Into the Dark (2018) s01e08 Episode Script

All That We Destroy

1 (EERIE MUSIC) (EXHALES) MALE: You okay? It's all right? Where am I? You're in my room.
I'm cold.
Who are you? Play our song.
(THE BABYS, "EVERY TIME I THINK OF YOU") JOHN WAITE: Every time I think of you It always turns out good Every time You like wine.
Do I? JOHN WAITE: People say a love like ours FEMALE: I'm trying.
- But, um - JOHN WAITE: Will surely pass There's nothing.
JOHN WAITE: But I know a love like ours will last and last Nothing? (MUSIC PICKS UP) - JOHN WAITE: But maybe I was wrong ‐ No.
JOHN WAITE: Not knowing how our love should go BACKUP SINGERS: How our love, how our love should go JOHN WAITE: But I wasn't wrong in knowing how our love would grow Not even the night we met? The night we met? JOHN WAITE: Every time MYRNA MATTHEWS: Every time I think of you JOHN WAITE: Every single time MYRNA MATTHEWS: It always turns out good BACKUP SINGERS: Ooh (THUD) (THUD) (THUD) (SQUISHY THUD) MYRNA MATTHEWS: People say a love like ours Will surely pass (DARK MUSIC) (VEHICLE APPROACHES) It's done.
I'll get to it.
Did it feel any different? - (UTENSIL CLATTERS) - (SOMBER MUSIC) Fine.
I'll write it down for you.
And no.
Didn't feel anything like her.
(DOOR OPENS) (EERIE MUSIC) (CLICKING) (MACHINE HUMS) (LOW BEEP) (RINGING SOUND) (NERVOUS EXHALE) (SOFT VIBRATING SOUND) PARKER: How's it going? I'm doing everything I can to help him and he gives me nothing.
So are you going to do it again? (STATIC) He needs help.
That's what I'm doing.
Clinical help.
They'll take him from me.
Would that be so terrible? I'm worried, Vic.
‐ I can protect him.
‐ What about you? I mean, how far are you willing to go for him? He'll never give you the whole truth in that journal of his.
You need to see him in the act to understand.
I can't.
You know I can't observe the experiment without altering the results.
Bullshit excuse.
Even with observation bias, the firsthand accounting yields more accurate data than hearsay.
How? Record him.
And create a chain of evidence? Start a live feed.
It's the only way to really know.
(EERIE RUMBLING) (SHARP INHALE) (WATER RUNNING) Are you her? Are you someone else? ‐ I'm me? - MALE: Are you sure? I don't know.
(SHARP EXHALE) (DARK MUSIC) MALE: Do you even remember me? ‐ No.
‐ Remember me! Play our song.
JOHN WAITE: Every time I think of you (THE BABYS, "EVERY TIME I THINK OF YOU") It always turns out good Every time I've held you I thought you understood People say a love like ours will surely pass But I know a love like ours I want to go.
JOHN WAITE: And last (MUSIC PICKS UP) But maybe I was wrong Not knowing how our love should go BACKUP SINGERS: How our love, how our love should go Ooh JOHN WAITE: But I wasn't wrong in knowing how our love would grow BACKUP SINGERS: How our love, how our love should go JOHN WAITE: Every time I think of you Every time I think of you (THUD) Every time I think of you (THUD) It always turns out good (THUD) THE BABYS: Every time I think of you Every time I think of you Every time I think of you - (GRUNTS) - (RINGING) (EERIE MUSIC) Get the fuck out of my car.
Get the fuck out of here.
FEMALE: You can't fucking leave me! ‐ Fuck off! ‐ I don't know where the fuck I am! [SHOUTING.]
Tommy! Fuck you! You piece of shit.
What the fuck? (FEMALE GRUNTS) Fuck! (MESSAGE ALERT) Left me out here in the middle of nowhere without a fucking phone.
I swear to God if I ever see you again, I'm gonna fucking kill you.
Fucking dick! (SIGHS) [WHISPERING.]
Piece of shit.
I swear to God.
- MALE: Hey.
- Shit.
Sorry.
Didn't meant to startle you.
You know you're goin' the wrong way? How do you know which way I'm going? Well, you're on foot, so if you keep goin' that way, you're gonna be walking in the dark all night.
