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CAPTIONING MADE POSSIBLE BYHALLMARK CHANNELAND FRIENDS OF NCI

- [SCREAMING]

Official YIFY movies site: YTS.MX

- YOU GUYS ALL RIGHT?- LET'S MOVE!

- [YELLING INNATIVE LANGUAGE]

- AAH! WHERE ISIT COMING FROM?

- TAKE COVER INSIDE!

- GO! GO!

- AAH!- OH!

- AAH!

- [ALL YELLING AT ONCE]

- OH!

- AAH!

AAH!

- [GUNSHOTS]

- GO BACK!

- WE GOT TO GET YOU OUT!

IT'S ALL RIGHT!

- [YELLING]

- GOOD EVENING, SIR.

- THANK YOU.

- THERE YOU GO, CATHERINE.

- OH, THANK YOU.

- OR, MAYBE I SHOULD CALL YOU,JANE DOE?

BOY, THESE FEDERAL AGENT TYPES,THEY DRINK LIKE FISH.

- YEAH.

- SO, UH, WHO'S PACKING HEAT?

YOU KNOW, LICENSE TO KILL.

I MEAN, THIS IS THEFIRST SECRET AGENT PARTY

YOU'VE EVER INVITED ME TO.

- WELL, WITH THE EXCEPTIONOF ME, BECAUSE I USE MY CHARM,

I THINK JUST ABOUT ALL THEAGENTS HERE ARE PACKING HEAT.

- COOL.

- HEY, JACK.

- OH, HEY, FRANK,HOW ARE YOU, BUDDY?

- GOOD.- HEY, BOSS.

- WELL, YOU CLEAN UP NICE.

- THANKS.NICE TUX YOU GOT THERE.

- IT'S A RENTAL.- LOOKS GREAT.

- THANKS.- HEY, PHIL.

CATHY, YOU REMEMBER PHILAND LAURA SIMS?

- OH, MY GOSH, PHIL.- HEY.

- HEY, LAURA.- OH, HI.

- IT'S BEEN A LONG TIME.

- OH, GOSH TOO MANY YEARSTO COUNT, I'M AFRAID.

- YOU'RE LOOKING WELL, CATHY.

OH, JANE.

- GOD.

FRANK BROUGHT YOUOUT OF RETIREMENT.

- YOU LOOK WONDERFUL.YOU HAVEN'T AGED A BIT.

RETIREMENT SUITS YOU, LAURA.

- THANK YOU.YOU'RE VERY SWEET.

SO, UM, WHO'S THIS?

- OH, UM, JACK.

- THIS IS MY HUSBAND, JACK DOE.

- NICE TO MEET YOU.- YOU, TOO.

WELL, I'M GOING TO LETYOU GUYS TALK SHOP.

- SURE.- EXCUSE ME.

- HEY, HE'S QUITE THE CATCH.

- SO, PHIL, HOW HAS THE SANDIEGO OFFICE BEEN TREATING YOU?

- YOU HAVEN'T HEARD, HAVE YOU?- WHAT?

- WELL, PHIL, HAS BEENSELECTED AS A CANDIDATE

TO RUN THE WASHINGTON BUREAU.

- OH.

- ONE OF A FEW CANDIDATES.

- YES. WELL, YOU'RETHE MOST QUALIFIED.

- CONGRATULATIONS, PHIL.

- UM, DON'T LOOK NOW.HERE COMES YOUR COMPETITION.

- MITCH WAS SELECTED?

- UH, IT'S ABOUTTO BE ANNOUNCED.

- HI.- HEY.

- THERE HE IS,THE ODDS-ON FAVORITE.

- YOU'RE TOO KIND.

- CONGRATULATIONS, PHIL.

- THANK YOU.

- CONGRATULATIONS TO YOU, MITCH.

- AH, THANK YOU, JANE.

I COULDN'T HAVE DONE ITWITHOUT THE SUPPORT

OF EVERYONE HEREIN THE L.A. OFFICE.

- OH, MY GOODNESS. THERE'S DOUGCOLEMAN FROM SAN FRANCISCO.

- HI.

- YOU KNOW, WE SHOULDGET A PICTURE.

- OH, EXCUSE ME JUST A SEC.

- HONEY, WHY DID YOU LEAVE MEALONE WITH THAT WOMAN?

SHE REALLY BUGS ME.

- WHAT WOMAN?- THAT LAURA SANDS.

WE WERE IN THE C.S.A. TOGETHER.

20 YEARS AGO, BEFORE I RETIRED,

AND SHE'S ALWAYSTRYING TO ONE UP ME.

WITH HER PERFECT HAIRAND HER PERFECT LIFE

AND HER PERFECT HUSBAND.

- HEY.

- HONEY, OF COURSE,YOU'RE PERFECT.

I JUST DON'T HAVE TO TELLTHE ENTIRE WORLD ABOUT IT.

- I DON'T KNOW, SHE SEEMS LIKEA NICE ENOUGH LADY TO ME.

- YEAH, WELL, YOU SHOULDGET TO KNOW HER.

- I'LL TELL YOU WHAT,I'M GOING TO GET YOU

SOMETHING STRONGERTO DRINK AT THE BAR.

- GOOD IDEA.

- HEY.

- OOH, OOH, OOH.

- COLEMAN.

LOOK AT YOU.

- OH, HEY, MITCH.

- HEY.

- HOW ARE YOU?UNBELIEVABLE.

IT'S BEEN TOO LONG.

- OH, PHIL.- TOO LONG.

- HEY, BUD.- HI, BUDDY.

GOOD TO SEE YOU, FRANK.

- YOU, TOO.

- WE'VE GOT A PHOTO TAKEN.

- OK.

- ALL RIGHT.

DARLING, YOU STAND HERE.

FRANK, RIGHT NEXT.

HERE WE GO.

ALL RIGHT.

- GOOD.

MITCH, PERFECT.

- WAIT, WHERE'S CATHY?

- UH, OVER HERE.

- OH, OH, CATHY.

- GOODNESS, I FORGOTALL ABOUT YOU.

WE NEED YOU RIGHT UP IN FRONT.

- OH, SORRY.

- BIG SMILES ON THREE.

- BAXTER, GET METHE SAT-COM REPORTS

FOR THE SOUTHEAST REGION ASAP.

I WANT THE NAME, ADDRESS,AND PHONE NUMBER

OF ANYONE WITHTIES TO THE U.L.F.

- GOT IT ALL RIGHT HERE, MA'AM.

- ROY?

- [GRUNTING]

- [RINGING]

- HELLO.

WHAT?

OHH, OF COURSE,I'LL BE RIGHT THERE.

I JUST CAN'T BELIEVE IT.

- I KNOW. BAXTERWAS A GOOD MAN.

TOP OF HIS CLASS AT THE ACADEMY,UP AND COMER.

- WELL, WHAT ABOUTPERSONNEL PROBLEMS?

A BAD MARRIAGE?

- NAH, WE CHECKED IT OUT.HE'S HAPPILY MARRIED.

HE'S GOT A KID ON THE WAY.

HE'S GOT NO PROBLEMSAT HOME OR AT WORK.

- HOW ABOUT ALANA? DIDSHE AND BAXTER GET ALONG?

- HE WAS ALANA'S PROTÉGÉ.THEY GOT ALONG WELL.

THAT'S WHY THISDOESN'T MAKE ANY SENSE.

- WHERE'S BAXTER NOW?

- HE'S IN INTERROGATION 2,

BUT HE SAYS HE DOESN'TREMEMBER ANYTHING.

- CAN I SPEAK WITH HIM, FRANK?

- YEAH, GO AHEAD.

- MS. DEVLIN ASKED METO BRING HER SOME FILES.

NOTHING OUT OF THE ORDINARY.WE DO IT ALL THE TIME.

AND THE NEXT THING I KNOW,I'M HOLDING MY--MY GUN.

IT'S HOT, LIKE IT'SJUST BEEN FIRED.

AND I SEE MS. DEVLIN ONTHE FLOOR IN FRONT OF ME.

I REALLY LIKE MS. DEVLIN. WEUNDERSTOOD EACH OTHER, YOU KNOW.

WE HAD THIS RAPPORT.

SHE WAS TOUGH, BUT FAIR.

SHE MADE ME WORK HARDER.

SHE MADE ME THE BEST AGENTTHAT I COULD BE.

- DID SHE WORK YOU TOO HARD?

- NO.

I WOULD NEVER, EVER DOANYTHING TO HURT MS. DEVLIN.

SHE WAS THE BEST.

- AHH.

I THINK HE'S TELLINGTHE TRUTH, FRANK.

- HOW DO YOU KNOW?

- WELL, IF HE WASGOING TO LIE,

HE WOULD MAKE UPA BETTER ONE THAN THAT.

HE WOULDN'T KILL IN FRONTOF A DOZEN C.S.A. AGENTS,

AND HE WOULDN'T USE HIS OWN GUN.

- WHAT DO YOU THINK, KATH?

YOU THINK HE JUSTLOST IT OR WHAT?

- YEAH, BUT WHY?

- WHAT TIME DID YOU GETHOME LAST NIGHT?

- ABOUT 3 A.M.

- IT MUST HAVE BEEN IMPORTANT.

- YEAH.

ALANA DEVLIN WAS SHOT.

- WHAT?

IS SHE ALL RIGHT?

- NO.

- WOW. I CAN'T BELIEVE IT.WE SAW HER JUST LAST NIGHT.

DO THEY KNOW WHO DID IT?

- YES, ROY BAXTER,

ONE OF THE JUNIOR AGENTSTHAT WORKED WITH HER.

AND HE DOESN'T EVENREMEMBER THE SHOOTING.

IT WAS LIKE HE JUST BLOCKEDTHE WHOLE THING OUT.

- WHO BLOCKED WHAT OUT?

- HEY, GOOD MORNING, YOU GUYS.

- MORNING.

- WHAT'S FOR BREAKFAST?

- WHO BLOCKED WHAT OUT?

- UH, BACON AND EGGS.

- SOUNDS GOOD.

- IF YOU DON'T WANT TO TELL ME,JUST SAY SO.

- WE DON'T WANT TO TELL YOU.

IT'S FOR YOUR OWN GOOD, NICK.

- WHY?

- WELL, WE DON'T WANT TO, UH,YOU KNOW, TO RUIN THE MOVIE.

- WHAT MOVIE?

- WILL YOU STOP ASKINGSO MANY QUESTIONS?

- YEAH.

- SO, DAD, WHAT'SWITH THE FANCY DUDS?

- I WAS JUST ABOUT TO ASKTHE SAME THING MYSELF.

- WELL, YOU THINKIT'S TOO MUCH?

- WELL, IT DEPENDS UPON WHOYOU'RE TRYING TO IMPRESS.

- WELL, I GOT A CALL YESTERDAYFROM ROB RYAN.

- OH, YOU GOT TO HELP ME OUTWITH THAT ONE.

- THE DEVELOPER OF THE STEVENSSTREET PROJECT.

THE NEW MULTI-MILLIONDOLLAR MALL.

- WAIT, HE WANTS TO SEE YOU?

- SEEMS LIKE I MADE THE CUT.

- OH, HONEY, THAT'S GREAT,CONGRATULATIONS.

- I DON'T THINK SO.

- AH, WHY, SUSAN?

- THAT GUY'S A JERK.

- WHY WOULD YOU SAYTHAT, SWEETHEART?

- YOU KNOW THAT HOMELESS SHELTERON 9th STREET?

GUESS WHO'S TRYINGTO TEAR IT DOWN.

- WELL, HOW DO YOU KNOW?

