HAUNTED
1X10: SEEKING ASYLUM
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN U.K.: 09/11/2003
TRANSCRIBED FROM SKYONE MIX
Written by: STACIA RAYMOND
Directed by: JERRY LEVINE
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
RATING:
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==========================
SUMMARY: Frank investigates the disappearance of a Medical Student inside a
Psychiatric Facility and the only way he can do that is by getting himself
admitted.
==========================
HAUNTED
1X10: SEEKING ASYLUM [UNAIRED IN U.S.]
==========================
FADE IN.
[EXT. PARK -- DAY]
(FRANK sits down on the park bench waiting for someone. A crow lands on the
bench back next to him and caws. FRANK turns and looks at the bird and they
share a look as if understanding one another. As FRANK watches, the bird flies
away.)
MEGHAN JENNINGS: (o.s.) Mr. Taylor!
(FRANK gets to his feet and shakes hands with MEGAN.)
FRANK: Megan. How are you?
MEGHAN JENNINGS: Honestly? Never felt more helpless in my life.
(They both sit down on the bench.)
MEGHAN JENNINGS: I went back again, tried to see him, like you said, I don't
know if it's just the bureaucrats that own the place, but ...
FRANK: What happened?
MEGHAN JENNINGS: I told them that I wanted to see Michael Johnson and they told
me he wasn't there. Frank, I took him. I just get the feeling, they're not
telling me the truth. I think he's still there.
FRANK: I used your key to his place and I found that picture.
MEGHAN JENNINGS: Can I see it?
(FRANK shows her the picture. It's a photo of MEGAN with a tall long-haired man
with a beard. They both appear very happy.)
MEGHAN JENNINGS: That was taken just a couple of days before it happened. I
never saw him smile again after that.
FRANK: Well, we've done everything we can on the outside, now it's time for me
to go in and find out what I can.
MEGHAN JENNINGS: Are you sure about this?
FRANK: (nods) I've made all the arrangements. Megan, I know this is going to
be hard to hear, but I have to ask, do you think it's even slightly possible
that Michael might have had a problem that he was too embarrassed to share with
you?
MEGHAN JENNINGS: (thinking) Frank, I know Michael. Anesthesiology residents
are put under an intense microscope. The hospital gave him this chance to clear
his name. I know he wouldn't want to blow it.
FRANK: Okay.
MEGHAN JENNINGS: I really appreciate what you're doing. Michael has no family.
No one but me.
FRANK: I'll be in touch.
(FRANK stands and leaves.)
CUT TO:
[EXT. INSTITUTION -- DAY]
(FRANK walks up the steps of the building. He's carrying a bag with him.)
(A crow caws and flies across the camera to land on the institution sign.)
(The camera backs away and we see the sign to the institution:
HEWITT PSYCHIATRIC RECOVERY CENTER )
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - DAY - CONTINUOUS]
(FRANK walks in through the front door. He pauses and looks around before
heading for the front desk where the nurse is on the phone. He puts his bag
down on the floor.)
(The NURSE covers her hand over the phone receiver and looks at FRANK.)
NURSE: Can I help you?
FRANK: Yeah. Uh, I need to check in.
FADE OUT TO:
END OF TEASER
ROLL TITLE CREDITS
INTRODUCTION:
FRANK TAYLOR: (v.o.) Two years ago, my son was taken from me. Since then I've
lost everything-- my job, my marriage, even my life. But I came back, and the
dead came with me.
SIMON DEAN: Gotcha!
FADE IN.
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - WAITING ROOM -- DAY - CONTINUOUS]
(FRANK sits in the waiting room. Through the door behind him, the ORDERLY walks
in to greet a patient. A WOMAN with a watering can starts watering the plants
in the waiting room.)
ORDERLY: Hey, how you doing? Good?
PATIENT: Good.
(The woman turns around to water the next plant and FRANK nods to her.)
FRANK: What's the secret to keeping them alive?
MELISSA: A very high level of skill and nothing better to do.
(FRANK nods. She laughs and moves on back into the building. When she reaches
the door, she turns and smiles back at FRANK. She leaves and the ORDERLY
follows her back into the building.)
(FRANK gets up from his seat and notes the security camera on the waiting room.
FRANK walks over to the front desk and looks over the counter. He's interrupted
by a voice behind him.)
DR. MARTIN: (o.s.) Mr. Taylor.
FRANK: Yes.
DR. MARTIN: I'm Dr. Martin.
FRANK: Thanks for seeing me.
DR. MARTIN: Of course. Would you like to come into my office.
FRANK: Okay.
(FRANK gets his bag and they enter the back room toward his office.)
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - HALLWAY -- DAY - CONTINUOUS]
(DR. MARTIN and FRANK walk through the hallway toward his office.)
DR. MARTIN: I understand you're having delusions.
FRANK: I know how this is going to sound.
DR. MARTIN: Anything you tell me is in the strictest of confidence.
FRANK: Well, the truth is, uh, I see ghosts. That's why I'm here seeking
asylum.
DR. MARTIN: And you've sought treatment for this before?
FRANK: (chuckles) I told you how it was going to sound.
DR. MARTIN: These, uh, ghosts ... do they ever speak to you?
FRANK: Sometimes, but mostly, it's along the lines of non-verbal communication.
(DR. MARTIN opens the office door and they walk inside.)