Yeah, but how'd you get here? MALE: I live about half mile that way.
Is there anything else that direction? MALE: I mean, there's a town, but that's, like, a six‐hour walk.
You got a car? MALE: No.
Well, I guess we're going to your place then.
Is that a problem? That's all right.
FEMALE: Okay.
It's fucking freezing.
You gonna give me your jacket or? Oh, yeah, sorry.
Here.
You got a name? Spencer.
I'm Ashley.
(FOOTSTEPS APPROACHING) This isn't working.
It just doesn't feel‐‐ VIC: Why? - Why isn't it working? ‐ Because it's bullshit.
It's fake.
I am trying, Spencer, I really am, but if you don't help me, I can't help you.
This is only our fourth attempt, and I don't want to keep you locked up in here, but if you go out again and (SOMBER MUSIC) I don't want to lose you.
Just give me a little more time.
SPENCER: Okay.
(HUM OF MACHINE) (SOFT EERIE MUSIC) VIC: God damn you.
I didn't need to see that.
Yes, you did.
You want to help satisfy his needs.
Keep him from killing anybody real.
Then you need to witness him in the act.
You just wanted to make me feel guilty.
Complicit.
‐ Aren't you? - VIC: I need your advice.
He's your responsibility too.
What did you learn? What did you see? VIC: He's right.
It's not real enough.
Will it ever be enough to keep him from killing someone else? (RINGING) What are you going to do to make the next one more real? VIC: I'm going to spend more time with her, give her attention, compassion.
PARKER: How much time can you give the analogue without interfering with your work? VIC: This is my work.
PARKER: I mean Harris Genetics.
You know, your company? VIC: My company is about to roll out the world's first custom‐grown cloned organs.
We're going to own the transplant business.
PARKER: But they have noticed your absence, yes? (VIC SIGHS) VIC: If I were a man, they'd call me an eccentric or a genius.
PARKER: Instead of an overprotective mother? Can we have a word? Is she done? It she's in the guest bedroom.
And I'd like to keep her there for a while, away from you.
I think it would be really helpful.
It's a big house.
It shouldn't be too hard to stay away from her.
But I want her to have the freedom to move around.
So stay put here in your room.
You can draw, watch movies.
You can go for walks.
Anything to give me a little time to help Ashley be more real for you.
Okay.
(HEARTBEAT) (INDISTINCT CONVERSATION) (INDISTINCT CONVERSATION) (ASHLEY LAUGHS) ASHLEY: I can't believe that.
(INDISTINCT CONVERSATION) (CREAKING) VIC: Excuse me.
(EERIE ELECTRONIC MUSIC) (EERIE MUSIC) (SIGHS) Are you just gonna stand there? Uh right, yeah, sorry.
Hey.
Did the Cornells move out? My folks? No.
They're just in Europe for the summer.
Technically I'm watching the place for them and not moving back home.
But that's exactly what it feels like.
(LAUGHING) I just left school.
I was in law school.
You know, I thought that I really wanted to help people, but I think actually I just want to do something creative.
You know? Yeah.
I'm such a jerk.
Here you are helping me, and I haven't even asked you your name yet.
I'm Marissa.
Spencer.
Cool, do you live around here? Uh, yeah, I live about half mile that way.
Oh, good.
I'm glad somebody lives out here.
I was getting a little freaked out that I'd be here by myself.
(PHONE RINGING) - You need to get that? ‐ No.
It's just my mom.
She calls every day to check in.
It's kind of annoying.
Hey, I'm not keeping you from anything, am I? Uh, no, I'm no.
Would you maybe be able to help me get the rest of this stuff in the house? Yeah, that's that's fine.
MARISSA: Okay, cool.
Um, if you could just grab that stuff.
(DARK MUSIC) (DOORBELL RINGS) (FOOTSTEPS APPROACHING) [NO AUDIO.]
Hi.
You must be Spencer's mom.
Um, yes.
Why? Um, is he here? I made these cookies for him.
I'm sorry, I don't mean to be rude, but Oh, he helped me get moved in today.
I'm Marissa Cornell.
My folks own the place down the road.
Oh, hey Spence! Well, listen, I don't want to take up a bunch of your time or anything.
I just made these to show my appreciation for all the help.
Your son's awfully nice.
