The Cell Page #11

Synopsis: "The Cell" takes a shocking, riveting mind trip into the dark and dangerous corridors of a serial killer's psyche -- a psyche that holds the key to saving the killer's final, trapped victim who remains alive. Making this journey into the recesses of a killer's nightmarish fantasy world is Catherine Deane, a psychologist who has been experimenting with a radical new therapy. Through a new transcendental science, Catherine can experience what is happening in another person's unconscious mind.
Production: New Line Cinema
  Nominated for 1 Oscar. Another 6 wins & 23 nominations.
 
IMDB:
6.3
Metacritic:
40
Rotten Tomatoes:
46%
R
Year:
2000
107 min
Website
1,596 Views


HENRY (CONT'D)

That's why we monitor the use of the

drugs so closely. We don't want her

getting to that degree of perceptual

disorientation.

MIRIAM:

Pump in two liters of pure oxygen,

please Henry.

Henry types a command and Novak speaks into the intercom.

NOVAK:

Dr. Kent?

IN THE PROCEDURE ROOM, Miriam eases Catherine back to

consciousness.

MIRIAM:

Deep breaths.

When she sees Stargher, Catherine's flesh crawls.

CATHERINE:

Is it cold in here?

MIRIAM:

What happened?

No response.

MIRIAM (CONT'D)

What's wrong?

Incapable of being in the same room as him, Catherine tears

out of the apparatus and anxiously exits.

MIRIAM (CONT'D)

Catherine!

IN THE PROCEDURE ROOM:

NOVAK:

I'll get her...

INT. CAMPBELL CENTER - DAY

A worried Novak searches the halls of the Campbell Center.

He's about to ask the staff for help, but stops when he sees

through the window to Edward's room.

INT. CAMPBELL CENTER - EDWARD'S ROOM

Catherine sits next to the boy's bed, holding Edward's hand,

softly singing a lullaby (to him, to herself). Feeling that

he must speak to her, Novak intervenes.

NOVAK:

Edward Baines, I presume.

(to the catatonic child)

Hi, Ed. I'm Pete.

CATHERINE:

Do you think that's funny?

NOVAK:

No. Not at all. From what I

understand, he knows I"m here, isn't

that right?

Catherine nods. Novak picks up Edward's fallen teddy bear

and rests it in the crook of the child's arm.

NOVAK (CONT'D)

I read about a woman in TExas who was in

a coma for seven years. Every time her

husband came to visit, her heart would

beat faster. Isn't that something? I

don't know what name scientists have for

something like that...

CATHERINE:

It doesn't have much to do with science.

NOVAK:

What then?

CATHERINE:

The soul. The spirit. Whatever you

want to call it.

NOVAK:

Ah, the part of us that can't be

explained.

She appreciates his understanding. And finds herself

comforted by his presence. Catherine scrutinizes Novak, his

intensity, his honesty, his complexity. And asks:

CATHERINE:

Agent Novak?

NOVAK:

Peter, okay?

CATHERINE:

Do you feel there's a side of yourself

you don't show people?

The question catches Novak off-guard, but he's willing to

answer. Anything to get her talking.

NOVAK:

Absolutely.

(realizing it's too personal)

I suppose everyone does.

CATHERINE:

Just like we all have fantasies, right?

Things only we know, that we don't

share.

NOVAK:

That's what therapists are for, right?

Catherine laughs. It helps her relax. If only slightly.

CATHERINE:

During the sessions. When I'm inside.

I see those things. What a person

hides, what they despite, what they want

to control. With Stargher...

This is difficult for her.

CATHERINE (CONT'D)

With Stargher I saw things...

NOVAK:

What did you see?

CATHERINE:

(professionally)

A kingdom. His utopia.

Life without consequence or restriction.

He's not even Carl Stargher anymore.

He's this... idealized version of

himself who can do anything he

pleases... Without fear. A horrible

primitive ugly thing.

(uncomfortable; re: Edward)

I don't want to talk in here.

She kisses Edward's forehead and exits.

INT. CAMPBELL CENTER - CONFERENCE ROOM/COURTYARD - DAY

Catherine and Novak sit on a bench in the center of the

courtyard. John Tracy is visible in the reception area,

unable to sleep, desperately trying to fight frustration.

