WEBVTT - E1 E5: Sodium Amytal

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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. Good Good. This is Tuesday, January.

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<v Speaker 1>This morning saw the unsuccessful release of Charlotte Benton to

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<v Speaker 1>the care of her husband. Her emotional breakdown on the

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<v Speaker 1>front walkway of the hospital was witnessed by many of

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<v Speaker 1>the hospital personnel and was completely unacceptable to maintaining the

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<v Speaker 1>morale staff and patience. In response to this incident, I've

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<v Speaker 1>decided to initiate a long term sleep there before and

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<v Speaker 1>implement a more aggressive psychic driving tape than I prescribed

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<v Speaker 1>for the other patients. In order for these recorded statements

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<v Speaker 1>to have a more authoritative tone, I've decided to record

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<v Speaker 1>them myself. Charlotte, I feel that I have been too

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<v Speaker 1>lenient with you and have not given your I feel

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<v Speaker 1>like the staff of Virgery and myself have for too

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<v Speaker 1>long encouraged a sense of comfort, of artificial confidence and

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<v Speaker 1>well being. Well and smoke, m take two. I look

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<v Speaker 1>at you, Charlotte, and I see I see a woman

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<v Speaker 1>whose pleasing countenance, your poise and grace. It may be

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<v Speaker 1>the object of any man's desire. And I want you

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<v Speaker 1>to return to your home, or you can resume a

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<v Speaker 1>nor a more healthy sexual relationship and satisfy your husband. No, no, no,

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<v Speaker 1>I shouldn't do that, you know, what the hell with it? God,

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<v Speaker 1>damn you've Charlotte. I swear to God, if you create

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<v Speaker 1>another scene like the one you did outside the hospital,

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<v Speaker 1>I will personally deliver so much electricity to your brain

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<v Speaker 1>that your eyes will pop up like burnt toast. And

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<v Speaker 1>if summer Hill and his boys had seen that sad

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<v Speaker 1>little spectacle, you wouldn't be here today to wine and

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<v Speaker 1>moan and prance around the Warld like some kind of

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<v Speaker 1>price poodle. Okay, all better. In order for these recorded

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<v Speaker 1>statements to have a more authoritative own, I've decided to

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<v Speaker 1>record them myself, all right. Psychic driving Tape for Charlotte Benton,

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<v Speaker 1>January nine, sixty two. You have failed, Charlotte, as a woman,

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<v Speaker 1>as a housewife, as a mother. You have failed. You

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<v Speaker 1>will never become a healthy, mentally functioning, desirable woman until

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<v Speaker 1>you take responsibility for your failures and acknowledge that you

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<v Speaker 1>simply lack the strength, the strength, and character to be

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<v Speaker 1>a proper wife and woman. You need to undo all

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<v Speaker 1>the damage you've done to your life and prepare to

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<v Speaker 1>be taught the rules of proper behavior that I, Dr Hayes,

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<v Speaker 1>and still in you. I want to reduce you to

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<v Speaker 1>a blank slate, completely free of your own will, your

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<v Speaker 1>mind erased, so that we can rebuild it the way

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<v Speaker 1>it should be. You must trust Dr Hayes, Charlotte. You

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<v Speaker 1>must bend your will, submit yourself to me, heed my

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<v Speaker 1>every instruction, comply with my every command, and allow yourself

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<v Speaker 1>to be shaped into the kind of woman I expect

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<v Speaker 1>you to be, the kind of woman you should be.

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<v Speaker 1>Any command I care to make you will obey. No

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<v Speaker 1>matter what I instruct you to do, You will obey.

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<v Speaker 1>You will obey me and only me, For only by

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<v Speaker 1>absolute compliance can we help you attain the mental health,

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<v Speaker 1>the moral happiness, and the personal confidence that will allow

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<v Speaker 1>you to become a fully functioning member of society with

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<v Speaker 1>no further need of medical attention. Is his patient Karen Myers, Wednesday,

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<v Speaker 1>February ninth, Head of View nine, after seventeen weeks in

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<v Speaker 1>the sleep room. Awaken from deep sleep this morning. Dual

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<v Speaker 1>drip of sodium amitol mhm, and we should be ready. Yes, yes,

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<v Speaker 1>dr good, that'll be all verdery m darkening the room

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<v Speaker 1>with the exception of one directional lamp behind my right shoulder.

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<v Speaker 1>Patient will be largely immobile due to the two I

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<v Speaker 1>V tubes. Just watching now, waiting for the patient to emerge.

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<v Speaker 1>Here she comes, Relax and hear me. Careen, allow me

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<v Speaker 1>to come inside and join you in your mind. There

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<v Speaker 1>should be no barriers between us, no barriers to separate

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<v Speaker 1>us from the realm of your memory. It is all

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<v Speaker 1>there for both of us to see clearly, as if

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<v Speaker 1>it were happening before us. How's that sound. As your

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<v Speaker 1>body relaxes, you will see the interior of room five

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<v Speaker 1>twelve materializes around you the Dixie Motel. You're inside that room. Now.