- I WROTE AN ARTICLEFOR THE SCHOOL PAPER.

THAT SHELTER HAS BEENTHERE FOR 20 YEARS.

NONE OF THE AREA RESIDENTS HAVEEVER HAD ANY PROBLEMS WITH IT.

THEN ALL OF A SUDDENTHIS GUY MOVES TO TOWN,

AND ALL THESE LETTERSOF COMPLAINTS AREPOURING INTO THE CITY.

THEN SOMEONE DIGS UPSOME OLD TAX REPORTS

AND FINDS OUT THAT THE TAXESARE IN ARREARS.

IF YOU ASK ME, SOMETHING STINKS.

- WELL, IT COULD BEA COINCIDENCE.

- YEAH, HONEY.

- DAD, PLEASE, DO YOUREALLY WANT TO GO

INTO BUSINESS WITH THIS GUY?

- I APPRECIATE YOUR OPINION,SUSAN.

AND THE LAST THING IWOULD EVER WANT TO DO

IS CLOSE DOWNA HOMELESS SHELTER.

BUT I'M A CONTRACTOR. I DOBUSINESS WITH DEVELOPERS.

AND WORKING WITH A GUYLIKE ROB RYAN,

I MEAN, THAT'S A--THAT'S A ONCEIN A LIFETIME OPPORTUNITY.

- YEAH.

- BESIDES, THE APARTMENTCOMPLEX THAT I'M BIDDING ON

IS ON THE OTHER SIDEOF THE CITY.

- SO, YOU'RE STILL GOINGTO BE WORKING WITH HIM.

- YES, AND THE MONEYHE PAYS ME

WILL HELP SUPPORTMY LOVING FAMILY

IN THE MANNER THEY HAVEGROWN ACCUSTOMED TO.

- YOU CAN'T ARGUE WITH THAT.

- [PHONE RINGS]

- HELLO.

- HEY, IT'S ME.YOU GOT ANYTHING?

- I'M GOING TO GO TALKTO ROY BAXTER'S WIFE.

- ALL RIGHT, BE SAFE.

- HI.

- HI, I'M AGENTJANE DOE, C.S.A.

- I HAVE ALREADY ANSWEREDSO MANY QUESTIONS.

- PLEASE JUST A FEW MORE,SHERRY, PLEASE.

- OH, I USED TO HAVE THIS CRIB.

- REALLY?

- AH, YEAH.

- ROY JUST FINISHED PUTTING ITTOGETHER ON SUNDAY.

HE'S NOT ONEFOR FOLLOWING INSTRUCTIONS,

SO, IT TOOK HIM A LITTLELONGER THAN EXPECTED, BUT...

AHH, WE'RE DUE IN 6 WEEKS.

SO, HOW MANY CHILDRENDO YOU HAVE, AGENT DOE?

- I HAVE 2.

A 16-YEAR-OLD DAUGHTER AND A SONTHAT'S 13 AND THINKS HE'S 40.

SO, YOU'RE HAVING A BOY?

- YEAH, A BOY.

WHY WON'T THEY LET ME SEE, ROY?

- IT'S AN ON-GOINGINVESTIGATION, SHERRY.

- WHAT'S GOING TO HAPPEN TO HIM?

- WE DON'T KNOW.

YOUR HUSBAND'SIN A LOT OF TROUBLE.

WE JUST HAVE TO FIGURE OUTWHY THIS HAPPENED.

DID YOU KNOW ALANA DEVLIN?

- OF COURSE.

SHE WAS ROY'S BOSS.

- AND DID THEY GET ALONG?

- THEY WERE FRIENDS.

SHE GAVE US THAT MOBILEFOR THE BABY.

- DID HE EVER COME HOME ANGRYOR UPSET WITH AGENT DEVLIN?

- NOT REALLY.

- WELL, WHAT ABOUT THE DAYBEFORE THE INCIDENT?

DID HE SEEM UPSET OR...

- NO, HE WAS REALLY GOOD.

HE WAS EXCITED ABOUT EVERYTHING.

OUR FUTURE. HE HAD THESEHEADACHES OCCASIONALLY,

BUT THE DOCTOR JUST THOUGHTIT MIGHT BE FROM EYE STRAIN.

- EYE STRAIN FROM WHAT?

- HE DID MENTION THATHE HAD BEEN WATCHING

A TON OF SURVEILLANCE VIDEOS.

HE WAS A REALLY GOOD MAN.

HE JUST--HE COULDNEVER DO THIS.

- SHERRY...

WE'LL DOWHATEVER WE CAN.

- THE COMPANY'S SMALL, BUT WE'REFAST AND WE'RE GOOD.

I THINK YOU'RE GOING TO FINDMY BID'S COMPETITIVE.

- BIG COMPANIES CAN DO ITFOR LESS, JACK.

YOU KNOW IT.I KNOW IT, JACK.

- YOU CALLED ME. WHY AM I HERE?

- YOU'RE HERE TO SOLVEMY P.R. PROBLEMS.

- OH, I GET IT.

YOU HIRE THE LITTLE GUY.

- ACROSS TOWN I'VE GOT ANAPARTMENT PLACE GOING UP.

I'M GOING TO TAKE YOUR BIDAND A COUPLE OF OTHERS.

VERY LUCRATIVE CONTRACT,BUT YOU KNOW WHAT,

WHAT'S GOING TO MATTERTHE MOST IS WHO WOWS ME.

- GIVE ME A DAY. I'LL THINKOF SOMETHING.

- OK, YOU GOT A DAY.

- ROY BAXTER'S PROJECT'S AMATTER OF NATIONAL SECURITY.

YOU DON'T HAVE THE CLEARANCE.

- OH, PLEASE, IS THEREANY WAY I CAN GET IT?

- DO YOU THINK BAXTER'S SUFFEREDFROM SOME KIND OF JOB STRESS?

- WELL, HE HAD THESE HEADACHES.

AND I THINK IT MAY HAVEHAD SOMETHING TO DO

WITH WHY HE DID WHAT HE DID.

- BASED ON WHAT?

- BASED ON THE FACT THAT THEREWAS NOTHING ELSE UNUSUAL

GOING ON IN HIS LIFEEXCEPT FOR THIS PROJECT.

IT'S A LEAD.

NOW, DO YOU WANT ME TO GETTO THE BOTTOM OF THIS OR NOT?

- YEAH, OF COURSE I DO.

- WELL, THEN GET ME ACCESSTO HIS FILES.

DATA MINING?

- YEAH, IT INVOLVESA LOT OF STATISTICS.

COMPUTATIONAL TECHNIQUES,PATTERN RECOGNITION.

BASICALLY, WHAT THEY DID

IS THEY RETRAINEDBAXTER'S MIND HOW TO THINK.

- AND THE PURPOSE OF THISRETRAINING IS...

- DATA MINING PROTOCOLWORK'S ON THE SUBCONSCIOUS MIND.

IT ENABLES AN AGENTTO BE ABLE TO IDENTIFY

LITERALLY THOUSANDS OF FACESOR NAMES INSTANTLY.

- HMM, WHO RECEIVESTHIS TRAINING?

- IT'S MOSTLY NEW RECRUITS.

AFTER THEY GOTHROUGH THE PROTOCOL,

THEY'RE REQUIRED TO LOOKAT SURVEILLANCE VIDEOS,

FOOTAGE, DOCUMENTS,RE-CON PHOTOS.

THINGS LIKE THAT IN HOPESTHAT MAYBE A NAME

OR A PHRASE WILLCLEAR THE SUBCONSCIOUS.

- LET ME GIVE YOU AN EXAMPLE.ROY BAXTER'S JOB WAS TO SCAN

HOURS AND HOURSOF AIRPORT SECURITY TAPES,

HOPING THAT HE'D BEABLE TO IDENTIFY POTENTIALTERRORIST THREATS.

- WELL, THAT EXPLAINSHIS EYE STRAIN.

SO, DID YOU GUYS TAKEA LOOK AT THE FOOTAGE

HE'S BEEN WATCHINGFOR THE PAST 2 WEEKS?

- WE DIDN'TFIND ANYTHING UNUSUAL.

- WHO HEADS UP THIS PROTOCOL?

- DR. JARED FOX, HE'S BEEN WITHC.S.A. FOR MORE THAN 10 YEARS.

- WELL, THIS IS JUSTA CRAZY THOUGHT.

DID HE HAVE ANY PROBLEMS WITHALANA DEVLIN?

- WHY DO YOU ASK?

- THIS PROTOCOL SOUNDSLIKE DEEP HYPNOTHERAPY,

A POST-HYPNOTIC SUGGESTION.

NOW, BAXTER'SMIND WAS CONDITIONED

SO THAT WHEN HE RECEIVEDTHE PROPER STIMULUS,

A NAME, A FACE, OR A SOUND,HE WOULD RESPOND.

NOW, WHAT IF ONEOF THESE RESPONSES

WAS TO KILL ALANA DEVLIN?

- WHOA, WE GOT SOMETHING.

- WHAT'S UP?

- SOME OF DR. FOX'SFUNDING WAS CUT THIS YEAR.

HE WASN'T REAL HAPPY ABOUT IT.

ALANA DEVLIN WAS ONTHE FINANCE COMMITTEE.

- I THINK WE NEEDTO TALK TO DR. FOX.

- THANKS FORCOMING IN, DR. FOX.

- NOT AT ALL, NOT AT ALL.

WHAT IS THIS ALL ABOUT?

- WELL, WE JUST HADA FEW QUESTIONS

ABOUT DATA MINING PROTOCOL.

YOU'RE AWARE THAT UH, ROYBAXTER, THE ACCUSED

IN THE SHOOTING DEATHOF ALANA DEVLIN

AT ONE TIME HE WAS A STUDENTOF YOURS. IS THAT CORRECT?

- YES, ROY BAXTERWAS A STUDENT OF MINE.

ROY BAXTER WAS ONEOF MY BETTER STUDENTS.

- IN WHAT WAY?

- SOME MINDS ARE JUST MORE OPENTHAN OTHERS, MORE VULNERABLE.

HE WAS A VERY APT PUPIL.

- SO, HE TOOK SUGGESTION WELL?

- EXTREMELY WELL.

- WHAT CAN YOU TELL USABOUT THE PROTOCOL?

- NOTHING.

THE PARTICULARS OF THE PROTOCOLARE CLASSIFIED, AGENT DARNELL.

- I'M AWARE OF IT.- HMM.

- LET ME PUT IT ANOTHER WAY.

LET'S SAY, GENERALLY SPEAKING,

WHAT KIND OF THINGS ARE THESEAGENTS REQUIRED TO MEMORIZE?

- FACES, SOUNDS,IMAGES, INFORMATION.

ANYTHING THAT MIGHT INDICATEA THREAT TO THE COUNTRY.

IT'S BASED UPON A PROTOCOLTHAT THE AGENCY USEDBACK IN THE 1980s.

- COULD SOMEONE BEGIVEN A SUGGESTION

FOR A DIFFERENTKIND OF RESPONSE?

- YOU'RE TALKING ABOUT THESHOOTING DEATH OF AGENT DEVLIN.

AM I RIGHT?

- YES, I AM.

- YEAH, WELL, I SUPPOSETHAT'S FEASIBLE.

BUT LET ME TELL YOU SOMETHING.

I WOULD NEVER ALLOWANY OF MY SUBJECTS

TO HARM ANYONE WITH A PROTOCOL.

WHATEVER I DO IS FOR THE AGENCY.

QUITE HONESTLY, I'M REALLYOFFENDED BY THE ACCUSATION.

- GIVE US A MINUTE.

- WE'LL BE RIGHT BACK.

