Lie To Me s03e07 Episode Script
Veronica
[EKG BEEPING.]
[EKG FLATLINING.]
Time of death: 6:34 p.
m.
Rose.
[TECHNO MUSIC PLAYING OVER SPEAKERS.]
[HORN HONKS.]
Oh, my God.
I didn't see you.
I'm so sorry.
You drove straight into me.
I hit you? I It was a total accident.
He tell you to make it look like an accident? - What? - You heard me.
No.
I need to call an ambulance.
No, no! Don't do that.
He killed Rose.
I saw it.
- And now he's coming after me.
- Who? Let me help you.
I can manage.
I'm 24, not 80.
Um Take this.
No, no, no, sweetheart, you need it.
I really could have hurt you.
I wanna go home, before he gets here.
- "Charlie.
" - You know him.
No, I need to get you to a hospital.
I live at 105 Addison, Columbia Heights.
No hospital.
It's too dangerous.
He'll be there.
Uh, 105 Addison.
Got it.
I'm Emily, by the way.
Veronica.
Are you sure this is the right place? Where have you brought me? Well, my phone says 105 Addison.
Oh, my God.
I'm old.
Who wrote this on my hand? Charlie.
EMILY: Oh, no, wait.
CAL: Here I am.
EMILY: I'm fine.
Can you help her, Dad? VERONICA: Who's he? - I'm her dad.
Who are you? [CHATTERING.]
Did Charlie send you? Uh, this is Veronica.
CAL: You all right, Veronica? First, she tries to run me over with her car.
Is that right, love? - Are you hurt? - Take me home.
It's not safe.
Where's home, Veronica? Where's home? It's, uh It's on the tip of my tongue.
Who's this Charlie fellow? He killed my sister, Rose.
Now he's coming after me.
You think I'm crazy, imagining it.
Here.
Pop this on.
Thank you, Burt.
My knight in shining armor.
Always to the rescue when I need it the most.
[CHUCKLES.]
Dream Send me a sign Turn back the clock Give me some time I need to break out And make a new name Let's open our eyes To the brand new day You must be hungry.
Why don't you have some water? It'll help you out.
I I'll be right back, okay? What happened to you? Life.
I'm not wearing those.
Who are you? What is this place? How did I get here? RIA: Oh, my God.
Hi, Veronica.
It's Emily.
We brought you here, remember? Uh, this is where my dad works.
Oh, I should do that, don't you think? Look at you, young man.
Aw.
Ow! What? Nice try.
I know your porn face, that's not it.
It's not schizophrenia.
Biometrics don't indicate drugs.
It's what we originally thought.
Alzheimer's.
- How old is she? - Late 50s, 60.
It's early onset.
She's exhausted.
She's been running around for hours.
Have one of the others check the name Albert or Burt against the address that she gave Emily.
Don't you think this is a matter for the police? She's got Alzheimer's, the poor woman.
Whatever she's running from is very real to her.
So either the danger's genuine, or she's gonna kill herself running.
Not gonna give her to police.
Don't take this the wrong way, but who are you to make that decision? I'm her husband, Burt.
Do you know why bruises change color? When blood vessels burst, hemoglobin leaks into the layers of your skin.
To clean it up, the body sends in clusters of white blood cells to break down the iron and other proteins.
As iron is digested, the color changes.
- Are you a doctor? - Ha, ha.
I was a nurse.
And that's how Burt and I first met.
One night, he walked into the emergency room with a bad stomach doubled over in agony.
But when I went to prep him, he tried to hide the pain like he didn't want to be any trouble.
He even started cracking jokes.
I could see how he was suffering but that he wanted to appear strong in front of me for some reason.
But when I was checking his pulse he took both my hands, saying he could read in my eyes how much of a toll my job was taking on me, and that I should find something, someone to help take the pressure off.
Let's just say he was that someone and gave me that something that changed my life.
He had a way of looking in my eyes.
Funny how there really are no accidents in life.
Well, what was wrong with him? Do you know why bruises change color? When blood vessels burst, hemoglobin leaks under the layers of your skin I just got off the phone with Wallowski.
Oh, yeah? I beg your pardon.
I thought she was a resource for all of us, not just you.
She wrote this on her hand to trigger her memory.
And it's only tormenting her more.
See, the cops would never have thought to do that.
Speaking of cops, a Burt and A Burt and Veronica Sloan lived at 105 Addison and they moved to an apartment in Chevy Chase.
Suburbia.
That would do anyone's head in.
- Burt died three years ago.
- See what I mean? She had a younger sister, Rose who was found dead in her apartment in 1968.
An unsolved murder.
Does it say anything in her report about a suspect named Charles, Charlie? There was only one main suspect and it was little more than a hunch.
Veronica.
What's the odds my new missus forgot that part too? - Mr.
Sloan.
- Who's asking? Mr.
Gus Sloan? I told you already, I'm doing my best to scrape the payment together.
I - There's really no need to come to my - We found your brother's widow wandering around alone, late at night.
Excuse me? Mind if I come in? She's fine, by the way.
You have a badge I can see? We're not police officers, Mr.
Sloan.
We're just trying to help your sister-in-law.
- Good Samaritans.
CAL: No, that's her department.
Me, I got a teenage daughter who almost ran over that nice lady last night.
And she's a little bit stressed, which has a way of getting me going.
You know what I mean? When did Veronica move out? Um You look sad, Mr.
Sloan.
