Speaker 1: The control group contains scenes of realistic violence and graphic sexuality.
Speaker 1: It is intended for mature listeners. In the field of
Speaker 1: psychiatric medicine, it was an exciting time, a time of
Speaker 1: innovation and discovery, a time when mental health institutions struggled
Speaker 1: to redefine themselves, to become something more than repositories of
Speaker 1: the sick. Unorthodox methods and aggressive therapies were not only permitted,
Speaker 1: but encouraged. This is a record of that time. This
Speaker 1: is the control group. All right, Erdrie, Everyone's washed and
Speaker 1: rushed and settled in, and I am leaving because I
Speaker 1: have a date. Oh anyone I know, not yet. His
Speaker 1: name's Franklin. I'm planning to bring him to the spring Flame,
Speaker 1: assuming all goes well. Fingers crossed. I'm really happy for you, Gloria,
Speaker 1: truly have a great time. You want to walk out
Speaker 1: with me? Sure, let me grab my coat. Dr Hayes,
Speaker 1: I thought you weren't coming back in my office, Gloria,
Speaker 1: get over to the sleep room. Take Karen off the
Speaker 1: fen of barb wait hold hold on, Gloria, Dr Hayes,
Speaker 1: prepa tim mielegram benz adrain injection and wait for me.
Speaker 1: Have a second one standing by. I'll be right in. Whoa, whoa.
Speaker 1: She's in a deep sleep. Her heart may not be
Speaker 1: able to just do it. Yes, I'll do it. It
Speaker 1: could kill her if her heart isn't strong enough, it
Speaker 1: could kill her. Yea. If something happens to Karen, I'd
Speaker 1: rather the blood be on my hands, not glorious. Have
Speaker 1: it your own way? Should I go? You go ahead,
Speaker 1: I'll stick around and managements all right? Then don't stay
Speaker 1: too late. I won't go have fun. Thanks, karens wake up?
Speaker 1: I'm a wake whit is it? I've got to disconnect you.
Speaker 1: What elsen what your slippers are? If you need to run?
Speaker 1: Will you be able to run? I can run. I'm
Speaker 1: gonna go see what's happening. I'll be back for you
Speaker 1: as soon as I can be ready. M hmm de
Speaker 1: deed d Hello. I guess i'll sign myself out another day.
Speaker 1: Another dollar. Oh come on, you can't be Hellola, of
Speaker 1: course it would be tonight. How you better believe someone's
Speaker 1: getting reported for this? Do it myself? Oh no, why
Speaker 1: don't you forget? Something strange is going on. No one's
Speaker 1: at the desk, The phones are dead on the door
Speaker 1: is chained shut, chained shut from the outside, and also
Speaker 1: check the fire exit in the southward it's also chained shut.
Speaker 1: We're locked in. That's ridiculous. Call security. I told you
Speaker 1: the phones are dead. They can't just lock us in
Speaker 1: here because someone wasn't able to stay at the desk.
Speaker 1: It isn't safe. Why the fire shouted. Do not alarm
Speaker 1: the patience. Get hold of yourself, Drea. Good evening, ladies.
Speaker 1: We're going to cut our free time a bit short tonight.
Speaker 1: I'm going to ask that you all put away your
Speaker 1: things and return to the dormitorium as quickly as you can.
Speaker 1: What's going on? Get all the women into the door right,
Speaker 1: what's going do your job now? No, I'm leaving. Don't
Speaker 1: be such a child. Listen up, ladies. As you can see,
Speaker 1: we're having a little power outage. No need to be concerned.
Speaker 1: Just sit where you are for a moment, and Gloria
Speaker 1: is going to make sure everyone gets back to the door.
Speaker 1: You had a change of the sciary doors on an
Speaker 1: electric lock. We can't get out. We can get out
Speaker 1: through the backstairs. We have a key, so there's no
Speaker 1: reason to be frightened. But I really whether you're off
Speaker 1: doing or not. I need you to do your job
Speaker 1: right now. Yes, ma'am Gloria. There's a strong nurse inside
Speaker 1: of you. Let her out. All right, ladies, we're gonna
Speaker 1: do this single file. We're gonna do this quickly, quietly.
Speaker 1: We're not going to ask a million questions. Yes, I'm
Speaker 1: looking at you, Irene. Did you do what I asked? Well?
Speaker 1: I was, Did you or didn't you? I did? She's
Speaker 1: all ready for you. Good. Let's go try to bring
Speaker 1: it back around. But Dr Hayes, before we do that,
Speaker 1: could you what'd you answer? Mm hmm ward b he is?