- [TELEPHONE RINGING]

- HE'S LYING.

HE'S GOT A TALE.

HE TOUCHES HIS NOSE.HE IS DEFINITELY LYING.

- THEN WE BETTER SHUTDOWN THE PROTOCOL.

STOP EVERYTHING.

- NOT YET.

- IF HE'S RESPONSIBLE.

- ENROLL ME.

- NO, IT'S TOO DANGEROUS.

- HE'S UP TO SOMETHING, FRANK,LET ME GET INSIDE.

- CATHY, THIS GUY GETS INSIDEYOUR HEAD, HE COULD HURT YA.

- HE'S NOT GOING TO DO THAT.

I'M NOT GOING TO LET HIM.

- I DON'T KNOW, FRANK.

- CATCHING THIS GUY IN THE ACTMAY BE THE ONLY WAY

TO PROVE WHAT HE'S UP TO.

I CANNOT WAIT TO GETIN THERE WITH FOX.

- SEE WHAT HE HAS TO SAY.

- [PHONE RINGS]

- OH, AHH.

- MAKE IT QUICK.- HELLO.

- HEY, NEED YOUR HELP.

- ME, TOO. CAN YOUDO THE LAUNDRY?

- SURE, IF YOU CAN TELL ME HOWTO WOW ROB RYAN.

- OH, SO THE MEETING WENT WELL.

- POTENTIALLY, BUT I NEEDSOMETHING BIG.

THE ONLY PROBLEM IS WHAT DO YOUGET THE GUY WHO HAS EVERYTHING?

- WELL, IS HE MARRIED?

- YOU CAN'T MARRY HIM.

- YEAH, I KNOW,I KNOW, I KNOW,

BUT I CAN MAKE HIMA HOME-COOKED MEAL.

- YOU'RE KIDDING. THAT'S KINDAOLD FASHIONED. ISN'T IT?

- YEAH, BUT MAYBE THAT'SEXACTLY THE KIND OF THING

A GUY LIKE ROB RYAN WOULD LIKE.

YOU KNOW? TO MEETYOUR FAMILY AND SEE WHATA GREAT GUY YOU ARE.

- YOU KNOW, YOU MIGHTBE ON TO SOMETHING.

WHAT MADE YOU THINK OF IT?

- LAURA SANDS.

HER HUSBAND PHIL TOLD ME THATSHE'S COOKING A 7-COURSE MEAL

FOR THE WHOLE WASHINGTON BUREAU.

SHOW OFF.

- DON'T TELL ME YOU'RE STILLCOMPETING WITH THAT WOMAN.

- NO, BUT I CAN MAKEMY WORLD FAMOUS LASAGNA

FOR MY HUSBAND'S NEWEST CLIENT.

- SOUNDS GOOD.I'LL TAKE IT.

- UH, I GOT TO GO HONEY, OK?

I WANTED TO INTER--UGH.

- [KNOCK ON DOOR]

- NICK, ARE YOU IN THERE?

- HI. HONEY, WHEREDID YOU FIND THIS?

- UNDERNEATH HIS BED.

- WHERE YOU SNOOPING?

- OF COURSE NOT.

I WAS LOOKING FOR A SOCK.

- HONEY, SNOOPING IS FINE,

ESPECIALLY WHEN YOU FINDSOMETHING LIKE THIS.

AHH.

- YOU THINK HE'S INTO DRUGS?

- NICK? NO, NO, HE'S PROBABLY,I DON'T KNOW,

HELPING SOME KIDSWITH THEIR HOMEWORK OR...

- THIS MUCH MONEY? IT'S GOTTO BE SOMETHING ILLEGAL.

I MEAN, HOW ELSE WOULDA 13-YEAR-OLD BOY BE ABLETO COME UP WITH $1,200?

- WE HAVE TO TALK TO HIM.

- [KNOCK ON DOOR]

- STUDYING.

- HEY, NICK.

- HEY, MOM.

I HAVE A GEOMETRY TEST TOMORROW.

- RIGHT. UH, THIS WILLONLY TAKE A MINUTE.

- WE WERE WONDERING ABOUT THIS?

- OH, RIGHT.

THAT'S MINE.

- WELL, YOUR FATHER WAS WRONG

TO GO THROUGHYOUR PERSONNEL THINGS.

- RIGHT.

- BUT WE DO HAVE A RIGHT TO KNOWHOW YOU CAME UPON SO MUCH MONEY.

- E-BAY. I SOLD SOMEOF MY OLD COMIC BOOKS.

- OLD COMIC BOOKS ARE WORTHA THOUSAND BUCKS?

- ACTUALLY A FEW 1,000.

I HAVE MORE THAN JUST ONE SPOT.

- EXCUSE ME?

- I HAD A COUPLEOF FIRST EDITIONS,

PLUS I FOUND SOME SUCKERSWHO WERE WILLING TO OVER PAY.

- YEAH, AND WHATWERE YOU PLANNING TO DOWITH ALL THIS MONEY?

- I'M SAVING UP FOR A CAR.

A NICE ONE, YOU KNOW,

SO I CAN HAVE IT WHENI LEARN HOW TO DRIVE.

- IN 3 YEARS.- RIGHT.

- WELL, GOOD FOR YOU.

- WELL, HONEY, FIND A BETTERHIDING PLACE, ALL RIGHT?

AND I HOPE YOU READ THIS BEFOREYOU CUT IT UP.

- OK.

- I DON'T BUY IT.

WHY WAS THERE SO MUCH CASH?

YOU SELL THINGS ON THE INTERNET,YOU USE CHECKS OR CREDIT CARDS.

AND WHY WERE THE BILLSIN SUCH SMALL DENOMINATIONS?

AND IF HE WAS GOINGTO SELL HIS COMIC BOOKS,

HE WOULD HAVE TOLD US.

AND HE WOULDN'THAVE KEPT IT SECRET

AND HID THE MONEY UNDER HIS BED.

- HE LIED TO US.

- HE'S AN EXCELLENT BLUFFER.

CALM, COOL, COLLECTED, NO TALES.

HE GETS IT FROM MY SIDEOF THE FAMILY, I THINK.

- ALL RIGHT.

LET'S CONFRONT HIM.

READ HIM THE RIOT ACT.

- NO, NO, NO, THEN HE'LL JUSTSHUT US OUT.

- SO, WHAT DO YOU WANT TO DO?

- LET'S TRY TO FIGURE OUTWHAT HE'S UP TO.

- WHEN DOES HE FLY OUT?

- I THINK IT'S 2:00.

- HEY, BARB.- HEY.

- HOW'S IT GOING?- GOOD.

- [BEEPING]

- [SINGING]

- UH, DR. FOX?

- WHOA. I'M SORRY.

- HI.

- CAUGHT ME.

YOU MUST BE AGENT JANE DOE.

- YES, YES, I AM.

- OH, HI, NICE TO MEET YOU.

- HERE YOU MIGHT LIKE THOSE.- THANK YOU.

- UH, THAT'S A VERY UNIQUE NAME.

- YEAH, MY BROTHER'S NAMEWAS JOHN.

- OK.

OK, GOOD, FINE, NICE.

WELL, I'M GLAD YOU CAME IN.

ARE YOU, READY--READY TO START?

- YEAH, I REALLY APPRECIATE YOUMAKING TIME FOR ME.

- NOT AT ALL.

MY DATA MINING PROTOCOLIS A VERY USEFUL TOOL

FOR C.S.A. AGENTS.

AND MY ONLY REGRET IS THAT IT'SNOT AVAILABLE TO ALL THE AGENTS.

- WELL, I AM HERE TO LEARN.

- AND I'M HERE TO TEACH.

GOOD, GOOD.

I HAVE A SEAT FOR YOURIGHT OVER THERE.

DO YOU WANT SOME MORE OF THESE?

- NO.

- BECAUSE THERE'SNO MORE OVER THERE.

I HAVE SET UP FOR YOU--I'LL HELP YOU RIGHT HERE.

READY AND--AAH, GOOD.

THE MOST IMPORTANT THINGFOR YOU TO DO IN THIS EXERCISE

IS TO JUST RELAXYOUR SUBCONSCIOUS MIND.

JUST RELAX YOUR MIND, SO THATYOU CAN KEEP IT OPEN.

AND YOU CAN ALLOW THE TECHNOLOGYTO COME IN TO YOUR...

- SUBCONSCIOUS.

- SUBCONSCIOUS. GOOD, GOOD.

MAY I ASK YOU A QUESTION?

WHAT IS THE KIND OF MUSICTHAT YOU LIKE TO LISTEN TO?

- I LIKE CLASSIC ROCK.

- WHATEVER COMES INTO YOUR MIND.

WHATEVER MEMORIES ITBRINGS UP YOU JUST...

WHEW. GO ALONG WITH IT.

- OK.

- JUST OPEN UPYOUR SUBCONSCIOUS.

LISTEN TO THE SOUND OF MY VOICE.

- WHEW.

- AND RELAX.

- OK.- RELAX. OK, ARE YOU READY?

- MM-HMM.

- AHH, OK, I'M GOING TO SHOWYOU A SERIES OF IMAGES.

AND THE THING IS,

I DON'T WANT YOU TOFOCUS IN ON ANY IMAGE.

JUST RELAX AND OPENYOUR SUBCONSCIOUS MIND.

YOU LISTEN TO THESOUND OF MY VOICE.

♪ THE PARTY'S OVER

♪ AND THE FREAKSHAVE ALL GONE HOME ♪

- YOU'RE A VERY GOODSUBJECT, AGENT DOE.

♪ THE BILLS LEFTON THE TABLE ♪

♪ WON'T LEAVE YOU ALONE

♪ THE JOURNEY'S ENDED

♪ TIME TO YOU RETURN

♪ BUT THE IMAGES REMAINLIKE MATCHES THAT WON'T BURN ♪

- HEY, DAD?

MAY I BE EXCUSED?

- WHAT'S THE MATTER?

YOU IN A RUSH?

- HISTORY EXAM.

I WAS GOING TO GO OVERTO A FRIEND'S HOUSE TO STUDY.

- WELL, I GUESS THAT SOUNDS OK.

HEY, NICK.

YOU FORGETTING SOMETHING?

NO, THAT'S ALL RIGHT.I'LL GET IT.

BUT I WAS TALKINGABOUT YOUR BOOKS

SO THAT YOU CAN STUDYFOR YOUR BIG EXAM.

- OH, THANKS, DAD, BUTI LEFT THEM AT JIM'S HOUSE

SINCE I KNEW I WAS GOINGOVER THERE ANYWAYS TO STUDY.

- DOES THIS JIMHAVE A LAST NAME?

- CONNER.

WHAT'S WITH THE THIRD DEGREE?

- NOTHING.

JUST DON'T STAY OUT TOO LATE.

- ALL RIGHT.

- MOM IS RIGHT.

HE IS GOOD.

- WHATEVER, DAD.

- YOU'RE ON A ROLL.

- YEP.

- YOU'RE BLUFFING.

- OK, HIT ME.

- HE'S THE BEST.

- HURRY UP, DUDE.

- STRAIGHT.

- WHAT ARE YOU WAITING FOR?

- THREE OF A KIND.

- HIT ME.

- POKER?

- YEAH, I KNOW.

I'M IN SHOCK, TOO.

- AND THEY WEREPLAYING FOR MONEY?

- YEAH, A LOT OF MONEY.

AND YOU KNOW WHAT THE KICKERIS, I MEAN, NICK IS GOOD.

I MEAN, REALLY GOOD.

- OF COURSE HE'S GOOD, HONEY.

- WELL, I DIDN'T KNOW WHETHERTO BE PROUD OR FURIOUS.