When I say sad, what I really mean is ashamed.
You play the piano? No, that was Veronica's.
I don't know if you've ever committed a family member into care My grandfather.
I know what you're going through, and I'm sorry.
So, um, where did she move to? Uh, Horizons Extended Care and Residence.
- Did they call you when she went missing? - It's the first I'm hearing of it.
Because if they had, right, you'd be way more worried.
I'm sorry.
You knock on my door at dawn, and I invite you into Veronica's home? Former home.
And you didn't invite us in, I barged in.
Let's get that bit right.
Mr.
Sloan, Veronica thinks someone's trying to kill her.
- Oh, Charlie, right? - You know him? No.
But it's not the first time the name's come up.
Charlie is some kind of figment of Veronica's imagination.
Gus, I, for one, believe her.
So, what's going on, then? Some kind of garage sale, is it? She gonna get any of the cash that you get from her stuff? I mean, her piano, you know.
She went through all the money Burt left her.
I had to take a reverse mortgage on this place to pay for her care.
My uncle was, you know, put into care at the end.
Even on his death bed, there were things that he never, ever forgot.
Veronica's ill not paranoid.
ANNA: I think I got this right.
- Ready? MONTROSE: Today is March 10th, 1968.
This is Detective Montrose interviewing Veronica Sloan.
Did your sister Rose have enemies? Anyone who'd wanna hurt her? VERONICA [ON RECORDING.]
: Not at all.
Everyone loved her.
MONTROSE: What about you, Veronica? You love Rose? VERONICA: How can you ask that? I'd trade places in a heartbeat, if I could.
- I hear survivor's guilt.
MONTROSE: Let's go over your statement.
When was the last time you saw Rose? VERONICA: That morning.
We met for coffee for about an hour.
MONTROSE: You never saw her after that? VERONICA: No.
- Hear the difference in response speed? - The "no" was quicker.
People get frustrated, don't they? If they're innocent.
Frustration has a sharper edge.
Did you hear how emotional she was earlier in the tape? - Mm-hm.
- That last "no" was rehearsed.
Veronica knew something.
Do you know where you are, Veronica? I don't remember this place, Burt, but it smells awfully like a hospital to me.
Hello, Veronica.
Come on.
- Who is that? Do you know who that is? - No.
I've never seen him before.
- What are you doing here? - I came to see Veronica.
Is that a problem? Hi, Veronica.
I'm sorry, have we met? - You're not Burt.
- No, I'm not, love, no.
But I am a friend.
This is my daughter, Emily.
Dr.
Lightman.
- Dr.
Joshua Hammill.
- How do you do? Hello, Veronica.
I was worried about you.
But you're home now.
Dr.
Lightman, I can't thank you enough for bringing her back.
I have Alzheimer's, don't I, Dr.
Hammill? Can I talk to you for a minute, outside? I'm only 60, did you know that? Can we hold off on those, just for a minute? You know, I want her thinking straight for a while longer.
Lucidity is never a given at this stage, I'm sorry to say.
Vincent Olson, resident psychiatrist.
Right you are.
Well, she's lucid now.
Dr.
Lightman, uh, Alzheimer's patients like Veronica need their meds or there's a possibility they could hurt themselves and/or the staff.
Veronica could use some companionship and, uh, I'm sure a few more hours medication-free shouldn't hurt.
As long as there's a good reason, I'll sign off.
Well, when we found her, she was running away from somebody called Charlie, who she saw kill her sister.
Her sister died in 1968.
No, her sister was killed in 1968, and she was a suspect.
- So, what are you saying? - She thinks she saw Charlie kill her sister and she's afraid that he's coming after her, and I can help her with that.
More than those pills.
VERONICA: Rose.
Is that you and Burt? No, that's someone else.
Someone who hurt you, right? You were engaged to someone before Burt.
What happened, love? VERONICA: Charlie Eaton.
CAL: Charlie.
Veronica Sloan says you killed her sister.
Are you from the home? Must have been right about the same time as you went to Vietnam.
Bit of a coincidence, don't you think? I mean, your fiancée's sister getting killed on the same day that you signed up for duty.
You get off my property right now, whoever you are.
What happened between you and Veronica, then? That's none of your damn business.
You missed a bit.
Body language shows overt affection between Veronica, Charlie and Rose.
You're missing the most obvious bit, you know.
Two months later, all that is gone.
No warmth between Veronica and Charlie.
Rose can't look at her sister.
Stop trying to read the faces for a sec and just use your bloody eyes, all right? You could just tell us instead of belittling our work.
All right, push in on that one.
See, that's why Charlie lost his touch with the rake today.
She's not aware that she's rubbing her tummy.
And what were little more than bee stings two months earlier are now dead heat in a zeppelin race.
Lovely.
Thank you.
I bet her ankles are swollen.
I bet she's, you know, busting for a pee.
She's pregnant.
Genius.
You were engaged to Veronica, right? But you got her sister up the duff.
Pregnant, in layman's terms.
You got five seconds to get off this property before I go get my shotgun.
Veronica's got Alzheimer's.
She's convinced that you killed her sister, Rose.
What, you gonna run away again? I can see you got something to say about all of this.
- Are you a cop? - No, I'm not.
Authority issues, you know.
- You got a name? - Lightman.
She thinks I'm her husband, Burt.
I hear he was a good man.
Good husband.
She was hard to forget, I would imagine.
[CHUCKLES.]
You have no idea.
Yeah.