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - DR. MARTIN'S OFFICE -- DAY -
CONTINUOUS]
DR. MARTIN: Unlike my predecessor, I believe we can treat these types of
things. We should resolve this very quickly.
(He closes the door behind FRANK and heads for his desk. FRANK takes a deep
breath and notices something – a strange smell.)
FRANK: Something burning?
(DR. MARTIN looks up from the file he's looking at.)
(Cut to: A MAN extremely burnt, nearly to a crisp, walks up to FRANK from
behind him and places his hand on FRANK'S shoulder. FRANK immediately feels the
pain at contact.)
(He holds his shoulder and turns around. He sees no one there.)
(DR. MARTIN presses a call button on the intercom. He drops the file folder on
his desk and looks at FRANK.)
DR. MARTIN: What's happening?
FRANK: I don't know.
DR. MARTIN: You all right?
FRANK: No, no. I don't think so.
SHELBY (NURSE): Is there a problem, Dr. Martin?
DR. MARTIN: Shelby, could you please take Mr. Taylor for observation?
(SHELBY moves forward to grab FRANK. He brushes her hands away.)
FRANK: (breathing heavily) You don't have to force me, okay? I'll go.
(FRANK heads out the office. On his way out, he touches his sore shoulder.
NURSE SHELBY follows him out; the door closing behind them.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - INFIRMARY -- DAY - CONTINUOUS]
(FRANK is sitting on the examination table as NURSE SHELBY walks over to him
carrying the blood pressure cuff.)
NURSE SHELBY: Roll up your sleeves.
(FRANK removes his jacket.)
(Cut to: NURSE SHELBY takes FRANK'S blood pressure. As she pumps up the cuff,
the digital reader settles on 250 / 250. As FRANK watches, it blinks.)
(At second glance, it reads normally: 120 over eighty.)
NURSE SHELBY: 120 over eighty. Not bad. Open your shirt.
FRANK: (laughs) We just met.
NURSE SHELBY: Either you do it, or I will
(She peels back his shirt and sees the hand-shaped black burn on his upper
shoulder.)
NURSE SHELBY: Well what in the world is that? How did you get this?
FRANK: I'm not really sure.
(She removes her stethoscope.)
NURSE SHELBY: (laughs) Frank, I am unimpressed by self-inflicted wounds.
Doesn't necessarily make you sick. Stupid, maybe. But in either case, I'll be
watching you very closely.
(FRANK shrugs as he buttons up his shirt.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - FRANK'S ROOM -- DAY]
(FRANK sits on his bed. After a moment of sitting in silence, he hears
something.)
JOHN-O: (muffled) Twenty. Twenty. Twenty. Twenty. Twenty.
(FRANK stands up and searches for the source of the sounds. He walks over to
the head of the bed and notices that it's coming from the next room.)
JOHN-O: (muffled) Twenty. Twenty. Twenty. Twenty. Twenty. Twenty. Twenty.
Twenty. Twenty.
(FRANK moves over to the bedside table and moves it. In the wall is a small
hole.)
JOHN-O: (muffled) Twenty. Twenty. Twenty. Twenty. Twenty.
(FRANK leans down and looks through the hole. A finger pokes him in the eye.)
JOHN-O: (muffled) Twenty-one!
(The voice laughs.)
(FRANK looks up and finds SIMON DEAN sitting on his bed.)
SIMON DEAN: What a pity, Frank. Even I never spent time in an institution.
(FRANK stands straight up against the wall as he stares at SIMON.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - ART ROOM -- DAY]
(DR. MARTIN leads FRANK into the art room.)
DR. MARTIN: This is the art room, Frank. We ask that each new patient create a
self-portrait. It gives us an opportunity to see you as you see yourself.
(DR. MARTIN puts a clean board on the easel.)
FRANK: And what if I don't like what I see?
DR. MARTIN: Huh? That is why you're here, isn't it?
FRANK: Well, it sure isn't for the arts and crafts.
DR. MARTIN: I'll leave you for a while. I look forward to see what you come up
with.
(DR. MARTIN walks out of the room. FRANK uses the time to look at the other
artwork hanging in the room.)
(He looks through the paintings and finds a sketch of a man, half of his face is
blacked out in shadow or in darkness. FRANK notes the signature at the bottom
of the sketch.)
FRANK: (reading) M.J. (mutters) Michael Johnson.
(FRANK folds the paper and tucks it into his back pocket.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - LOBBY -- DAY]
(DR. MARTIN holds a group therapy session. FRANK walks up and takes the empty
seat at the group.)
DR. MARTIN: It's what we do with the feelings once we have them that make us
the people that we're going to be. It's one thing to remember that having a
feeling doesn't make you a bad person.
JOHN-O: (to FRANK) You can't sit there.
FRANK: Why not?
JOHN-O: It's saved, man.
DR. MARTIN: Today, we're going to work on not being disruptive.
(FRANK gets up to change seats.)
JOHN-O: Don't condescend me.
FRANK: No problem, man.
JOHN-O: I'm paranoid cuz everyone's out to get me. Who are you? I don't know
you. Who are you?
DR. MARTIN: Everyone, this is Frank. He is new. Let's all say hello to him.
(FRANK lifts up a hand to wave at everyone. Several people wave back.)
DR. MARTIN: Frank, welcome to your first group therapy session. This is
somewhere where we can all come together and share the reasons why we're here.
Somewhere we can learn from each others' experiences.
MELISSA: (raises her hand) I'd like to share.
DR. MARTIN: All right, Melissa.
