WEBVTT - S1 E8: Cages

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<v Speaker 1>The control group contains scenes of realistic violence and graphic sexuality.

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<v Speaker 1>It is intended for mature listeners. In the field of

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<v Speaker 1>psychiatric medicine, it was an exciting time, a time of

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<v Speaker 1>innovation and discovery, a time when mental health institutions struggled

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<v Speaker 1>to redefine themselves, to become something more than repositories of

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<v Speaker 1>the sick. Unorthodox methods and aggressive therapies were not only permitted,

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<v Speaker 1>but encouraged. This is a record of that time. This

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<v Speaker 1>is the control group. All right, Erdrie, Everyone's washed and

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<v Speaker 1>rushed and settled in, and I am leaving because I

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<v Speaker 1>have a date. Oh anyone I know, not yet. His

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<v Speaker 1>name's Franklin. I'm planning to bring him to the spring Flame,

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<v Speaker 1>assuming all goes well. Fingers crossed. I'm really happy for you, Gloria,

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<v Speaker 1>truly have a great time. You want to walk out

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<v Speaker 1>with me? Sure, let me grab my coat. Dr Hayes,

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<v Speaker 1>I thought you weren't coming back in my office, Gloria,

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<v Speaker 1>get over to the sleep room. Take Karen off the

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<v Speaker 1>fen of barb wait hold hold on, Gloria, Dr Hayes,

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<v Speaker 1>prepa tim mielegram benz adrain injection and wait for me.

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<v Speaker 1>Have a second one standing by. I'll be right in. Whoa, whoa.

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<v Speaker 1>She's in a deep sleep. Her heart may not be

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<v Speaker 1>able to just do it. Yes, I'll do it. It

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<v Speaker 1>could kill her if her heart isn't strong enough, it

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<v Speaker 1>could kill her. Yea. If something happens to Karen, I'd

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<v Speaker 1>rather the blood be on my hands, not glorious. Have

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<v Speaker 1>it your own way? Should I go? You go ahead,

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<v Speaker 1>I'll stick around and managements all right? Then don't stay

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<v Speaker 1>too late. I won't go have fun. Thanks, karens wake up?

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<v Speaker 1>I'm a wake whit is it? I've got to disconnect you.

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<v Speaker 1>What elsen what your slippers are? If you need to run?

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<v Speaker 1>Will you be able to run? I can run. I'm

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<v Speaker 1>gonna go see what's happening. I'll be back for you

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<v Speaker 1>as soon as I can be ready. M hmm de

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<v Speaker 1>deed d Hello. I guess i'll sign myself out another day.

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<v Speaker 1>Another dollar. Oh come on, you can't be Hellola, of

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<v Speaker 1>course it would be tonight. How you better believe someone's

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<v Speaker 1>getting reported for this? Do it myself? Oh no, why

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<v Speaker 1>don't you forget? Something strange is going on. No one's

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<v Speaker 1>at the desk, The phones are dead on the door

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<v Speaker 1>is chained shut, chained shut from the outside, and also

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<v Speaker 1>check the fire exit in the southward it's also chained shut.

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<v Speaker 1>We're locked in. That's ridiculous. Call security. I told you

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<v Speaker 1>the phones are dead. They can't just lock us in

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<v Speaker 1>here because someone wasn't able to stay at the desk.

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<v Speaker 1>It isn't safe. Why the fire shouted. Do not alarm

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<v Speaker 1>the patience. Get hold of yourself, Drea. Good evening, ladies.

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<v Speaker 1>We're going to cut our free time a bit short tonight.

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<v Speaker 1>I'm going to ask that you all put away your

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<v Speaker 1>things and return to the dormitorium as quickly as you can.

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<v Speaker 1>What's going on? Get all the women into the door right,

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<v Speaker 1>what's going do your job now? No, I'm leaving. Don't

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<v Speaker 1>be such a child. Listen up, ladies. As you can see,

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<v Speaker 1>we're having a little power outage. No need to be concerned.

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<v Speaker 1>Just sit where you are for a moment, and Gloria

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<v Speaker 1>is going to make sure everyone gets back to the door.

