THE LABYRINTH: Young Stargher knows his way around the landscape, but Catherine has difficulty simply keeping him in sight. She runs until she's utterly lost and disoriented. She stands in a large room with mausoleum-like chambers, almost like lit store window displays. However, the glass is near opaque, we can only see blurred figures inside.
CATHERINE (whispers): His victims.
She hears a noise nearby 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 cubicle beyond. A figure moves, known as "Victim One."
The other chambers activate, revealing unspeakable horror and/or disturbing intensity, like twisted dioramas. Sitting or 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."
We see Victim Two. Ghostly pale and adorned in eerie fetish garb, she appears to "sense" the presence of a stranger. She writhes her body in erotic motion and groans.
Victim Three is in a medical room diorama, perched in what looks like a dentist's chair. She's bound to the chair with rubber hose and has metal braces around her face.
Victim Four is made up like a school girl with an Anime-like doll's mask. She is tangled in black electrical cord, like a puppet.
Victim Five's diorama consists of a black baby buggy and she is the horse pulling it as she trots. A bizarre face made up as half doll, half zombie.
We are back to Victim One, released from the chamber is a large woman. But she has a massive physique like the largest of men's body builders. Catherine is unaware she is being followed by the large woman.
She is now gazing at Victim Six. Her diorama contains strange animals, all white just like her. She looks 'plastered', literally, and wears a red collar. Victim Six lets out a half human, half animal screech.
Suddenly Victim One, the large woman, 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.
THE CORE: Victim One drops Catherine in the center of the room and, job done, walks away. Groggy, feeling sick, Catherine sits up. Unbeknownst to her, she is sitting at the base of a pedestal with her back to a 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 deep violet 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 cloth 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 not the same Stargher. This is Stargher King.
STARGHER KING (primitive, guttural): Where you come from!?!
In a split second, Catherine screams and presses the implant on her hand.
CAMPBELL CENTER: The FBI have taken over one of the Center's rooms and created a temporary working quarters. 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. Novak is there studying photos, particularly photos of the Carver logo. The phone rings.
HENRY (V.O.): Gentlemen, she's back.
NOVAK: I'll be right there.
Novak walks past Ramsey, leaving him undisturbed who is crumpled on the table, snoring.
LABORATORY: As he enters, Novak sees a concerned Henry checking a print out of the procedure.
HENRY: She's had quite a journey. Not like anything we've ever seen before.
NOVAK: So she's made contact?
HENRY: Oh yes, she's gone very deep into his world, perhaps too far. That could be dangerous.
CATHERINE (from the Procedure Room): It's cold.
NOVAK: What are you talking about?
HENRY: Well, if she came to believe that Stargher's world is real, then theoretically, her mind could convince her body that anything that was done to it there, is actually done. Like the old wive's tale, you die in your dream, you die in real life.
MIRIAM (from the Procedure Room): Henry, can raise the temperature in here, please?
NOVAK: Dr. Kent?
MIRIAM (from the Procedure Room): Just a moment, please.
NOVAK: Dr. Kent, can I come in there and speak with her, please?
HENRY: We have to be patient. I mean, look at her, she's drowsy. Let her wake up.
NOVAK: We don't have a lot of time. Do you understand that?
THE CELL: Julia is seen eating the food left for her. Click. . . Water sprays from the shower. Caught by surprise, like an animal caught in a trap, Julia's eyes dart around her "cage." What kind of hell is this? Shivering, she scurries for cover underneath the bench, but it offers little protection from the cold water. Then the water shuts off. On her knees, Julia can do nothing but cry.
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