGES.  At the right moment, Catherine sidesteps and
    SMASHES him in the ribs as he passes.  Stargher King crumples
    to the ground and she KICKS an uppercut to this chin.  Rising
    from the mud and muck, Stargher King lands a POWERFUL BLOW to
    her head, sending her flying.  He lifts the stunned Catherine
    with one hand and pulls her face to his...

             STARGHER KING (CONT'D)
        You cum back wif me god.  You be good
        bish-hor-kund...

    Catherine looks into his soulless eyes.  Then SPITS in them
    and BITES his face!  She breaks free as he YOWLS with pain. 
    He steps toward her, but his feet don't move.  The earth
    itself appears to wrap around them and turn hard, like
    concrete.  Stargher King HOWLS with frustration.

             CATHERINE
        My world...

    A SHIMMERING KNIFE seems to enrage from within her forearm,
    out the flesh and into her hand.

             CATHERINE (CONT'D)
        My rules.

    She SLASHES across his chest, drawing blood.

             YOUNG STARGHER (O.S.)
        No!

    Catherine stops.  And turns to see the distraught Young
    Stargher.

             YOUNG STARGHER (CONT'D)
        Don't hurt him!

    She spins around and sees not Stargher King, but MARTIN.

             YOUNG STARGHER (CONT'D)
        He didn't mean it.  I was bad.

    Disturbed by the transformation, Catherine backs away.  Her
    vision blurs, the sound distorts.  And the earth cracks
    around Stargher King's ankles.

             YOUNG STARGHER (CONT'D)
        He teached me a lesson.  I deserved it.

    Fighting feelings of disorientation, she kneels before the
    child and rests the knife on the ground.

             CATHERINE
        No one deserves it, Carl.  No one.

    She reaches out to him, but the child is JERKED into the air
    by Stargher King.  In one hand, the monster holds little
    Carl.  In the other - a KNIFE.  His face and chest red with
    crimson, Stargher King fixes his eyes on Catherine with a
    predator's stare.

             STARGHER KING
        Yer world.  My knife.

    Stargher King raises the blade toward the boy's throat and -
    SNAP!  The strong arms of an adult Stargher breaks his arm at
    the elbow.  Both the knife and boy are dropped to the ground
    as Stargher King YOWLS like a stuck pig, the good arm
    cradling the other.

             STARGHER KING (CONT'D)
        Me god hurt!  Why you do that?  Why?!

             STARGHER
        Enough.

    Stargher King regards him with disgust.

             STARGHER KING
        Enuff?!?!

    MARTIN STARGHER'S VOICE comes from the belly of the beast.

             STARGHER
        I'll tell you what's enough...

    Stargher and Stargher King square off.  The boy stands
    between them with the knife at his feet.

             CATHERINE
        Carl!

             STARGHER KING
            (still speaking as Martin)
        Shut up cunt.
            (to the boy)
        Give it here, worm...

    the child picks up the blade and stands between them, looking
    to Catherine for guidance.

             STARGHER KING (CONT'D)
            (as Martin)
        You want a mommy?  Is that what you
        want?

    In an almost dream-like motion, the child hands the blade to
    adult Stargher.

             STARGHER
        Enough.

    And he DRIVES the thing into Stargher King's heart.  For a
    brief moment, Martin's face is superimposed over Stargher
    King's.  Stunned, he slumps and regards adult Stargher with
    sad, troubled eyes.

             MARTIN
            (as Stargher King)
        Why?  What'd I do?...

    Stargher TWISTS the handle of the blade and Martin/Stargher
    King drops dead.   Dead.  Young Stargher smiles and hugs
    Catherine.

             YOUNG STARGHER
        Time to go 'way.

             CATHERINE
        Carl...?

    The boy runs to adult Stargher who lifts the child into his
    arms and holds him close.

             YOUNG STARGHER
        Bye.

    She looks to adult Stargher and begins to understand.  He
    descends into the pool, the boy resting his head on his
    shoulder.

             STARGHER KING
        Thank you, Catherine.  You did help me. 
        More than you'll ever know.