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<v Speaker 1>You had a change of the sciary doors on an

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<v Speaker 1>electric lock. We can't get out. We can get out

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<v Speaker 1>through the backstairs. We have a key, so there's no

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<v Speaker 1>reason to be frightened. But I really whether you're off

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<v Speaker 1>doing or not. I need you to do your job

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<v Speaker 1>right now. Yes, ma'am Gloria. There's a strong nurse inside

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<v Speaker 1>of you. Let her out. All right, ladies, we're gonna

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<v Speaker 1>do this single file. We're gonna do this quickly, quietly.

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<v Speaker 1>We're not going to ask a million questions. Yes, I'm

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<v Speaker 1>looking at you, Irene. Did you do what I asked? Well?

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<v Speaker 1>I was, Did you or didn't you? I did? She's

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<v Speaker 1>all ready for you. Good. Let's go try to bring

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<v Speaker 1>it back around. But Dr Hayes, before we do that,

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<v Speaker 1>could you what'd you answer? Mm hmm ward b he is?

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<v Speaker 1>May I tell him who's calling? M h I understand,

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<v Speaker 1>all right, he says. He says, you know who it is,

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<v Speaker 1>and that you should meet him in the conference room downstairs. Now,

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<v Speaker 1>I suppose you'd better go. Yeah, how could you take

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<v Speaker 1>care of Karen? I will ye? Come in? Dr Hayes

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<v Speaker 1>summer Hill, Oh Jesus, oh God explains about that. No,

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<v Speaker 1>hay I really don't think you can. But that's okay,

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<v Speaker 1>that's what we're here for. Come in, relax, you're among friends.

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<v Speaker 1>In fact, allow me to introduce Dr Carl Duffried, director

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<v Speaker 1>of my unit. Oh pleasure, Doctor Hayes. I've heard splendid things.

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<v Speaker 1>First off, let me congratulate you on how well you've done. Hi, Marx.

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<v Speaker 1>Dr Hayes. I'm sorry, but this really isn't a good time.

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<v Speaker 1>There's been an emergency, a whole series of emergencies. One

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<v Speaker 1>of my patients, former patients, is in danger, and if

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<v Speaker 1>I don't go to the I have to contradict you.

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<v Speaker 1>This is a good time, This is the perfect time.

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<v Speaker 1>This is why we're here. Can you see I can

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<v Speaker 1>see well enough, ya, We're almost there. Here, take the flashlight,

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<v Speaker 1>got it all right? Come in? What's this place? It's

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<v Speaker 1>called the d ward. Hasn't been used in years. Oh

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<v Speaker 1>my god, yeah, I know. For years it was just

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<v Speaker 1>known as the cages. Nowadays you'll be reprimanded if you

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<v Speaker 1>call it that, the remnant of an earlier time. Once

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<v Speaker 1>upon a time, Central State Hospital was called the New

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<v Speaker 1>canaan nitic asylum. Patients would wander the ward, naked, sleep

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<v Speaker 1>their own filth, and the ones that the doctors couldn't

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<v Speaker 1>communicate with. We're put here like animals. The women were here,

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<v Speaker 1>the men were on the east wing, and their conditions

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<v Speaker 1>were even worse. If you can imagine must have been

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<v Speaker 1>quite the exhibition never meant to be seen from medical

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<v Speaker 1>eyes only, which makes it a strangely appropriate place for

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<v Speaker 1>you to hide here. No one ever comes down here anymore.

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<v Speaker 1>The hospital wants to forget it even existed, going in

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<v Speaker 1>one of those cages, Karen, it's for your own protection.

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<v Speaker 1>How many times have I heard that before from people

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<v Speaker 1>who were supposed to be protecting me. You'll be safe here,

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<v Speaker 1>I'm not safe anywhere. Tell us what happened. Oh, it's

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<v Speaker 1>nothing about what you know? What? Come on, you know what?

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<v Speaker 1>Walk us through it from the moment you left here

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<v Speaker 1>this morning. You know, we know, but it's important that

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<v Speaker 1>we find out how much you know, how much you understand?

