July 25, 2018 • 23 mins
Following the incident at the Dixie Hotel, Dr. Hayes (John Schmedes) returns to Central State Hospital just as its orderly operation is interrupted. In defiance of Dr. Hayes, Verdrey (Lisa Paulsen) attempts to hide Karen (Hannah Fierman) where the hospital’s darkest secrets are kept.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The control group contains scenes of realistic violence and graphic sexuality.
It is intended for mature listeners. In the field of
psychiatric medicine, it was an exciting time, a time of
innovation and discovery, a time when mental health institutions struggled
(00:22):
to redefine themselves, to become something more than repositories of
the sick. Unorthodox methods and aggressive therapies were not only permitted,
but encouraged. This is a record of that time. This
is the control group. All right, Erdrie, Everyone's washed and
(01:05):
rushed and settled in, and I am leaving because I
have a date. Oh anyone I know, not yet. His
name's Franklin. I'm planning to bring him to the spring Flame,
assuming all goes well. Fingers crossed. I'm really happy for you, Gloria,
truly have a great time. You want to walk out
(01:26):
with me? Sure, let me grab my coat. Dr Hayes,
I thought you weren't coming back in my office, Gloria,
get over to the sleep room. Take Karen off the
fen of barb wait hold hold on, Gloria, Dr Hayes,
prepa tim mielegram benz adrain injection and wait for me.
Have a second one standing by. I'll be right in. Whoa, whoa.
(01:47):
She's in a deep sleep. Her heart may not be
able to just do it. Yes, I'll do it. It
could kill her if her heart isn't strong enough, it
could kill her. Yea. If something happens to Karen, I'd
rather the blood be on my hands, not glorious. Have
(02:08):
it your own way? Should I go? You go ahead,
I'll stick around and managements all right? Then don't stay
too late. I won't go have fun. Thanks, karens wake up?
(02:48):
I'm a wake whit is it? I've got to disconnect you.
What elsen what your slippers are? If you need to run?
Will you be able to run? I can run. I'm
gonna go see what's happening. I'll be back for you
as soon as I can be ready. M hmm de
(03:35):
deed d Hello. I guess i'll sign myself out another day.
Another dollar. Oh come on, you can't be Hellola, of
(04:08):
course it would be tonight. How you better believe someone's
getting reported for this? Do it myself? Oh no, why
don't you forget? Something strange is going on. No one's
(04:29):
at the desk, The phones are dead on the door
is chained shut, chained shut from the outside, and also
check the fire exit in the southward it's also chained shut.
We're locked in. That's ridiculous. Call security. I told you
the phones are dead. They can't just lock us in
here because someone wasn't able to stay at the desk.
(04:49):
It isn't safe. Why the fire shouted. Do not alarm
the patience. Get hold of yourself, Drea. Good evening, ladies.
We're going to cut our free time a bit short tonight.
I'm going to ask that you all put away your
things and return to the dormitorium as quickly as you can.
(05:14):
What's going on? Get all the women into the door right,
what's going do your job now? No, I'm leaving. Don't
be such a child. Listen up, ladies. As you can see,
we're having a little power outage. No need to be concerned.
(05:35):
Just sit where you are for a moment, and Gloria
is going to make sure everyone gets back to the door.
You had a change of the sciary doors on an
electric lock. We can't get out. We can get out
through the backstairs. We have a key, so there's no
reason to be frightened. But I really whether you're off
(05:56):
doing or not. I need you to do your job
right now. Yes, ma'am Gloria. There's a strong nurse inside
of you. Let her out. All right, ladies, we're gonna
do this single file. We're gonna do this quickly, quietly.
We're not going to ask a million questions. Yes, I'm
looking at you, Irene. Did you do what I asked? Well?
(06:22):
I was, Did you or didn't you? I did? She's
all ready for you. Good. Let's go try to bring
it back around. But Dr Hayes, before we do that,
could you what'd you answer? Mm hmm ward b he is?
(06:58):
May I tell him who's calling? M h I understand,
all right, he says. He says, you know who it is,
and that you should meet him in the conference room downstairs. Now,
(07:24):
I suppose you'd better go. Yeah, how could you take
care of Karen? I will ye? Come in? Dr Hayes
(08:10):
summer Hill, Oh Jesus, oh God explains about that. No,
hay I really don't think you can. But that's okay,
that's what we're here for. Come in, relax, you're among friends.
In fact, allow me to introduce Dr Carl Duffried, director
(08:34):
of my unit. Oh pleasure, Doctor Hayes. I've heard splendid things.
First off, let me congratulate you on how well you've done. Hi, Marx.