It was a one-time thing with Rose.
A mistake.
Well, that would be some great swimmers and some lousy luck.
I promised I'd do right by her.
But when Veronica found out she and the rest of the family, they wanted to kill me.
So you ran away to Vietnam.
I didn't kill Rose, Mr.
Lightman.
But you're saying Veronica did.
Where do you get that? Right there.
So you think her Alzheimer's is masking her guilt, do you? Well, that's a new one.
Rose betrayed Veronica.
You need to face facts.
It's quite possible Veronica killed her.
You think I mean, it's strong as an ox.
Do you think I should let Emily drive it? - I mean, because it's very - Fancy.
powerful, isn't it? Don't tell me it hasn't crossed your mind.
Alzheimer's affects short-term memory first.
Long-term memory's often the last to go.
Oh, so that's what's happening to her, is it? Where are you going? Veronica's old place.
And you're gonna pick her up and bring her there.
- What, to see Gus? - No, to resurrect Burt.
[KNOCK ON DOOR.]
Veronica.
Can I get your coat? Darling, how are you? Who are you? Where's Burt? Uh Can I get you a drink? It's a Manhattan, right? I think I might be out of cherries.
Oh, no, that's all taken care of, don't worry.
Well, come through.
Take a seat.
Oh, carnations.
My favorite.
Oh, Burt.
Ha, ha.
You shouldn't have.
Well, you two, you just sit and get to know each other.
One Manhattan coming up.
I sure hope you two know what you're doing.
Yeah, me too.
No cherry for Burt.
Burt, what happened to my piano? Drinks all around.
There you go.
- One for you.
- Thank you.
So in 1968, when you were interviewed about Rose's death why didn't you tell the truth? Who's this woman in my house, Burt? This is a friend of mine.
In my house? You think I don't know what's going on? You were jealous of Rose and Charlie back then, weren't you? - Just like you're jealous now.
- Cal.
Charlie killed them all, Burt.
Every single one.
Rose, Natalie, Bob Urqhart and the neighbor, Mrs.
Baird.
Rose didn't wanna have Charlie's baby.
No, you didn't want her to have his baby.
There was this woman I knew.
Said she could take care of things.
Rose died having a An I was a nurse.
I knew better.
Here.
This is just soda water, Burt.
With a cherry on top.
Okay, thanks.
Appreciate it.
- You saw that, right? - Her contempt for Charlie? Yeah, but she hates herself more than she hates Charlie.
She killed her sister trying to abort his baby.
Really? Are you sure about that? All right, then.
Out with it.
You changed your mind about her illness masking her guilt.
- I disagree.
- Disagree with what? Look, what we do doesn't work better because we agree all the time.
That's not what I'm talking about.
Back in 1968, Veronica thought she was doing the right thing, right? And it's still killing her.
So before you say we should go to the police, I beg to differ.
You make me so mad sometimes.
I know.
Anything else? So I made a couple of calls.
And Mrs.
Baird is alive and well and living in Boston and Mr.
Urqhart died in a helicopter crash in 1999.
So she's mixing up people from the present with people from the past.
Including Charlie? [ANTONIO JOBIM'S "WATERS OF MARCH" PLAYING OVER SPEAKERS.]
A stick, a stone It's the end of the road It's the rest of a stump It's a little alone It's a sliver of glass, it is life It's the sun, it is night It is death, it's a trap, it's a gun The oak when it blooms A fox in the brush A knot in the wood The song of a thrush The wood of the wind A cliff, a fall All right? Here we go.
All right.
Just move your leg.
MAN: Motorcycle accident.
Oh, yeah? Twenty-six years old.
Been in a coma eight months, they say.
You a relative of Veronica's? Now and then, yeah.
- Frank Stoll.
- How do you do? Can't tell you how much she lifted my daughter's spirits.
Gretchen died last night.
I'm sorry.
Oh, she, uh, wanted Veronica to have this.
She painted it herself.
It's a rose.
That's what Veronica always called her.
It's her sister's name.
Twelve residents dead in the last six months including Gretchen, who was only 17.
Hang on, okay? Veronica, love.
Do you know these people? Mrs.
Baird.
Natalie.
Bob Urqhart.
Rose.
Thanks, love.
All people from this place.
So the Charlie she's scared of is in here somewhere killing people.
Dr.
Hammill.
Sorry I'm late.
I had a meeting, and it ran over for a couple of minutes, you know.
- Twenty minutes.
- What, you got a tee time or something? You call me here to your fishbowl to accuse me of incompetence and you keep me waiting 20 minutes.
No one's accused you of anything yet.
Do you always enjoy this level of antagonism? Yes.
Yeah.
It's like oxygen to me.
Dr.
Hammill.
Hi.
Angels of death follow a very specific pathology.
Angel of death? Is that what you think this is? They take pleasure in power over others.
A god complex.
I've been practicing medicine for 20 years.
Then you'd know the type.
Someone with an intimate knowledge of medicine.
Don't you think I would know if one of my employees was killing patients? Patients are dropping like flies.
How long do you wanna continue with the small talk? Okay, I've read the autopsy reports, in detail.
The deaths you are talking about are all unrelated.
That kind of emphatic denial, with stress on every word is a sign of condescending deception, doctor.
There's no angel of death on my staff.
Do you vet everyone that you hire, personally? - Yes.
- Good.
I want total access.
Residents.
Staff.