MELISSA: Dr. Cardicott was about to let me out of here. And, I want you all to
know that.
(DR. MARTIN doesn't say anything. MELISSA continues.)
MELISSA: You can't keep me here, just because you feel like it. I was here in
the first place because I chose to be. Now, I'm choosing not to be. Do I not
look like a person with a life to lead?
DR. MARTIN: I think you'll be even more constructive to continue this in
private therapy.
MELISSA: (frustrated) Ugh. I knew you were going to say that.
(She turns her chair around to put her back to the group. DR. MARTIN sighs.)
DR. MARTIN: Okay. Let's get back to you, Frank. I found it very interesting
that you chose to portray what appears to be your dark side in your self-
portrait.
(He takes out the self-portrait and shows it to everyone. The picture looks
suspiciously like SIMON.)
DR. MARTIN: Maybe you can start off by telling us about that.
(JOHN-O stands up and walks up to the portrait. He leans in very close and
compares the picture to FRANK.)
JOHN-O: Does look like you man. Huh. Your evil twin.
(He laughs wildly at his own humour.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - CORRIDOR -- DAY - LATER]
(FRANK and MELISSA walk through the hallway together.)
MELISSA: So, you're very talented.
FRANK: (chuckles) No, not me.
MELISSA: No, I mean it. That's drawing, that drawing really shows your
torment. I should know, I'm an artist myself. You know, in fact, when I get
out of here, I'm thinking of starting a gallery outside. I thought maybe I
could put some of your stuff in there.
FRANK: Can I show you another one?
(He pulls her aside and glances behind him at the security camera above. He
stands with his back to the pillar to block the camera view.)
MELISSA: Yeah. Yeah.
(He takes out the sketch by "M.J." and shows it to her. She sighs and
recognizes it.)
MELISSA: Uh, it's, ah, Michael Johnson. Michael Johnson's self portrait.
FRANK: Is he here in the hospital?
MELISSA: Well, he was.
FRANK: When did he leave.
MELISSA: I don't know.
(FRANK puts a hand to his forehead as a wave of dizziness hits him.)
MELISSA: Are you okay? Do you want me to call a doctor?
FRANK: No, no. I'm fine. Don't call a doctor.
MELISSA: Frank. I think you should let me help you.
FRANK: If you do, you will not be helping me.
(FRANK turns to look at the ORDERLY walking by. )
FRANK: Was there ever a fire in here?
MELISSA: Yeah.
(FRANK glances behind him. A rapid beeping starts.)
MELISSA: How'd you know?
FRANK: So, you were here when it happened.
(He turns around and sees the digital clock on the wall going crazy, running
through numbers and beeping rapidly.)
(MELISSA takes a deep breath and exhales.)
MELISSA: Yeah. I almost got out, too.
(FRANK turns and looks at the digital clock on the wall as it continues to beep
rapidly.)
(MELISSA mimics him and also looks at the clock on the wall. FRANK watches as
the clock speeds up and finally stops at 2:50 where it blinks and beeps
rhythmically. As he watches, the digital clock explodes.)
(FRANK gasps and turns away. He knocks MELISSA out of the way, covering her
with his body to get her out of the blast. He turns around and looks at the
wall only to find that nothing's happened and the digital clock is normal at the
current time: 5:00.)
(MELISSA stares at him, concerned.)
MELISSA: Frank, are you all right?
(FRANK rubs his forehead, then stares at the clock.)
CUT TO:
[EXT. HEWITT PSYCHIATRIC RECOVERY CENTER - LANAI -- DAY]
(FRANK opens the outside door and walks outside with MARCUS.)
FRANK: Good to see you, man.
MARCUS: How you doing in here?
FRANK: Pretty strange place. People that are truly sick, and then there are
the ones who seem like they're just killing time.
MARCUS: (chuckles) I got something for you. There are exactly one hundred and
ninety eight Michael Johnsons in the greater Los Angeles area.
FRANK: You came down here to tell me that?
MARCUS: Naw, man. There's not every day you get to see your best friend in the
looney bin.
(They share a good laugh together.)
MARCUS: Oh, so what do you got?
FRANK: Well, I met this girl that remembers him, but I haven't been able to get
into the records yet. The thing is that he was in twenty-eight day rehab, so
the sooner I can find out if he has a record, the less time I waste in here
discovering my inner child while he's back on the street coping.
MARCUS: I'll keep digging.
FRANK: If I had to guess, I'd say something happened to him in here. There was
a fire, though. See if you can find out if there was anything strange about
that.
MARCUS: All right. Cool.
(MARCUS puts his hand on FRANK'S shoulder inadvertently hitting the burn. FRANK
flinches in pain.)
MARCUS: What's the matter.
FRANK: I just hurt my shoulder.
MARCUS: Shoulder? What? They have you in here heavy-lifting or something?
FRANK: No big deal, man.
MARCUS: Now, you sure this isn't some bizarre cry for help, Frank?
FRANK: Marcus, c'mon. Who you talking to here? Just get me the info, all
right?
MARCUS: All right. Now you'd tell me if you needed this kind of help, right?
FRANK: Of course, I would.
MARCUS: Talk to you later.
FRANK: Yeah. Thanks man.
(FRANK heads back into the building as MARCUS turns to leave.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - LOBBY -- DAY]
(FRANK looks at the newspaper with the article with the headline: FIRE IN
LOCKED PSYCHIATRIC HISPITAL. (sic))
(FRANK picks up the paper and reads the article. He walks over to MELISSA who
sits by the coffee table working on something.)