That's very nice of you to say.
MARISSA: Okay, well, I've got some boxes to unpack, so I'll leave you be.
See you later, Spence.
It was nice to meet you.
What the fuck are you thinking? It was just a few boxes, Mom.
It's no big deal.
VIC: She made him cookies.
So much for keeping him away from the world.
(STATIC) What's she like? Bubbly.
And you think he's fixating on her? He's drawing her.
(STATIC) How's the new analogue? I was struggling with how to make it feel more real when it occurred to me she already has a backstory.
I can show her select pieces of her previous life.
PARKER: A curated history.
And it's working.
She seems human.
(DOORBELL RINGS) Spencer! Hey, what a nice surprise.
Just came to return your plate.
Oh, cool.
Come on in.
Come on.
Did you like the cookies? Yeah, they were they were good.
What you got there? Uh, it's just a little something for you.
I drew it.
Do you like it? Yeah.
This is amazing.
Oh.
Uh, you just said you wanted to do something creative.
So MARISSA: Yeah.
Yeah, I totally see it.
This is so cool.
Thank you.
I had no idea that you were so talented.
You should design a tattoo for me.
I've always wanted one.
I think I want to do it, like, right here.
So I can hide it if I want to.
Maybe I'll do that butterfly.
You know, 'cause I'm always changing.
A butterfly only changes once.
Oh yeah.
You're right.
I like you.
You're weird.
Where have you been? You know where.
Marissa's.
VIC: I thought I made myself clear.
You are not to see her.
What do you want me to do? You want me to act normal? This is this is me acting normal, okay? I'm makin' friends.
You don't want me around, you don't want me to go out.
It's not that I don't want you around.
Spencer, I'm doing all of this work on her for you! Do you want to meet her? Fine.
Tomorrow.
Let me get her ready for you.
(DRAMATIC BEAT) Shit, this place is great.
You, uh, live here alone? No, I live here with my mom.
Is she home? No, she's at work.
Yeah? What does she do? She's a geneticist.
Hey, you can't go in there.
That's her lab.
ASHLEY: [WHISPERING.]
Okay.
Hey, you know that guy you were with? Yeah.
Fuck him.
He's fucking dead to me.
Uh, can I get a bathroom? Need to piss.
It's right over there.
(SNORTS) (SNIFFS) (EXHALES) Can I? Yeah, sure.
So We're alone.
Aren't you gonna join me? Yeah, I I I can do that.
So is there, like anybody you need to call or anything like that? No.
I just need to get to town.
You know, any town, really.
But I can give you a ride when my mom gets back home.
When can we expect Mom? Probably not for another hour or so.
So how should we kill a few hours? Do you have any music? Just ask.
Um, play The Babys? (THE BABYS, "EVERY TIME I THINK OF YOU") JOHN WAITE: Every time I think of you I I love this song.
JOHN WAITE: It always turns out good My grandma, she used to, uh she used to play it all the time.
JOHN WAITE: I've held you I think she wanted to, I don't know, fuck the lead singer or something? JOHN WAITE: People say a love like ours Will surely pass Is your room down here? JOHN WAITE: But I know Uh, yeah.
JOHN WAITE: Like ours will last and last (DARK MUSIC) You remember me mentioning my son, yes? He's the one who found me.
I think it's time the two of you met.
Spencer is very shy.
The best way to get him to open up is to talk to him about things he enjoys.
What does he like? He likes art and music.
He's fond of wine and nature.
Tell him you like the same things.
Ask him about his art.
Okay.
Are you all right? I'm fine.
Let's go meet him, shall we? (DOOR OPENS) Ashley, I'd like to introduce you to my son Spencer.
Hi.
Would you like some wine? Yeah, I'd love some.
Thank you.
Well, I will leave the two of you to get better acquainted.
(DOOR CLOSES) Your mom told me that you like art and music and stuff like that? Yeah.
I like music too.
Play our song.
(THE BABYS, "EVERY TIME I THINK OF YOU") JOHN WAITE: Every time I think of you It always turns out good Every time I've held you I thought you understood People say a love like ours ASHLEY: Did you do this? I did.
It's beautiful.
JOHN WAITE: But I know a love like ours Thank you.
