CAMPBELL CENTER PLAZA: A ready-and-waiting helicopter is on the pad. The helicopter blades start rotating as the pilot preps for take off. Novak races out of the Center, Ramsey right behind him.
RAMSEY: Peter, just talk to me. What if your mind is playing tricks on you. They shot you full of drugs. Who knows if what you saw is real?
He won't consider that. Novak doesn't respond and is not stopping. Ramsey stands there and watches Novak rush off.
In the control room, Henry analyzes voluminous print-outs from the last procedure. Although his eyes are on the data, he notices the security door closing to the procedure room. He looks in, knocking on the glass.
HENRY: Catherine? . . . Catherine!
Catherine ignores him, pouring over the instructions of the 'procedure.' The drugs needed, settings on the equipment, etc.
HENRY: What are you doing? . . . No, do not jeopardize your career!
As he rambles on about the risks, she comes across an image of woman dressed like a saint, draped in red and white. She touches the image, studying it. She looks at a snow globe, a peaceful little diorama with blossoming trees.
CAMPBELL CENTER PLAZA: Novak climbs into the chopper and it takes off.
LABORATORY: In the control room, Henry types in a command, the screen displays 'Access Denied.' In the procedure room, Valentine starts barking. Miriam, Ramsey, and two FBI Agents enter the control room to find Henry anxiously observing from the console.
HENRY: Miriam!
MIRIAM: What is she doing?
HENRY: You know what she is doing!
Catherine climbs on the pedestal, continuing the procedure.
MIRIAM: For Christ's sake! (she bangs on the glass) Catherine! . . . Jeez!
Catherine ignores her as she continues to make the connection. Miriam makes a futile effort to open the security door.
HENRY (flustered): She changed the codes. You can't get in.
RAMSEY: What happened?
HENRY: She reversed the feeds.
RAMSEY: What does that mean?
HENRY: The process is intended for her to go into his mind.
Miriam analyzes the situation and regretfully, angrily, worriedly realizes what's happened.
MIRIAM: But instead, she's bringing him into hers.
THE CELL: The water is now pouring in non-stop. It's now up to her knees. Julia is going ballistic, throwing her shoes at the glass.
HELICOPTER IN FLIGHT: The chopper soars over a vast spread of oil rigs.
ENTRANCE FOUR
CATHERINE'S WORLD: A bright, deliriously colorful realm visually reflective of the snow globe. Unusual trees, ornate columns, and a brilliant pool of water. The pond ripples. Towards the back, in the center of an alter, Catherine is dressed as the saint, draped in red and white. Her skin glowing, eyes bright, cutting a magnificent figure in clothes that make her a warrior goddess. White peacocks stand at each side of the alter stairs. Standing in the foreground with his back to us, is young Stargher. Although the place is comforting and beautiful, he's in strange territory and it frightens him.
She opens her arms and the mirror locket she wears, reflects light into the boy's face. It's a call to him, he slowly approaches. He sits on the stairs, gazing at her. Catherine smiles and approaches him. Curious, but frightened, the boy backs away. As she joins to sit with him, ornamental gold leaf design borders the film frame.
CATHERINE: I promised I would come back and help you. See, I always keep my promises.
YOUNG STARGHER: Can I stay here, with you?
Catherine is astonished and relieved to hear him speak. A sad, trembling little voice. She is touched that he would ask.
CATHERINE (regretfully): No, honey, I'm sorry. It doesn't work that way. There's nothing I can do about that.
The boy looks down and responds, but this time it's a man's voice and then we see the adult Stargher.
STARGHER: Yes, there is. . . . . When I was a little boy, I found this bird and he was injured. Had a broken leg or something. If my father found out that I had it, I knew he would do something horrible to it. It was just a matter of time. So I took it to the sink and I held it under. It was better for the bird. I saved him.
CATHERINE: I can't do that, Carl. I won't.
Stargher is the young boy again. He looks away.
YOUNG STARGHER: It doesn't matter.
The music becomes ominous. The ornate gold leaf disappears from the film frame. Catherine sees a tarantula crawling on young Stargher's back and other large bugs on his hands.
YOUNG STARGHER: He found me...
The atmosphere grows darker. The brilliant colors of Catherine's world fade to grim tones.
A snake slithers through the pool.
YOUNG STARGHER: He always finds me.
Catherine bristles as Stargher King rises from the pool like a human serpent. Wearing a dark robe made of a scale-like texture, he lets it fall behind him.
As he approaches, he moves his arms with a choreographic motion and instantly spins away off screen.
HELICOPTER IN FLIGHT: The chopper is flying low across a vast field. The pilot has set up a communcation connection to Cole.
PILOT: Agent Kovak, go ahead.
NOVAK: Cole!
COLE: (on cellular) Yea, Novak, listen to this. The hoist was sold to a guy named Bambridge, who tried to build a machine in Reno. Bambridge ends up in bankruptcy court and the State winds up with the land. And guess who they hired to seal the place up?
NOVAK: Oh you're fuckin' kiddin' me!
COLE: (on cellular) No, I'm not the kidding type. Carl Rudolph Stargher.
NOVAK: Where's the land?
COLE: (on cellular) Exit ten, off highway 99. We're on our way now.
PILOT: Got it, I know where that is.
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