Dr Hayes. I'm sorry, but this really isn't a good time.
There's been an emergency, a whole series of emergencies. One
of my patients, former patients, is in danger, and if
I don't go to the I have to contradict you.
(08:57):
This is a good time, This is the perfect time.
This is why we're here. Can you see I can
see well enough, ya, We're almost there. Here, take the flashlight,
(09:20):
got it all right? Come in? What's this place? It's
called the d ward. Hasn't been used in years. Oh
my god, yeah, I know. For years it was just
(09:42):
known as the cages. Nowadays you'll be reprimanded if you
call it that, the remnant of an earlier time. Once
upon a time, Central State Hospital was called the New
canaan nitic asylum. Patients would wander the ward, naked, sleep
their own filth, and the ones that the doctors couldn't
(10:03):
communicate with. We're put here like animals. The women were here,
the men were on the east wing, and their conditions
were even worse. If you can imagine must have been
quite the exhibition never meant to be seen from medical
(10:23):
eyes only, which makes it a strangely appropriate place for
you to hide here. No one ever comes down here anymore.
The hospital wants to forget it even existed, going in
one of those cages, Karen, it's for your own protection.
How many times have I heard that before from people
(10:45):
who were supposed to be protecting me. You'll be safe here,
I'm not safe anywhere. Tell us what happened. Oh, it's
nothing about what you know? What? Come on, you know what?
(11:05):
Walk us through it from the moment you left here
this morning. You know, we know, but it's important that
we find out how much you know, how much you understand?
Is she safe? Tell me that much at least, Charlotte,
you left here at ten minutes after ten. You were
(11:27):
carrying an audio recording set in a small grip. Please
walk us through it. Why why is it so important
you know what happened in that room? We should ask
you the same question. What scientific impulse led you to
take one of your former patients, one whose grip on
(11:49):
reality is tenuous, to say the least, and have her
be a surrogate. It was an exercise in and character
transference and projection as means. Just tell us what was
it like? If I could ask a favor, If you
(12:11):
could turn on the power before there's a panic, at
least do that for me. Of course, we only did
that to get your attention. The phones, however, will need
to remain off until we resolve. I'll tell you everything.
(12:33):
What is this? Oh? No, what are you? No? It's
better this. Do know what they'll do to me if
they find me. They won't find me. I'll beat back
when it's safe. Interesting new vergery. I don't care if
(12:55):
you trust me or not. I'm gonna do what I
said I do. M h So, Dr Hayes cutting into
(13:23):
the heart of the matter. When you had intercourse with
Charlotte Benton, Oh, for God's sake, there's nothing to be
embarrassed about. Dr. I don't mean to sound like an
inquisitor when I want you to think of me more
as a curious friend with whom you are sharing tales
of your latest medical conquest. Did you or did you
(13:48):
not have intercourse with Charlotte Benton? I did? Briefly. You
are absolved, my son, in the name of scientific progress,
proceed de very the act She seemed to withdraw, became dissociative,
(14:15):
so that so that after after you withdrew, sorry, she
slipped into catatonic immobility. Why did she react this way?
Her mind was already fragile. And I guess when I
did she ever become Karen? You commanded her to become Karen?
(14:40):
You played the recorded messages. It would take weeks of
treatment for her to really become Karen. So why did
you bother? I needed to embolden her. I needed her
to overcome any moral resistance she may have had about
participate in the therapy. And do you, drs did you
(15:07):
have any moral resistance to what you were doing? I
suppose I did, and I'm sure the recorded messages that
mean as well. Afterward, I just lay there. That's the
(15:28):
disappointment and self loathing crypt in. I don't know what
I thought would happen, what I would learn. I had
expected some kind of revelation, and then it happened. The
(15:49):
pattern on the wallpaper one section behind the dresser didn't
match the rest of the room. It was close, but
not exactly in the corner as had been glued down.
I started looking at the other parts of the room.
In the bathroom. There was a large event, much larger
than necessary, large enough for a person to easily fit through.
(16:14):
I thought, maybe this is where this is where Karen's
accomplice was hiding, and once the victim was under her spell,
this man could sneak out. It was easy to remove,
(16:37):
and so I stepped inside. I found a light bulb
hanging on a wire. It was a room, a hidden room,
and had a table and chair, telephone and ash tray,
a little speaker with a button on it. In one
(16:58):
corner of the room, not much bigger than a closet.
There was chamber, PoTA, you might say. And there was
a camera, a sixteen millimeter movie camera mounting on a tripod,
and the camera was aimed through a window. The mirror
(17:20):
a two way mirror, so whoever was in the room
could see them, could take pictures of them. I stood
behind the camera. I looked through the window. I saw Charlotte.