JOHN WAITE: Will last and last Do you have more you could show me? JOHN WAITE: But maybe I was wrong not knowing how our love could go BACKUP SINGERS: How our love, how our love should go JOHN WAITE: But I wasn't wrong in knowing how our love would grow BACKUP SINGERS: How our love, how our love would grow MYRNA MATTHEWS: Every time I think of you JOHN WAITE: Every time MYRNA MATTHEWS: Every time I think of you JOHN WAITE: Every single time MYRNA MATTHEWS: It always turns out good Wow, these are great.
JOHN WAITE: Seasons come and seasons go But our love will never die Let me hold you darling So you won't cry 'Cause people say that our love affair Will never last But we know a love like ours Will never pass How long have you known me? JOHN WAITE: Not knowing how our love should go BACKUP SINGERS: How our love, how our love should go JOHN WAITE: But I wasn't wrong Since before you were even you.
JOHN WAITE: Our love would grow BACKUP SINGERS: How our love, how our love would grow (CHOKING) (THUD) (ASHLEY GASPS) (ASHLEY CHOKING) (THUD) JOHN WAITE: Every time I think of you (THUD) (VIC WHIMPERS) It always turns out good (THUD) (SOFT EERIE MUSIC) (FOOTSTEPS APPROACHING) VIC: You're not writing.
What is it? Every morning I get up and everything seems fake.
It's like everything I see and everything I touch just doesn't feel real.
Like there's a membrane between me and the rest of the world.
And sometimes that membrane closes in and I feel like I can't breathe.
Like I'm being smothered by this horrible invisible nothingness.
But today I felt like I could breathe.
And I haven't felt this good, this free, since well, the first time.
(SOFT MUSIC) Well, I I didn't want to write that down.
I wanted to tell you.
You know how thankful I am.
(VIC GASPS) He actually hugged you? Real physical contact? It's been years since he's done that.
- (STATIC) ‐ It's working.
This breakthrough could lead to an entirely new kind of behavior modification therapy.
The applications could be The years it took your company to gain approval simply to clone organs for transplant.
‐ I know.
‐ Fundamentalists still want to burn you at the stake for that.
I'm well aware that nobody is ready to debate the legalities and ethics of human cloning, but the effects! (SOFT EERIE MUSIC) So what now? Now, we let some time pass, see how long the positive effects last, then do it again, better.
The more satisfying the event, the more time can pass between them, and then maybe he can move out.
- [STATIC.]
- Go to college.
Have a life.
Return home whenever he needs his fix.
(SIGHS) (HUM OF MACHINE) MARISSA: Heya, Spence.
SPENCER: Marissa.
You're jogging.
Yeah, I hate it.
(LAUGHS) Then why do you do it? MARISSA: 'Cause there's nothing else to do out here so I figured I might as well get in shape.
How do you stand it? Stand what? The quiet.
I like it.
Lets me think.
I think too much.
I'm always in my head and overanalyzing and That's what my therapist used to say.
You see a therapist? Yeah, doesn't everybody? What do you what do you talk about? Like, what do you what do you see her for? I had an eating disorder.
Poor body image, stuff like that.
I used to think that I was, like, like, really messed up and weird, but then I went to school and everybody there has, like, a crazy drug problem, so I was like, "I'm actually I'm okay.
" (LAUGHS) And I just stopped going.
Yeah, me too.
You had an eating disorder too? No, I I stopped going to therapy.
Oh.
What's your damage? (DARK MUSIC) (DRAMATIC BEAT) Spence, I'm sorry, you don't SPENCER: Um No, I'm sorry, I didn't mean to No, no, no, no, it's my fault.
I shouldn't have pried.
I actually um, I wanted to ask you something.
I was looking for things to do because, you know, bored, and, uh, the gallery in town has a new exhibit coming, and I thought that since you're such an amazing artist, that maybe you would wanna go.
(SOFT EERIE MUSIC) You know, with me.
Think about it.
Let me know how you feel.
Okay, bye.
(THE BABYS, "EVERY TIME I THINK OF YOU") JOHN WAITE: Maybe I was wrong Not knowing how our love should go BACKUP SINGERS: How our love, how our love should go JOHN WAITE: But I wasn't wrong in knowing how our love would grow ASHLEY: These are really cool, dude.
Did you do these? SPENCER: Yeah, those are mine.
I love art.