- WELL, WE CAN'TJUST LET THIS SLIDE.

- [PHONE RINGS]

- I MEAN, AT THE VERY LEASTWE HAVE TO, UM, I'M SORRY.

HELLO?

- WHO WAS THAT?

- I HAVE TO GO.

- WHERE?YOU JUST GOT HOME.

- TO WORK.

- KATHY, WE'VE GOTAN ISSUE HERE.

- I HAVE TO GO.

- WHAT ABOUT NICK?AND WHEN ARE YOU COMING HOME?

KATHY?

- KATHY?

HEY.

- [BEEPING NOISE]

- HEY, WHAT ARE YOU DOING?

- MY CELL PHONE.

- OHH.

- KATHY, WHERE ARE YOU?

- I CAN'T TALK RIGHT NOW.

- AHH.

- [MUSIC PLAYING]

♪ YEAH, FRANKIE AND JOHNNYWERE LOVERS ♪

♪ OH, MY GOD,HOW THEY DID LOVE ♪

♪ THEY SWORE TO BETRUE TO EACH OTHER ♪

♪ TRUE AS THE STARS ABOVE

♪ HE WAS HER MAN ANDHE DONE HER WRONG ♪

♪ NOW, SING ALONGIF YOU KNOW IT ♪

♪ FRANKIE, SHE WASA GOOD WOMAN ♪

- SHOW'S OVER, FOLKS.

- WHAT IN THE HELLIS GOING ON HERE?

- I HAVE NO IDEA.

BUT IT ISN'T PRETTY.

- I-I DIDN'T HURT ANYONE.

- YOU ABUSED YOUR POWER.

YOU GAVE AGENTS TRIGGER WORDSSO THEY WOULD OBEY YOU.

- I-I MERELY INSTRUCTED THEMTO COME TO THIS LOCATION

SO THEY WOULD HAVE A GOOD TIME.

BUT USE A PROTOCOLTO HARM SOMEONE?

NO. NO.

NEVER.

YOU KNOW, THERE'S ONE THINGI JUST DON'T UNDERSTAND.

YOU SEE, I THOUGHT THE PROTOCOLWORKED ON EVERYONE.

HOW--IT DIDN'T--IT DIDN'TWORK ON YOU.

HOW DID YOU DO THAT?

- UM, NO, I'M SORRY,DR. FOX.

- WHAT WERE YOU, A PLANT?

YOU--YOU DIDN'T SUCCUMBTO THE PROTOCOL, HUH?

- I THOUGHTABOUT SOMETHING ELSE.

I DIDN'T LET MY GUARD DOWN.

YOU KNOW AS WELL AS I DO,

ONLY A PASSIVE MINDIS OPEN TO SUGGESTION.

- YOU FOOLED ME.

YOU KNOW, I'M A--I'M A LONELY MAN.

I USE PROTOCOLS TO GET PEOPLETO SPEND TIME WITH ME.

- WHAT DO YOU THINK?

- I BELIEVE HIM.

- I'M NOT SO SURE.

HE DOES RUN THE PROGRAM THOUGH.

- YEAH, BUT IF YOU WEREGOING TO USE THE PROTOCOL

TO HAVE SOMEONE KILLED,WOULD YOU THEN TURN AROUND

AND USE THE SAME M.O.TO THROW YOURSELFA KARAOKE PARTY?

- NO, NO, YOU WOULDN'T.

- I'M HEADING OUT.

WATCH YOUR BACK, BOSS.

- [DOG BARKS]

- KARAOKE?

- YEP, THAT WAS THE BIG SECRETDR. FOX WAS COVERING UP.

HE WAS USINGPOST-HYPNOTIC SUGGESTION

TO GET AN AUDIENCE FORHIS HORRIBLE OPERA KARAOKE.

- YOU'RE KIDDING, RIGHT?

- NO.

I WISH I WAS.

YOU KNOW HE WAS OUR MAIN SUSPECTIN THE DEVLIN MURDER.

IN FACT, HE WASOUR ONLY SUSPECT.

AHH.

HEY, HAVE YOU TALKEDTO OUR LITTLE GAMBLER YET?

- WELL, ACTUALLY,I WAS WAITING FOR YOU.

- HMM, LET'S GO TALK TO HIM.

- SO, DO YOU WANT TO TELL USWHERE YOU WERE LAST NIGHT?

- UM, NO.

- WE KNOW ABOUTTHE GAMBLING, NICK.

- HOW?

- BECAUSE I FOLLOWED YOU.

I SAW THE WHOLE OPERATION.

- GREAT.SO, NOW YOU'RE SPYING ON ME?

LOOKING THROUGHMY STUFF WASN'T ENOUGH?

- LET'S GET ONE THING STRAIGHT.

IF YOU'RE NOT TRUTHFUL,

YOUR PERSONAL PRIVACY ENDSAT THE FRONT DOOR.

- IS THAT WHEREYOU GOT THE MONEY?

- YEAH.

- WELL, YOU GOTTA GIVE IT BACK.

- WHY?

- BECAUSE GAMBLING IS ILLEGAL.

- BUT KIDS ARE DOING ITALL OVER THE PLACE.

VINCE DELVECIA WAS THE BIGWINNER THE OTHER NIGHT.

- SHERIFF DELVECIA'S SON?

- YEAH, BESIDES I WONTHE MONEY FAIR AND SQUARE.

- YOU'RE GIVING THAT MONEY BACK.

- WHAT IF I TOLD YOUGUYS THAT I'M DONE.

LAST NIGHT WAS THE LAST TIMEI PLAY POKER.

I'VE WON ENOUGH.

- FOR A CAR?

- NO, I'M GOING TO USE THE MONEYFOR SOMETHING ELSE.

SOMETHING NOBLE.

- SOMETHING NOBLE.

LIKE WHAT?

- I CAN'T TELL YOU.

BUT I SWEAR, I'M DOINGTHE RIGHT THING.

YOU GUYS WILL BE PROUD OF ME.

- ALL RIGHT, YOU CANKEEP THE MONEY.

IT'S TIME FOR SCHOOL.

WE'LL TALK ABOUT THIS LATER.

- [DOORBELL RINGS]

- I'LL GET IT.

- HELLO. IS YOUR MOTHER HOME?

- MAYBE. ARE THOSE FOR US?

- LAURA, WHAT AREYOU DOING HERE?

- KATHY, I BROUGHTYOU SOME MUFFINS.

I THOUGHT MAYBE YOU AND YOURFAMILY MIGHT ENJOY THEM.

- HEY, MOM, LOOK. REAL FOOD.

THANKS, LADY.

- LAURA, RIGHT?

- HELLO, JACK.

- HI. ARE THOSE MUFFINS FOR US?

- OH, HELP YOURSELF.

- OH, THANKS.- BYE, HONEY.

- BYE.

- MMM, THEY LOOK GREAT.

- THANKS.- OH.

- BYE, MOM.

- 2?

- THAT'S MY DAUGHTER SUSAN.

- YES, WELL, THEY'RECERTAINLY A HUNGRY BUNCH.

DON'T YOU EVER FEED THEM?

- WHENEVER I CAN.

- I CAN'T BELIEVE HOWMANY YEARS HAVE FLOWN BY.

WHEN WAS THE LAST TIME WE SATDOWN AND HAD A CHAT?

- WELL, I DON'T THINKWE EVER HAVE.

- WE WERE SO COMPETITIVE BACKTHEN, WEREN'T WE?

- WELL, NOT--I DON'T THINK SO.

- THE CREAM?

- YES, MILK. HERE, SORRY.

HERE YOU GO.

- WE SHOULD HAVE WORKED TOGETHERAS A TEAM, KATHY.

WE COULD HAVE MADE SUCH IN-ROADSFOR WOMEN IN THE C.S.A.

- WELL, I'M PRETTY HAPPY WITHTHE WAY THINGS TURNED OUT.

- OF COURSE YOU ARE.

YOU KNOW THAT PHILIS BEING BLAMED FOR ROYBAXTER'S HORRIFIC CRIME

JUST BECAUSE THEY ARE BOTH FROMTHE SAN DIEGO OFFICE.

- YES, I HEARD ABOUT THEINTERNAL AFFAIRS REPORT.

- IT'S RIDICULOUS.

- I KNOW.

- I MEAN, MY HUSBANDWOULD NEVER.

I MEAN, HE'S THE MOST DEDICATEDMAN C.S.A. HAS.

HE'S SPENT ENTIRE LIFE WITH...

- UH, YOU DON'T HAVETO CONVINCE ME, LAURA.

- GOOD BECAUSE I WAS HOPING THATYOU WOULD TALK TO MITCH EVANS.

HE AND THE INTERNALAFFAIRS DEPARTMENT AREGOING AFTER PHIL AND...

- WELL, FRANK AND I WILL DOWHATEVER WE CAN.

BUT I HAVE TO BELIEVETHE WASHINGTON BUREAU

WILL SEE THE I.A. REPORTSFOR WHAT IT IS, POLITICS.

- OH, GOOD.

THANK YOU.

- SO WHAT DO WE GOT, FRANK?

- DR. FOX DOESN'T KNOW ANYTHING,

WHICH MEANS KATHY LED USON A WILD GOOSE CHASE.

THE BAXTER KIDIS STILL LOCKED UP

AND EVANS IS HAVING A FIELD DAYAT OUR EXPENSE.

- OH, DR. FOX MIGHTBE A DEAD END,

BUT THERE'S SOMETHING BEHINDTHIS DATA MINER PROTOCOL.

- MAYBE KATHY WAS JUST WRONG.

- YOU KNOW, I'M GOINGTO HAVE TO AGREE WITH PHIL.

MAYBE ALANA DEVLIN'S DEATH

WASN'T ABOUTSOME BIG CONSPIRACY.

MAYBE SHE WAS JUST IN THE WRONGPLACE AT THE WRONG TIME.

- DOUG, IT DOESN'TMAKE ANY SENSE.

WE GOTTA FIND AN EXPLANATION.

- OK, FRANK.

- BUT I'M HEADING OUTTO THE AIRPORT

TO CATCH THE NEXT FLIGHT BACKTO SAN FRANCISCO.

- THAT'S PRETTY QUICK.

- AH, I GOTTA SEE THIS DOCTOR.

- NOTHING SERIOUS?

- NAH, NAH.

STRESS HEADACHES. WEIRD ONES.

THE WIFE THINKSI'M WORKING TO HARD.

- AND SHE'S PROBABLY RIGHT.

TAKE CARE OF YOURSELF.

- YOU, TOO.

HEY, GOOD LUCK WITH EVERYTHING.

- TAKE COVER INSIDE!

FRANK, I SAID GOOD LUCKWITH EVERYTHING.

- YEAH, YEAH, WE'LL TALK SOON.

YOU BE SAFE.

- TAKE CARE, BUDDY.

- OK.

- SEE YA, PHILLIP.

- NEXT TIME.

- AGENT ENNIS.

- HEY, DOUG.

I HAVE YOUR TICKET RIGHT HERE.

- OH, THANK YOU.

SO, WHEN ARE YOU HEADING BACK?

- I'M TAKING THE LATER ONE.

GONNA WRAP UP A FEW LOOSE ENDSDOWN HERE.

- ALL RIGHT, WELL, WE'LL SEE YOUTOMORROW MORNING AT THE OFFICE.

- YOU BET, SIR.- TAKE CARE.

- [BEEPING NOISE]

- [DISTORTED VOICE]

- [ELEVATOR BELL DINGS]

- AGENT ENNIS,WHAT ARE YOU DOING?