ELI: Do you ever get angry at a patient? Ever have a bedpan emptied on you? RIA: Ever feel happy when a resident dies? Relieved, sometimes.
It's complicated.
You must know.
I used to get upset.
But after a while, you just get used to it, you know? The death.
Next day, at your kid's soccer game, you just put it out of your mind.
One thing these people all have in common is professional numbness.
You know, like cops and gallows humor.
I got this one.
What's your name? Frazier.
Why can't I talk to her? CAL: You like what you do, Frazier? - I need my job.
You know what I mean.
I need a straight answer.
I bring the stink of Horizon home on me every day.
Shower twice just to scrub it all out.
I shaved my head because there ain't enough shampoo in the world.
CAL: And yet you still love what you do? Most people, yeah.
Every day, I learn something new from them.
- Such as? FRAzlER: Life is short.
Let's just say, you disrespect them, you disrespect me.
- How long you worked there? FRAzlER: Six years.
You ever think about quitting? Not so long as there's patients who wanna fight, no.
You're the only person that we've talked to that loves what they do.
- And you think I'm crazy, right? - Bonkers, yeah.
But that's another story.
Is there anyone else there that cares like you do? FRAzlER: Dr.
Olson.
[ANTONIO JOBIM'S "WATERS OF MARCH" PLAYING OVER SPEAKERS.]
- The foot, the ground - The flesh and the bone - The beat of the road - A slingshot's stone - A fish, a flash - A silvery glow - A fight, a bet - The range of a bow [RADIO CHATTER NEARBY.]
There you go.
Hold up.
- How you doing? You all right? - All right.
And you? Sometimes they just surrender.
You believe that, do you? Neither do I.
There comes a time when they should be allowed to just go.
What about this one? Did she wanna go? Or did she wanna fight? Or don't you know for sure? Have a think.
Get back to me.
She looks so peaceful, doesn't she? You really helped her, you know.
Put her mind at rest.
The best you could.
Playing the role of her husband Burt when she really needed it.
I wanna thank you for that.
Are you thanking me on her behalf? OLSON: Oh, I just came to say goodbye.
I'm gonna leave you two alone now.
You robbed a man of his daughter and you just move on.
How many times have you done this? If you're talking about Gretchen Stoll what if I were to tell you she needed a lot more than her father? More than her earthly father.
Imagine being so riddled with disease you can't respond.
Every day, a living hell.
Wouldn't you want someone to come along and bring a peaceful, dignified end to your pain? Someone to play God? What do you think doctors are doing when they put a preemie in an incubator or conversely, uh, perform an abortion or put someone in a vegetative state, or on life support? We play God in many different ways.
What about all the other people you killed? I mean, did you ask their permission? This is a hypothetical discussion, Dr.
Lightman.
I beg your pardon, did we get our wires crossed? Charlie.
It's a trigger.
The white coat, it's a trigger.
She thinks you're Charlie, who she blamed for her sister's death.
I killed Rose trying to abort your baby.
I know you know, and now you wanna kill me.
Veronica, I'm a doctor.
My job is to help you.
Can you ever forgive me for what I did, Charlie? OLSON: Yes.
Of course I forgive you, Veronica.
But the question is, can he? What you doing here? Emily let me in.
Oh, yeah? Brought you your usual.
What are we drinking to, then? Well I came here to thank you.
For what, exactly? For this.
For taking away my desk.
How did you get that, then? Call it research.
Oh, yeah? You trying to be like me, were you? Oh, you wish.
I thought you was on the hunt for a new job.
Yeah, well you heard about the economy, right? Oh, yeah.
You know, research almost killed me once or twice.
Papua New Guinea? Papua New Guinea.
Downtown D.
C.
You do what we do right it's gonna hurt.
Don't push it.
Yeah.
[EKG BEEPING.]
Hello, Mark.
It's Dr.
Olson.
Everything's gonna be all right.
Goodbye, Mark.
[EKG FLATLINING.]
[EKG FLATLINING.]
God works in mysterious ways, eh? You just gave him saline solution.
You should learn to keep your office locked, mate.
You think I enjoy this? You just made a unilateral decision to end a life.
And prevent pain.
Shame on you.
You don't have to worry about Charlie anymore.
He's gone.
Who's Charlie? Someone you don't need to worry about, darling.
No.
You're leaving? Off to work.
Well, you'll be back for dinner, though.
Soon.
We, uh, brought something for you.
My piano.
[PLAYING SOFT MUSIC.]
All those 911 calls.
I never believed her.
I gave up on her.
You're doing everything you can.
- You okay? - You need to stop that.
Come on.
You like your phone, do you? Uh, yeah.
Why? What about this car? You like this car? Sure.
Which one do you like best? It's not really a matter of liking, Dad, it's a matter of necessity.
- It's necessity, is it? - Yeah.
Yeah? That makes me the plonker then, does it? You're acting weird, Dad.
Are you okay? Is this about Veronica? Nice try.
Well, I mean, did you ever hold Mom's hands that way? I miss her too, Dad.
Pick one.
For next month.
- One what? - Phone or the car.
Pick one.
Hey, Liam.
- Um, you mind picking me up at my house? - Liam? - Liam? - Okay.
Sorry, that's my dad.
Yeah, okay.
See you soon.
New chauffeur.
You think this is funny, do you? Uh, thanks for helping Veronica.
It really meant a lot to me.
- Don't do that.
- Do what? That.
Because I'm angry with you.
I know, and I'm sorry.
Really.