See? SPENCER: Ouroboros.
What? That's what it's called.
ASHLEY: Really? Cool.
JOHN WAITE: Seasons come and seasons go No, I I don't dance.
Oh, sure you do.
JOHN WAITE: Let me hold you darling So you won't cry You don't bring a lot of girls up here, do you? You're the first.
I don't think I've been anyone's first anything before.
JOHN WAITE: But we know a love like ours Will never pass Easy, tiger.
Don't wanna get too worked up.
JOHN WAITE: But maybe I was wrong Not knowing how our love should go BACKUP SINGERS: How our love, how our love should go (PAINED GRUNT) [SHRIEKING.]
No! Fuck! SPENCER: Fuck.
ASHLEY: Let go of me! (ASHLEY SCREAMS) JOHN WAITE: Every time I think of you Every time I think of you Every time I think of you - It always turns out good - (THUDDING) (GRUNTS) (PANTING) THE BABYS: Every time I think of you Every time I think of you Every time I think of you Every time I think of you Every time I think of you Every time I think of you (DARK MUSIC) (EXHALES) We're going to be patient again, right? Right.
Right.
I want her to be real for you, to feel like the real thing so you can go longer before feeling these urges.
I know.
‐ Do you? ‐ I know, Mom.
I get it, I understand what we're doing here.
(SOFT MUSIC) Thank you.
Good morning.
How are you feeling today? It's okay if you're feeling disoriented.
You've been through a lot.
Where am I? You had an accident, but I patched you up, and you should be as good as new.
My name is Victoria.
I'm a geneticist, but I'm also an MD.
What's my name? Ashley.
Ashley.
VIC: Are you hungry? I made you some soup.
When can I go home? Do you remember where your home is? Don't worry, your memories will come back, and just as soon as they do, you can go home, okay? Okay.
Well, that's probably enough for now, hmm? Why don't you get some more rest, and we can talk more later.
Okay.
Victoria.
Yes? Thank you.
You're very welcome, Ashley.
(PHONE DINGS) Here.
(DOG BARKING) You got me a dog? Thanks, Mom, I love you.
VIC: Oh, I love you too, sweetie.
Who is that? That's my son, Spencer.
He was seven years old there.
He's grown up now.
Here, he's playing with our first dog, Max.
You have a dog? Where is he? He's right here.
Max died.
What happened? He had an accident.
He was hurt very badly, but he really wanted to live, and he fought hard for a week before he passed away.
(SOFT MUSIC) We buried him here.
ASHLEY: Lucky died too? Mm‐hmm.
Everything dies.
One day I'll die.
You'll die.
And then what, what happens? Nothing.
One day, your heart will stop beating, your brain will no longer get the oxygen that it needs to continue functioning, and everything that made you you will be gone.
All your memories, experiences, will die with you.
Why? VIC: It's simply the way things are.
Max knew that.
He fought so hard to stay alive.
Every breath is precious.
Every death a tragedy.
(FOOTSTEPS APPROACHING) Who's here with you? (FOOTSTEPS APPROACHING) (GASPING) [SOBBING.]
I thought you were better.
Why couldn't you talk to me about this? Why did you lie to me? I didn't I didn't want you to hate me.
(VIC SOBBING) Where did she come from? She was just stranded on the side of the road.
Oh Damn it, Spencer.
I'm sorry.
We have to make this go away.
How? I don't know.
What do you mean, what are we supposed to do? Just just let me think.
Nobody knows that she's here? No, no.
Okay.
Okay.
I can go to the lab, get a reduction tank full of pyridoxine, break her down to raw materials.
There won't be anything recognizable left.
(MUSIC INTENSIFYING) (FOOTSTEPS APPROACHING) I thought you'd like this.
Oh, here.
Oh.
That's so sweet, thank you.
I should be thanking you actually.
I've never seen real art in person before.
Are you joking? No.
That's just so hard for me to believe.
You're such an amazing artist.
You could seriously have your own gallery show.
I don't know, I've seen virtual tours of the Louvre and Guggenheim, but that's about it.
Really, you never took a class trip to a museum or anything? I was only in school till sixth grade, so Why? Mom home‐schooled me after that and moved us out here, kept me on a leash.
Everyone said it was for the best.
Why would they say that? I did something wrong at recess.
