The Cell
Written by Alan Rogers
December 31, 2004

01. The Cell 00:00-00:31: Opening with a solo ney flute melody, we see a figure riding a black horse across the desert. We cannot see this clearly as we see them through the heat haze. At ~00:18 – to the sound of additional delicate percussion – the rider and horse jump over the camera's viewpoint and then we move back to a clear view of the horse and rider continuing their journey across the desert. The film title "The Cell" appears at ~00:23 as we see the horse and rider continue onward. 00:31-00:50: We now see a close-up of the horse's face as it rides onward to the accompaniment of some deep percussion and brass. Then we move back to a distant view. At ~00:44 we again see a close-up of the horse's head (with another layer of orchestration added) – then back to a distant shot. The horse and rider come to a halt at the base of a large sand dune. 00:50-2:16: As this passage progresses the orchestra builds and builds to an almost demented level of sound and complexity. On-screen, we see Catherine Deane (Jennifer Lopez), now dismounted, glances back at the horse that is now a stylised statue of a black horse – the same image that we see later in her kitchen. Then she begins her long climb up the edge of the sand dune. We see various views of her walking across the desert dunes. We quickly glimpse a glint from a mirror (held by Edward Baines) then it is back to Catherine walking (to where Edward is located). At the end of this portion we again see a glint from the mirror; then back to Catherine. She is on another dune and now, in the foreground, we see an additional feature of the landscape – a blackened tree with no leaves. 2:16-2:18: The orchestral cacophony stops back to the eastern-style woodwind and delicate percussion and we see Catherine approach an area of desert that has these blackened trees and we see Edward putting away the mirror. 2:18-end of cue: Later in the film this music underscores Catherine talking to Edward. Catherine is thanking Edward for the horse but she was expecting to go sailing. Edward points out the small toy boat in the distance. She walks over to pick up a toy boat that is lying on the desert floor. However, Edward begins to talk about "Mocky-Lock" – some malevolent force – and Catherine shows her disappointment. Edward says that Mocky-Lock wants Edward to stay where he is and Catherine says she could fix that. Catherine picks up the boat, turns toward Edward. Edward is transformed (~2:53) into a slightly nightmarish being – punctuated by brass – and runs off.

02. Carl Rudolph Stargher: This cue is full of dreamy woodwind motifs and metallic percussion sounds – as though chains were hitting one another like a macabre wind-chime. 00:00-00:20: The cue begins with us seeing Catherine and Dr. Miriam Kent (Marianne Jean-Baptiste) ending their discussions once Catherine has returned from Edward's therapy session. They talk about how Mocky-Lock showed up. We see a quick exterior shot of the facility and then we see Edward lying on his bed. Catherine, Miriam and his parents are at his bedside. 00:20-1:02: Later in the film we segue to an exterior shot. We see a tortoise walking through a field of dry grass, then the camera point-of-view rises above the field and we see a truck approaching. We segue to a shot of a white dog looking out of the window of the truck. The truck follows the road and comes to an isolated building and grain silo complex. The truck stops and Stargher gets out. 1:02-1:21: Stargher and dog walk slowly towards one of the outbuildings and Stargher enters. He looks at his watch and then walks slowly down a dark corridor. The cue fades. 1:21-end of cue: Later in the film this portion of the cue begins just as Dr. Kent reminds Catherine not to take her work home with her. We segue to seeing the body of Stargher's latest victim in the back of his truck. Stargher then gets into his truck and drives off. The truck disappears into the distance.

03. Trauma 00:00-00:35: Underscore not identified. [It may correspond to a portion scripted prior to the next part of the cue where Stargher is in the cell observation area and is watching video tape of his most recent victim – Anne Marie Vicksey – awakening in the cell and finding herself trapped. Stargher fast forwards the tape to later in her ordeal when she is begging for her life.] 00:35-1:23: Catherine is in her bed at home and begins to fall asleep. We hear the eastern motif on the winds as the camera moves over her bedcover, which now becomes desert dunes – we are flying over the dunes to the accompaniment of driving low strings; similar to what is heard in the main title sequence. We then see the area where Edward's previous therapy session took place. We zoom down and over Catherine. She turns and sees a gull flying. She walks toward an old tree fallen in the desert floor. 1:23-end of cue: The orchestral cacophony dies away as she cautiously looks into a hole in the side of the fallen tree and Edward (as Mocky-Lock) springs out of the hole.