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<v Speaker 1>Is she safe? Tell me that much at least, Charlotte,

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<v Speaker 1>you left here at ten minutes after ten. You were

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<v Speaker 1>carrying an audio recording set in a small grip. Please

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<v Speaker 1>walk us through it. Why why is it so important

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<v Speaker 1>you know what happened in that room? We should ask

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<v Speaker 1>you the same question. What scientific impulse led you to

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<v Speaker 1>take one of your former patients, one whose grip on

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<v Speaker 1>reality is tenuous, to say the least, and have her

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<v Speaker 1>be a surrogate. It was an exercise in and character

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<v Speaker 1>transference and projection as means. Just tell us what was

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<v Speaker 1>it like? If I could ask a favor, If you

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<v Speaker 1>could turn on the power before there's a panic, at

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<v Speaker 1>least do that for me. Of course, we only did

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<v Speaker 1>that to get your attention. The phones, however, will need

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<v Speaker 1>to remain off until we resolve. I'll tell you everything.

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<v Speaker 1>What is this? Oh? No, what are you? No? It's

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<v Speaker 1>better this. Do know what they'll do to me if

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<v Speaker 1>they find me. They won't find me. I'll beat back

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<v Speaker 1>when it's safe. Interesting new vergery. I don't care if

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<v Speaker 1>you trust me or not. I'm gonna do what I

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<v Speaker 1>said I do. M h So, Dr Hayes cutting into

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<v Speaker 1>the heart of the matter. When you had intercourse with

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<v Speaker 1>Charlotte Benton, Oh, for God's sake, there's nothing to be

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<v Speaker 1>embarrassed about. Dr. I don't mean to sound like an

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<v Speaker 1>inquisitor when I want you to think of me more

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<v Speaker 1>as a curious friend with whom you are sharing tales

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<v Speaker 1>of your latest medical conquest. Did you or did you

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<v Speaker 1>not have intercourse with Charlotte Benton? I did? Briefly. You

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<v Speaker 1>are absolved, my son, in the name of scientific progress,

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<v Speaker 1>proceed de very the act She seemed to withdraw, became dissociative,

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<v Speaker 1>so that so that after after you withdrew, sorry, she

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<v Speaker 1>slipped into catatonic immobility. Why did she react this way?

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<v Speaker 1>Her mind was already fragile. And I guess when I

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<v Speaker 1>did she ever become Karen? You commanded her to become Karen?

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<v Speaker 1>You played the recorded messages. It would take weeks of

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<v Speaker 1>treatment for her to really become Karen. So why did

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<v Speaker 1>you bother? I needed to embolden her. I needed her

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<v Speaker 1>to overcome any moral resistance she may have had about

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<v Speaker 1>participate in the therapy. And do you, drs did you

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<v Speaker 1>have any moral resistance to what you were doing? I

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<v Speaker 1>suppose I did, and I'm sure the recorded messages that

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<v Speaker 1>mean as well. Afterward, I just lay there. That's the

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<v Speaker 1>disappointment and self loathing crypt in. I don't know what

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<v Speaker 1>I thought would happen, what I would learn. I had

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<v Speaker 1>expected some kind of revelation, and then it happened. The

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<v Speaker 1>pattern on the wallpaper one section behind the dresser didn't

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<v Speaker 1>match the rest of the room. It was close, but

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<v Speaker 1>not exactly in the corner as had been glued down.

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<v Speaker 1>I started looking at the other parts of the room.

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<v Speaker 1>In the bathroom. There was a large event, much larger

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<v Speaker 1>than necessary, large enough for a person to easily fit through.

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<v Speaker 1>I thought, maybe this is where this is where Karen's

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<v Speaker 1>accomplice was hiding, and once the victim was under her spell,

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<v Speaker 1>this man could sneak out. It was easy to remove,

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<v Speaker 1>and so I stepped inside. I found a light bulb

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<v Speaker 1>hanging on a wire. It was a room, a hidden room,

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<v Speaker 1>and had a table and chair, telephone and ash tray,

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<v Speaker 1>a little speaker with a button on it. In one

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<v Speaker 1>corner of the room, not much bigger than a closet.