FRANK: The fire was contained in the east ward of the US psychiatric center.
MELISSA: Hey.
FRANK: Hey.
(FRANK sits down.)
FRANK: How ya doing?
MELISSA: I swear. I think all they care about is the money.
FRANK: Who?
MELISSA: I have this really good insurance and they just keep paying. They
just keep paying for me to stay - watch the closing walls and the ticking
clocks. I have to get out of here.
FRANK: I was just reading about the fire. What time did that happen?
MELISSA: Breakfast? Around eight?
FRANK: Was anyone hurt?
MELISSA: I don't know. There were paramedics. There were lots of fire trucks.
JOHN-O: (o.s.) Moving in on my woman?
(They look up and see JOHN-O standing near them.)
MELISSA: We let him have his little fantasy.
(JOHN-O walks up to FRANK and leans in.)
JOHN-O: Can I talk to you for a minute?
FRANK: Yeah, I wanted to talk to you, too.
(FRANK puts the paper on the table and follows JOHN-O to the side.)
JOHN-O: Sorry for getting all whacked out on you. You know, sometimes, the
voices. You know how it is.
FRANK: Yeah, I do.
JOHN-O: When I'm on my meds, its all good. You know. Dr. Martin, he doesn't
mess around.
FRANK: All right. Listen. There's a friend of mine that I need to talk to.
Michael, who ended up in here.
JOHN-O: It's like it gets all ... Wait, who?
FRANK: Michael. Michael Johnson.
JOHN-O: It's like he gets off on the pain or something. Other people's pain.
Not like the other Doctor Cardicott. Dr. Martin says that if I don't, uh,
maintain that-that I-uh ... right back to the shock shop.
FRANK: Michael Johnson. Do you remember him?
JOHN-O: (agitated) Oh, I'll tell you something about him, but, I can't, I
can't get zapped again, because it's uh, too high impact on me. And-and what I
really want to do is-is uh bust out.
(FRANK puts a hand on JOHN-O'S shoulder.)
FRANK: Look, you help me, I'll help you.
JOHN-O: I've got people on the outside, see, and they're waiting for me and
life keeps moving whether you're, whether you're, with or without you. so,
we're cool, right?
(JOHN-O takes FRANK'S hand and clasps it.)
FRANK: Like it would really help me if you ... Listen, John-o! John-o!
JOHN-O: (shouts) He's a dildo!
(MELISSA turns around to look at them.)
PATIENTS: Hey, hey.
(FRANK looks around and sees NURSE SHELBY motion to a couple of orderlies.)
NURSE SHELBY: Come on.
ORDERLY: Yeah, I got him.
JOHN-O: That's what I remember.
FRANK: Why? What did he do?
JOHN-O: He kept changing the channels when I was watching Crips. I've been
writing him letters.
FRANK: Look at me, John. Look at me.
JOHN-O: Did he show me? Did he show me? Crips, right? (laughs)
FRANK: John-o? John-o? Will you tell me that? John-o! Will you tell me what
happened?
(JOHN-O turns and bangs his hands against the wall.)
JOHN-O: No!
FRANK: Tell me what happened.)
JOHN-O: (uncontrollably) No-o-o!
FRANK: (louder) John-o! Look at me and tell me!
(JOHN-O walks away from FRANK, turns around and holds his hands up just as NURSE
SHELBY grabs FRANK'S ARMS.)
JOHN-O: Chill out!
NURSE SHELBY: Frank, I think you hurt him.
(The ORDERLY injects FRANK with something. MELISSA turns away, her head in her
hands as she sees FRANK being sedated.)
FRANK: What are you doing?
ORDERLY: Shh!
(NURSE SHELBY walks over to JOHN-O who stands calmly between two orderlies.)
NURSE SHELBY: John? I want you to take him easy.
(He opens his mouth willingly as she gives him a pill. FRANK is being dragged
away by two orderlies.)
JOHN-O: And over here, we have my friend Frank, who really knows how to party.
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - DR. MARTIN'S OFFICE -- DAY -
CONTINUOUS]
(FRANK lies groggily on the bed, drugged. He opens his eyes and sees a hazy
portrait of SIMON in front of him.)
(Cut to: SIMON leans down close behind FRANK.)
SIMON DEAN: Nice work, Frank. I think I would have chosen cheerier colors,
myself. Never without thinking. There must be a good doctor in the house.
FRANK: If he can figure out a way to get rid of you, it'll be well worth the
stay.
DR. MARTIN: Who you talking to, Frank?
(DR. MARTIN walks up to FRANK. FRANK turns around and looks over his shoulder
at him.)
FRANK: My self-portrait. You knew I didn't want any drugs, so why was Shelby
allowed to do that?
DR. MARTIN: She has the authority to tranquilize any patient that becomes out
of control.
FRANK: I wasn't out of control.
(FRANK sits up.)
DR. MARTIN: Frank, let's be honest. Your psychotic episodes are occurring more
frequently and you're still in complete denial of the problem.
FRANK: (upset) Would I even be here if I was in complete denial of the
problem?
(FRANK stands up and notices an artwork made of nails hanging on the office
wall.)
DR. MARTIN: A patient created it.
(DR. MARTIN moves forward to stand next to FRANK.)
FRANK: It's very interesting.