04. 92 Aqua Green Ford 00:00-00:29: The cue begins with rumbling low orchestral scoring as Ramsey receives a phone call whilst he and Novak are interviewing the parents of the most recent abducted woman. We see them leaving the house, walking down the path and getting into their waiting car. They discuss the finding that Stargher's car is a Ford pickup. 00:29-end of cue: A sudden increase in urgency and volume of the orchestra as we segue to a small airport where a stream of police cars arrives to greet a private jet. This sequence is driven by pounding percussion. Ramsey and Novak exit the plane and are greeted by an FBI agent. They are briefed as to the location of Stargher's house on their way to the waiting cars. The cars then drive off (00:59). As they are driving away Novak examines a fax detailing Stargher's driving license and registration details (~1:08) – Novak calls Stargher a "bad man".

05. FBI Pathologist 00:00-00:31: Pounding, rhythmic percussion hints at the forthcoming trauma. Stargher is in his house and in his bath. He is squirting water from his mouth. Suddenly he has a seizure and he begins to trash about in the bath. He reaches for aspirin but his bottle is empty. We cut to several police cars driving at speed on their way to Stargher's house (00:21). They arrive and park in a school playground (00:21-00:31). 00:31-00:52: We segue back to Stargher who is now in his kitchen still trying to locate some aspirin as the orchestra throbs. He has two more seizures. 00:52-1:23: The officers arrive in a classroom and are briefed by the leader of the FBI Tactical Unit. Novak looks out to Stargher's house with binoculars. What follows is a passage where percussive “hits” punctuates on-screen edits. The FBI agent briefs them on the locations of his men: we see some on the roof (1:05), others who have taken positions around the perimeter (1:08), some in a van down the street (1:10) and then we see Stargher's house (1:11). Novak discusses with the co-ordinator the assumption that the woman is in the house when they move in. 1:23-2:17: The FBI agents mobilise from their positions – they run across the street, emerge from the van and all converge on the house. Using a battering ram (1:45) they gain access into the house. They go through all the rooms downstairs and we see other FBI agents go upstairs. They enter a room where Valentine the dog is located (~2:03). All the upstairs rooms are designated as being clear and so these agents make there way back downstairs. We see them stopping in their tracks. 2:17-end of cue: The orchestral cacophony stops. We see each of the units focus on one object on the floor in the kitchen. Slowly we see that they are all looking at Stargher unconscious on the floor.

06. Whalen's Infraction 00:00-00:30: After the raid they are examining Stargher's basement. The cue begins after Ramsey starts a video of the last victim's struggles in the cell. One-by-one the other officers come to watch the video. 00:30-1:07: This very percussive portion is not identified in the film. 1:07-1:30: Later in the film Novak and Catherine are discussing the history of Stargher's previous abductions. In the conference room they all watch a video of one of the previous victims in the cell. Novak tries to get Catherine to admit that trying to get the information from Stargher using her technique is possible. Catherine admits that it is possible but more time is usually required. They all continue to watch the video. 1:30-end of cue: Ominous low brass plays as Stargher is moved on a trolley into the facility as employees look on. We see the FBI arrive in the procedure room and we see Dr. Kent having an animated conversation with one of the scientists in the room with the suits. One of the facility officials signs for Stargher.

11. Only Girls Play With Dolls 00:00-end of cue: We see a cloth placed over the face of Stargher. Dr. Kent then goes over to Catherine to prep her too. The FBI agents talk to a scientist discussing the details of the procedure. Dr. Kent then injects a cocktail of chemicals into Catherine's suit. We see on the monitors that the chemicals are entering her system (~00:29) as a shrieking, metallic wail begins. Dr. Kent asks Catherine if she is sure about this – Catherine is sure – so Dr. Kent lowers the cloth into her face and the beds begin to lower into the floor (~1:11). Catherine activates the microchip on her hand and we see corresponding changes on the monitor. Dr. Kent returns to the procedure room and discusses with Ramsey and Novak the chemicals that have been injected, the idea that the mind needs to be constantly aware that things are not real in the therapy sessions and that Catherine has a microchip that she can use to end the session. Dr. Kent tells Catherine that they are ready to begin. We see the graphics of the console in the procedure room showing the two brains. This cue immediately segues into the next cue.

