CAMPBELL CENTER: 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 - DIVISION OF SUNER IND.
EDWARD'S ROOM: Although this is a hospital room filled with medical equipment, 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 (sensing something in Edward): He loves it when you visit.
ELLA: My husband wonders if that's true. (delivering bad news) He wants to place Edward in a hospital. I'm sorry, Catherine...
HENRY: Mr. Baines, I've been working on this project for seven years...
LUCIEN: I know, Henry. I know. (to Miriam) Please don't take offense, Dr. Kent. Your work is invaluable to this company...
CATHERINE: But you're not sure about me.
LUCIEN: We've waited eighteen months for signs of progress...
CATHERINE: There has been progress.
LUCIEN: There's no proof, Catherine.
Catherine is hurt and vulnerable due to exhaustion and the intensity of her experience with Edward, but feels she must defend herself.
CATHERINE: With all due respect, Mr. Baines, I'm not the one who designed the procedure. I mean I wish I could take credit for it, but I can't. I was chosen to do a job. They picked me, but if you think there's someone better... or someone who's more devoted to your son....
COOPERMAN: No one's doubting your ability, Catherine.
CATHERINE: Then what is it?
Introspective and solemn-eyed, Lucien takes a moment, then:
LUCIEN: There's no proof, Catherine, there's no proof the procedure works. All you are giving me is the belief that your interaction with my son is not a solution.
COUNTRY ROAD: - An aqua-green 92' Ford pick-up 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 an abandoned farm like facility. The driver, a tall, lean, sinewy fellow, steps out, followed by his dog. A magnificent white German Shepherd - the animal's an albino.
THE CELL - OBSERVATION ROOM: From the outside, a passerby would never know this sanctuary existed. Within the foundation of a farm building, we find a small room in the center of a much larger space. The cell. As if in a beatific trance, the driver moves to the window and gently rests his palm on the glass. Anne Vicksey's dead face floats past him. Almost angelic. He watches her and leans his head against the window, closer. . . .
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. Hidden in shadow, he breathes deeply, regaining self-control. 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. He waits, then moves to turn the drain valve. . . Meet Carl Stargher. Outside, the water flows from the cell being drained out into the field.
CAMPBELL CENTER: Miriam bids fairwell to the Baines as Catherine watches from a mezzanine. Ella gives a look of concern before turning to leave. Lucien gives her a look of disdain. Miriam approaches Catherine.
MIRIAM: You're lucky she worships you.
Catherine turns, nods, and tries to smile. Has she been crying? Miriam steps further into the room.
CATHERINE: Why, because he hates me?
MIRIAM: I wouldn't say "hates." Distrusts, dislikes immensely, can't bare the sight of....
CATHERINE: What's the verdict?
MIRIAM: Well we got another six months, and Barry had to push for that.
Catherine halfheartedly nods, but her mind is elsewhere, focused on the two apparatuses.
CATHERINE: I want to reverse the feed, Miriam. Now more than ever.
Miriam knows what this is about.
MIRIAM: We've been this this a hundred times, Catherine. It's too risky.
CATHERINE: Why not? What do we have to lose? When I did social work, it was always better when we took the kids out of their environment. Foster homes can be scary at first, but they can be shown that things can be different. Edward is like that right now. He's living in a world that is not healthy. Let's show him a different place.
MIRIAM: Allright, let's say we do it your way. We reverse the feed and we bring Edward into your mind. Can you imagine his shock when he finds he's been thrusted in this whole other world?
CATHERINE: I do it all the time!
MIRIAM (annoyed): Yes, but, you're a willing participant, Catherine. You're aware of what's happening. Edward's in a coma. And besides, we don't know what effect might have on you. I mean, you're already exhausted. (concerned) Have you been sleeping?...
CATHERINE: Yes.
MIRIAM: Any more nightmares?
CATHERINE (defensively): No.
MIRIAM: Good. Leave work here. Don't bring it home in this.
She taps her head.
Catherine smile, but she's still curious what could happen if things were reversed.
ABANDONED FARM FACILITY: Carl places Anne's body in the truck bed and closes the lid. He gets in the truck and drives off.
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