Come on.
[English - US -SDH.]
[EKG FLATLINING.]
Time of death: 6:34 p.
m.
Rose.
[TECHNO MUSIC PLAYING OVER SPEAKERS.]
[HORN HONKS.]
Oh, my God.
I didn't see you.
I'm so sorry.
You drove straight into me.
I hit you? I It was a total accident.
He tell you to make it look like an accident? - What? - You heard me.
No.
I need to call an ambulance.
No, no! Don't do that.
He killed Rose.
I saw it.
- And now he's coming after me.
- Who? Let me help you.
I can manage.
I'm 24, not 80.
Um Take this.
No, no, no, sweetheart, you need it.
I really could have hurt you.
I wanna go home, before he gets here.
- "Charlie.
" - You know him.
No, I need to get you to a hospital.
I live at 105 Addison, Columbia Heights.
No hospital.
It's too dangerous.
He'll be there.
Uh, 105 Addison.
Got it.
I'm Emily, by the way.
Veronica.
Are you sure this is the right place? Where have you brought me? Well, my phone says 105 Addison.
Oh, my God.
I'm old.
Who wrote this on my hand? Charlie.
EMILY: Oh, no, wait.
CAL: Here I am.
EMILY: I'm fine.
Can you help her, Dad? VERONICA: Who's he? - I'm her dad.
Who are you? [CHATTERING.]
Did Charlie send you? Uh, this is Veronica.
CAL: You all right, Veronica? First, she tries to run me over with her car.
Is that right, love? - Are you hurt? - Take me home.
It's not safe.
Where's home, Veronica? Where's home? It's, uh It's on the tip of my tongue.
Who's this Charlie fellow? He killed my sister, Rose.
Now he's coming after me.
You think I'm crazy, imagining it.
Here.
Pop this on.
Thank you, Burt.
My knight in shining armor.
Always to the rescue when I need it the most.
[CHUCKLES.]
Dream Send me a sign Turn back the clock Give me some time I need to break out And make a new name Let's open our eyes To the brand new day You must be hungry.
Why don't you have some water? It'll help you out.
I I'll be right back, okay? What happened to you? Life.
I'm not wearing those.
Who are you? What is this place? How did I get here? RIA: Oh, my God.
Hi, Veronica.
It's Emily.
We brought you here, remember? Uh, this is where my dad works.
Oh, I should do that, don't you think? Look at you, young man.
Aw.
Ow! What? Nice try.
I know your porn face, that's not it.
It's not schizophrenia.
Biometrics don't indicate drugs.
It's what we originally thought.
Alzheimer's.
- How old is she? - Late 50s, 60.
It's early onset.
She's exhausted.
She's been running around for hours.
Have one of the others check the name Albert or Burt against the address that she gave Emily.
Don't you think this is a matter for the police? She's got Alzheimer's, the poor woman.
Whatever she's running from is very real to her.
So either the danger's genuine, or she's gonna kill herself running.
Not gonna give her to police.
Don't take this the wrong way, but who are you to make that decision? I'm her husband, Burt.
Do you know why bruises change color? When blood vessels burst, hemoglobin leaks into the layers of your skin.
To clean it up, the body sends in clusters of white blood cells to break down the iron and other proteins.
As iron is digested, the color changes.
- Are you a doctor? - Ha, ha.
I was a nurse.
And that's how Burt and I first met.
One night, he walked into the emergency room with a bad stomach doubled over in agony.
But when I went to prep him, he tried to hide the pain like he didn't want to be any trouble.
He even started cracking jokes.
I could see how he was suffering but that he wanted to appear strong in front of me for some reason.
But when I was checking his pulse he took both my hands, saying he could read in my eyes how much of a toll my job was taking on me, and that I should find something, someone to help take the pressure off.
Let's just say he was that someone and gave me that something that changed my life.
He had a way of looking in my eyes.
Funny how there really are no accidents in life.
Well, what was wrong with him? Do you know why bruises change color? When blood vessels burst, hemoglobin leaks under the layers of your skin I just got off the phone with Wallowski.
Oh, yeah? I beg your pardon.
I thought she was a resource for all of us, not just you.
She wrote this on her hand to trigger her memory.
And it's only tormenting her more.
See, the cops would never have thought to do that.
Speaking of cops, a Burt and A Burt and Veronica Sloan lived at 105 Addison and they moved to an apartment in Chevy Chase.
Suburbia.
That would do anyone's head in.
- Burt died three years ago.
- See what I mean? She had a younger sister, Rose who was found dead in her apartment in 1968.
An unsolved murder.
Does it say anything in her report about a suspect named Charles, Charlie? There was only one main suspect and it was little more than a hunch.
Veronica.
What's the odds my new missus forgot that part too? - Mr.
Sloan.
- Who's asking? Mr.
Gus Sloan? I told you already, I'm doing my best to scrape the payment together.
I - There's really no need to come to my - We found your brother's widow wandering around alone, late at night.
Excuse me? Mind if I come in? She's fine, by the way.
You have a badge I can see? We're not police officers, Mr.
Sloan.
We're just trying to help your sister-in-law.
- Good Samaritans.
CAL: No, that's her department.
Me, I got a teenage daughter who almost ran over that nice lady last night.
And she's a little bit stressed, which has a way of getting me going.
You know what I mean? When did Veronica move out? Um You look sad, Mr.
Sloan.
When I say sad, what I really mean is ashamed.