07. Tide Pool 00:00-00:30: Rhythmic low brass is heard, almost marking out time to some ominous event. In the procedure room Dr. West tells Ramsey and Novak how special Catherine is. We see Catherine and Stargher lying waiting for the procedure to begin. At ~00:22 we see the underneath of cloth over Catherine's eyes reflected in her eye as more rhythmic layers (this time percussion) is added. Then we see the design on the underneath of the cloth from Catherine's point of view. 00:30-1:39: We zoom into the fabric of the cloth (supported by strings) and we see a mixture of fabric, circuitry and items of memory. The camera then emerges from a pond where we see a group of adults in the pond. One of the adults is carrying a teenage boy – Stargher – and he is being baptised. The camera floats in an arc over the scene (00:48). Then, the camera lowers on the other side of the group and submerges back into the water. We see the legs and feet of one of the adults in the pond (~1:11). At the base of the pond we then move into Stargher's World – the Tide Pool. The camera moves up and we see Catherine lying on the floor of a large structure. We see that we are rotated by 90° and the camera rotates until we are correctly oriented in this world. 1:39-2:27: Later in the film, Catherine is on the threshold of a Lighted Room. In the middle of the room is a horse and Stargher as a boy is with it. Catherine tries to make contact with the boy. The boy retreats to the far wall of the room (~2:00). Catherine goes to the horse and strokes it. Catherine talks to Stargher about the horse. This portion of the cue fades before the clock on the wall begins to count down. 2:27-3:09: Later in the film Catherine is within the Labyrinth and she is walking toward a shuttered room where there is a geared mechanism. Shore uses a version of the traditional song “Mairzy Doats” here. Catherine pulls the mechanism and steps back. We see through the opaque glass the release of a figure. Upon activating the mechanism we see movement behind the shuttered glass of all the exhibits and, one by one, the glass opens on all the exhibits. Catherine is mesmerised and examines each of the grotesque visions in turn. 3:09-3:42: Unaware of what is happening elsewhere (the “happening” being signalled by pounding percussion); Catherine does not see the glass open in the exhibit containing the released figure. A woman of Olympian proportions leaves her room and follows Catherine. Catherine reaches the exhibit of the woman who was the most recently discovered victim and she stops (3:27), reaching out to the outstretched hand of the victim. Catherine is grabbed by the Olympian woman and is slammed against a wall (~3:42). 3:42-3:53: The Olympian carries Catherine deep into the Labyrinth. We see a detail of another of Stargher's victims. 3:53-4:30: We see a long shot of the Labyrinth and the Olympian woman carrying Catherine to The Core of Stargher's world. The Core appears to be another room in the distance. We see Stargher King sitting in a seat almost like a throne – he has assumed a statuesque posture. The camera rises from behind him and we see Catherine being dropped onto the floor. Stargher King looks down at her as the Olympian woman leaves the room. Catherine begins to regain consciousness but she has not yet seen where she is or who is with her. 4:30-end of cue: Stargher King stands up and walks down the steps. As he does this we see that his cape is attached to the skin of his back and the cape is attached to the walls around the room. The cape detaches from its attachments as flows round the room in response to Stargher King descending the steps. Catherine sees the cape as it moves round the room. She slowly turns to look over her shoulder, her thumb over the microchip implant. She sees Stargher King who asks her where she has come from. Catherine quickly presses the microchip.