Speaker 1: May I tell him who's calling? M h I understand,
Speaker 1: all right, he says. He says, you know who it is,
Speaker 1: and that you should meet him in the conference room downstairs. Now,
Speaker 1: I suppose you'd better go. Yeah, how could you take
Speaker 1: care of Karen? I will ye? Come in? Dr Hayes
Speaker 1: summer Hill, Oh Jesus, oh God explains about that. No,
Speaker 1: hay I really don't think you can. But that's okay,
Speaker 1: that's what we're here for. Come in, relax, you're among friends.
Speaker 1: In fact, allow me to introduce Dr Carl Duffried, director
Speaker 1: of my unit. Oh pleasure, Doctor Hayes. I've heard splendid things.
Speaker 1: First off, let me congratulate you on how well you've done. Hi, Marx.
Speaker 1: Dr Hayes. I'm sorry, but this really isn't a good time.
Speaker 1: There's been an emergency, a whole series of emergencies. One
Speaker 1: of my patients, former patients, is in danger, and if
Speaker 1: I don't go to the I have to contradict you.
Speaker 1: This is a good time, This is the perfect time.
Speaker 1: This is why we're here. Can you see I can
Speaker 1: see well enough, ya, We're almost there. Here, take the flashlight,
Speaker 1: got it all right? Come in? What's this place? It's
Speaker 1: called the d ward. Hasn't been used in years. Oh
Speaker 1: my god, yeah, I know. For years it was just
Speaker 1: known as the cages. Nowadays you'll be reprimanded if you
Speaker 1: call it that, the remnant of an earlier time. Once
Speaker 1: upon a time, Central State Hospital was called the New
Speaker 1: canaan nitic asylum. Patients would wander the ward, naked, sleep
Speaker 1: their own filth, and the ones that the doctors couldn't
Speaker 1: communicate with. We're put here like animals. The women were here,
Speaker 1: the men were on the east wing, and their conditions
Speaker 1: were even worse. If you can imagine must have been
Speaker 1: quite the exhibition never meant to be seen from medical
Speaker 1: eyes only, which makes it a strangely appropriate place for
Speaker 1: you to hide here. No one ever comes down here anymore.
Speaker 1: The hospital wants to forget it even existed, going in
Speaker 1: one of those cages, Karen, it's for your own protection.
Speaker 1: How many times have I heard that before from people
Speaker 1: who were supposed to be protecting me. You'll be safe here,
Speaker 1: I'm not safe anywhere. Tell us what happened. Oh, it's
Speaker 1: nothing about what you know? What? Come on, you know what?
Speaker 1: Walk us through it from the moment you left here
Speaker 1: this morning. You know, we know, but it's important that
Speaker 1: we find out how much you know, how much you understand?
Speaker 1: Is she safe? Tell me that much at least, Charlotte,
Speaker 1: you left here at ten minutes after ten. You were
Speaker 1: carrying an audio recording set in a small grip. Please
Speaker 1: walk us through it. Why why is it so important
Speaker 1: you know what happened in that room? We should ask
Speaker 1: you the same question. What scientific impulse led you to
Speaker 1: take one of your former patients, one whose grip on
Speaker 1: reality is tenuous, to say the least, and have her
Speaker 1: be a surrogate. It was an exercise in and character
Speaker 1: transference and projection as means. Just tell us what was
Speaker 1: it like? If I could ask a favor, If you
Speaker 1: could turn on the power before there's a panic, at
Speaker 1: least do that for me. Of course, we only did
Speaker 1: that to get your attention. The phones, however, will need
Speaker 1: to remain off until we resolve. I'll tell you everything.
Speaker 1: What is this? Oh? No, what are you? No? It's
Speaker 1: better this. Do know what they'll do to me if
Speaker 1: they find me. They won't find me. I'll beat back
Speaker 1: when it's safe. Interesting new vergery. I don't care if
Speaker 1: you trust me or not. I'm gonna do what I
Speaker 1: said I do. M h So, Dr Hayes cutting into
Speaker 1: the heart of the matter. When you had intercourse with
Speaker 1: Charlotte Benton, Oh, for God's sake, there's nothing to be
Speaker 1: embarrassed about. Dr. I don't mean to sound like an
Speaker 1: inquisitor when I want you to think of me more
Speaker 1: as a curious friend with whom you are sharing tales
Speaker 1: of your latest medical conquest. Did you or did you
Speaker 1: not have intercourse with Charlotte Benton? I did? Briefly. You
Speaker 1: are absolved, my son, in the name of scientific progress,
Speaker 1: proceed de very the act She seemed to withdraw, became dissociative,
Speaker 1: so that so that after after you withdrew, sorry, she
Speaker 1: slipped into catatonic immobility. Why did she react this way?
Speaker 1: Her mind was already fragile. And I guess when I
Speaker 1: did she ever become Karen? You commanded her to become Karen?