- [SCREAMING]

- [ELEVATOR BELL DINGING]

- I WAS HEADEDBACK TO THE OFFICE

AND THEN I CHECKED MYCELL PHONE FOR MESSAGES.

THE NEXT THING I KNOW...

AGENT COLEMAN IS SHOT ANDI'M THE ONE HOLDING THE GUN.

HE WAS MY PARTNER.

THERE'S NO WAY I WOULD EVER WANTTO HURT HIM.

- HE'S BEEN QUESTIONEDFOR HOURS.

HIS STORY DOESN'T CHANGE.

- GIVE US A SECOND, WILL YA?

- JUST LIKE BAXTER'S.

HE DOESN'T REMEMBER ANYTHING.

- OK, FRANK.

- 2 SENIOR AGENTS KILLEDIN AS MANY DAYS.

- YOU GET ANYTHING OFF THIS ONE?

- NO MEMORY OF THE EVENT.

JUST LIKE BAXTER.

- YEAH, EXCEPT THIS ONE'S NEVERBEEN TO THE SAN DIEGO OFFICE,

SO IT'S GOT NOTHINGTO DO WITH ME.

- WELL, NOT THAT WE KNOW OF.

- OK, MITCH, WHAT'S THATSUPPOSED TO MEAN?

- YO, I'M LOOKING FOR A WAYTO STOP JUNIOR AGENTS

FROM KILLING SENIOR ONES.

AND THAT MEANSNO STONE GOES UNTURNED.

- WELL, MAYBE THIS GUY POINTSIN YOUR DIRECTION.

IF HE DOES, MAYBETHE WASHINGTON BUREAU

WOULD LIKE TO HEAR ABOUT THAT.

- YOU KNOW WHAT, PHIL--- YOU TWO WANT TO CAN IT?

2 AGENTS ARE DEAD.GET YOUR HEADS ON RIGHT.

- YOU KNOW, FRANK, MAYBE THISGUYS USING BAXTER'S ALIBI.

SEIZING THE OPPORTUNITYTO BEAT THE WRAP.

- AH, MITCH, THERE'S NO MOTIVE.

THERE'S NO MOTIVE,THERE'S NO REASON.

HE AND DOUG COLEMANARE VERY GOOD FRIENDS.

- BUT HE WAS IN THE DATAMINING PROTOCOL.

YEAH, I CHECKEDWITH DR. FOX,

AND ROY BAXTER AND BRIAN ENNISWERE IN THE SAME CLASS.

- ALSO WERE A DOZENOTHER AGENTS.

IT PROVES NOTHING.

- WITNESSES SAW ROY BAXTERANSWER HIS OFFICE PHONE

RIGHT BEFORE HE KILLEDALANA DEVLIN.

- SO?

- WELL, BRIAN ENNISDROPPED HIS CELL PHONE

RIGHT BEFOREHE SHOT DOUG COLEMAN.

- TRIGGER WORD.

- OVER THE PHONE?

- NO, WE CLEARED DR. FOX.

- AND WE CHECKED THE CELL PHONE.

THERE WERE NO INCOMING CALLS.

- YEAH, GUYS, HE SAID HEWAS CHECKING HIS MESSAGES.

AND I'LL BET THE LAST ONEWAS A TRIGGER WORD.

- [BEEPING]

- THE LAST MESSAGE WASPLAYED THE MOMENT BEFOREENNIS ALLEGEDLY FIRED.

THE VOICE IS DIGITIZED.

LISTEN.

- [DISTORTED VOICE]

- WAIT. CAN YOU PLAYTHAT AGAIN, JENNIFER?

- [DISTORTED VOICE]

- IT'S PUSHTO, A MIDDLEEASTERN LANGUAGE.

IT MEANS KILL.

- SO IT'S A TRIGGER WORD.

- I DON'T THINKWE WENT FAR ENOUGH

INTO OUR INVESTIGATIONOF THE PROTOCOL.

- BUT I THOUGHT WE AGREEDTHAT IT'S NOT DR. FOX.

- IT'S NOT DR. FOX,

BUT IT SEEMS AS IF HE WASAN UNWITTING ACCOMPLICE

TO WHOEVER WASBEHIND THESE MURDERS.

- IT'S A POSSIBILITY.

- OBVIOUSLY THERE AREOTHER TRIGGER WORDS

IMBEDDED IN THE PROTOCOL

THAT ARE FAR MORE DEADLY THANTHE ONES DR. FOX WAS AWARE OF.

- THAT'S A STRETCH.

- NO, NOT REALLY.

WHOEVER KNOWS THE OLD TRIGGERWORDS COULD USE THEM.

- WHICH MEANS ALL THE AGENTSWHO'VE BEEN THROUGH THE PROTOCOLARE TICKING TIME BOMBS.

SO YOU'RE GOINGTO UNSCRAMBLE THAT

TO SEE IF WE CAN FINDOUT WHO IT IS?

- YES, BUT IT'S GOING TO TAKESOME TIME.

- WELL, WE HAVE TO TRACETHE TECHNOLOGY.

FIND OUT WHO KNEW WHAT AND WHEN.

- TAKE COVER INSIDE!

- FRANK? FRANK?

- FRANK.

- YEAH, I WAS JUST THINKING.

UM...

I'M SORRY.

- DO YOU THINK THAT WE CAN...

DECLASSIFY THE ORIGINSOF THE PROTOCOL?

- YEAH, YEAH, IT'S A LITTLETOUGH, BUT IT CAN BE DONE.

- WELL, WE HAVE TO.

IT'S A MATTER OF LIFE AND DEATH.

- LET'S SEE IF YOU CANADD ON A COUPLE OF SHIFTSOF BRICK LAYERS.

BUT NO OVER TIME, ALL RIGHT?

- MR. RYAN?

UH, JACK DAVIS, DO YOUREMEMBER ME?

YOU DIDN'T RETURNANY OF MY PHONE CALLS.

- WELL, I'M A VERY BUSY MAN.

- WELL, I'M CONFUSED.

AM I GOING TO GET A CHANCE TOBID ON YOUR APARTMENT COMPLEX?

- IT DEPENDS.

HAVE YOU WOWED ME YET?

- WELL, MY WIFE AND I ARE GOINGTO DO A DINNER.

- SOUNDS THRILLING.

- WHY, I JUST FIGUREDA SINGLE GUY LIKE YOU...

YOU PROBABLYEAT OUT EVERY NIGHT.

I THOUGHT A NICE HOME-COOKEDMEAL WOULD BE A CHANGE OF PACE.

BESIDES, IT GIVESME THE OPPORTUNITY

TO TELL YOU ABOUT MY BUSINESS.

- HEH HEH. I DON'T THINK SO.

- JUST GIVE MEA CHANCE, MR. RYAN.

WORSE CASE SCENARIO YOU GETA WORLD-CLASS LASAGNA DINNER.

- OK, YOU GET YOUR SHOT.

- TONIGHT.- BUT MY WIFE--

- TONIGHT OR NEVER.

- TONIGHT'S GREAT.

- AFTER TALKING MY WAYTHROUGH 17 C.S.A. BUREAUCRATS,

THEY FINALLY RELEASED THIS.

IT'S A RECRUITMENT FILM

BASICALLY EXPLAINING HOWTHE MIND CONTROL PROTOCOL WORKS.

I THOUGHT YOU MIGHTFIND IT ENLIGHTENING.

- THESE AGENTSIN TRAINING ARE SUBJECTS

OF THE MINDDEVELOPMENT PROTOCOL,

COMMONLY KNOWNAS THOUGHT CONTROL.

THE BRAIN CHILD OFDR. FRANKLIN BENNETT.

THE PROTOCOL WILL PRODUCE THEOPTIMAL INTELLIGENCE OPERATIVE

ABLE TO COMMIT TO ANYOBJECTIVE WITHOUT REMORSE.

- IS THISTHEFRANKLIN BENNETT?

- YEAH, ONE OF THE MOSTBRILLIANT MINDS THAT EVER WORKEDFOR THIS AGENCY.

- WHERE IS HE NOW?

- WHO KNOWS? LONG GONE.

- HE WENT A LITTLE NUTS.

- ...PLAYS A SPECIAL ROLEIN THE PROTOCOL.

THE TRIGGERS THAT WE PLACEIN THE SUBJECT'S MIND

CAN ALTER HIS OR HER WORLD

AND WITH THE PROPER TRIGGERS,

BLACK BECOMES WHITE,WHITE BECOMES BLACK.

- I'VE SEEN ENOUGH.

I WANT TO MEETTHIS DR. BENNETT.

- ABSOLUTELY--IF YOUCAN FIND HIM.

- IT'S WORTH A TRY.

WE HAVE 2 FRIENDS DEAD,

KILLED BY THEIRCLOSEST COLLEAGUES,

AND NO ONE KNOWS WHY.

BENNETT'S OUR ONLY LEAD.I'M GONNA FIND HIM.

- HELLO?

- [BELL DINGS]

- NAH, NO ROOMS. THEREIS NO VACANCY. SORRY.

- UM, UM, JUST DOING A LITTLELIGHT READING, HUH?

- YEAH, I DABBLE.

- ME, TOO.

- YOU'RE A SCIENTIST?

- NO.

- POLICE?- NO.

- AN OLD GIRLFRIEND.

- NO.

- IT'S A SHAME.

- DR. BENNETT.

IT'S A PLEASURE TO MEET YOU.

- PLEASURE.

YOU HAVE ANY IDEATHE WEALTH OF INFORMATION

I'M SITTING ON OUT HERE?

IT'S ENOUGH TO TOPPLETHE HEADS OF STATE

AND BRING THE RICH ANDPOWERFUL TO THEIR KNEES.

THE ONLY QUESTION IS,WHERE TO BEGIN?

IRAN-CONTRA, CAMP X-RAY,THE BEIJING FIASCO.

IT'S ALL HERE. I JUST DON'T KNOWEXACTLY WHERE.

- WELL, DOCTOR,I WANTED TO ASK YOU

ABOUT THE MIND CONTROL PROTOCOLYOU DEVELOPED IN THE 80s.

- YEAH, NASTY BUSINESS.

- AND WHY DO YOU SAY THAT?

- THE FALL OF COMMUNISMMADE FOR A CRAZY WORLD.

THE AGENCY HAD A LOT TO DO.

WE WERE POSITIONING OURSELVESIN SPOTS ALL OVER THE GLOBE.

SOMETIMES WE HADTO TAKE DRASTIC MEASURES.

- ILLEGAL ONES?

- WITHOUT QUESTION.

- HOW DID THE PROTOCOL FIT IN?

- DENIABILITY.

- WHAT?

- THAT'S WHAT THE GOVERNMENTWAS LOOKING FOR,

AND THAT'S WHAT I GAVE THEM.

- WE HAD HIGHLY MOTIVATEDAND HIGHLY SKILLED AGENTS

READY TO DO OUR DIRTY WORK.BUT WHAT IF THEY GOT CAUGHT?

WHAT IF THEY TALKED?

RAMIFICATIONS WENT TO THEHIGHEST LEVELS OF GOVERNMENT.

SO, PROTOCOL WAS NEEDED,TO WIPE THEIR MEMORIES CLEAN.

- SO IT WORKED LIKEA POST-HYPNOTIC SUGGESTION.

- WELL, YES, BUT, UH...

THE EFFECTS OF THE PROTOCOLWENT FAR DEEPER THAN THAT.

THEY WENT ON FOREVER.

UNLESS A SUBJECTWAS DE-PROGRAMMED,

THE PROTOCOL STAYEDWITH HIM FOR LIFE.

THAT'S WHY IT'SSO DANGEROUS, YOU KNOW.