(17:41):
What else did you see? Doctor? I saw a man,
I know. I locked the door, but he was standing
next to the bed. He wasn't looking at her. He
was looking at me, saying something to me. But I
(18:04):
pushed the button on the speaker. I think so if
I am ever, does you feel dark? I must feels
pretty good. You walked right up to the mirror. He
looked me right in the eye. You know I knew
he couldn't see me. You've got something that belongs to me,
(18:25):
dark cooperating, so it's on the stair. Did I take
something to yours? We walked back to the bed, grabbed
Charlotte by the arm, pulled her up off the bed.
She could barely stand, so he held her around the waist.
I'm gonna make this really easy, cooperating. I'm gonna come
see you tonight, and I'm gonna take what's mine. And
(18:49):
if you're smart and you keep your mouth shut, you
just might get what's yours. Did you say anything to him?
If I didn't think it'd be able to hear me,
Did you do anything to stop him? Waited until they
(19:15):
left cooperating. I stood there looking through the class I
have for a moment, I wonder if it was all
an illusion, my mind playing tricks. And when I went
back in the room, Charlotte would be on the bed
just as I had left her. Trust Dr Hayes, But
(19:39):
only when I'm absolutely helped She wasn't, and only by
fully cooperator. She was gone. But you know this already,
don't you. We know everything? Yeah, come on, someone, come on,
(20:07):
come on. Oh there's gotta be out for God's sake, Bergery,
better come back. Let me out of the cage. Finally,
(20:34):
come on already, Burgery, BERBERI I told you to be quiet.
I know, I know. I'm just anxious to get Does
someone follow you? I don't think so. I tried someone
(20:54):
followed you? I don't. I tried to be cautious, but
I M it could be graph. Do you have anything
that I can use this little weapon? Give me the keys, Karen,
is too dangerous for you to go their weapons, Burgery,
(21:16):
give me something, all right, here, take the keys. He's coming,
I know, get him and then somehow get him close
to the bars. Okay, the cage, I'll try. It's close
enough for me to reach it. I'd say, God, I'm
(21:36):
find something you can use as a weapon, a weapon.
Hold onto it, let says far back. Kiss you can
if I need you. We'll be here, right Are we here? Karen?
What are you planning? Dish? He's coming, He's coming. M
(22:01):
m m m m. The Control Group is a production
(22:24):
of how stuff works, written and directed by Brett Wood,
recorded and mixed by Rob Gal m m m m
The control group contains scenes of realistic violence and graphic sexuality.
It is intended for mature listeners. In the field of
psychiatric medicine, it was an exciting time, a time of
innovation and discovery, a time when mental health institutions struggled
(00:22):
to redefine themselves, to become something more than repositories of
the sick. Unorthodox methods and aggressive therapies were not only permitted,
but encouraged. This is a record of that time. This
is the control group. All right, Erdrie, Everyone's washed and
(01:05):
rushed and settled in, and I am leaving because I
have a date. Oh anyone I know, not yet. His
name's Franklin. I'm planning to bring him to the spring Flame,
assuming all goes well. Fingers crossed. I'm really happy for you, Gloria,
truly have a great time. You want to walk out
(01:26):
with me? Sure, let me grab my coat. Dr Hayes,
I thought you weren't coming back in my office, Gloria,
get over to the sleep room. Take Karen off the
fen of barb wait hold hold on, Gloria, Dr Hayes,
prepa tim mielegram benz adrain injection and wait for me.
Have a second one standing by. I'll be right in. Whoa, whoa.
(01:47):
She's in a deep sleep. Her heart may not be
able to just do it. Yes, I'll do it. It
could kill her if her heart isn't strong enough, it
could kill her. Yea. If something happens to Karen, I'd
rather the blood be on my hands, not glorious. Have
(02:08):
it your own way? Should I go? You go ahead,
I'll stick around and managements all right? Then don't stay
too late. I won't go have fun. Thanks, karens wake up?
(02:48):
I'm a wake whit is it? I've got to disconnect you.
What elsen what your slippers are? If you need to run?
Will you be able to run? I can run. I'm
gonna go see what's happening. I'll be back for you
as soon as I can be ready. M hmm de
(03:35):
deed d Hello. I guess i'll sign myself out another day.
Another dollar. Oh come on, you can't be Hellola, of
(04:08):
course it would be tonight. How you better believe someone's
getting reported for this? Do it myself? Oh no, why
don't you forget? Something strange is going on. No one's
(04:29):
at the desk, The phones are dead on the door
is chained shut, chained shut from the outside, and also
check the fire exit in the southward it's also chained shut.