DR. MARTIN: Out of nails which were removed from their own stomach. It's all
in the transformation, Frank. Learning how to take something shameful and turn
it into something beautiful.
FRANK: Who made it?
DR. MARTIN: Patient of Dr. Cardicott's. Used to go to his office after he
left. Look, Frank. The, uh, point is you need to learn how to transform your
dealings.
(Camera holds on FRANK as he looks at the artwork on the wall made out of nails,
nuts and other pieces of metal. As he watches, the center nail heats up and
burns right before his eyes. He heat bends the nail downward.)
FADE TO
(COMMERCIAL SET)
FADE IN.
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - FRANK'S ROOM -- DAY]
(FRANK sits on the end table pushed away from the wall and faces the hole in the
wall to JOHN-O's room. Through the wall, he hears JOHN-O muttering.)
JOHN-O: (through the wall) Twenty-one. Twenty-one. Twenty-one.
(FRANK holds a string with a loop around the hole waiting to spring the trap.
JOHN-O'S finger pokes through the hole and FRANK tightens the loop around his
finger.)
JOHN-O: (distressed) (through the wall) Oh, no. Oh, no.
(The room door opens and NURSE SHELBY appears.)
NURSE SHELBY: All right, Frank. Are you almost done? Time for community
chores.
(FRANK tucks something into his shirt pocket.)
JOHN-O: (through the wall) Oh, no!
(FRANK stands up and heads for the door.)
JOHN-O: (through the wall) Why? Why have you done this? Why?
(NURSE SHELBY glances back into the room, then closes the door.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - ROOFTOP -- DAY]
(FRANK and MELISSA work on the potted plants resoiling them and watering them.)
FRANK: You know, I can tell you shouldn't be here. What does someone have to
do to get into a place like this, anyway?
MELISSA: Just about anything. What'd you do.
FRANK: Ah, just some personal stuff I need to work out.
MELISSA: Could you be anymore vague, Frank?
FRANK: (laughs) No, I guess not.
MELISSA: (sighs) You know, so much of my life has been wasted in this place.
I got emancipated when I was seventeen to get away from my dad and his creepy
firm cocktail parties. Then Mr. Big Shot Lawyer just got the whole thing
overturned, got me thrown in here. It's the hypocrites you've got to watch out
for, Frank. Either care and be in somebody's life, or stay the hell out of it.
(They continue to work side-by-side.)
MELISSA: He couldn't stand it when I dated older men, but every one of his
girlfriends was just about my age. Come to think of it, you're probably the
youngest guy I've ever had a crush on.
(FRANK stops working and watches MELISSA. She turns to him.)
MELISSA: I made something for you.
(She puts a beaded bracelet on his wrist. She holds his hand between her own.)
FRANK: Thank you.
(She smiles, then walks away. FRANK turns and follows.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - DR. MARTIN'S OFFICE -- DAY]
(DR. MARTIN meets with FRANK.)
DR. MARTIN: I can't help you, Frank, if you won't let me. You said you came
here because you wanted to get better. Since you've been here, all that you
have done is lash out at the staff, refuse your medications, harass the other
patients ...
FRANK: I'm sorry, but I-I can't stop thinking about this fire. I mean, is it
safe in here? How did it start?
(The digital clock on the counter behind DR. MARTIN reads: 11:30.)
DR. MARTIN: This building has all of its original wiring, Frank. It should
have been replaced years ago. Now, let's just get back to our original
discussion.
FRANK: Did someone die in here? Or did they go missing?
DR. MARTIN: Look, Frank. For our next session, I would very much like you to
focus on not evading your therapy, right?
(DR. MARTIN stands and looks at the clock.)
DR. MARTIN: I'm afraid our time is up for today.
(As FRANK watches, the digital clock beeps and starts rising rapidly. It stops
at 2:50. FRANK is no longer surprised by this.)
FRANK: (nods) Yeah. I'll say.
(FRANK glances at DR. MARTIN, then turns and heads out of the office.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - HALLWAY -- DAY]
(FRANK walks through the hallway past the unattended orderly desk. FRANK
glances around, then rushes back to go through the drawers. He grabs the keys
out.)
(FRANK continues on his way. MELISSA finds him. She saw what he did.)
MELISSA: Are you trying to escape?
FRANK: You scared the hell out of me. No, not yet. I still haven't found what
I came for.
(They both head down the hallway.)
MELISSA: And what is that?
FRANK: Michael Johnson. I know he's in here. Maybe, just not alive.
MELISSA: Someone's coming.
(They stop and hear voices.)
ORDERLY: (o.s.) Okay. Maybe he's up in the main room.
(FRANK opens a door and they slip inside.)
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - ROOM -- DAY]
(He closes the door behind them. The room is dark.)
ORDERLY: (o.s.) Right here.
MELISSA: Frank.
FRANK: Yeah.
MELISSA: If we had met on the outside, do you think maybe ... do you think
maybe we would've hooked up?
FRANK: I don't know.
(She reaches up and kisses him lightly.)
MELISSA: I'd like to think it's possible.
(They kiss.)
FRANK: Me, too.
MELISSA: I get lost in it sometimes, you know.
FRANK: This may not be the best place.
MELISSA: Frank, I don't know what's going to happen to me if I get out of here.
I want to live. I want to live by some kind of code even if it's one that I
just make up.
(She kisses him.)
FRANK: I think that's good.
MELISSA: What are you doing here, Frank?
FRANK: I'm a private investigator.