- YOU REALIZE WE'RESTILL USING IT?

- YEAH, I KNOW. COFFEE?

- YES, PLEASE.

- A MODIFIED VERSION...

EXPANDING MINDS TO RECOGNIZETERRORISTS AND OTHER THREATS.

I KNOW DR. FOX,HE'S AN IMBECILE.

- WELL, IS IT POSSIBLEFOR, UH, A COMMAND OR A...

A TRIGGER WORD THATWAS IMBEDDED YEARS AGO

TO INADVERTENTLYBE GIVEN TO AGENTS TODAY?

- MORE THAN POSSIBLE.I WOULD SAY IT'S LIKELY.

THE PERSON JUST HASTO KNOW THE TRIGGER.

HE CAN USE IT ANY TIME.

JUST BY SAYING THE WORD.

- ON THE TELEPHONE?

- ABSOLUTELY.

YOU THINK THAT YOUR JUNIORAGENTS ARE USING THE PROTOCOL

TO MURDER YOUR SENIOR AGENTS.

- HOW DO YOU KNOW ABOUT THAT?

- I WARNED THEM.

I TOLD THEM ITWAS TOO DANGEROUS.

AND THESE JUNIOR AGENTSARE PERFECT CANDIDATES.

EAGER MINDS TRYING HARDTO BE SO COOPERATIVE.

- WAIT A MINUTE, DOCTOR.WHO DID YOU WARN?

- I WARNED EVERYBODY.

THE WHITE HOUSE, CONGRESS,I SENT E- MAILS.

- REALLY?

- I ALWAYS GET THE SAME ANSWER.

A CHRISTMAS CARDFROM THE PRESIDENT.

I GOT ONE HERE SOMEWHERE.

- WELL, TELL ME ABOUTTHE IMBEDDED TRIGGER WORD.

- UHH.

- THERE WAS A MESSAGEON THE CELL PHONE IN PUSHTO.

- YEAH, THATWOULD BE AFGHANISTAN

DURING THE SOVIET OCCUPATION.

WE HAD AGENTS ALL OVER DOINGALL KIND OF ILLEGAL STUFF,

BLACK OPS, TOP SECRET.

- C.S.A?

- AMONG OTHERS.

- WHY WOULD THEREBE A TRIGGER WORD

TO USE AGAINST OUR OWN AGENTS?

- LIKE I SAID, DENIABILITY.

- DO YOU HAVE ANY IDEAWHO WAS CALLING THE SHOTS

IN AFGHANISTAN AT THAT TIME?

SOMEONE WHO WOULD KNOWTHE TRIGGER WORD?

- I HAVE NO IDEAWHO IT COULD BE.

BUT IF I WERE YOU, I WOULDCONCENTRATE ON ONE THING.

- WHAT?

- WHO WANTED THOSE SENIOR AGENTSDEAD TODAY?

- CALL FRANK DARNELL.

- THIS IS FRANK DARNELL.

LEAVE A MESSAGE, ANDI'LL GET BACK TO YOU.

- HEY, FRANK, IT'S ME.

GUESS WHO FOUNDDR. BENNETT?

HE'S DEFINITELY FLYING UNDER THERADAR BUT HE HAD A LOT OF INFO.

UNFORTUNATELY, I'M GOING TO NEEDSOME MORE CLASSIFIED DATA.

I NEED TO KNOW WHICH C.S.A.AGENTS WERE INVOLVED

IN A BLACK OPS OPERATIONIN AFGHANISTAN IN THE 80s.

I KNOW IT SEEMS CRAZY, BUTI REALLY THINK IT'S THE KEY

TO FINDING OUT WHO'SBEHIND ALL THIS.

- [BEEPS]

- UH, WAIT A SECOND.MAYBE THIS IS YOU, WAIT.

FRANK?

- NO, IT'S YOUR OTHER HUSBAND.

I'VE BEEN TRYINGTO GET A HOLD OF YOU.

- I'M SORRY, HONEY.HOW ARE YA DOING?

- WELL, A LITTLE PANICKED.

I SPOKE TO ROB RYAN TODAY. YOURIDEA ABOUT THE DINNER WAS A HIT.

THE ONLY PROBLEM IS HECAN ONLY DO IT TONIGHT.

- THAT'S A PROBLEM.

- WHY? WHERE ARE YOU?

- I'M 90 MILES AWAY.

- WHAT ARE YOU DOING OUT THERE?

- WORK. LOOK, I CAN DO THIS.I WILL GET HOME.

I WILL MAKE THE LASAGNA.

I JUST NEED YOU TOGET SOME THINGS FROMTHE STORE, OK, HONEY?

YOU GOT A PEN?

UM, OK, YOU KNOW THOSEBIG FLAT NOODLES.

YOU KNOW, LASAGNA NOODLES?

- BENNETT TOLD HER THATTHE TRIGGER WORDS BEING USED

COULD HAVE COME FROM A BLACKOPS PROGRAM IN AFGHANISTAN.

-YOU'RE KIDDING ME?

- NAH.

- DO YOU THINKTHE INFORMATION'S RELIABLE?

- IF SHE TRUSTS HIM, SO DO I.

SHE SAID THAT BENNETT'S GOTPAPERWORK TO BACK UP HIS CLAIMS.

- OH, MAN.I DON'T KNOW, FRANK.

IT'S JUST--IT'S JUSTOUT OF LEFT FIELD.

- I KNOW, BUT IF IT'S TRUE.

WE GOT TO FIGURE OUT WHO LEDTHE C.S.A. OPERATION BACK THEN

AND WHETHER THEYUSED A PROTOCOL

TO TRY TO KILLSENIOR AGENTS TODAY.

- I UNDERSTAND,BUT I'M NOT EVEN SURE

THAT THE C.S.A WAS INTHE AFGHAN THEATER BACK THEN.

- I THINK WE WERE.

I THINK I MIGHT HAVE BEEN THERE.

- WHOA, WHOA.WHAT ARE YOU SAYING?

- I'VE BEEN HAVINGTHESE THOUGHTS.

YOU KNOW, THESE VISIONS IN MYHEAD, FOR ABOUT A WEEK OR SO.

- VISIONS?

- YEAH.

ALANA DEVLIN'S THERE,DOUG COLEMAN'S THERE.

WE'RE COMING BACKFROM PATROL IN THE DESERT.

I TOOK SOME INCOMING FIRE

AND DUCKED INSIDETHIS BUILDING FOR COVER.

AND MY C.O. WAS THERE.

- WHO IS IT?

- THAT'S THE WEIRD THING.I CAN'T--I CAN'T SEE HIS FACE.

I CAN'T PLACE IT.

- JEEZ, I DON'T KNOW, FRANK.

WHAT YOU'RE SAYINGIS THE C.S.A. SENT YOU

IN AN AFGHAN WAR ZONEWITHOUT YOUR CONSENT.

- IT'S IN MY HEAD.

- I'LL TALKTO SENIOR OFFICIALS,

SEE WHAT I CAN FIND OUT

ABOUT A C.S.A. AFGHAN OPERATIONIN THE LATE 80s.

BUT WE MAY BE ON ANOTHER WILDGOOSE CHASE HERE.

- [ELEVATOR BELL DINGS]

- KATHY.- YEAH.

- CAN I SPEAK WITH YOU A MINUTE?

- YEAH, SURE, MITCH.

WHAT'S GOING ON?

- I HEARD YOU FOUND THE OLD LOONIN THE DESERT.

- UH, DR. BENNETT?

I LIKED HIM ACTUALLY.HE'S A LEGEND, YOU KNOW.

- COME ON, KATHY.THE MAN'S OFF HIS NUT.

- HE SAID SOMEVERY INTERESTING THINGS,

ESPECIALLY ABOUT A CERTAINBLACK OPS OPERATION

IN AFGHANISTAN IN THE 80s.YOU KNOW ANYTHING ABOUT THAT?

- LOOK, I KNOW FRANK DARNELLGAVE YOU LATITUDE

IN YOUR INVESTIGATIONS.

BUT THIS THING IS ONEGIANT PRESSURE COOKER

WAITING TO BLOW UPIN EVERYONE'S FACE.

YOU ARE AWARE THATTHE WASHINGTON GUYS

ARE STILL BREATHINGDOWN OUR NECKS.

- YES, I AM, MITCH.

- GOOD.

- HEY, FRANK.

- HEY, COME ON IN.

- I JUST DROVE 180 MILES,

WHILE MITCH EVANS JUST ADVISEDME AGAINST SNOOPING AROUND.

DO YOU THINKHE'S HIDING SOMETHING?

- I DON'T KNOW.

PHIL SEEMS TO THINKIT'S A LONG SHOT, TOO.

- SO, THIS IS EVERYTHINGWE HAVE ON C.S.A. INVOLVEMENTIN AFGHANISTAN.

- OK.

- IT'S NOT MUCH.

- OK, SHERRY, THANKS.

- GOOD NIGHT, AGENT ROSS.

SO, IS IT ANYTHING?

- NO, IT'S NOT WHAT I NEED.

- DR. BENNETT WAS SO CONVINCING.

DO YOU THINK I'M JUSTWAY OFF ON THIS?

- NO, YOU KNOW WHATI KEEP THINKING?

I KEEP THINKINGWHO WOULD WANT

ALANA DEVLIN ANDDOUG COLEMAN DEAD.

AND WHAT THE HELL'S HAPPENEDTO THEM IN THE PAST?

I DON'T KNOW.

- WELL, LOOK, WE'RE NOT GOINGTO FIGURE THIS OUT TONIGHT,

AND I HAVE TO GET HOMEAND MAKE SOME LASAGNA.

MY HUSBAND HAS A CLIENTOVER FOR DINNER AND...

- I'LL WALK YOU OUT.

- [PHONE RINGS]

- AGENT ROSS SPEAKING.

[BEEP BEEP]

- FRANK, WHAT'S GOING ON?ARE YOU OK?

- YEAH, I'M GOOD. WHY?

- YOU'RE NOT A VERY GOOD LIAR.

- I JUST GOT SOME THINGSON MY MIND, THAT'S ALL.

NO BIG DEAL.

- YOU WANT TO TELL ME ABOUT IT?

- [GUNSHOT]- AAH!

- STAY DOWN.

- OHH, OVER HERE.

MAYBE WE SHOULD SPLIT UP.

- SURE, SHE'S NOT TRYINGTO SHOOT YOU.

- JUDY!

- UHH, UGH.

- JUDY.

- WHAT?

WHAT JUST HAPPENED?

WHAT HAPPENED?

CAN SOMEONE TELL MEWHAT'S GOING ON?

- I WONDER WHO WANTS YOU DEAD.

- I OWE YOU ONE.

- NO, SHE OWES YOU ONE.

COME ON.

- JUDY WAS A LOYAL GIRL.

- YEAH, BUT SHE WAS IN THE DATAMINING PROTOCOL, FRANK.

AND SOMEONE GAVE HER THE ORDERTO KILL YOU, WHY?

- HOW THE HELL WOULD I KNOW?

- FRANK, WE GOTTAFIGURE OUT WHY.

I HAVE A FEELING YOU KNOWSOMETHING ABOUT AFGHANISTAN,

AND YOU ARE NOT TELLING ME.

PLEASE.

WE'VE BEEN FRIENDSA REALLY LONG TIME.

YOU CAN TRUST ME.

- I WAS TALKING ABOUTIT WITH PHIL SANDS.

SOME OF IT DOESN'T MAKEANY SENSE. IT'S JUST...

- I CAN HELP YOU WITH THAT.

- I'VE BEEN HAVINGTHESE VISIONS.