We're locked in. That's ridiculous. Call security. I told you
the phones are dead. They can't just lock us in
here because someone wasn't able to stay at the desk.
(04:49):
It isn't safe. Why the fire shouted. Do not alarm
the patience. Get hold of yourself, Drea. Good evening, ladies.
We're going to cut our free time a bit short tonight.
I'm going to ask that you all put away your
things and return to the dormitorium as quickly as you can.
(05:14):
What's going on? Get all the women into the door right,
what's going do your job now? No, I'm leaving. Don't
be such a child. Listen up, ladies. As you can see,
we're having a little power outage. No need to be concerned.
(05:35):
Just sit where you are for a moment, and Gloria
is going to make sure everyone gets back to the door.
You had a change of the sciary doors on an
electric lock. We can't get out. We can get out
through the backstairs. We have a key, so there's no
reason to be frightened. But I really whether you're off
(05:56):
doing or not. I need you to do your job
right now. Yes, ma'am Gloria. There's a strong nurse inside
of you. Let her out. All right, ladies, we're gonna
do this single file. We're gonna do this quickly, quietly.
We're not going to ask a million questions. Yes, I'm
looking at you, Irene. Did you do what I asked? Well?
(06:22):
I was, Did you or didn't you? I did? She's
all ready for you. Good. Let's go try to bring
it back around. But Dr Hayes, before we do that,
could you what'd you answer? Mm hmm ward b he is?
(06:58):
May I tell him who's calling? M h I understand,
all right, he says. He says, you know who it is,
and that you should meet him in the conference room downstairs. Now,
(07:24):
I suppose you'd better go. Yeah, how could you take
care of Karen? I will ye? Come in? Dr Hayes
(08:10):
summer Hill, Oh Jesus, oh God explains about that. No,
hay I really don't think you can. But that's okay,
that's what we're here for. Come in, relax, you're among friends.
In fact, allow me to introduce Dr Carl Duffried, director
(08:34):
of my unit. Oh pleasure, Doctor Hayes. I've heard splendid things.
First off, let me congratulate you on how well you've done. Hi, Marx.
Dr Hayes. I'm sorry, but this really isn't a good time.
There's been an emergency, a whole series of emergencies. One
of my patients, former patients, is in danger, and if
I don't go to the I have to contradict you.
(08:57):
This is a good time, This is the perfect time.
This is why we're here. Can you see I can
see well enough, ya, We're almost there. Here, take the flashlight,
(09:20):
got it all right? Come in? What's this place? It's
called the d ward. Hasn't been used in years. Oh
my god, yeah, I know. For years it was just
(09:42):
known as the cages. Nowadays you'll be reprimanded if you
call it that, the remnant of an earlier time. Once
upon a time, Central State Hospital was called the New
canaan nitic asylum. Patients would wander the ward, naked, sleep
their own filth, and the ones that the doctors couldn't
(10:03):
communicate with. We're put here like animals. The women were here,
the men were on the east wing, and their conditions
were even worse. If you can imagine must have been
quite the exhibition never meant to be seen from medical
(10:23):
eyes only, which makes it a strangely appropriate place for
you to hide here. No one ever comes down here anymore.
The hospital wants to forget it even existed, going in
one of those cages, Karen, it's for your own protection.
How many times have I heard that before from people
(10:45):
who were supposed to be protecting me. You'll be safe here,
I'm not safe anywhere. Tell us what happened. Oh, it's
nothing about what you know? What? Come on, you know what?
(11:05):
Walk us through it from the moment you left here
this morning. You know, we know, but it's important that
we find out how much you know, how much you understand?
Is she safe? Tell me that much at least, Charlotte,
you left here at ten minutes after ten. You were
(11:27):
carrying an audio recording set in a small grip. Please
walk us through it. Why why is it so important
you know what happened in that room? We should ask
you the same question. What scientific impulse led you to
take one of your former patients, one whose grip on
(11:49):
reality is tenuous, to say the least, and have her
be a surrogate. It was an exercise in and character
transference and projection as means. Just tell us what was
it like? If I could ask a favor, If you
(12:11):
could turn on the power before there's a panic, at
least do that for me. Of course, we only did
that to get your attention. The phones, however, will need
to remain off until we resolve. I'll tell you everything.