08. Sing A Song Of Sixpence 00:00-1:08: The cue begins as Novak reaches the procedure room and we see Dr. Kent with Catherine. Catherine is sitting up and feels groggy. Novak is told that she has gone deep into the mind of Stargher. Dr. West tells Novak about if Catherine's neural activity reaches a certain level she may believe that Stargher's world is her world and that her mind would have the power to convince the body that anything that is done to it in that world has actually been done physically. Novak pushes to speak to Catherine but he is told that Catherine has not yet recovered. But Novak reminds them that they don not have much time. We then segue to the facility where Stargher keeps his victims. We see inside the facility at the cell and we see the woman from various angles on a T.V. monitor. 1:08-1:19: Later in the film we again see the woman in the cell after having been subjected to the shower. She is crying and the music – a delicate harp – reflects her plight. We then segue back to Novak who has gone to see Catherine – she is by Edward's bed with her head in the bed. 1:19-1:51: Later in the film, Catherine and Novak talk by Edward's bedside (with the delicate harp and now an additional flute motif added). Catherine tells Novak that when she is in someone's mind, she can see the part of people that they don't want people to see. She tells him that in the case of Stargher, she felt things that she never wants to feel again. She tells him that he is not Stargher anymore; he is now a king in some sort of twisted kingdom – somewhere he can indulge himself. Then she says that she doesn't want to discuss it anymore whilst in Edward's room. At 1:42 we segue outside of the facility and we see a jogger. The camera then rises over a wall and we now can see Catherine and Novak sitting outside talking. 1:51-end of cue: Later in the film Novak tells Catherine about when he was a lawyer – a prosecutor – and had a murder case where the suspect – Charles Gish – was released because of some tainted evidence. The cue begins as he tells Catherine of how a Mr. & Mrs. Simmons returned to their house to find Gish sitting in their living room watching T.V. with their daughter. Novak tells how the daughter had been slit down the middle and her heart put in the freezer. Novak continues by telling how he left the DA's office and joined the FBI. Catherine then says that when she said that Stargher wasn't really Stargher anymore was both right and wrong. She tells him that there is a side to him that is positive – the young boy, Carl. She says that if she could reach the boy then he may tell her where Julia Hickson is located. Novak then tells Catherine that Gish beat the murder charge because he was deemed to be insane when he murdered the daughter. His defence cited that he was driven to do what he did because of his sexual abuse he was subjected to as a child. Novak says that he believes that a child could have experiences 100 times the experiences of Gish and not harm anyone. Just then Ramsey arrives and wonders where they have been. This whole final sequence is accompanied by a series of string chords that provide an unsettling backdrop to the dialogue.

09. Valentine 00:00-00:34: Cue begins as Catherine is in the laboratory walking over to a wall to check on some circuit breakers. The off-kilter strings suggest that things are not as they seem. As she walks to the panel, everything becomes larger and by the time she reaches the panel, it is the size of a garage door. At 00:25 she turns and the camera zooms out to see the full extent of the changes in size that have taken place. 00:34-00:52: Catherine looks around the room and at the others who are by the console apparently oblivious to what is happening. She looks at Stargher. The whole time, a delicate percussive passage in isolation highlights the mute conversation taking place on the other side of the glass. 00:52-1:01: She again looks at the console and sees that they are still oblivious to her situation. She sees herself lying suspended in the air – within the procedure. The underscore crescendos as she realises something is wrong. 1:01-end of cue: Catherine now finds herself in a box made of clear glass, sitting in the fetal position. Calmly, she looks for an exit from the box, pushing against the walls of the cube. She then rises and tries to push open a trap door in the roof of the cube. The camera executes a complete 180° perspective change as Catherine opens the trap door and falls up/down (1:26). Within 1:26-1:31 Catherine is seen dangling above a huge void – a cavernous room. Below her is a dome-like structure with a hole at the centre of the crest of the dome. Numerous other domes are seen in the large room. We see a close-up of Catherine suspended above the dome (1:31). Catherine tries to bend at the waist to grasp her ankles. Suddenly she is falling a great distance then suddenly slows her descent as she falls through the hole in the crest of the dome (1:45). Slowly she falls to the floor as if she is in water. She reverses her position so that she is "heads-up". Out of the darkness Valentine enters and sits before Catherine who is still floating above the floor. We see past Valentine and out of the dome to a view of a house. We see a young boy running into the house. We again see Catherine floating above Valentine. Next we see a close-up of the door leading into the kitchen of the house. Catherine walks up to the door and the cue ends just as she is about to enter the kitchen of the house.