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<v Speaker 1>There was chamber, PoTA, you might say. And there was

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<v Speaker 1>a camera, a sixteen millimeter movie camera mounting on a tripod,

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<v Speaker 1>and the camera was aimed through a window. The mirror

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<v Speaker 1>a two way mirror, so whoever was in the room

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<v Speaker 1>could see them, could take pictures of them. I stood

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<v Speaker 1>behind the camera. I looked through the window. I saw Charlotte.

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<v Speaker 1>What else did you see? Doctor? I saw a man,

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<v Speaker 1>I know. I locked the door, but he was standing

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<v Speaker 1>next to the bed. He wasn't looking at her. He

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<v Speaker 1>was looking at me, saying something to me. But I

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<v Speaker 1>pushed the button on the speaker. I think so if

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<v Speaker 1>I am ever, does you feel dark? I must feels

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<v Speaker 1>pretty good. You walked right up to the mirror. He

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<v Speaker 1>looked me right in the eye. You know I knew

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<v Speaker 1>he couldn't see me. You've got something that belongs to me,

0:18:25.760 --> 0:18:29.800
<v Speaker 1>dark cooperating, so it's on the stair. Did I take

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<v Speaker 1>something to yours? We walked back to the bed, grabbed

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<v Speaker 1>Charlotte by the arm, pulled her up off the bed.

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<v Speaker 1>She could barely stand, so he held her around the waist.

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<v Speaker 1>I'm gonna make this really easy, cooperating. I'm gonna come

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<v Speaker 1>see you tonight, and I'm gonna take what's mine. And

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<v Speaker 1>if you're smart and you keep your mouth shut, you

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<v Speaker 1>just might get what's yours. Did you say anything to him?

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<v Speaker 1>If I didn't think it'd be able to hear me,

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<v Speaker 1>Did you do anything to stop him? Waited until they

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<v Speaker 1>left cooperating. I stood there looking through the class I

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<v Speaker 1>have for a moment, I wonder if it was all

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<v Speaker 1>an illusion, my mind playing tricks. And when I went

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<v Speaker 1>back in the room, Charlotte would be on the bed

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<v Speaker 1>just as I had left her. Trust Dr Hayes, But

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<v Speaker 1>only when I'm absolutely helped She wasn't, and only by

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<v Speaker 1>fully cooperator. She was gone. But you know this already,

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<v Speaker 1>don't you. We know everything? Yeah, come on, someone, come on,

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<v Speaker 1>come on. Oh there's gotta be out for God's sake, Bergery,

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<v Speaker 1>better come back. Let me out of the cage. Finally,

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<v Speaker 1>come on already, Burgery, BERBERI I told you to be quiet.

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<v Speaker 1>I know, I know. I'm just anxious to get Does

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<v Speaker 1>someone follow you? I don't think so. I tried someone

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<v Speaker 1>followed you? I don't. I tried to be cautious, but

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<v Speaker 1>I M it could be graph. Do you have anything

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<v Speaker 1>that I can use this little weapon? Give me the keys, Karen,

0:21:13.320 --> 0:21:16.000
<v Speaker 1>is too dangerous for you to go their weapons, Burgery,

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<v Speaker 1>give me something, all right, here, take the keys. He's coming,

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<v Speaker 1>I know, get him and then somehow get him close

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<v Speaker 1>to the bars. Okay, the cage, I'll try. It's close

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<v Speaker 1>enough for me to reach it. I'd say, God, I'm

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<v Speaker 1>find something you can use as a weapon, a weapon.

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<v Speaker 1>Hold onto it, let says far back. Kiss you can

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<v Speaker 1>if I need you. We'll be here, right Are we here? Karen?

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<v Speaker 1>What are you planning? Dish? He's coming, He's coming. M

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<v Speaker 1>m m m m. The Control Group is a production

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<v Speaker 1>of how stuff works, written and directed by Brett Wood,

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<v Speaker 1>recorded and mixed by Rob Gal m m m m