(12:33):
What is this? Oh? No, what are you? No? It's
better this. Do know what they'll do to me if
they find me. They won't find me. I'll beat back
when it's safe. Interesting new vergery. I don't care if
(12:55):
you trust me or not. I'm gonna do what I
said I do. M h So, Dr Hayes cutting into
(13:23):
the heart of the matter. When you had intercourse with
Charlotte Benton, Oh, for God's sake, there's nothing to be
embarrassed about. Dr. I don't mean to sound like an
inquisitor when I want you to think of me more
as a curious friend with whom you are sharing tales
of your latest medical conquest. Did you or did you
(13:48):
not have intercourse with Charlotte Benton? I did? Briefly. You
are absolved, my son, in the name of scientific progress,
proceed de very the act She seemed to withdraw, became dissociative,
(14:15):
so that so that after after you withdrew, sorry, she
slipped into catatonic immobility. Why did she react this way?
Her mind was already fragile. And I guess when I
did she ever become Karen? You commanded her to become Karen?
(14:40):
You played the recorded messages. It would take weeks of
treatment for her to really become Karen. So why did
you bother? I needed to embolden her. I needed her
to overcome any moral resistance she may have had about
participate in the therapy. And do you, drs did you
(15:07):
have any moral resistance to what you were doing? I
suppose I did, and I'm sure the recorded messages that
mean as well. Afterward, I just lay there. That's the
(15:28):
disappointment and self loathing crypt in. I don't know what
I thought would happen, what I would learn. I had
expected some kind of revelation, and then it happened. The
(15:49):
pattern on the wallpaper one section behind the dresser didn't
match the rest of the room. It was close, but
not exactly in the corner as had been glued down.
I started looking at the other parts of the room.
In the bathroom. There was a large event, much larger
than necessary, large enough for a person to easily fit through.
(16:14):
I thought, maybe this is where this is where Karen's
accomplice was hiding, and once the victim was under her spell,
this man could sneak out. It was easy to remove,
(16:37):
and so I stepped inside. I found a light bulb
hanging on a wire. It was a room, a hidden room,
and had a table and chair, telephone and ash tray,
a little speaker with a button on it. In one
(16:58):
corner of the room, not much bigger than a closet.
There was chamber, PoTA, you might say. And there was
a camera, a sixteen millimeter movie camera mounting on a tripod,
and the camera was aimed through a window. The mirror
(17:20):
a two way mirror, so whoever was in the room
could see them, could take pictures of them. I stood
behind the camera. I looked through the window. I saw Charlotte.
(17:41):
What else did you see? Doctor? I saw a man,
I know. I locked the door, but he was standing
next to the bed. He wasn't looking at her. He
was looking at me, saying something to me. But I
(18:04):
pushed the button on the speaker. I think so if
I am ever, does you feel dark? I must feels
pretty good. You walked right up to the mirror. He
looked me right in the eye. You know I knew
he couldn't see me. You've got something that belongs to me,
(18:25):
dark cooperating, so it's on the stair. Did I take
something to yours? We walked back to the bed, grabbed
Charlotte by the arm, pulled her up off the bed.
She could barely stand, so he held her around the waist.
I'm gonna make this really easy, cooperating. I'm gonna come
see you tonight, and I'm gonna take what's mine. And
(18:49):
if you're smart and you keep your mouth shut, you
just might get what's yours. Did you say anything to him?
If I didn't think it'd be able to hear me,
Did you do anything to stop him? Waited until they
(19:15):
left cooperating. I stood there looking through the class I
have for a moment, I wonder if it was all
an illusion, my mind playing tricks. And when I went
back in the room, Charlotte would be on the bed
just as I had left her. Trust Dr Hayes, But
(19:39):
only when I'm absolutely helped She wasn't, and only by
fully cooperator. She was gone. But you know this already,
don't you. We know everything? Yeah, come on, someone, come on,
(20:07):
come on. Oh there's gotta be out for God's sake, Bergery,
better come back. Let me out of the cage. Finally,
(20:34):
come on already, Burgery, BERBERI I told you to be quiet.
I know, I know. I'm just anxious to get Does
someone follow you? I don't think so. I tried someone
(20:54):
followed you? I don't. I tried to be cautious, but
I M it could be graph. Do you have anything
that I can use this little weapon? Give me the keys, Karen,
is too dangerous for you to go their weapons, Burgery,
(21:16):
give me something, all right, here, take the keys. He's coming,
I know, get him and then somehow get him close
to the bars. Okay, the cage, I'll try. It's close
enough for me to reach it. I'd say, God, I'm
(21:36):
find something you can use as a weapon, a weapon.
Hold onto it, let says far back. Kiss you can
if I need you. We'll be here, right Are we here? Karen?
What are you planning? Dish? He's coming, He's coming. M
(22:01):
m m m m. The Control Group is a production
(22:24):
of how stuff works, written and directed by Brett Wood,
recorded and mixed by Rob Gal m m m m
The Control Group News
Host
Bret Wood
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