MELISSA: You sure?
FRANK: Yeah.
(FRANK reaches up and turns the light on.)
FRANK: (with certainty) I'm sure.
ORDERLY: (o.s.) Somebody's taken all our keys.
ORDERLY: Yeah ...
FRANK: I think they're looking for us out there.
(He listens and hears footsteps out in the hallway. He turns to question
MELISSA.)
FRANK: Do you remember seeing Michael Johnson after the fire?
MELISSA: No, I don't think so.
FRANK: I don't think that's a coincidence.
(FRANK flinches suddenly and reaches into his back pocket for MJ's self
portrait. He pulls the paper out and opens it in time to see it burst into
flames.)
(He drops it on the floor and stomps out the fire. He reaches down and picks up
the sketch now burned into two pieces.)
MELISSA: What just happened, Frank?
FRANK: I don't know, but its exactly in half.
MELISSA: Frank. Something powerful exists to turn chaos into order. It can
answer out question. It can answer our question if we just know what to ask.
(He looks at her and shakes his head sadly.)
(They hear footsteps out side the door and hear voices.)
ORDERLY: I think he went this way.
(FRANK turns the light off and opens the door to check.)
FRANK: Catch up with you later.
(He closes the door and they walk down the hallway.)
CUT TO:
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - CORRIDOR -- DAY]
(The door to outside opens and FRANK steps inside. The door slams shut in front
of him. He turns and walks down the hallway. He reaches the end, turns and
sees the burning man, smouldering in front of him.)
FRANK: No!
(FRANK'S shoulder burns and he grabs it in pain. He looks up and the burning
man is gone.)
(FRANK continues.)
CUT TO:
[HALLWAY -- NIGHT]
(The door at the end of the hallway opens and FRANK peers into the next hallway.
Seeing that it's clear, he makes his way to a specific room. He knocks on the
door.)
(The door opens and MELISSA steps outside.)
FRANK: It's time to get out of here.
MELISSA: Are you serious?
FRANK: Yeah, come on. Let's go.
(MELISSA steps out and they make their way down the hallway.)
[STAIRWAY - NIGHT -- CONTINUOUS]
(FRANK and MELISSA make their way up the stairs.)
MELISSA: As soon as I get out of here, I'm going to look up Dr. Cardicott.
FRANK: I thought you said he retired.
MELISSA: He was so great, Frank. He never judged me. He'd tell me to never
let anyone else what to do ...
(They reach the top of the stairs. FRANK peers around the corner and sees JOHN-
O.)
FRANK: John-o.
JOHN-O: I was out taking a pee. What are you doing, man. What are you doing?
See, I knew you'd be. I knew you'd be stealing my girlfriend.
MELISSA: John-o, we will never have what you and I had.
FRANK: Listen, John-o. We're on our way out of here.
JOHN-O: No, No, I can't. I just can't. That's uh-that's-uh. I can't go out
there. I feel like I need to see just sitting still. Do you know what I mean?
This is my crib.
FRANK: I know it is.
MELISSA: It's okay, John-o.
JOHN-O: Being this is my crib, let me show you the door. That would be the
super slick, Hoover access.
FRANK: Lead the way.
JOHN-O: All right. (whispers) But we'd have to go all sneaky like this.
(FRANK and MELISSA follow JOHN-O. He leads them up another flight of stairs.)
(Cut to: JOHN-O shows them the way out.)
JOHN-O: You see, I've never actually been up on the roof before. It's too high
up for me, but this would be good practice for when the camera crew gets here.
(They walk past another set of doors. FRANK stops when he sees door #250.)
FRANK: Wait a minute.
MELISSA: What is it, Frank?
FRANK: This room. I have to go in this room.
JOHN-O: That's not the way.
FRANK: Tell you what, John-o, I think I can find it from here. So, why don't
you just head on back.
JOHN-O: All right, then. All right.
(FRANK reaches into his pocket and takes out the strip of cloth. He wraps it
around JOHN-O's finger.)
FRANK: Something to remember me by.
(JOHN-O stares at the strip of cloth around his finger and looks at FRANK,
completely bewildered.)
JOHN-O: How'd you know it was me?
FRANK: Please get well, okay?
JOHN-O: Don't forget to watch MTV. Don't miss my show.
FRANK: I wouldn't miss it for the world.
MELISSA: John-o. You going to be okay.
(JOHN-O leaves. FRANK and MELISSA look at the door to room #250. They enter
the storage room.)
[ROOM #250 - NIGHT -- CONTINUOUS]
(FRANK closes the door behind him. MELISSA looks around at the boxes of files.)
MELISSA: What are we doing here?
FRANK: I'm not really sure.
(FRANK turns on the desk lamp on the filing cabinet. He goes through the boxes
looking for something. He finds a file.)
FRANK: These are insurance claims for the fire. It says property damage alone,
no loss of life.
(He closes the file and puts it aside. He opens a file cabinet drawer and
rifles through it. He takes out another file folder.)
MELISSA: Is that what you were looking for?
FRANK: No, this is my file. (laughs) (reading) "An intense need to control.
Strong indications of post traumatic stress. Patient shows obsessive
tendencies."
MELISSA: Okay. Enough of that nonsense.
FRANK: (smiling) What isn't wrong with me?
(FRANK tucks the file back into the filing cabinet and closes the drawer. He
moves on. He open and closes a drawer. He grabs the next drawer only to find
the handle red hot.)