THEY'RE LIKE FLASHES IN MY HEAD.

KIND OF LIKE DREAMS, YOU KNOW.

- HOW LONG HAVE YOUBEEN HAVING THEM?

- A FEW DAYS.

- ABOUT AFGHANISTAN.

- YEAH, MAYBE. I DON'T KNOW.

IT'S ALWAYS THISSAME THING THOUGH.

IT'S ALWAYS DEVLINAND IT'S ALWAYS COLEMAN.

WE WERE COMING BACK FROM PATROL.

HEADING BACK TO BASE CAMP.

WE WERE GOOD.

THINGS WERE ALL RIGHT.

THEN ALL HELL BROKE LOOSE,TOOK A LOT OF INCOMING FIRE.

I WAS SCARED, REALLY,I WAS SCARED.

WE HAD TO TAKE COVER.

SO, WE DUCKEDINSIDE THIS BUILDING.

- AAH!- COLEMAN GOT HIT.

BUT I HAD TO GET HIM INSIDE.

I HAD TO TAKE CARE OF HIM.

- SO, IT WAS JUSTTHE THREE OF YOU.

- NO, THERE WERE 5 OF US, 5.

- YOU GUY'S ALL RIGHT?

- MITCH EVANS WAS THERE.

- WAS HE THE COMMANDING OFFICER?WAS HE IN CHARGE?

- I DON'T KNOW, KATH.I MEAN, COLEMAN GOT HIT,

AND I KNEW I HAD TO GET HIMINSIDE THE BUILDING.

- WHO WAS IN CHARGE, FRANK?

- I CAN'T SEE HIS FACE.

- FRANK, TRY HARDER.

- PHIL SANDS, I CAN SEE IT.

PHIL SANDS.

- PHIL WAS YOURCOMMANDING OFFICER?

- KATHY, WHAT THE HELL'SGOING ON HERE?

WHAT'S HAPPENING?

- I THINK YOU WERE IN THATBLACK OPS INVESTIGATION

IN AFGHANISTAN, FRANK.

I THINK YOU AREREMEMBERING SOMETHING

YOU WERE PROGRAMMED TO FORGET.

- ARE YOU ALL RIGHT, HONEY?

I MEAN, YOU DIDN'T SAYMUCH DURING DINNER.

- I'M FINE. REALLY.

- I'M FINE.- DON'T WORRY.

YOU SAID THE INTERVIEWSWENT GREAT.

I MEAN, THERE'S NO WAYIN THE WORLD

YOU'RE NOT GOING TO GETTHAT JOB IN WASHINGTON.

- HEY, KATHY, FRANK,WHAT'S GOING ON?

- PHIL, WE NEED TO TALKBUT NOT HERE.

- IT CONCERNS THE INVESTIGATION.

SORRY, LAURA.

- OK, I...HONEY, I BETTER GO.

CAN YOU GET THE CARAND BRING IT TO THE HOTEL?

- I'LL MEET YOU THERE?- OK.

- AFGHANISTAN WASN'TTHE ONLY BLACK OPS PROGRAMUSING THE PROTOCOL.

THERE WERE MORE.

THERE WERE MANY, MANY MORE.

- YOU RAN AFGHANISTAN, PHIL?

- YEAH, I DID.

- SO, YOU USED US.

PUT US IN THE LINEOF FIRE AGAINST OUR WILL,

IS THAT WHAT YOU DID?

- NO, NO, YOUVOLUNTEERED, FRANK.

ALL OF YOU DID.YOU JUST DON'T REMEMBER.

LOOK, MOST OF WHAT WE DIDTHERE WAS HUMANITARIAN.

MEDICAL SUPPLIES,EVACUATIONS,

HELPING THE RESISTANCEAGAINST THE SOVIETS.

A LOT OF GOOD THINGS.

- BUT IT WAS ILLEGAL?

- YEAH, PROBABLY.

BUT IT WASN'T MY DECISIONTO USE THE PROTOCOL.

THAT WAS POLICY.

THEY FELT WE NEEDED...

- DENIABILITY?

- EXACTLY.

- FRANK!

- YOU LIAR.

ALL THESE YEARS YOUNEVER SAID ONE THING.

- I WANTED TO.- WHY?

- I WANTED TO.- WHY? TELL ME RIGHT NOW.

- I SHOULD HAVE, FRANK,YOU'RE RIGHT.

I HONESTLY BELIEVED YOU'D BEBETTER OFF NOT REMEMBERING.

LISTEN, WHEN COLEMAN ANDDEVLIN WERE KILLED...

- I MADE NO CONNECTION...- WHAT ABOUT DEVLIN?

UNTIL YOU STARTEDHAVING MEMORIES.

- YEAH, MAYBE IT WAS BETTEROFF THE LESS PEOPLE WHO KNEW

ABOUT AFGHANISTAN,THE BETTER OFF IT WOULDBE FOR YOUR CAREER, PHIL.

- THAT IS WRONG.- FRANK!

- SO HELP ME, FRANK.THAT'S WRONG.

- FRANK.

- ALANA REMEMBERED.SHE WAS MURDERED.

THE SAME THING WITH COLEMAN.

LESS THAN AN HOUR AGO SOMEONETRIED TO SHOOT FRANK, OK?

- I HAD NOTHING TO DO WITH THAT.

- LOOK, THIS WHOLE BLACK OPSTHING IN AFGHANISTAN,

THAT'S A NIGHTMARE.ADMITTEDLY.

YOU'RE RIGHT.

NOW THAT IT'S OUT I'VE LOST ANYCHANCE AT THE JOB IN WASHINGTON.

THAT'S FINE.

BUT YOU GOT TO BELIEVE ME.

ALANA DEVLIN WAS MY FRIEND.

DOUG COLEMAN WAS MY FRIEND.

AND, FRANK, YOU ARE MY FRIEND.

- THERE'S TRIGGERS IN THEPROTOCOL TO KILL US, RIGHT?

- YES.

- WHAT ARE THEY?

- I DON'T KNOW.

- WHO KNOWS THOSE TRIGGER WORDS?

- I'M NOT SURE.

THEY WERE CODED,

ALONG WITH THE OTHERCLASSIFIED DOCUMENTS OVERAT C.S.A. COMMUNICATIONS.

THAT'S ALL I KNOW.

- HEY, FRANK, CALM DOWN, OK?

- I'M ALL RIGHT.

- DO YOU THINK HE'STELLING THE TRUTH?

- I DON'T KNOW, MAYBE.

- WELL, HE'S WILLINGTO COME FORWARD,

SAY WHAT HE KNOWS, COOPERATE.

- OK, THEN WHO?

MITCH EVANS?HE WAS IN AFGHANISTAN.

- YEAH, BUT HE WASN'T IN CHARGE.

- I KNOW. BUT HE WANTSTHAT D.C. JOB BAD.

MAYBE EXPOSING PHIL IS THE BESTWAY TO GET IT.

- GOOD POINT.

- YOU THINK IT'S WORTH A LOOK?

- YEAH, WE GOT TO FIGURETHIS OUT, FRANK.

SOMEONE OUT THERESTILL WANTS YOU DEAD.

PLEASE BE CAREFUL.

- I'LL KEEP MY HEAD DOWN.

- OH, MY GOD! FRANK!

I'M LATE! I GOTTA GO. UGH.

HOLD THE ELEVATOR!

HONEY!

UGH, I HAD THE HARDEST DAY.

I AM SO, SO SORRY.

- YOU REALIZE HE'S GOING TOBE HERE ANY MINUTE, RIGHT?

- YES, I DO.

WHICH IS WHY I GOT THIS.

- I TOLD HIM THAT YOU MAKEWORLD-FAMOUS LASAGNA.

- WELL, I JUST NEED A FEWMINUTES TO WORK MY MAGIC.

IT WILL BE FINE.I CAN DO THIS.

JUST STAY OUT OF MY WAY.

- I DON'T KNOW WHY I JUST DIDN'TBUY HIM SOMETHING.

A SOUND SYSTEM, A NEW CAR.

I COULD HAVE USED NICK'SPOKER WINNINGS TO PAY FOR IT.

- HONEY, RELAX.

NICK, SUSAN! COME DOWN HEREAND HELP US!

- RIGHT AWAY PLEASE!

- WHAT ARE WE GOING TO DO?

- WELL, WE'RE GOING TOFIGURE OUT WHAT TO SAY

TO IMPRESS THIS MAN, OK?

- WHAT?

- I NEED YOU TO SET THE TABLE.

- MOM.

- DON'T ARGUE WITH ME.

- FINE. BUT I'MPARTICIPATING UNDER PROTEST.

- WHY DO I HAVE A SENSEOF IMPENDING DISASTER?

- HONEY, EVERYTHINGIS GOING TO BE FINE.

I JUST NEED A FEW MINUTES.

I NEED TO GET DRESSED.

I THINK IT WILL BE GOODAS LONG AS HE'S NOT, UH...

[DOORBELL RINGS]

- EARLY.

- OHH.

- JUST RELAX, OK?

HONEY, HONEY! JUST ANSWERTHE DOOR, ALL RIGHT?

- YEAH, YEAH, OK, I GOTIT, OK, ALL RIGHT.

- WORLD-CLASS LASAGNA,HUH, JACK?

- UH, THERE'S ACTUALLY A PRETTYFUNNY STORY ABOUT THAT.

- HMM, UM, UM, I'M SORRY.

IT'S MY FAULT, MR. RYAN.

I HAD A BIG EMERGENCYAT WORK TODAY.

- I SEE.

WHERE DO YOU WORK?

- I WORK AT A PUZZLE COMPANY.

- AH, SO, IT WASA PUZZLE EMERGENCY.

- SO, MR. RYAN, IS ITTRUE THAT YOU PLAN

TO TEAR DOWN A HOMELESS SHELTERTO BUILD A STRIP MALL?

- SUSAN.I'M SORRY.

SHE DOESN'T REALLY KNOW WHATSHE'S TALKING ABOUT.

- IT'S OK.

I'M NOT TEARING DOWN ANYTHING,YOUNG LADY.

THE CITY COUNCIL IS.

- ACTUALLY, AN INDEPENDENT AUDIT

OF LAST YEAR'S CAMPAIGNCONTRIBUTIONS

SHOWS THAT YOU,MR. RYAN, GAVE MORE MONEY

TO INFLUENCE THE CITYCOUNCIL ELECTION

THAN ANY OTHERCOMPETITION IN THE CITY.

- I HAVE A LOT OF FRIENDSON THE CITY COUNCIL.

IS THAT A CRIME?

- OF COURSE NOT.

I MEAN, THERE'S NOTHING WRONGWITH HAVING FRIENDS.

IS THERE KIDS?

NOW, MR. RYAN,

ABOUT MY COMPANY,

I THINK THATYOU'RE GOING TO FIND

THAT I RUN A FIRST-RATEOPERATION.

- IT'S HARD FOR ME TO BELIEVEYOU CAN RUN ANYTHING, JACK.

YOU CAN'T EVEN CONTROL THEMOUTHS OF YOUR OWN CHILDREN.

- ACTUALLY, MY CHILDRENARE ENCOURAGED

TO HAVE THEIR OWN OPINIONS,TO EXPRESS THEMSELVES.

NOW, THEY MAY NOT ALWAYS DO ITAS COURTEOUSLY AS I WOULD LIKE.

NOW, IF WE COULD GET BACKTO MY BUSINESS.

- YOU AND YOUR LITTLECONTRACTING BUSINESS,

YOU WILL ALWAYS BE SMALL TIME,

WHICH IS EXACTLYWHERE YOU BELONG.