You play the piano? No, that was Veronica's.
I don't know if you've ever committed a family member into care My grandfather.
I know what you're going through, and I'm sorry.
So, um, where did she move to? Uh, Horizons Extended Care and Residence.
- Did they call you when she went missing? - It's the first I'm hearing of it.
Because if they had, right, you'd be way more worried.
I'm sorry.
You knock on my door at dawn, and I invite you into Veronica's home? Former home.
And you didn't invite us in, I barged in.
Let's get that bit right.
Mr.
Sloan, Veronica thinks someone's trying to kill her.
- Oh, Charlie, right? - You know him? No.
But it's not the first time the name's come up.
Charlie is some kind of figment of Veronica's imagination.
Gus, I, for one, believe her.
So, what's going on, then? Some kind of garage sale, is it? She gonna get any of the cash that you get from her stuff? I mean, her piano, you know.
She went through all the money Burt left her.
I had to take a reverse mortgage on this place to pay for her care.
My uncle was, you know, put into care at the end.
Even on his death bed, there were things that he never, ever forgot.
Veronica's ill not paranoid.
ANNA: I think I got this right.
- Ready? MONTROSE: Today is March 10th, 1968.
This is Detective Montrose interviewing Veronica Sloan.
Did your sister Rose have enemies? Anyone who'd wanna hurt her? VERONICA [ON RECORDING.]
: Not at all.
Everyone loved her.
MONTROSE: What about you, Veronica? You love Rose? VERONICA: How can you ask that? I'd trade places in a heartbeat, if I could.
- I hear survivor's guilt.
MONTROSE: Let's go over your statement.
When was the last time you saw Rose? VERONICA: That morning.
We met for coffee for about an hour.
MONTROSE: You never saw her after that? VERONICA: No.
- Hear the difference in response speed? - The "no" was quicker.
People get frustrated, don't they? If they're innocent.
Frustration has a sharper edge.
Did you hear how emotional she was earlier in the tape? - Mm-hm.
- That last "no" was rehearsed.
Veronica knew something.
Do you know where you are, Veronica? I don't remember this place, Burt, but it smells awfully like a hospital to me.
Hello, Veronica.
Come on.
- Who is that? Do you know who that is? - No.
I've never seen him before.
- What are you doing here? - I came to see Veronica.
Is that a problem? Hi, Veronica.
I'm sorry, have we met? - You're not Burt.
- No, I'm not, love, no.
But I am a friend.
This is my daughter, Emily.
Dr.
Lightman.
- Dr.
Joshua Hammill.
- How do you do? Hello, Veronica.
I was worried about you.
But you're home now.
Dr.
Lightman, I can't thank you enough for bringing her back.
I have Alzheimer's, don't I, Dr.
Hammill? Can I talk to you for a minute, outside? I'm only 60, did you know that? Can we hold off on those, just for a minute? You know, I want her thinking straight for a while longer.
Lucidity is never a given at this stage, I'm sorry to say.
Vincent Olson, resident psychiatrist.
Right you are.
Well, she's lucid now.
Dr.
Lightman, uh, Alzheimer's patients like Veronica need their meds or there's a possibility they could hurt themselves and/or the staff.
Veronica could use some companionship and, uh, I'm sure a few more hours medication-free shouldn't hurt.
As long as there's a good reason, I'll sign off.
Well, when we found her, she was running away from somebody called Charlie, who she saw kill her sister.
Her sister died in 1968.
No, her sister was killed in 1968, and she was a suspect.
- So, what are you saying? - She thinks she saw Charlie kill her sister and she's afraid that he's coming after her, and I can help her with that.
More than those pills.
VERONICA: Rose.
Is that you and Burt? No, that's someone else.
Someone who hurt you, right? You were engaged to someone before Burt.
What happened, love? VERONICA: Charlie Eaton.
CAL: Charlie.
Veronica Sloan says you killed her sister.
Are you from the home? Must have been right about the same time as you went to Vietnam.
Bit of a coincidence, don't you think? I mean, your fiancée's sister getting killed on the same day that you signed up for duty.
You get off my property right now, whoever you are.
What happened between you and Veronica, then? That's none of your damn business.
You missed a bit.
Body language shows overt affection between Veronica, Charlie and Rose.
You're missing the most obvious bit, you know.
Two months later, all that is gone.
No warmth between Veronica and Charlie.
Rose can't look at her sister.
Stop trying to read the faces for a sec and just use your bloody eyes, all right? You could just tell us instead of belittling our work.
All right, push in on that one.
See, that's why Charlie lost his touch with the rake today.
She's not aware that she's rubbing her tummy.
And what were little more than bee stings two months earlier are now dead heat in a zeppelin race.
Lovely.
Thank you.
I bet her ankles are swollen.
I bet she's, you know, busting for a pee.
She's pregnant.
Genius.
You were engaged to Veronica, right? But you got her sister up the duff.
Pregnant, in layman's terms.
You got five seconds to get off this property before I go get my shotgun.
Veronica's got Alzheimer's.
She's convinced that you killed her sister, Rose.
What, you gonna run away again? I can see you got something to say about all of this.
- Are you a cop? - No, I'm not.
Authority issues, you know.
- You got a name? - Lightman.
She thinks I'm her husband, Burt.
I hear he was a good man.
Good husband.
She was hard to forget, I would imagine.
[CHUCKLES.]
You have no idea.
Yeah.
It was a one-time thing with Rose.
A mistake.