    Man and boy disappear beneath the water's surface.  Catherine
    stands and sees that Stargher King's body has vanished. 
    She walks to the shore and sees, deep underwater, Stargher
    and little Carl floating lifelessly like women in the cell. 
    And FADE FROM VIEW.

             CATHERINE
        Goodbye Carl.

    She presses the sensor in her hand.

 INT. CAMPBELL CENTER - LABORATORY

    IN THE CONTROL ROOM, Miriam is shocked by what she sees on
    the monitors and looks at Stargher.

             MIRIAM
        He's in full arrest.

    Catherine quietly returns to consciousness and is
    automatically lowered.  She pulls the mask from her face,
    rises and opens the door.  Miriam races inside and
    desperately attempts to revive Stargher.  But it's no use. 
    Angry and stunned, she demands of Catherine.

             MIRIAM (CONT'D)
        Help me!

    But Catherine chooses not to.  She knows Carl Stargher will
    never return to the world of the living.

 INT. HELICOPTER - DAY

    The chopper roars across the sky.  As they head northeast,
    away from the urban and toward the rural, Novak gazes out the
    window, trying to stay focused, fighting any after-effects of
    the drugs.  The pilot communicates via headset.

             PILOT
        Agent Novak?  Go ahead.

             NOVAK
        Cole?

 EXT. STARGHER'S HOUSE - CONTINUOUS

    Cole and a handful of other agents pour into waiting
    Suburbans.  (INTERCUT WITH NOVAK IN HELICOPTER).

             COLE
        The hoist was manufactured by Carver
        Industrial Equipment in 1982.  Serial
        number 117-337J.  Purchased by a boat
        shop in Lake Havasu, but sold to
        Lattimer's industrial Supply in 1992...

 INT. THE CELL - DAY

    The water is near the ceiling.  Kicking her legs to keep
    afloat, Julia DIGS with the ring and we see she has created a
    gap between the light fixture housing and an unused PIPE
    leading to the surface.  She pushes, but can't get anything
    to move.  The opening will get no bigger.  Julia sucks the
    last bit of oxygen and swims to the bottom of the cell. 
    Searching for something, she finds a juice box and pulls out
    the drinking straw.

 INT. CAMPBELL CENTER - LABORATORY

    Shaken, but oddly transcendent, Catherine watches as
    Stargher's body is wheeled out of the lab on a gurney.  She
    comforts a whimpering Valentine and tells him...

             CATHERINE
        Everything's alright now, Valentine.  I
        promise.

 INT. HELICOPTER

    Novak scans the topography of FARMS below, listening to a new
    report.

 INT. SUBURBAN - DAY

    Cole is the passenger, on the radio to Novak, A DRIVER next
    to him, doing about a hundred down the Interstate, SIREN
    blaring.

             COLE
        Lattimer sold the hoist to a guy named
        Bainbridge who tired to build a machine
        works out near Delano.  Bainbridge ends
        up in bankruptcy court and the state
        winds up with the land - it's just
        sitting there.

 INTERCUT WITH NOVAK

             NOVAK
        Delano?

             COLE
        Yep.  And guess who they hired to seal
        up the place?

             NOVAK
        You're kidding me.

             COLE
        I never kid.  My wife hates it.  Says
        I'm too serious.

    Novak locates Delano on the map.

             NOVAK
        The exact location, Cole.  Give it to
        me.

    The pilot grins and pushes the copper to top speed.

 INT. THE CELL - DAY

    Julia is entirely underwater but alive.  She uses the straw
    to suck oxygen through the gap in the ceiling, but it's
    difficult to tread water and her lungs are aching.

 INT. HELICOPTER

    Novak uses binoculars to scan farmland.  He searches.  And
    there it is: The abandoned farmhouse!

             NOVAK
     TAKE IT DOWN!

 INT. THE CELL - DAY

    Julia tries to hold herself up by pressing her arms and legs
    against the walls, but as she does, the straw slips from her
    mouth.  She reaches for it, but only succeeds in pushing it
    away from her.  It heads for the drain.  And disappears.

 EXT. ABANDONED FARM HOUSE

    The helicopter lands and Novak jumps out.  He knows this is
    the place.  He runs into the barn, but there's nothing, no
    sign of her.  The pilot looks at him with a true sense of
    loss.