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<v Speaker 1>As you move about the room, you will allow me

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<v Speaker 1>to observe you're there. Now, look around. Is there a

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<v Speaker 1>bed in the room. Yes, you're lying on the bed.

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<v Speaker 1>Look around. What else is in the room? A dresser

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<v Speaker 1>with a mirror, a chest of drawers, a mirror above that,

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<v Speaker 1>the door to the bathroom, the door to the hallway.

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<v Speaker 1>Is anyone else here? Not? Now? Just me and you,

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<v Speaker 1>doctor forget I'm doctor Hayes. Just pretend I'm an ordinary man.

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<v Speaker 1>I want you to show me what it is you

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<v Speaker 1>do what he wants you to do when you were

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<v Speaker 1>in room five twelve on August. I I want you

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<v Speaker 1>to be the woman you were on August in room

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<v Speaker 1>five twelve at the Dixie Motel. And you want meets

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<v Speaker 1>you what he want you to do. You want me

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<v Speaker 1>to seduce you. I know. I mean I want you

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<v Speaker 1>to describe to me, demonstrate what you did that night

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<v Speaker 1>in room five twelve exactly so you are a man?

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<v Speaker 1>Big pardon? Are you a man? Or are you the

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<v Speaker 1>man the man I brought here? Ronnie? Yes, yes, m

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<v Speaker 1>let's say that I am anything you want without actually

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<v Speaker 1>touching me. Don't be shy, relax, then let me fix

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<v Speaker 1>you a drink. Okay, wait, wait, wait, wait just a moment.

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<v Speaker 1>Because of the I need you to show me without

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<v Speaker 1>moving from this spot. I can't unhook the end. Just

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<v Speaker 1>stay in the spot. I can try. You could just

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<v Speaker 1>fix me a drink here? Anything you say, gin anything?

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<v Speaker 1>I'm right, you know what? Make it to bourbon. You're

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<v Speaker 1>becoming more relaxed already. There's really nothing to be nervous about.

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<v Speaker 1>A little ice, a big red cherry, a little something

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<v Speaker 1>sweet and here you go, cheers. How are you having

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<v Speaker 1>one now while I'm on duty? What's wrong? What? What

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<v Speaker 1>do you mean? Aren't you going to drink it? Yeah? Yeah,

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<v Speaker 1>of course, m delicious. Now you can really relax here

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<v Speaker 1>undo me what there's a hook at the top and

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<v Speaker 1>a zipper? Can you get that for me? Dr Ronnie?

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<v Speaker 1>Remember I remember when you're with a man in room?

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<v Speaker 1>When you were with Ronald Grant? Did you have sex

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<v Speaker 1>with him? That's what you want, right, okay, Karen, For

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<v Speaker 1>the sake of ourt therapy, let's say that you and

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<v Speaker 1>I have you and Ronald Grant have just have just

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<v Speaker 1>had it. Usually takes about forty five minutes, sometimes an

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<v Speaker 1>hour or more, but sometimes as little as fifteen yes, yes, yes, yes,

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<v Speaker 1>well let's say sometimes past how much like thirty or

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<v Speaker 1>or forty five an hour? Goodness, most men don't have

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<v Speaker 1>that kind of it's tolerance. Yes, I'm show what's wrong?

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<v Speaker 1>He didn't finish. Huh, you have to finish. He has

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<v Speaker 1>to see. Oh, the man watches me in round five twelve,

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<v Speaker 1>he insists, but you can't touch me. I need you

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<v Speaker 1>to relax and quite down. Slowly come back to the office,

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<v Speaker 1>away from room five twelve, back to the Central State Hospital.

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<v Speaker 1>I don't understand. I am no longer Ronald Rant. I

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<v Speaker 1>am Dr Hayes, And you're in my office with me.

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<v Speaker 1>Is that clear? Karen? Can you hear my voice? Karen?

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<v Speaker 1>What is it? Yeah? Who's here? You know the man

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<v Speaker 1>you're so curious about. He knows up here watching us, right,

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<v Speaker 1>that's always watching, always listening. Can you see him? Of

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<v Speaker 1>course not, you can't see busy real more imaginary, very real.

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<v Speaker 1>Does he know my name, Karen? Does he know my name? Yes?

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<v Speaker 1>Continuation of interview with patient Karen Myers, Wednesday, February nine.

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<v Speaker 1>So this man, this other man, not Ronald Grant, the

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<v Speaker 1>other man. He is real. Yes, he watches you, Yes,

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<v Speaker 1>but you can't see him. That's right. Was he in

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<v Speaker 1>the room the night Ronald Grant was killed? Not exactly

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<v Speaker 1>he was or he wasn't he was that he wasn't

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<v Speaker 1>enough of this. I'm removing the patient from the sodium

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<v Speaker 1>amatur trip. In the meantime, I'll continue the end of

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<v Speaker 1>year to see if her response is changed while she's

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<v Speaker 1>returned to a liminal state. Karen. Yes, one of the

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<v Speaker 1>nurses said, you asked to make a telephone call. Yeah, yeah,

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<v Speaker 1>you want to call him? Yes? If I give your phone,

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<v Speaker 1>would you call him now? Mm? Hm? He might be angry.