Well, that would be some great swimmers and some lousy luck.
I promised I'd do right by her.
But when Veronica found out she and the rest of the family, they wanted to kill me.
So you ran away to Vietnam.
I didn't kill Rose, Mr.
Lightman.
But you're saying Veronica did.
Where do you get that? Right there.
So you think her Alzheimer's is masking her guilt, do you? Well, that's a new one.
Rose betrayed Veronica.
You need to face facts.
It's quite possible Veronica killed her.
You think I mean, it's strong as an ox.
Do you think I should let Emily drive it? - I mean, because it's very - Fancy.
powerful, isn't it? Don't tell me it hasn't crossed your mind.
Alzheimer's affects short-term memory first.
Long-term memory's often the last to go.
Oh, so that's what's happening to her, is it? Where are you going? Veronica's old place.
And you're gonna pick her up and bring her there.
- What, to see Gus? - No, to resurrect Burt.
[KNOCK ON DOOR.]
Veronica.
Can I get your coat? Darling, how are you? Who are you? Where's Burt? Uh Can I get you a drink? It's a Manhattan, right? I think I might be out of cherries.
Oh, no, that's all taken care of, don't worry.
Well, come through.
Take a seat.
Oh, carnations.
My favorite.
Oh, Burt.
Ha, ha.
You shouldn't have.
Well, you two, you just sit and get to know each other.
One Manhattan coming up.
I sure hope you two know what you're doing.
Yeah, me too.
No cherry for Burt.
Burt, what happened to my piano? Drinks all around.
There you go.
- One for you.
- Thank you.
So in 1968, when you were interviewed about Rose's death why didn't you tell the truth? Who's this woman in my house, Burt? This is a friend of mine.
In my house? You think I don't know what's going on? You were jealous of Rose and Charlie back then, weren't you? - Just like you're jealous now.
- Cal.
Charlie killed them all, Burt.
Every single one.
Rose, Natalie, Bob Urqhart and the neighbor, Mrs.
Baird.
Rose didn't wanna have Charlie's baby.
No, you didn't want her to have his baby.
There was this woman I knew.
Said she could take care of things.
Rose died having a An I was a nurse.
I knew better.
Here.
This is just soda water, Burt.
With a cherry on top.
Okay, thanks.
Appreciate it.
- You saw that, right? - Her contempt for Charlie? Yeah, but she hates herself more than she hates Charlie.
She killed her sister trying to abort his baby.
Really? Are you sure about that? All right, then.
Out with it.
You changed your mind about her illness masking her guilt.
- I disagree.
- Disagree with what? Look, what we do doesn't work better because we agree all the time.
That's not what I'm talking about.
Back in 1968, Veronica thought she was doing the right thing, right? And it's still killing her.
So before you say we should go to the police, I beg to differ.
You make me so mad sometimes.
I know.
Anything else? So I made a couple of calls.
And Mrs.
Baird is alive and well and living in Boston and Mr.
Urqhart died in a helicopter crash in 1999.
So she's mixing up people from the present with people from the past.
Including Charlie? [ANTONIO JOBIM'S "WATERS OF MARCH" PLAYING OVER SPEAKERS.]
A stick, a stone It's the end of the road It's the rest of a stump It's a little alone It's a sliver of glass, it is life It's the sun, it is night It is death, it's a trap, it's a gun The oak when it blooms A fox in the brush A knot in the wood The song of a thrush The wood of the wind A cliff, a fall All right? Here we go.
All right.
Just move your leg.
MAN: Motorcycle accident.
Oh, yeah? Twenty-six years old.
Been in a coma eight months, they say.
You a relative of Veronica's? Now and then, yeah.
- Frank Stoll.
- How do you do? Can't tell you how much she lifted my daughter's spirits.
Gretchen died last night.
I'm sorry.
Oh, she, uh, wanted Veronica to have this.
She painted it herself.
It's a rose.
That's what Veronica always called her.
It's her sister's name.
Twelve residents dead in the last six months including Gretchen, who was only 17.
Hang on, okay? Veronica, love.
Do you know these people? Mrs.
Baird.
Natalie.
Bob Urqhart.
Rose.
Thanks, love.
All people from this place.
So the Charlie she's scared of is in here somewhere killing people.
Dr.
Hammill.
Sorry I'm late.
I had a meeting, and it ran over for a couple of minutes, you know.
- Twenty minutes.
- What, you got a tee time or something? You call me here to your fishbowl to accuse me of incompetence and you keep me waiting 20 minutes.
No one's accused you of anything yet.
Do you always enjoy this level of antagonism? Yes.
Yeah.
It's like oxygen to me.
Dr.
Hammill.
Hi.
Angels of death follow a very specific pathology.
Angel of death? Is that what you think this is? They take pleasure in power over others.
A god complex.
I've been practicing medicine for 20 years.
Then you'd know the type.
Someone with an intimate knowledge of medicine.
Don't you think I would know if one of my employees was killing patients? Patients are dropping like flies.
How long do you wanna continue with the small talk? Okay, I've read the autopsy reports, in detail.
The deaths you are talking about are all unrelated.
That kind of emphatic denial, with stress on every word is a sign of condescending deception, doctor.
There's no angel of death on my staff.
Do you vet everyone that you hire, personally? - Yes.
- Good.
I want total access.
Residents.
Staff.
ELI: Do you ever get angry at a patient? Ever have a bedpan emptied on you? RIA: Ever feel happy when a resident dies? Relieved, sometimes.