FRANK: Ow.
(He pulls away and looks at his hand.)
MELISSA: What just happened?
(FRANK takes out a handkerchief and uses it to open the drawer. He takes out
the file folder inside and looks through it.)
FRANK: Dr. Cardicott's letter of resignation and recommendation for Dr. Martin
to take his place.
(Thinking. He looks at the burning handle.)
FRANK: Where would something in the hospital burn?
MELISSA: There's an incinerator in the basement.
(He closes the drawer and turns the lamp off.)
FRANK: Let's go.
(They turn to leave the room.)
FADE TO
(COMMERCIAL SET)
FADE IN.
[INT. HEWITT PSYCHIATRIC RECOVERY CENTER - TOP OF STAIRS -- NIGHT]
(FRANK stops at the top of the stairs leading down to the basement. He looks
down into the darkness.)
FRANK: He's down here, I can smell it.
(FRANK starts down the stairs. MELISSA follows him. At the bottom of the
stairs is a door. FRANK opens the door and looks inside.)
FRANK: It's this way.
MELISSA: Frank, I - I hate the dark.
FRANK: Hey, now you tell me?
(He grabs her hand and tugs her into the room.)
(Cut to: FRANK continues forward into the basement. MELISSA follows him. He
turns and sees the burning man standing right there. He turns to MELISSA.)
FRANK: Stay close to me.
(She nods.)
(Cut to: FRANK makes his way toward the incinerator. When FRANK turns toward
it, the incinerator door opens and a bright flash stuns FRANK.)
MELISSA: Frank, are you okay?
FRANK: I'm fine. It's okay. Stay here.
(FRANK walks toward the incinerator. He takes out his handkerchief and uses it
to push the incinerator door open further. He looks inside. He sees burning
bones in the fire.)
(A hand reaches out to grab FRANK. He startles and steps back away from the
incinerator.)
(FRANK reaches inside and grabs something. He looks at it with MELISSA.
FRANK: Medical ID bracelet. Belonged to Dr. Cardicott.
MELISSA: Dr. Cardicott is dead?
FRANK: He burned to death right here.
MELISSA: He's my doctor, Frank. He can't be dead. He's my doctor.
FRANK: All this time, I thought it was Michael Johnson down here.
(Thinking.)
FRANK: Come on.
(FRANK grabs MELISSA and they head back out.)
[HALLWAY]
(FRANK and MELISSA head toward DR. MARTIN'S office. He uses the keys and opens
the door. They go inside.)
(He closes the door and searches the desk.)
(MELISSA looks at the nail artwork on the wall.)
MELISSA: I always liked that piece. I'd like to take it with me when I go.
Thing of hell was a gift for Dr. Cardicott, not for Dr. Martin.
FRANK: You made that?
MELISSA: (nods) Yeah, I'm afraid so. It was just a stage.
(The door opens and DR. MARTIN steps inside. He closes the door behind him.
FRANK holds out his hand for MELISSA.)
FRANK: Liss.
(She rushes toward him.)
DR. MARTIN: Can I help you Frank?
FRANK: Yeah, maybe you can. I came down here to talk to you about some of the
things that have been going on here at the hospital. I'm just curious. Do you
know Dr. Cardicott?
DR. MARTIN: Yes, of course. He's a wonderful doctor. He's very professional.
FRANK: Are you still in touch with him?
DR. MARTIN: We speak very frequently in regards to the patients.
FRANK: Well, the next time you talk to him, can you tell him that he left his
ID bracelet down in the incinerator?
(DR. MARTIN is speechless.)
FRANK: You haven't been easy to find, Michael. Because you've been right here
in front of me all along. You killed your own doctor down in the incinerator.
You forged those letters, erased all record of yourself, shaved your head and
took over.
FRANK: You could've been a real doctor, Michael.
MICHAEL JOHNSON: I-I didn't-I didn't mean to kill him. (shouts) I didn't mean
to kill anybody.
FRANK: Michael.
(MICHAEL turns around and grabs FRANK by his throat pushing him back into
MELISSA who hits her head and falls to the floor unconscious. The two men fight.
FRANK hits MICHAEL and grabs his throat. He looks back over his shoulder and
sees the burning man standing near the nail artwork on the wall.)
(The burning man turns to look at the artwork and the nails start flying out
from it. It shoots toward MICHAEL landing on the wall near his head.)
(FRANK pulls MICHAEL face down to the floor. He pulls his arms backward, his
knee in his back.)
FRANK: (panting) It's over, Michael.
(FRANK looks up and the BURNING MAN is gone.)
CUT TO
[EXT. HEWITT PSYCHIATRIC RECOVERY CENTER - NIGHT]
(FRANK walks out of the building and down the stairs. MELISSA is finished being
checked by a nurse when FRANK walks up to her.)
MELISSA: Hey.
FRANK: Hey. You're going to be okay. Finally getting out of this place.
MELISSA: From the moment I saw you, I knew you'd stir it up.
(They laugh.)
FRANK: I'm usually pretty good for that.
MELISSA: Can I call you sometime, Frank?
FRANK: Yeah, I'd like that.
(MELISSA hugs FRANK.)
(Meanwhile, two officers escort MICHAEL JOHNSON out of the building. He's
wearing a straight jacket.)
OFFICER: Come on, let's go.
MICHAEL JOHNSON: No, you don't understand. There were nails flying out of the
wall. (He sees FRANK.) It's him! He's the one that sees things. I am his
doctor. I can help him.