Uh We were all playing King of the Mountain on the jungle gym, you remember that game? Yeah.
SPENCER: I didn't really play with the other kids that much.
It's not that they they didn't want me to or anything like that.
It's just I didn't feel like it.
You know, I'd always read or draw in my books.
But I don't know, it seemed like a game that I could get into.
You know, it's simple.
It didn't require any team effort or dependency on other people.
You just climb to the top and you're king, and I wanted to be king.
So I climbed to the top of the jungle gym, and That's when Tracey Heinz got up behind me, and I knew it was wrong, but for some reason, that didn't matter.
It was like time stopped.
I was given this moment to make a decision all on my own, and I was the only one in control.
So I shoved her, hard.
She fell.
She died a couple days later, and they just didn't let me go back to school, so.
God, you were just a kid.
And you've been away from people your own age ever since? My mom said it was for the best, so.
MARISSA: Come here, I want to show you something.
Surprise! The gallery owner is a friend of my folks, and he freaked out when I showed it to him, Spence.
He said that if you have more like this, then you can have your own show.
Spencer! I didn't give it away to him, and it's not for sale.
I would never give this piece away.
I didn't ask you to do this.
I‐I don't understand why you'd do this without asking me.
MARISSA: To surprise you.
Spencer, you're an artist.
You belong here.
I just wanted you to see that.
I'm proud of you.
VIC: Spencer, you still up? Spencer? (HARROWING MUSIC) (PHONE BEEPING) (VIC SIGHS) (BEEPING CONTINUES) MARISSA: I've decided something.
You are going out more, with me.
I'm gonna force you.
(MARISSA LAUGHS) Because you've been cooped up in that house for way too long, and you need to have more experiences.
And, you know, I need things to do.
Well, I'm glad I can assuage your boredom.
No, stop it, no, it's not just that.
I think that you're really cool.
No one's ever called me that before.
(MARISSA CHUCKLES) (DOOR OPENS) Good night.
(DOOR CLOSES) (DARK MUSIC) Where have you been? SPENCER: We were at an art gallery, Mom.
How many times do I have to tell you [STUTTERING.]
I can't have friends now? No, you can't.
Can you? Spencer, I am the only one who has ever been there for you, who will always be there for you.
No one will take care of you the way that I do.
Do you really want to throw all that away for her? SPENCER: It just feels different with her.
(GLITCHY SOUND EFFECTS) (SHOWER RUNNING) (GASPING) (SCREAMING) (GASPING, CHOKING) (BREATHING HEAVILY) (INTENSE MUSIC) Ashley? Ashley? What are you doing out here? I couldn't sleep.
I had bad dreams.
Really? What about? I couldn't breathe.
Like you were drowning? No, I, um, I wasn't underwater, I just I couldn't breathe, and then there were hands, and Was someone with you? I don't remember, but I was in a different bedroom, and I couldn't breathe, and then everything hurt, and and then it just went black.
It's just a dream.
Why is your son hiding from us? Spencer? He's just very shy.
He was the one who found you after the accident.
He was the one who took care of you.
I I don't remember any of that.
Something must have happened to you.
You were confused and cold.
You don't remember any of that? No.
Hmm.
When am I gonna get better? (TENSE MUSIC) Everything I'm doing here is to help you recover your past.
You just have to be patient.
For how long? You can't call it a memory.
It was a dream.
A dream about not being able to breathe.
She said she was in his room right where he has choked her to death over and over again, and she couldn't breathe.
‐ Come on, Vic.
- VIC: If you were there, if you had seen her eyes, she was so afraid.
I know she is remembering a previous incarnation.
You're growing too attached to the analogue.
It's not an analogue, it's Ashley.
I'm telling you.
She's remembering who she was.
‐ [STATIC.]
How? ‐ I don't know! Maybe there's something purifying in the reduction process.
Maybe memory is encoded in her DNA.
[STATIC.]
Maybe God is punishing us for taking a life and creating this abomination.
I don't know, I don't know how this can be.
There's no control group, there's no precedent for this.
All I know is she is more than just a copy.
She's more real to you? Yes.
And you're okay with giving her with giving Ashley to him? I would do anything for my son.
You're implying that I wouldn't? Well, you're not here, are you? I can't be there.