Speaker 1: You played the recorded messages. It would take weeks of
Speaker 1: treatment for her to really become Karen. So why did
Speaker 1: you bother? I needed to embolden her. I needed her
Speaker 1: to overcome any moral resistance she may have had about
Speaker 1: participate in the therapy. And do you, drs did you
Speaker 1: have any moral resistance to what you were doing? I
Speaker 1: suppose I did, and I'm sure the recorded messages that
Speaker 1: mean as well. Afterward, I just lay there. That's the
Speaker 1: disappointment and self loathing crypt in. I don't know what
Speaker 1: I thought would happen, what I would learn. I had
Speaker 1: expected some kind of revelation, and then it happened. The
Speaker 1: pattern on the wallpaper one section behind the dresser didn't
Speaker 1: match the rest of the room. It was close, but
Speaker 1: not exactly in the corner as had been glued down.
Speaker 1: I started looking at the other parts of the room.
Speaker 1: In the bathroom. There was a large event, much larger
Speaker 1: than necessary, large enough for a person to easily fit through.
Speaker 1: I thought, maybe this is where this is where Karen's
Speaker 1: accomplice was hiding, and once the victim was under her spell,
Speaker 1: this man could sneak out. It was easy to remove,
Speaker 1: and so I stepped inside. I found a light bulb
Speaker 1: hanging on a wire. It was a room, a hidden room,
Speaker 1: and had a table and chair, telephone and ash tray,
Speaker 1: a little speaker with a button on it. In one
Speaker 1: corner of the room, not much bigger than a closet.
Speaker 1: There was chamber, PoTA, you might say. And there was
Speaker 1: a camera, a sixteen millimeter movie camera mounting on a tripod,
Speaker 1: and the camera was aimed through a window. The mirror
Speaker 1: a two way mirror, so whoever was in the room
Speaker 1: could see them, could take pictures of them. I stood
Speaker 1: behind the camera. I looked through the window. I saw Charlotte.
Speaker 1: What else did you see? Doctor? I saw a man,
Speaker 1: I know. I locked the door, but he was standing
Speaker 1: next to the bed. He wasn't looking at her. He
Speaker 1: was looking at me, saying something to me. But I
Speaker 1: pushed the button on the speaker. I think so if
Speaker 1: I am ever, does you feel dark? I must feels
Speaker 1: pretty good. You walked right up to the mirror. He
Speaker 1: looked me right in the eye. You know I knew
Speaker 1: he couldn't see me. You've got something that belongs to me,
Speaker 1: dark cooperating, so it's on the stair. Did I take
Speaker 1: something to yours? We walked back to the bed, grabbed
Speaker 1: Charlotte by the arm, pulled her up off the bed.
Speaker 1: She could barely stand, so he held her around the waist.
Speaker 1: I'm gonna make this really easy, cooperating. I'm gonna come
Speaker 1: see you tonight, and I'm gonna take what's mine. And
Speaker 1: if you're smart and you keep your mouth shut, you
Speaker 1: just might get what's yours. Did you say anything to him?
Speaker 1: If I didn't think it'd be able to hear me,
Speaker 1: Did you do anything to stop him? Waited until they
Speaker 1: left cooperating. I stood there looking through the class I
Speaker 1: have for a moment, I wonder if it was all
Speaker 1: an illusion, my mind playing tricks. And when I went
Speaker 1: back in the room, Charlotte would be on the bed
Speaker 1: just as I had left her. Trust Dr Hayes, But
Speaker 1: only when I'm absolutely helped She wasn't, and only by
Speaker 1: fully cooperator. She was gone. But you know this already,
Speaker 1: don't you. We know everything? Yeah, come on, someone, come on,
Speaker 1: come on. Oh there's gotta be out for God's sake, Bergery,
Speaker 1: better come back. Let me out of the cage. Finally,
Speaker 1: come on already, Burgery, BERBERI I told you to be quiet.
Speaker 1: I know, I know. I'm just anxious to get Does
Speaker 1: someone follow you? I don't think so. I tried someone
Speaker 1: followed you? I don't. I tried to be cautious, but
Speaker 1: I M it could be graph. Do you have anything
Speaker 1: that I can use this little weapon? Give me the keys, Karen,
Speaker 1: is too dangerous for you to go their weapons, Burgery,
Speaker 1: give me something, all right, here, take the keys. He's coming,
Speaker 1: I know, get him and then somehow get him close
Speaker 1: to the bars. Okay, the cage, I'll try. It's close
Speaker 1: enough for me to reach it. I'd say, God, I'm
Speaker 1: find something you can use as a weapon, a weapon.
Speaker 1: Hold onto it, let says far back. Kiss you can
Speaker 1: if I need you. We'll be here, right Are we here? Karen?
Speaker 1: What are you planning? Dish? He's coming, He's coming. M
Speaker 1: m m m m. The Control Group is a production
Speaker 1: of how stuff works, written and directed by Brett Wood,
Speaker 1: recorded and mixed by Rob Gal m m m m