(The officers pull him away from FRANK and down toward their car.)
MICHAEL JOHNSON: (shouts) He's a sick, sick man!
FRANK: You should know.
(FRANK walks toward JESSICA and MARCUS. They all watch as MICHAEL JOHNSON is
being lead to the officer's car.)
MICHAEL JOHNSON: Who is in charge here? Who can I talk to?
(JESSICA hugs FRANK.)
JESSICA: Frank, I'm so sorry.
FRANK: For what?
JESSICA: I'm sorry you had to go through this.
FRANK: Now, I have to go break the bad news to my client about her fiancé. She
didn't know him at all.
MARCUS: Just got a match on prints a half our ago. He was masquerading at two
other hospitals. The whole hospital is under investigation now. You were the
last person to be admitted, Frank.
FRANK: I wasn't even a patient.
(FRANK smiles at the irony.)
FRANK: I'll see you later.
(MARCUS and JESSICA head toward the building. FRANK watches the officer car
leave with MICHAEL JOHNSON in the back seat. Off screen a bird caws.)
(FRANK turns around and sees SIMON DEAN standing in front of the building, the
black bird on his shoulder. FRANK shakes his head.)
(FRANK turns his back to SIMON and heads down the stairs out of the facility.)
FADE OUT.
========================
THE END
========================
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access
Group at WGBH Access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
========================
BEGINNING/TITLE CREDITS
========================
HAUNTED
1X10: SEEKING ASYLUM
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN U.K.: 09/11/2003
TRANSCRIBED FROM SKYONE MIX
Starring
MATTHEW FOX as Frank Taylor
RUSSELL HORNSBY as Marcus Bradshaw
Created by: ANDREW COSBY & RICK RAMAGE
Also Starring:
LYNN COLLINS as Jessica Manning
Guest Starring
COLLEEN FITZPATRICK
RYAN ALOSIO
KYMBERLY S. NEWBERRY
And
MICHAEL DeLUISE as John-O
Music by MARK SNOW
Co-Producer: MOIRA KIRLAND DEKKER
Co-Producer: ERIN MAHER
Co-Producer: KAY REINDL
Producer: ROB WRIGHT
Produced by: TIM IACOFANO
Supervising Producer: ANDREW COSBY
Executive Producer: RICK RAMAGE
Written by: STACIA RAYMOND
Directed by: JERRY LEVINE
========================
END CREDITS
========================
Executive Producer: SCOTT SHEPHERD
Executive Producers: EMILE LEVISETTI
Executive Producers: KEITH ADDIS
IE (tm) Industry Entertainment
CBS Productions
Viacom Productions, A Paramount Company
Coordinating Producers: BRIAN L. CHAMBERS / ROBERT P. COHEN
Co-Starring
EMILY LIU as Meghan (Jennings)
Featuring:
TANIA GUNADI as Anorexic Girl
RAY STONEY as Guard
Director of Photography: GORDON C. LONSDALE
Production Designer: GREG MELTON
Edited by: ANNETTE DAVEY
Unit Production Manager: ROBERT P. COHEN
First Assistant Director: TENA YATROUSSIS
Second Assistant Director: DAN SUHART
Casting by VICTORIA BURROWS and SCOT BOLAND
Production Executive: DAVE WATSON
Set Decorator: NATALI POPE
Costume designer: MARY McLEOD
Camera Operators: GREG RHINEER / DAVID RUSSELL / BENGT JONSSON
Chief Lighting Technician: JACK TODD
Key Grip: JASON HODGES
Make-Up Artist: DONNA CICATELLI
Hair Stylist: MICHAEL WHITE
Property Master: CHUCK McSORLEY
Script Supervisor: HILARY MOMBERGER
Special Effects Coordinator: ROBERT WILLARD
Production Coordinator: MATT MUSGRAVE
Casting Assistant: JOSH EINSOHN
Production Sound Mixer: MAURY HARRIS, C.A.S.
Supervising Sound Editor: MICHAEL O. LYLE
Music Editor: JEFF CHARBONNEAU
Post Production Supervisor: COLIN A.B.V. LEWIS
Assistant Editor: TOM DeMAURI
Re-Recording Mixers: RICK ALEXANDER / RICHARD ROGERS
Script Coordinator: MEGHAN DOWD
Assistant to Mr. Shepherd: STACIA RAYMOND
Assistant to Mr. Addis: S. FISH
Assistant to Mr. Levisetti: MICHELLE CLARK
Assistants to Producers: TARYN P. KELLY / JENNIFER THOMPSON / CHRIS KELISHES /
CARLETON DANIELS / KRIS GRIMMINGER / KENNETH MOK
Post Production Video Services Provided by THE POST GROUP
Post Production Sound by ECHO SOUND SERVICES, INC.
Film Processing Provided by FOTOKEM
Main Title by THE PICTURE MILL
Filmed with PANAVISION (R) Cameras & Lenses
Executive in Charge of production: BRUCE KERNER
The persons and events in his film are fictitious. Any similarity to actual
persons to events in unintentional.
(c) 2002 VIACOM Productions Inc. All Rights Reserved.
First Publication USA.
Viacom Productions Inc. is the author of this program for purposes of Article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other
countries. Unauthorized duplication or exhibition may results in civil
liability and criminal prosecution.
Dated:02/27/2004~lky
http://www.webphilia.com/~anthology/wnp.html