You know that.
It's all right, he's never really needed his father anyway.
(BEEPING) (EXHALES) (DOOR OPENS) (DARK MUSIC) (DOOR CLOSES) (DOOR OPENS) (KNOCKING ON DOOR) Ashley, I made you some lunch if Are you all right? Fine.
I'm fine.
I just had another dream.
Don't worry, dreams can't hurt you.
You can rest all you like.
I'll come check on you later.
Okay? Great, thank you.
(DOOR CLOSES) (SHUDDERS) (OCEAN SOUNDS) Is she around? She's in her room.
(OCEAN SOUNDS CONTINUE) Can we talk for a second? Music off.
(VIC SIGHS) (SOFT MUSIC) Okay.
I don't think I wanna do this anymore.
What exactly? Just this, her, just the whole the whole thing.
What are you trying to tell me? I just want to be normal, I want to be like everybody else and I wanna have a normal life.
[STUTTERING.]
I wanna go make friends and hang out with them.
Spencer.
You can't.
(SIGHS) Why not? How many doctors have you seen? (SPENCER STAMMERS) VIC: The detachment, the animal cruelty, the playground.
This didn't just start, and it won't just end.
Okay, but why not? Like, I Isn't this what you want for me? Can't you at least trust me enough to go try? What, do you want to run away with this girl? I like her.
You'll kill her.
(SIGHS) When am I gonna meet Spencer? Soon.
Very soon.
He's the one who saved me, right? Why is he afraid to see me? Oh, he's not afraid.
Spencer is just Shy? Yeah, you said that.
I saw him with another girl.
He doesn't, um, he doesn't seem that shy.
Is that so? ASHLEY: Who is she? The other girl.
VIC: Nobody.
Just a neighbor.
I assure you, all Spencer does is talk about you.
You'll understand when you remember who you are.
He's the one who helped you.
(CAMERA CLICKS) Then we should meet.
I‐I wanna thank him.
(PHONE CHIMES) What was that? I don't know.
(MUSIC INTENSIFYING) ASHLEY: What was it? (RINGING) This meeting has been on the books for over a month.
If you don't come in today, the board is seriously My name is on the building.
Surely that gives me a little leeway here.
The board is assembled and waiting for you.
- It doesn't look good.
- My cloned organs are going to revolutionize the transplant market and make Harris Genetics wealthy beyond imagining.
Come tell them that.
They want to see you face‐to‐face, and maybe you could give us a hint of what you're working on in that home lab of yours, the next big thing we No, not yet.
Come in, now.
Talk to the board.
Reassure them that the face of our company will be there for the new product launches.
I'm on my way.
(SWOOSH) Fuck! SPENCER: Mom, have you seen my sketchbook? Don't leave the house, I need to go out.
‐ Where? - VIC: It doesn't matter.
I'm locking Ashley in her room until I get back.
Why? Because I can't trust you alone with her.
(DOOR OPENING) I need you to stay put for a few hours while I deal with something.
(DOOR CLOSES, LOCKS) Jesus Christ, Spencer, what the hell are you doing with this girl? (PHONE BEEPS) I've been covering for you the best I can, but the board didn't just back this project, they backed you.
I know, I'm sorry I've been gone.
(PHONE CHIMES) The breakthroughs that I've made, neural linguistics, object recognition, they're game‐changers.
‐ Great, now go tell, them.
- (PHONE CHIMES) May I have just a moment? - TAYLOR: They're waiting for you.
- VIC: Just one quick (PHONE RINGING) Hey.
VIC: What did you tell her? SPENCER: I didn't tell her anything.
I told you she was trouble, you just wouldn't listen to me.
I know.
I'm coming right home.
TAYLOR: We can't keep them waiting any longer.
I'm sorry.
I really have to go.
TAYLOR: You're making a huge mistake! What the hell are you doing here? You didn't answer my text.
Spencer, I know that there's somebody here with you.
You don't know anything.
Ashley.
That's her name, isn't it? She's wanted.
Do you know that people are looking for her? She's dangerous.
Spencer, what's going on? (GASPING) (SKETCHBOOK SLAMS) Is that her? That's her, isn't it? Spencer, I saw her.
I took her picture.
Stop! I was gonna change.
For you.
(DOOR RATTLING) (CLATTERING) It didn't have to end this way.
