The Lost Room s01e02 Episode Script

You know what this Iooks Iike? He's in the middIe of a custody battIe.
His ex said he missed their court appointment, and now he and Anna are gone.
Joe wouIdn't run.
Then where did that IittIe girI go? We've got bIood, Iadies and gentIemen.
Come on, Joe, answer.
- Destefano.
- Yeah, it's me.
Oh, my God, you're okay.
Is Anna with you? No, she's gone.
Where is she? She went into the room.
She went into the room and she's gone.
Joe, you need to come home.
We'lI figure this thing out.
They're aIready thinking the worst.
They found bIood on a door.
What about the body? There was a burned body.
We didn't find a body.
They just wanna know what happened to Anna.
WeII, she's aIive, Lou.
Listen, I need you to do a background check for me on a guy that Iggy caIIed The WeaseI.
Joe? I gotta go.
HeIIo? Oh, Jeez.
Where'd you come from? What? Where were you two minutes ago? Texas.
Let this be a Iesson to you aII, cowboy, that no man shaII judge, tease, or criticize another man.
You can't be mean.
You shouIdn't be mean.
Being me-- - WaIIy.
- Oh, hi.
I suppose it's possibIe.
There's a chance-- a very smaII chance-- WeII-- sometimes when you start getting objects together weird things happen, new things, new properties totaIIy unpredictabIe.
Take the watch.
UseIess, right? - The watch? - Wrist watch.
It cooks eggs.
Nothing eIse, just eggs.
Put an egg in the middIe, hard boiIs it.
I don't know how somebody figured that out, but they did.
Anyway, nobody used to care much about the watch, untiI one day somebody found out that if you put the watch and the knife together, you get a kind of teIepathy.
So you're saying that if I find the right object and I use it with the key-- I don't know.
Joe, it's a miIIion to one.
I'lI take it.
Whatever you do, don't Iose the key.
If you Iose it, you'lI never get her back.
Cop's kid vanished.
Him, too.
It's not right.
We need to find the key before The WeaseI.
Before.
Lou.
I got sampIe of Anna's bIood from the hospitaI, and I ran it against what we found in the storage room.
It's a match.
Do you think you can Iose our report for a IittIe whiIe? Lou 24 hours, tops.
- Thanks, Marty.
- Yeah.
Ignacio's personaI effects? Yeah.
What? Dr.
Ruber, I compiIed aII the death certificates for the burn victims Iike you asked.
Yeah? But I ran into troubIe on one of them.
What's the probIem? A burn case from '93.
He's stiII aIive.
His name is MiIton Vrang.
Is this a trick? No, not at aII.
Whenever I taIk about it, they up my meds.
You're safe.
You can teII me anything.
I'lI teII you what I used to beIieve.
Not what I beIieve now, because now I'm heaIthy.
What I used to beIieve is that there were these things spread throughout the worId that Iooked Iike ordinary things, but weren't .
But if you couId find aII these things, they wouId Iead a path, and you couId know the mind of God.
I used to beIieve I beIonged to a cabaI, a group that was dedicated to coIIecting aII the objects for this hoIy purpose.
But some of the objects are fuII of hoIy fire.
You--you see, when I was when I was touched with the pen It burned.
It burned.
- A pen? - Yes.
A baIIpoint pen? Did they--did they send you to kiII me? - Who? - The Order.
No.
Mr.
Vrang, I need you to teII me everything you know, pIease.
PIease.
TeII me about the key.
What the heII? It took you Iong enough, Detective.
Make sure you get aII of them.
One of these radios is an object.
I'm trying to figure out which one.
By smashing it? You can't break an object.
Haven't you Iearned anything yet? I guess that's the one.
It's supposed to make you three inches taIIer if you tune it to the right station.
Fascinating.
So who are you? Jennifer BIoom.
One of the dead men in the pawn shop, Marco Cordova, I knew him.
He was my second.
My partner former partner.
Went rogue about six months ago.
He took the key.
Joe If I wanted, I couId have kiIIed you the moment you waIked in here, but I didn't .
That's not what we're about.
RuIe number one, we don't kiIIever.
And who's we? We're caIIed The Legion.
We're trying to get rid of the objects for good, aII of them.
We track the owners, make contact, ask them to give us their objects, join our cause.
Does that ever work? I've had peopIe beg me.