11. Only Girls Play With Dolls 00:00-00:30: After the plate is smashed in the kitchen Carl hears his father shout from the other room. The underscore begins with Carl pushing Catherine towards a broom cupboard. From within the cupboard Catherine watches as things begin to unfold. In the kitchen Martin Stargher asks if he broke the plate and reminds him not to lie. He hits him on the head with a spoon. In the cupboard Catherine pushes the door but it will not budge. She pounds on the door but in the kitchen there is no sound. At the table Martin says to Carl that they should break all the plates and throws his plate at the wall. Catherine looks down at her feet and she sees that she is standing in a container full of water with eels writhing around her legs – she moves closer to the cupboard door. 00:30-end of cue: As the wailing, metallic motif begins we see Catherine looking out from the cupboard but now seeing a living room. Brandishing a doll at the woman Martin tells Carl that she is not his mother. The father opens the woman's bath-robe and pushes Carl towards her. At this point Catherine turns away – there is a flash and Catherine suddenly sees a Polaroid photo on the wall of the cupboard. It is a photo of another room with a bath in it. She looks back at the shutters of the cupboard and we now see a view of a bedroom. Carl is on the floor scurrying away from his father. His father is calling him names as he sees lots of dolls on the floor – "only girls play with dolls" – says his father. We see the father take off his belt and beat his son repeatedly. Catherine has seen all of this and is crying. Then the father sees an iron, pulls it from the wall and tortures Carl with it whilst saying that he will show him how to iron like a woman. Catherine looks around the cupboard and sees that the cupboard leads to the bathroom seen in the Polaroid photo (~1:48). Stargher is sat at the bath with his back to us. There is a dead woman in the bath and the water is all bloodied. By Stargher there is a steel bowl. A white puppy is seen and it walks out of the bathroom as the cue ends.

10. Chlorine and Rust 00:00-00:07: After the woman-in-the-bath sequence Stargher King emerges from the shadows behind Catherine accompanied by loud percussion. Catherine tries to press the microchip but Stargher King throws her to the ground. 00:07-00:35: Later in the film Stargher King straddles Catherine and moves up her body as she lies dazed on the floor. Catherine begins to come round. Stargher King has a metal collar that he places round her neck (backed by rising, panicky strings) – we see blood emerge from under the collar as it is closed. 00:35-1:13: The percussion sequence continues, but at a muted level: hinting of the continuing peril of Catherine as Drs. Kent and West are alerted by an alarm from the console – Catherine is in danger as her signs enter the red (something we already know and is highlighted by the score). An "emergency cessation" is suggested but Dr. Kent says no as this would lead to too much shock. Novak comes over and asks what is wrong. He is told that the hypothetical scenario they discussed earlier has happened – Catherine believes what is happening is real. Anything that they think of to do will make matters worse. 1:13-end of cue: Dr. Kent sees the third set-up and says that someone needs to go in to remind Catherine what is really happening. Dr. West says that it cannot be Dr. Kent who goes in because he needs her with him.

12. Normal Psychotropics 00:00-00:34: Julia Hickson is seen trying to find a way out of the cell. We then segue to Novak who is suited up and is being prepared by Dr. Kent on the raised block of the third station. He has a microchip implanted. 00:34-1:07: Later in the film we see Novak all set up and we zoom in on the I.V.-like cylinder and we see some blood mixing with the chemicals in the I.V. solution. This sequence melds into a graphics sequence where we see a myriad of colours and shapes. 1:07-end of cue: The camera pans down and we are in an unusual landscape. Three identical women are sitting on the ground – they are sat in exactly the same position. As the camera pulls back we see Novak lying in a puddle of water. A glint shines in his face. This shining in his face wakens him and he sits up.

13. The Seduction 00:00-2:15: The cue (full of atmospheric musical devices) begins as Novak turns to see Carl shining the mirror in his eyes. Carl runs off. Novak walks in that direction. Novak enters The Den and sees Catherine sitting on a bed, her back to him. Catherine is beautifully dressed (a "bride") but she is chained to a post. Novak circles the bed to face her and he removed the face-plate from Catherine's head. Catherine moves towards Novak and she tries to kiss him but he pushes her away – Novak tries to get her to listen to him. Catherine persists with her advances and she kisses him. We see the bed from another point of view – someone else's point of view. We close in on the bed and we see Catherine look in the direction of the advancing person – it is clear that Catherine is keeping Novak occupied. 2:15-end of cue: Stargher King places a bag over the head of Novak. We then see various shots of Stargher King with the bag over Novak's head. Catherine lies back down on the bed – job done. We then see Novak spread-eagled on a pedestal, his wrists and ankles bound. We see Stargher King preparing himself for what is to come. He wets his hands. We see Catherine sitting upright on the bed.