CATHERINE:

Why'd you bring him here?

NOVAK:

You're the shrink, you tell me.

CATHERINE:

(already knows)

As soon as I met him, you knew I'd say

yes. He makes Julia real for me.

Novak nods. Guilty.

NOVAK:

It's an old lawyer trick. Target the

emotions. Do it right, you get a

reluctant witness to testify, a scared

kid to confess.

Catherine looks at him with disbelief. "You?!"

NOVAK (CONT'D)

Before I was with the Bureau, I was an

attorney, a prosecutor. Mr. Law and

Order. And then... I had a murder case

in North Carolina. Charles Gish.

Butchered seventeen people in three

days. And because of one tiny piece of

tainted evidence, he walked.

(no regrets)

That's when I quit the DA's office and

joined the FBI.

Catherine can see the pain and frustration in Novak's eyes.

She gives him a moment and asks:

CATHERINE:

You thought Stargher wanted to be

caught.

NOVAK:

I did, yeah.

CATHERINE:

You were right. There's a part of him

that knows the truth. About what he

did, about himself.

Novak's curiosity is piqued.

NOVAK:

What about Julia?

CATHERINE:

This is going to sound terrible, but...

I don't think she matters anymore. Not

to him. He never finished her. The

others...he was able to make them his.

NOVAK:

You think you can do this, don't you?

CATHERINE:

He might tell me about Julia. The part

of him that wants to help, that feels

shame and remorse. Who wants to be

redeemed.

NOVAK:

(skeptically)

This is Stargher we're talking about?

CATHERINE:

Not Stargher, not really. He's split

himself right down the middle.

Good/evil, right/wrong, merciful/cruel.

A monster. And an innocent child. If I

could reach the boy.

NOVAK:

Whoa. Hold on. Aren't they the same

guy?

CATHERINE:

Don't you feel there are different sides

to every personality? Maybe even the

worst of us is capable of one decent

act. We're all human.

NOVAK:

It's hard for me to see Stargher as

human, capable of something like

"remorse."

CATHERINE:

Then what is he?

NOVAK:

Evil.

CATHERINE:

If you believe that.

NOVAK:

Maybe this is a big f***ing waste of

time.

CATHERINE:

(sensing something)

What happened to Charles Gish?

Novak doesn't respond. She prods him.

CATHERINE (CONT'D)

What happened?

NOVAK:

What difference does it make...?

CATHERINE:

Tell me.

God, he does not want to do this.

NOVAK:

Right after the trial, the night after

he was released. Mr. and Mrs. Frank

Simmons found Charlie sitting in their

living room watching TV with their

twelve-year old daughter Margaret. He'd

cut her right down the middle with a

carving knife.

NOVAK (CONT'D)

Found the girl's heart in the freezer -

he thought they might want to keep it.

(grim humor)

Luckily, the next thing he did was slit

his own throat.

(bleakly)

I am convinced of one thing.

Charles Gish could've been raised by

Ozzie and Harriet and the same thing

would've happened.

He can see Catherine doesn't accept that.

NOVAK (CONT'D)

A child can experience abuse worse than

Charlie's. And grow up to be someone

who would never, ever hurt another

living thing.

CATHERINE:

You're sure of that?

NOVAK:

Yes. I am.

Catherine realizes that was a confession.

RAMSEY (O.S.)

Where the hell you been?

They turn to see Ramsey.

NOVAK:

Right here.

RAMSEY:

Next time, tell me, okay?

NOVAK:

But you looked so cute. All sleepy...

Ramsey shoots him a murderous look, then asks Catherine.

RAMSEY:

Your colleagues want to know what to do

with Stargher.

Novak looks to Catherine for the answer. Through the window

blinds, she watches John Tracy lower his head.

CATHERINE:

Tell them to prep him. And that I'll be

right there.

Ramsey nods and heads back to the lab.

NOVAK:

Thank you.

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Mark Protosevich

Mark David Protosevich is an American screenwriter. He wrote the screenplays for the films Poseidon and I Am Legend. Protosevich was born in Chicago, Illinois and is an alumnus of Columbia College Chicago. more…

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