 INT. THE CELL - CONTINUOUS

    As Julia desperately tires to find the straw through the tiny
    holes of the drain, we see for the first time an expression
    which tells us she's given up.  THUMP-THUMP-THUMP.  The cell
    starts to vibrate.  A repetitive noise WHUP-WHUP-WHUP - comes
    from above.  She swims to the top of the cell and POUNDS at
    the ceiling.

 EXT. ABANDONED FARM HOUSE

    Fighting exhaustion and the side effects of the drugs, Novak
    pushes on.  Think, Peter, think... His eyes find the WATER
    TANKS and he SHOUTS at the helicopter.

             NOVAK
        Cut the engine!

    As the motor dies, Novak listens and listens.  There it is. 
    Water pipes beneath his feet.  And very faintly, a pounding. 
    He follows the sound, searching the earth.  It's clearer now,
    louder.  Novak tosses aside rusted junk and the pilot runs to
    assist him.  Together, they expose the entrance to the
    underground sanctuary.

 INT. THE CELL - OBSERVATION ROOM

    Novak drops to the floor below.  Instantly affected by the
    similarities and the differences to the idealized cell of
    Stargher's mind, he feels another wave of dizziness, but
    pushes on.

    And is hit hard by the sight of DROWNED JULIA, her motionless
    body floating past him.  HER EYES OPEN and bubbles drift from
    her nose and mouth.  Novak BANGS on the Plexiglas and calls
    to her.

             NOVAK
     JULIA!

    The thick Plexiglass still remains, but she now can see him. 
    Novak pulls his ID BADGE and smacks it against the glass. 

             NOVAK (CONT'D)
     MOVE ASIDE!

    He pulls his gun and takes aim.  Julia swims to the top of
    the cell and presses herself against the ceiling.  BANG-BANG
    BANG-BANG-BANG-BANG.  Novak fires a circle of shots into the
    thick plastic.  Water slowly leaks, but the damn thing is
    still solid.  He lifts the industrial VCR and RAMS it at the
    bullet-damaged section.  CRACK! CRASH!  WATER POURS FROM THE
    CELL.  Julia's body descends on the torrent of water.  Novak
    reaches inside and pulls her to safety.  He's just about to
    give her CPR when she coughs, sputters, and thirstily drinks
    in oxygen.  Holding her tightly, Novak sinks to the floor,
    the water from the cell spilling everywhere.

 EXT. ABANDONED FARM HOUSE

    Cole's Suburban leads a contingent of FBI vehicles and local
    police cars onto the property, sirens blaring.

 INT. THE CELL - DAY

    Hearing the sirens, Novak relaxes.  For the first time in god
    knows how long, he relaxes.  And holds Julia Hickson as if
    his life depended on it.

                                      FADE OUT.

 FADE IN:

 EXT. CATHERINE'S HOUSE - DAY

    Two cars parked outside.  An old, quirky Volvo and a Land
    Rover.

 INT. CATHERINE'S HOUSE - DAY

    As a television plays THE WIZARD OF OZ, we find Catherine
    watching the movie from the couch, sitting up, drinking a cup
    of tea.  She looks rested and quite cute in gym shorts and a
    T-shirt, her CAT sleeping next to her.  IN THE KITCHEN,
    Miriam packs up her stethoscope and blood pressure monitor,
    moves into the living room as Dorothy falls asleep in a field
    of poppies...

             MIRIAM
        I left the nutritional information on
        the fridge door.  Read it.

    Catherine nods, but she's more interested in the movie. 
    Miriam deposits prescription bottles onto a side table.

             MIRIAM (CONT'D)
        I refilled the Zyprexa and Atavan...

             CATHERINE
        I don't need them anymore...

             MIRIAM
        I know.

    But she leaves them just the same.

             MIRIAM (CONT'D)
        I'll come by tomorrow after work.  With
        dinner.

             CATHERINE
        Thanks Miriam.  Say hi to Henry and...

             MIRIAM
        ...give a kiss to Edward.

             CATHERINE
            (overlapping)
        Give a kiss to Edward.