11. Only Girls Play With Dolls 00:00-end of cue: Stargher King prepares to use scissors and he pushes them into Novak's abdomen. Novak screams in agony whilst trying to attract Catherine's attention and to remind her of what is really happening. Stargher King is feeling around in Novak's abdomen and pulls out some intestines that he attaches to a spit that has been placed above Novak. Again Novak looks over to Catherine and attempts to reach her. Meanwhile Stargher King is wrapping Novak's innards onto the spit. We see Catherine's face – unmoved by the words from Novak.

14. Four and Twenty Blackbirds 00:00-00:40: Novak's words begin to get through to Catherine and we see a tear run down her face – to the accompaniment to distant voices. Stargher King is still torturing Novak. We see Catherine rise from the bed and we see her take a knife from a group of instruments. We see her stab Stargher King in the back – Stargher King stops what he is doing. 00:40-end of cue: After a slight pause in the underscore whilst Stargher King comprehends what has happened, Stargher King screams and this screaming is repeated in the score. We see Novak screaming also and his face distorts as he turns his head from side-to-side. In the next instant Catherine is normally dressed and her make-up is normal. She is trying to bring Novak round. He eventually comes to. They are still in Stargher's world but they have moved to be beside an idealised cell.

15. Stargher King 00:00-00:21: We see the stylised cell with a mermaid-like Julia Hickson floating in the water within the cell. We see young Carl standing next to it. Catherine walks over to him and Novak rises and heads over to the stylised cell. 00:21-1:44: As a frenetic hand-clapping rhythm appears on the soundtrack Novak moves off to look at a smaller cube rotating in mid-air. Catherine speaks to Carl; saying that he should not be afraid and that she won't hurt him. She tells him that Novak is a friend also. Catherine asks if Carl knows where they are or where Julia is being held. He does not and they hug (~00:51). Novak, meanwhile, turns to the main cell. Whilst hugging Carl, Catherine notices blood on her hand (~1:01) and on Carl's shirt – in the place where she stabbed Stargher King earlier. At this point there is the hesitant beginning of percussion – a sure sign that something us up. Novak, still looking at the larger cell sees an ornate pattern carved on the cell. He recognises it as the design he saw on the hoist in Stargher's basement – we see a reminder of the hoist (~1:16). Catherine is still calmly talking to Carl but he moves away scared as he sees Novak appearing from behind the cell. The music continues to build ominously. Novak is saying that they have to go and he grabs hold of Catherine, but she resists saying that they cannot leave young Carl here alone. We see Carl standing watching what is going on. Behind him we see someone waiting – doing a hand-stand – in the water. It is Stargher King. We see Stargher King slowly drop to his feet and stand upright. 1:44-2:00: As Catherine battles Novak to get to Carl, Stargher King moves forward, lifting him off his feet. We see Novak pressing Catherine's microchip. This registers on the console and both Dr. Kent and West are alerted. 2:00-2:27: The musical cacophony quietens. The three plinths rise to support the three bodies and Novak regains consciousness quickly and takes off the cover to his face – he protests for them to get him out. Dr. West tries to follow protocol and attempts to prevent him from getting up. 2:27-3:51: Musical chaos rules again as we segue to Julia Hickson trapped in the cell. Water is now pouring into the cell and Julia is still hysterical. We segue again but this time to outside Stargher's house. Novak is talking to one of the FBI agents. Novak instructs the agent to re-examine the hoist for the manufacturer of the hoist. We then see him in the basement on the equipment looking for the address. We see the logo design and then the address for the manufacturer of the hoist. Once found, Novak wants the history of the machine – who bought it, used it, sold it. Novak and Ramsey discuss what is going on and Ramsey cannot believe that he is going to follow a hunch that he saw in a dream. 3:51-4:48: We see Dr. West back at the facility. Via a monitor he sees the FBI agents leave the building. We see Catherine regaining consciousness on her plinth. Dr. Kent is with her making sure that she is okay. Catherine looks over to Stargher lying in his position and we see a plan begin to form in Catherine's mind. Catherine encourages Dr. Kent to go and see if she can get to Novak to clear him before he leaves. Dr. Kent motions to Dr. West to keep an eye on Catherine whilst she is gone. Outside we see the helicopter ready for take-off (~4:20). Ramsey following Novak, still wondering if Novak is playing a hunch that he saw in a dream. Novak continues on to the helicopter, leaving Ramsey behind. Back in the laboratory we see the procedure room door close and lock as Dr. West is looking at the monitors. Dr. West hears the door shut and moves to investigate. 4:48-5:14: As the music switches to thematic material that links the visuals seen by Catherine here and that will become important in “Catherine’s World” later, Dr. West calls to Catherine and tries to open the door from his side but it is useless. The music continues to rise to a crescendo. Dr. West sees Catherine at the chemicals/drugs control point. As Catherine readies herself she sees a beautifully designed bookmark showing a beautiful woman dressed almost as a nun and there is a while peacock beside her. Then she sees a paperweight that shows trees, the ground is white and there is blossom floating about the "air". 5:14-5:27: The music has reached the crescendo and the driving percussion takes over as we see Novak reach the helicopter and it takes off into the air. 5:27-6:03: Dr. West sees Catherine head back to her plinth. Dr. Kent and Ramsey re-enter and West tells Kent that Catherine has changed the codes. Dr. Kent tries to open the door herself but is unsuccessful. Dr. Kent realises what Catherine is doing and in response to Ramsey's question, he is told that Catherine is going to bring Stargher into her mind. We segue to the cell and we see Julia getting deeper and deeper in water as the water still continues to rush into the cell. 6:03-end of cue: Underscore not identified – [may have been cut from a visual of Novak in the helicopter flying over land.]