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<v Speaker 1>There's nothing to be frightened us. I am unplugging the

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<v Speaker 1>office phone from the jack and placing it next to

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<v Speaker 1>the patient. There you go, Karen. Are you sure you

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<v Speaker 1>want me to do this? Yes? What should I tell him?

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<v Speaker 1>I'll tell you what to say. Oh. Hi, it's Karen.

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<v Speaker 1>I wanted to talk to you about the man I

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<v Speaker 1>was with m last night. I don't understand what went wrong,

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<v Speaker 1>but he must have had some mm hmm oh, I

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<v Speaker 1>see what what's he saying? He thinks it was something

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<v Speaker 1>to do with the dosage. No, I'm I'm here. I

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<v Speaker 1>was just okay. I was worried that I had done

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<v Speaker 1>something wrong. Okay, so just call me ask him what

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<v Speaker 1>the drug is. No, it's nobody. I've got the television

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<v Speaker 1>on Karen, shut No, I told you it's it's just

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<v Speaker 1>a TV set. I know, I know, I know it

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<v Speaker 1>is there someone win? No, Yes, yes, it's the man

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<v Speaker 1>from last night. He followed me here. He's been asking

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<v Speaker 1>lots of questions. I'm sorry, all right enough, I swear,

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<v Speaker 1>And he doesn't know anything. He's just he's just very confused.

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<v Speaker 1>Please don't. I'll get rid of him. Okay, Um, he

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<v Speaker 1>won't ask any more questions. No, no, you don't have

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<v Speaker 1>to do that. Please don't. He's not He's not gonna

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<v Speaker 1>make any trouble. I'll make a promise. Okay, he won't

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<v Speaker 1>say anything. Doesn't do anywhere. Stop me. I don't know

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<v Speaker 1>what you're doing it to me. I didn't I didn't

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<v Speaker 1>mean to do that. Just a second. Hello, okay, okay,

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<v Speaker 1>Dr Hayes. Yeah, he wants to talk to you to me, yes, hello, Hello,

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<v Speaker 1>Oh Jesus Christ, you just hung up, Karen. He's not

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<v Speaker 1>going to be happy about that. He's on his way

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<v Speaker 1>over here right now, and I think I think he

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<v Speaker 1>wants to kill you. Could you come back in? Probably

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<v Speaker 1>killed me too, but maybe not if I tell him,

0:20:58.520 --> 0:21:08.640
<v Speaker 1>If I confess, yeah, phone doesn't work. If you don't

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<v Speaker 1>plug it in. I have no secret. Gloria, where's virtue?

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<v Speaker 1>She went down to admissions, said she when she gets back,

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<v Speaker 1>have her take Karen off the I V S and

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<v Speaker 1>preper free c T. But Dr Hayes isn't She's just

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<v Speaker 1>do it, Gloria. Don't argue, Dr Hayes. God damn it, Gloria,

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<v Speaker 1>what were you making a phone call? What? No? Well

0:21:46.520 --> 0:21:49.560
<v Speaker 1>one O two is blinking. That means your line is engaged.

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<v Speaker 1>Oh Jesus, yes, mm hmm that's right. I tried to,

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<v Speaker 1>but they wouldn't let me. Paren. What are you doing

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<v Speaker 1>your phone? It wasn't loved in? I fixed it. Put

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<v Speaker 1>down the phone. I will, Morgan, I'll try it. Karen. Yes,

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<v Speaker 1>Dr Hayes. Who what is it? He wants to speak

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<v Speaker 1>to you? To me? Yes, huh Hello? Who is this? M?

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<v Speaker 1>Don't you worry her this? Tell me where you are,

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<v Speaker 1>Tell me where she is so I can come get her.

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<v Speaker 1>That's quite impossible. Nothing's impossible. You will, of all people

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<v Speaker 1>should know that, Dr Hayes. Dr Walter hay m hm M.

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<v Speaker 1>The Control Group is a production of How Stuff Works,

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<v Speaker 1>written and directed by Brett Wood, recorded and mixed by

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<v Speaker 1>Rob Gal, starring John Schmids as Dr Hayes, Hannah Fearman

0:23:41.119 --> 0:23:46.120
<v Speaker 1>as Karen, Lisa Paulson as Verdery, Jim Bates as Charlotte,

0:23:46.760 --> 0:23:51.760
<v Speaker 1>and Daniel May as summer Hill. Also featuring Andrew Nader,

0:23:52.240 --> 0:23:58.439
<v Speaker 1>Rachel Frawley, Mary Kraft, Kelly O'Neill, Joe Sykes and Troy Willis.

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<v Speaker 1>Music by Rob Gal and Bretwood. M m m