    The women exchange smiles and Miriam exits.

 EXT. CATHERINE'S HOUSE

    As Miriam walks to her Land Rover, she sees a government
    issue Suburban park on the street and Peter Novak exit.

             MIRIAM
        Agent Novak.

             NOVAK
        Dr. Kent.

             MIRIAM
        You're looking well.

             NOVAK
        Thanks you.  Six weeks off does a body
        good.
            (conspiratorially)
        I heard she got the approval to try the
        reversal with Edward.

             MIRIAM
        That's a secret.

             NOVAK
        Federal Bureau of Investigation, ma'am. 
        We know all, see all...

    Novak opens the rear compartment of the Suburban and we hear
    something moving inside.

             NOVAK (CONT'D)
        How's the patient.

             MIRIAM
        Awaiting his arrival.

             NOVAK
        What about the cat?

             MIRIAM
        Completely unaware.

    Miriam's pager BEEPS and she hurries to her car.

             MIRIAM (CONT'D)
        I've got to go.  Good luck.

    Novak smiles, waves goodbye, and reaches into the Suburban.

 INT. CATHERINE'S HOUSE

    As Dorothy and her companions confront the Wizard, there's a
    KNOCK at the screen door and Catherine sees Novak waiting.

             NOVAK
        Ready?

    Catherine cradles her cat.

             CATHERINE
        Ready.

    He opens the door and escorts a leashed VALENTINE into the
    living room.  Catherine's cat squirms from her arms and hides
    under the couch.

             NOVAK
        That went well.

             CATHERINE
        Give her a minute.
            (smiles at the dog)
        Hello, Valentine.

    Novak unleashes the albino Shepherd and he runs to Catherine,
    licking her face, wagging his tail.

             NOVAK
        You sure about this?

             CATHERINE
        Absolutely.
            (calling for the cat)
        Abigail...

    Valentine picks up the cat's scent and sniffs around the base
    of the sofa.

             CATHERINE (CONT'D)
        I heard Julia and John got married.

             NOVAK
        Yep.  Eloped.

             CATHERINE
        Good for them.

    Valentine settles on the floor.  Slowly, Abigail's curiosity
    gets the best of her and she creeps out, sniffing the dog's
    nose.  Patient and sweet, Valentine lies still, allowing the
    cat to reach an acceptable level of comfort.

             NOVAK
        Well look at that.

             CATHERINE
        I told you.  You have to be optimistic. 
        Believe in them...

             NOVAK
        So you say.

    Amazingly, Abigail brushes up against the dog and purrs.

             CATHERINE
        He's mine?

             NOVAK
        All yours.  My boss says it's one of the
        strangest requests the Bureau's ever
        had.

    Catherine laughs.  She likes that.

             NOVAK (CONT'D)
        He also says that until proven
        differently, Julia Hickson was found as
        a result of good old-fashioned detective
        work.

             CATHERINE
        It doesn't matter...

             NOVAK
        I don't know.  I think it does.
            (genuine concern)
        You know, Catherine... If you ever want
        to talk about it.  What happened to
        Stargher.  That last time.

    It's painfully clear the thought of it still troubles her.

             CATHERINE
        Not just yet.  Okay?

    Novak doesn't push it.  He just takes her hand and gives it a
    gentle squeeze.  The cat dashes into the kitchen and
    Valentine follows.

             CATHERINE (CONT'D)
        They're hungry.

             NOVAK
        I got it.

    He moves into the kitchen.  In a moment of quiet
    introspection, Catherine looks at the television screen, at
    Dorothy accidentally hitting the wicked Witch with a bucket
    of water, causing her to melt.  And she looks away, unable to
    watch, disturbed by the image.  She turns to the kitchen and
    sees Novak feeding an appreciative dog and cat.  He rises and
    returns to the living room.

             CATHERINE
        Thank you.

             NOVAK
        No problem.

             CATHERINE
        No.  Thank you.

    He smiles and nods, gently resting his hand on her shoulder. 
    Catherine shuts her eyes and leans toward him, comforted by
    simple human touch...

                          FADE TO BLACK.


Comments