(MARISSA SCREAMS, SLAMS) (MARISSA GASPING) MARISSA: Spencer! Stop it! Stop it! (MARISSA GASPING) (INTENSE MUSIC) (WINE RACK RATTLING) (HAMMER SLAMMING) (BOTTLE SMASHES) MARISSA: Call 9‐1‐1! VIRTUAL ASSISTANT: Dialing 9‐1‐1.
(MARISSA SCREAMS) OPERATOR: 911, what's your emergency? [SCREAMING.]
No! OPERATOR: Ma'am, can you hear me? ‐ Spencer, stop, please! - OPERATOR: Hello? Ma'am? Please, you don't have to do this.
[SOBBING.]
You don't have to do this! ‐ I have to.
‐ No, no, no, no.
No, you don't.
Whatever it is, I can help you.
Please.
I'm your friend.
Please.
(SHARD SLICING) (CAR APPROACHING) (CAR DOOR CLOSES) Spencer? (GASPS) [FEEBLY.]
No.
She was gonna call the cops.
I told you to stay away from her! She came over on her own, all right? She I tried to keep her out, but she just But what? She knew.
‐ How much? - SPENCER: She ran a search.
She knew everything about Ashley.
She had a picture on her phone, with you.
(GHOSTLY WHISPERING) (PHONE DINGS) Shit.
We have to get rid of the bodies.
Now! Go get Ashley! (CHOKING, GASPING) MALE VOICE: I don't care what trouble you're in, honey, just please come home.
FEMALE VOICE: Everyone's looking for you.
Where are you, Ashley? MALE VOICE: Whatever's going on, just call me, okay? SPENCER: She's not there.
She's not in her room.
VIC: Well, where is she? Well, we have to find her.
The police are gonna be here any minute.
We have to It's okay, I'll take the heat.
All right, we'll just say it was all me and you had nothing to do with any of this.
(SHUDDERING) (ASHLEY SOBBING) I love you for thinking of me, but no.
We do this together.
(SENTIMENTAL MUSIC) (VIC SNIFFLES) Okay, take this body to the tank.
I will go to the lab and turn on the bio composter, and then we will find Ashley.
She doesn't know where she is.
She can't have gotten far.
(DARK MUSIC) (GASPS) Easy.
What am I? VIC: You're a shadow.
A memory of someone.
No, I'm me.
No, you aren't.
You looked over the files, then you know.
- I made you.
‐ You aren't my mother.
I gave you life, a better life than you ever would have had the first time around.
Stop! VIC: How much did you see? Did you read the part about being a criminal? If my son hadn't taken you in, you would be rotting in a cage instead Instead of what? How many times has he killed me? You do remember.
ASHLEY: I remember hands and choking and his face, his sick fucking smile.
You are monsters, both of you.
(GLASS SHATTERING) (INTENSE MUSIC) Wait.
You're a miracle, do you know that? You are the rarest thing on this earth.
Completely one‐of‐a‐kind.
You have no idea how special you are.
(HAMMER SLAMS) SPENCER: Mom! (SPENCER GRUNTS) (HAMMER CLATTERS) (ASHLEY GROANING) (PUNCHES) Ashley! Ashley! Ashley! (SPENCER GROANS) (SLAMS) (GRUNTING) Ashley, stop.
(HEAD SLAMMING) (ASHLEY SCREAMS) (POLICE SIREN WAILING) (SOBBING) (SOFT MUSIC) (POLICE SIREN WAILING) [SIREN INAUDIBLE.]
[INAUDIBLE.]
(SHREDDING) PARKER: You had to know it had to end this way, right? You did everything you could to protect him.
He was broken from the beginning.
I just wish you could've seen it as clearly as I did.
(PAPER TEARING) You need to put it to rest.
Let him go, Victoria.
VIC: Like you did? I'm done with this.
I'm taking my severance, selling the house.
You'll never hear from me again.
Don't do this, don't (BEEPING) (SNAPS, BUZZES) (DOG BARKING) SPENCER: You got me a dog? Thanks, Mom, I love you.
VIC: Oh, I love you too, sweetie.
(DOG BARKING) (MACHINERY WHIRRING) (SPENCER GASPS) (DARK ELECTRONIC MUSIC)