16. Catherine's World 00:00-1:00: We are in Catherine's World and there is a calm serenity in the music. We see Catherine dressed as the woman in the bookmark. Also we see the place they are in – similar to the paperweight. The place is bright and light. We see young Carl standing facing Catherine on the other side of a large pool of water. Catherine uses a mirror and shines a light in the face of Carl. Catherine beckons to Carl. He walks over to Catherine and sits on some steps near Catherine. Catherine comes and sits next to Carl. She says that she promised to help him and here she is. Carl asks her if he can stay in this place, but Catherine has to say no – that “…it does not work that way". 1:00-2:51: The music begins a tentative swelling, perhaps suggesting that Catherine may, at last, be getting through to Carl. Young Carl is replaced by the adult Carl – Stargher – and he tells Catherine of how, when he was a boy, he found an injured bird. He tells of how his father somehow found out about it. Stargher knew that his father would do something horrible to it so he drowned it. He reasoned that it was better for the bird to kill it – he had, in fact, saved it by killing it. Catherine realises what this story illustrates and she tells Stargher that she cannot – won't – do that. We again see the young Stargher – Carl. Carl then says that it doesn't matter. 2:51-3:56: The crescendo continues, but now the orchestration is ominous – something is not quite right; things are not going to plan. We see a large spider crawling up Carl's shirt. We then see beetles and large millipedes on Carl's hands and a snake swimming through the pond. Carl is saying that "he has found me – he always finds me". Catherine's world begins to get dark. We see changes occurring in the pool – it becomes dark also and there then appears a robe on the surface of the pool. Stargher King emerges from the pool and discards his robe. He then spins out of view. 3:56-end of cue: The rhythmic percussion is back as we segue to the helicopter where Novak is told how the apparatus came into the possession of the state due to a farm bankruptcy – where Julia is being held. The last piece of information is that Stargher was hired to seal up the place. The FBI agent gives the address to Novak and the pilot. We see them head off on their way. Immediately, we segue into...