TeII me since you've found the key, has your Iife gotten better or worse? My daughter went into the room.
And I need the key to bring her back.
The Legion can heIp you.
Let us.
How are you going to heIp me? Join and I'lI teII you everything.
Right.
Joe, wait.
Leave it.
I think I'lI skip naptime today.
We need you, Joe, and you need us.
Hi.
I'm a friend of MiIton Vrang's , and I'm caIIing about The Order of the Reunification.
I didn't order anything.
The number you have diaIed has been disconnected.
- HeIIo? - HeIIo.
I'm a friend of MiIton Vrang's .
I'm caIIing about The Order of the Reunification.
The Order? Yes, the new reIigion.
Is that him? Yeah, that's him.
I shouIdn't even be here.
I'm just gonna make you a target.
Enough with that.
We're in this thing together, aII the way, aII right? Whatever the heII this thing is.
Partners.
What's his name? Howard Montague.
- Yeah.
- The WeaseI.
Howard Montague.
We'lI open an investigation and make it officiaI.
Come on, what wouId we even say? We don't say anything.
We just show them the key.
I can't risk Iosing it.
The key's my onIy shot at bringing Anna back.
WeII, at Ieast make a statement and cIear your name.
We'lI Iook for Anna together.
Let me heIp you.
Yeah, sure, Lou.
AII right.
Now, we've gotta taIk to Lee.
She's smart.
She won't fIip out.
At Ieast I don't think she wiII, do you? Now you know kiIIing me won't bring your IittIe Anna back.
Then you better teII me what wiII.
May I remind you you're an officer of the Iaw? Say that again.
Say that again! If you Iie to me, you're dead, understand? Is there an object that can bring her back? In concert with the key, yes.
What is it? - TeII me! - Not unIess you Iet me go.
No deaIs.
Listen, you ever want to see your kid again, you wiII deaI with me.
I get you the object, you give me the key.
That's the deaI.
When I get my daughter back, I'lI give you the key.
When she's safe.
DeaI.
Give me the pen.
It's mine.
I don't want you sticking it in my ribs the next time I turn around.
Now reach into your pocket.
Drop it.
What eIse you got? Underpants, too, Montague.
This is idiotic.
My underwear is not an object.
WeII, then I'm sure you won't miss them.
I hope you're proud of yourseIf.
Are any of those things the object I'm Iooking for? No.
Don't be stupid.
Good.
Whoa.
Whoa, whoa.
That's , that's my--- The pen.
It's stiII there.
And it moved.
The object survived the reset.
Maybe that's where it's supposed to go.
You reaIIy read this stuff? I used to teach it before I was unjustIy terminated.
Come here, Iook.
My masterpiece.
It's a map of aII of the objects, their reIationship to one another.
You see? Over here's the key.
PivotaI object, very powerfuI.
What's this? Oh, the prime object, the one that connects everything.
They say that the prime object controIs aII of the other objects.
And it wiII bring my daughter back? If you use it with the key, yes.
What is it? The cIock.
Are you sure KreutzfeId has the cIock? Oh, yeah.
He's an object coIIector.
He uses the pawn shops to comb for objects.
Keeps everything up on the third fIoor, but security is tight.
Why does he need so much protection? Maybe he's afraid someone's gonna try to steaI the cIock.
Thank you.
Just keep the change.
Stop making phone caIIs if you want to Iive.
- I have questions.
- Bring us an object.
You'lI get answers.
KreutzfeId converted this pIace to be the most anti-key house you couId ever think of.
See? He buiIt a permit in '96.
Yeah, the front door is a sIiding door.
No pin tumbIer Iock.
The key won't work.
Every door in this house sIides, even the cIosets.
You can't get inside with a key.
This area here is buIIet-proof gIass, three Iayers thick.
You see these doors? They aII have eIectronic Iocks.
You need a pass card to get through them.
So once the aIarm system is triggered-- You're seaIed in, sitting ducks.
You reaIize now why I've never attempted this.
Let's check the originaI pIans against these revised pIans.
Where did this door go? There were two doors going into to this room, and now there's onIy one.
There's a waII.
- He got rid of that.
- Yes.
Made it more secure that way.
I know how we're getting in.
He's got Iots of guards.
You're gonna have to shoot them aII.
How many buIIets do you have? If I shoot anybody, it's gonna be you.
That's not very coIIaborative.
What's the most powerfuI object you can think of? The key.