It's complicated.
You must know.
I used to get upset.
But after a while, you just get used to it, you know? The death.
Next day, at your kid's soccer game, you just put it out of your mind.
One thing these people all have in common is professional numbness.
You know, like cops and gallows humor.
I got this one.
What's your name? Frazier.
Why can't I talk to her? CAL: You like what you do, Frazier? - I need my job.
You know what I mean.
I need a straight answer.
I bring the stink of Horizon home on me every day.
Shower twice just to scrub it all out.
I shaved my head because there ain't enough shampoo in the world.
CAL: And yet you still love what you do? Most people, yeah.
Every day, I learn something new from them.
- Such as? FRAzlER: Life is short.
Let's just say, you disrespect them, you disrespect me.
- How long you worked there? FRAzlER: Six years.
You ever think about quitting? Not so long as there's patients who wanna fight, no.
You're the only person that we've talked to that loves what they do.
- And you think I'm crazy, right? - Bonkers, yeah.
But that's another story.
Is there anyone else there that cares like you do? FRAzlER: Dr.
Olson.
[ANTONIO JOBIM'S "WATERS OF MARCH" PLAYING OVER SPEAKERS.]
- The foot, the ground - The flesh and the bone - The beat of the road - A slingshot's stone - A fish, a flash - A silvery glow - A fight, a bet - The range of a bow [RADIO CHATTER NEARBY.]
There you go.
Hold up.
- How you doing? You all right? - All right.
And you? Sometimes they just surrender.
You believe that, do you? Neither do I.
There comes a time when they should be allowed to just go.
What about this one? Did she wanna go? Or did she wanna fight? Or don't you know for sure? Have a think.
Get back to me.
She looks so peaceful, doesn't she? You really helped her, you know.
Put her mind at rest.
The best you could.
Playing the role of her husband Burt when she really needed it.
I wanna thank you for that.
Are you thanking me on her behalf? OLSON: Oh, I just came to say goodbye.
I'm gonna leave you two alone now.
You robbed a man of his daughter and you just move on.
How many times have you done this? If you're talking about Gretchen Stoll what if I were to tell you she needed a lot more than her father? More than her earthly father.
Imagine being so riddled with disease you can't respond.
Every day, a living hell.
Wouldn't you want someone to come along and bring a peaceful, dignified end to your pain? Someone to play God? What do you think doctors are doing when they put a preemie in an incubator or conversely, uh, perform an abortion or put someone in a vegetative state, or on life support? We play God in many different ways.
What about all the other people you killed? I mean, did you ask their permission? This is a hypothetical discussion, Dr.
Lightman.
I beg your pardon, did we get our wires crossed? Charlie.
It's a trigger.
The white coat, it's a trigger.
She thinks you're Charlie, who she blamed for her sister's death.
I killed Rose trying to abort your baby.
I know you know, and now you wanna kill me.
Veronica, I'm a doctor.
My job is to help you.
Can you ever forgive me for what I did, Charlie? OLSON: Yes.
Of course I forgive you, Veronica.
But the question is, can he? What you doing here? Emily let me in.
Oh, yeah? Brought you your usual.
What are we drinking to, then? Well I came here to thank you.
For what, exactly? For this.
For taking away my desk.
How did you get that, then? Call it research.
Oh, yeah? You trying to be like me, were you? Oh, you wish.
I thought you was on the hunt for a new job.
Yeah, well you heard about the economy, right? Oh, yeah.
You know, research almost killed me once or twice.
Papua New Guinea? Papua New Guinea.
Downtown D.
C.
You do what we do right it's gonna hurt.
Don't push it.
Yeah.
[EKG BEEPING.]
Hello, Mark.
It's Dr.
Olson.
Everything's gonna be all right.
Goodbye, Mark.
[EKG FLATLINING.]
[EKG FLATLINING.]
God works in mysterious ways, eh? You just gave him saline solution.
You should learn to keep your office locked, mate.
You think I enjoy this? You just made a unilateral decision to end a life.
And prevent pain.
Shame on you.
You don't have to worry about Charlie anymore.
He's gone.
Who's Charlie? Someone you don't need to worry about, darling.
No.
You're leaving? Off to work.
Well, you'll be back for dinner, though.
Soon.
We, uh, brought something for you.
My piano.
[PLAYING SOFT MUSIC.]
All those 911 calls.
I never believed her.
I gave up on her.
You're doing everything you can.
- You okay? - You need to stop that.
Come on.
You like your phone, do you? Uh, yeah.
Why? What about this car? You like this car? Sure.
Which one do you like best? It's not really a matter of liking, Dad, it's a matter of necessity.
- It's necessity, is it? - Yeah.
Yeah? That makes me the plonker then, does it? You're acting weird, Dad.
Are you okay? Is this about Veronica? Nice try.
Well, I mean, did you ever hold Mom's hands that way? I miss her too, Dad.
Pick one.
For next month.
- One what? - Phone or the car.
Pick one.
Hey, Liam.
- Um, you mind picking me up at my house? - Liam? - Liam? - Okay.
Sorry, that's my dad.
Yeah, okay.
See you soon.
New chauffeur.
You think this is funny, do you? Uh, thanks for helping Veronica.
It really meant a lot to me.
- Don't do that.
- Do what? That.
Because I'm angry with you.
I know, and I'm sorry.
Really.
Come on.
[English - US -SDH.]