17. The Drowning 00:00-00:18: The frenetic hand-clapping device re-appears in the score. Catherine has changed from the woman in the bookmark and is now dressed as a woman warrior-type. She has a crossbow. We see Stargher King motionless, posing. He suddenly spins away. Catherine raises the crossbow and fires. A bolt strikes Stargher King in the foot, stopping him suddenly. 00:18-00:27: Catherine goes over to Stargher King, who is trying to free his foot, and she kicks him in the face and he falls to the floor. 00:27-00:40: We segue to the cell and we see Julia struggling to remain afloat as the water fills the space – Julia is shouting "Help me!" to no-one in particular. We segue to Novak in his helicopter flying to the farm buildings that they have identified as the ones they are looking for. 00:40-00:55: Catherine fires a bolt into each of Stargher King's hands, pinning him down. She then straddles him saying "My world...my rules". She grabs at a bar that is fixed to his nipples and she begins to lift him off the ground. His nipples are ripped off his chest as she does this [heard by the rising strings]. 00:55-1:07: We see the helicopter flying to the farmstead. We segue to Julia and her continuing struggle to remain afloat and then segue to Catherine's world where we see her striking Stargher King and he pleads "No!" 1:07-1:20: The helicopter approaches the farm and lands. There is a quick segue to see Julia and her continuing struggles. 1:20-1:50: Catherine punches Stargher King in the face several times (synchronised with the music). She then stands and Stargher King laughs at Catherine. She then reaches for a sword that is strapped to her back. During this we see Novak leave the helicopter and search the farm buildings. 1:50-2:13: Catherine raises her sword and we now see, not Stargher King but, Stargher who tells her to "do it". She hesitates and then we see Stargher King and he is laughing. She plunges the blade into his chest and he writhes in agony. Then he looks at her and says "It's not real." She twists the blade. 2:13-2:46: Stargher King writhes from the agony. He then says "me got boy". Catherine glances over to see young Carl covered in blood from the wounds inflicted on Stargher King. He is lying on steps leading up to the pool. Stargher King continues "boy me got...you cannot kill me." Catherine thinks about this and decides to go to Carl. 2:46-3:04: We see Novak still searching outside for some useful sign. He runs through a warehouse and looks around from another vantage point. 3:04-3:40: We suddenly see an exhaust pipe issuing smoke. Novak hears this and he is fuelled to look for where this machinery leads to. He finds a trapdoor leading down into the basement. 3:40-5:50: He opens the trapdoor and we then segue back to Catherine and she is dressed back as the woman in the bookmark (like a nun) and the score suggests a feeling of serenity. She bends down to young Carl and lifts him up slightly trying to comfort him. He says "save me". Intercut with this is Novak's entry of the basement and finding the cell. Catherine says that he can stay here with her and she lifts him up and at this point Catherine's world suddenly brightens (~4:24) – at this time also we see Novak finding the cell and the woman suddenly sees Novak and panics (4:41). As trumpets rise Novak convinces the girl to move away from the wall of the cell and he shoots at the wall. We segue to Catherine who is walking slowly down the steps and into the pool – Carl is carried in her arms. We see flashes of Stargher King and the memory of the ritual baptism (at ~5:16 young Carl is submerged as we see the ritual baptism again and Stargher King screams). In the laboratory we see Stargher begin to arrest and this gets the attention of the waiting medical personnel and the FBI. At ~5:40 Novak finds a pole and breaks the wall of the cell and all the water escapes. This whole piece is one long rise to another cacophonous crescendo as the various emotional strands reach resolution. 5:50-end of cue: The, now quite, music suggests a certain expectation; a waiting to see what is going to happen now that all the cards have been played. We see Catherine cradling Carl under the water. We see Novak comforting Julia. Then we see Catherine looking at Carl in the water. Then Carl's hand goes limp and falls away (~6:31). We hear the final release as strings and brass slowly falls. Stargher in the laboratory dies and Stargher King dies. We see a glimpse of the baptism scene as it fades away, we see Catherine holding Carl in the pool, we see Novak holding Julia (who has calmed down somewhat) and we Valentine in the lab and the reaction of the medical staff and FBI to the death of Stargher.

18. Scavenged Dolls 00:00-00:34: Catherine is crying on her laboratory "bed". We see Novak still comforting Julia in the cell. The scene fades to black. 00:34-end of cue: We are tracking over the floor of one of the upstairs rooms in Stargher's house and we see photos and artifacts scattered on the ground.

19. Vital Signs 00:00-1:00: Novak and Catherine are talking outside Stargher's house. Novak talks of how the FBI think that he was put under a "drug-fuelled mind-bender" that triggered an old memory and that Julia was found using good-old detective work. They say their goodbyes. 1:00-end of cue: Segue to Edward's world. The trees now have blossom and we see Catherine place Edward's boat in one of the trees. There is a backdrop of blue material that mimics the sea. Catherine and Edward slowly move towards one another as progress is made in his treatment.

20. You Can Find The Feeling (radio edit): Plays as the credits roll.

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