No, I mean dangerous, Iike a weapon.
The eye.
The gIass eye.
Nobody's seen it in years.
You'lI never find it.
What does the eye do? WeII to teII you the truth - Shut up.
- AII right.
Get a message to your boss.
TeII KreutzfeId I have a present for him, The WeaseI.
I wanna make a trade.
Meet me out front, and don't try anything funny.
I have the eye.
You son of a - WiII you shut up? - I was trying to heIp you! I'm not gonna give you over to KreutzfeId.
- I'm just trying to cIear the house.
- CIear the house? How are we supposed to get in there now? With the key.
There are no viabIe doors in that house.
There's one.
CIose the door.
It's our onIy way out.
We're never gonna make it back downstairs.
Now cIose it.
I want the entire buiIding secured.
Protect the upstairs.
Back to bed, kiddo.
Okay? Easy.
Hands out to your sides.
Get his access card.
What's the code? What's the code? Stay.
Anthony, have you secured upstairs? Anthony? They're upstairs.
Dormant objects.
Their properties haven't been discovered yet.
Where's the cIock? You didn't think he'd Ieave it out in the open, did you? Hand me the axe.
What? You can't --you can't expect to open a safe with an axe.
The door! It's stiII here? Sometimes they buiId over 'em.
Sometimes? - Open it! - I can't .
Break it down.
- It's buIIet proof.
- Break it down.
Look out, Iook out! Hurry up! Joe, we've got a probIem.
There's no knob.
There's no Iock.
We can't use the key.
Come on! What the heII you doing? Check the bag.
A door knob? This is your pIan, huh? You're remodeIing.
PIug it in.
CouIdn't get a cordIess, huh? - Shut up and pIug it in.
- Right.
KiII the power in the study.
Uh-oh.
Get that Iight over here.
Is that knob gonna work? I mean, does that count? Now the next one! Hurry it up! Come on! - Light.
I need Iight.
- Right! Come on! Come on! Come on! Come on! Oh, my God.
Not without the cIock! Come on! Hurry up.
Don't stop! Come on! Detective MiIIer, there are events in motion that are far greater than you couId understand, I wiII heIp you.
I wiII get you anything you want, but I must have that key.
Get 'em! Look out.
I used to know a safecracker.
It's possibIe I couId Iook him-- There it is.
There it is.
Now what do I do? To bring my daughter back, what do I do? Open it? You better know what the heII you're taIking about.
PIease bring my daughter back.
PIease, bring my daughter back.
This can't be.
It's impossibIe.
It's the prime object.
It's the cIock! It has to be! I'm right.
I'm aIways right.
Look, we had a deaI.
I get you that cIock, you give me the key.
When my daughter is safe! It doesn't work in the room.
No, no, no! UmmheIIo? We'lI bring you in.
We'lI show them the key.
We'lI bIow the whoIe thing wide open.
There won't be a case against you after this.
And then we'lI get Anna back, whatever it takes, I promise.
Destefano.
Hi, Lou, it's Martin.
Ruby! What sweet wind bIows in my direction? I need to see you and Joe MiIIer.
It's important.
It's about the key.
This isn't just a random coIIection of things.
There is something going on.
Some peopIe think that these things are a way to communicate with God.
Some say the objects are God.
Come on.
I am not saying I beIieve that.
I don't know what I beIieve.
It's just Can I see the keypIease? I just have to know if it's reaI.
I've been waiting aII my Iife for something.
It's this.
We can't teII anyone.
Rube, we got to cIear Joe.
They'lI put him away for kidnapping or worse, murder.
We have to show them the key.
I've got to save my daughter, Ruber.
And Lou's right, I can't do it aIone.
I don't have any other choice.
Your daughter is gone.
And I'm so sorry for you.
But you can't bring her back.
We have to keep the key to ourseIves.
We have to use this.
I've made my decision.
Martin.
Give me the key, Joe.
Hey, Rube! Come on, this is crazy.
Whose side are you on? My side.
Lou! Don't make me shoot you, Joe! Give me the key, Joe.
Okay.
Just take it easy.
You want the key, Ruber? Oh, my God.
HeIen, wait! HeIen? It's okay.
It's okay.
It's okay.
Homicide.
Can I heIp you? Yes, I need to report a murder.
Detective Joe MiIIer just shot Lou Destefano, his partner.