- WAIT A MINUTE.

YOU SIT DOWN.SIT DOWN.

MR. RYAN, YOU CANINSULT MY LASAGNA,

IT'S TAKE-OUT, YOU CAN INSULTMY WHOLE DINNER

AND MY HOUSEKEEPINGAND MAYBE EVEN SAYSOMETHING ABOUT MY KIDS,

WHO ARE A LITTLE OUT OF LINE,

BUT WHEN YOU INSULT MY HUSBAND,WHO IS A GOOD AND LOVING MAN,

WHO WORKS HARD ANDTAKES CARE OF HIS FAMILY,

YOU, SIR, HAVE STEPPEDOVER THE LINE.

BIG TIME.

- YOU THROUGH?

- YOU'RE NUTS.

- MOM.

- OH, BOY.

- [DOOR SLAMS]

- WELL, THAT WENT WELL.

THE FACT THAT HE IS THE MOSTARROGANT, INSUFFERABLE MAN

THAT I HAVE EVER METIS ABSOLUTELY NO EXCUSE

FOR THE WAY I BEHAVED, HONEY.

I AM SO SORRY.

CAN YOU EVER FORGIVE ME?

LOOK, I KNOW. I'LL MAKEIT UP TO YOU.

I'LL GO AND I'LL TALK TO HIMAND I'LL APOLOGIZE.

I'LL TELL HIM I HADA NERVOUS BREAKDOWN OR...

- IT WON'T BE NECESSARY.

- HONEY.

THIS WAS A REALLY BIGOPPORTUNITY AND I...

- THERE WILL BE OTHERS.

BESIDES, I KIND OF ENJOYED IT.

- THE LASAGNA?

- THOSE THINGS THATYOU SAID ABOUT ME.

LOVING, SUPPORTIVE...

SEXY.

- DID I SAY SEXY, TOO?

- NO, BUT YOU WERE THINKING IT.

- YOU'RE RIGHT.

- NOT MANY WIVESWOULD HAVE GONE TO BAT

FOR THEIR HUSBANDSTHE WAY THAT YOU DID.

LAURA SANDS HAS NOTHING ON YOU.

- THAT'S IT.

YOU'RE BRILLIANT.

- I AM.

- YES.- UH, I AM?

- YES, I GOTTA GO.

- NOW?

- I'M SO SORRY, HONEY.

I LOVE YOU.

I'LL BE BACK, I PROMISE.

- OH, YEAH.

- THANKS.

- AHH.

HEE.

- AHH.

HEY, GWEN, THANK YOU SO MUCHFOR MEETING ME THIS LATE.

HOW ARE YOU HOLDING UP?

- YOU SAID IT WAS AN EMERGENCY.

- YEAH, DID YOU FIND ALANA'SAPPOINTMENT BOOK?

- OH, IT'S RIGHT HERE.

WHAT DO YOU NEED IT FOR?

- WELL, UM, IT'S JUST A THEORY.

I NEED TO KNOW IFSHE SAW PHIL SANDS

IN THE DAYS BEFORE HER DEATH.

- ACTUALLY, SHE DID.

YES, HERE IT IS, UH, LUNCH WITHPHIL SANDS AND HIS WIFE LAURA,

THE AFTERNOON BEFORESHE WAS KILLED.

- OH, LOOK AT THAT.

DRINKS WITH MITCH EVANSBEFORE THE PARTY.

MIND IF I TAKE THIS?

- GO RIGHT AHEAD.

- GET SOME REST.

- FRANK, ALANA HAD LUNCHWITH PHIL AND LAURA

THE DAY SHE WAS MURDERED.

- OK?

WHAT DOES THAT PROVE?

- WELL, I THINK SHE WAS HAVINGFLASHBACKS,

JUST LIKE YOU, AND I THINKSHE TOLD PHIL,

AND MAYBE EVEN MITCH ABOUT IT.

- IT'S A PRETTY BIG ASSUMPTION.

YOU SURE?

- YEAH, I KNOW.

- ARE YOU ON TO SOMETHING?

- I THINK I KNOW WHO WAS BEHINDALL OF THIS, FRANK.

- IT'S GOTTA BE REAL, KATH.

YOU GOT SOMETHING REAL?

- NO, NOT YET.

BUT I'M WORKING ON IT.

- SO, LAURA AND MITCH ARE HEADEDUP TO D.C.

FOR THE DECISIONON THAT PROMOTION.

I'LL TELL YOU WHAT,

I'LL HAVE THEM OVER TOMY HOUSE BEFORE THEY GO.

CAN YOU GET MEHARD EVIDENCE BY THEN?

CAN YOU DO IT?

- I CAN TRY.

- WELL, TRY HARDBECAUSE IF YOU CAN'T,

THERE'S NOT MUCH ELSE WE CAN DO.

- I KNOW.

- [PHONE RINGS]

- HELLO.

THIS IS AGENT JANE DOE. I NEEDYOUR HELP AND I NEED IT FAST.

- HELLO.

HELLO!

DR. BENNETT.

- YEAH, I BROUGHT YOU SOMETHING.

- PERSONNEL FILES.

- EVERYBODY WHO WAS INVOLVED

IN THE AFGHAN BLACK OPSPROGRAM IN THE 80s.

WHAT THEY DID.WHAT THEY KNEW.

- DID YOU FIND THE NAMEI ASKED YOU ABOUT?

- UH, TAKE A LOOK THERE.

- HOW CAN I EVER THANK YOU?

- WELL, ACTUALLY, I'M GRATEFULFOR THE CHANCE TO RIGHT A WRONG.

- IT WASN'T YOUR FAULT,DR. BENNETT.

- AND I WANTED TO THANK YOU.

- FOR WHAT?

- WELL, FOR BEING THE ONLYPERSON IN A VERY LONG TIME

THAT BELIEVED IN ME.THE OLD LOON OUT IN THE DESERT.

- IT WAS MY PLEASURE.

- I DON'T THINK THEY'REGOING TO BE TOO HAPPYTO SEE ME, YOU KNOW.

- YOU'LL BE FINE,DR. BENNETT.

JUST MAYBE LOSE THE HAT.

YEAH, THAT'S GOOD.

- HEY, FRANK.

- DR. BENNETT.

- HEY, IT'S BEEN A WHILE, HUH?

- IT SURE HAS.

- HARD EVIDENCE, FRANK.

I THINK YOU'RE GOINGTO WANT TO SEE THIS.

- COME ON IN.

- HELLO.

- WELL, JANE DOE.

ANY OTHER CRAZY THEORIESYOU WANT TO FLOAT

BEFORE WE ALL LEAVEFOR WASHINGTON?

- NO MORE THEORIES.

JUST PROOF.

- DR. BENNETT, WHEREDID YOU COME FROM?

- THE DESERT.

- I HAVE HERE FILES ON EVERYC.S.A. AGENT

THAT WORKED ON A CERTAIN BLACKOPS OPERATION IN AFGHANISTAN

AND THE C.S.A. AGENTS WHO WORKEDIN COMMUNICATIONS.

- ALL RIGHT, BUTWHAT'S ALL THAT GOT TO DO

WITH WHAT HAPPENEDTO COLEMAN AND DEVLIN?

- YEAH?

- WELL, EVERYTHING.

YOU SEE, DR. BENNETTDEVELOPED A MIND CONTROLPROTOCOL IN THE 90s,

WHICH BASICALLY WAS USEDTO GET C.S.A. AGENTS

TO PARTICIPATE IN THEILLEGAL BLACK OPS OPERATIONS

AND THEN IT WOULD WIPETHEIR MINDS CLEAN.

NOW, THIS PROTOCOLIN A DIFFERENT FORM

IS BEING USEDON JUNIOR AGENTS TODAY.

AND IT HAS IN IT IMBEDDEDCERTAIN TRIGGER WORDS,

WORDS THAN WHEN SPOKEN COULD GETA C.S.A. AGENT

TO DO JUST ABOUT ANYTHING,

INCLUDING KILLING ANOTHER AGENT.

- WHAT ARE YOU TALKING ABOUT?

- JUST BARE WITH ME, MITCH, OK?

NOW ALANA DEVLIN WAS ONEOF THESE AGENTS.

NOW, SHE WAS IN AFGHANISTANALONG WITH YOU AND YOU.

- BUT RECENTLY SHE BEGAN HAVINGTHESE MEMORIES,

THESE FLASHBACKS.

I THINK BECAUSE SHE WAS WITH HEROLD COMRADES.

THESE MEMORIES COULD BE VERY,VERY EMBARRASSING,

ESPECIALLY TO SOMEONEWHO IS IN LINE

FOR A BIG JOB IN WASHINGTON.

SOMEONE LIKE YOU, MITCH,FOR INSTANCE.

- YOU THINK I HAD ALANA KILLED?

- NO, BUT YOU WEREIN AFGHANISTAN.

YOU WERE JUST LUCKY ENOUGHNOT TO REMEMBER IT.

- NO, I WAS NEVERIN AFGHANISTAN.

- YOU WERE,

WHICH BRINGS ME TO DOUG COLEMAN.

NOW, DOUG STARTEDHAVING THESE FLASHBACKS

AND THESE MEMORIES AS WELL.

AND HE CONFIDEDIN JUST ONE PERSON.

YOU, PHIL.

YOU HEADED UP THATOPERATION IN AFGHANISTAN

AND YOU WERE THE ONEWHO GAVE THE ORDERS

TO THESE MENAND THESE WOMEN

TO COMMIT THESE ILLEGAL ACTSAND YOU KNEW THAT IF THIS CAME

TO LIGHT, IT WOULD HURT YOURCHANCES IN WASHINGTON BIG TIME.

- THAT'S TRUE.

DOUG TOLD ME ABOUT HIS MEMORIESAND I WAS WORRIED.

BUT, NO. BUT I WAS READYTO COME CLEAN,

AND I CERTAINLY WOULD NEVER KILLMY FRIENDS TO PROTECT MY CAREER.

LOOK, I DIDN'T EVEN KNOWTHE TRIGGER WORDS.

- I KNOW, PHIL.

I KNOW YOU DIDN'T KNOWTHE TRIGGER WORDS.

BUT THERE WAS SOMEONEELSE WHO DID.

SOMEONE WHO CARES VERY MUCHABOUT YOUR BIG PROMOTION--

YOUR VERY LOVING ANDSUPPORTIVE WIFE LAURA.

- NO, KATHY, YOU'RE WRONG.

- IT'S OK, PHIL.

I'M AFRAID THIS ISALL ABOUT JEALOUSY.

KATHY DAVIS HAS ALWAYS BEENJEALOUS ABOUT MY SUCCESS.

AND NOW THAT PHIL AND IARE GOING TO WASHINGTON,

SHE JUST CAN'T TAKE IT.

- I HAVE YOUR FILE, LAURA.

YOU WERE IN C.S.A.COMMUNICATIONS IN THE 90s.

AND, IN FACT, YOU KNEWTHE TRIGGER WORDS.

AND WHEN YOU SAWTHAT YOUR HUSBAND'S CAREERWAS IN JEOPARDY,

YOU USED THOSE TRIGGER WORDSTO GET THOSE JUNIOR AGENTS

TO KILL ALANA AND DOUG,DIDN'T YOU?

- IT'S ABSURD.

- KATHY, THIS IS CRAZY.

- WE WERE ABLETO UNSCRAMBLE THE VOICE

ON BRIAN ENNIS' CELL PHONE.LISTEN.

- [DISTORTED]COLEMAN, WAZZUM.

[VOICE BECOMING CLEARER]COLEMAN, WAZZUM.

COLEMAN, WAZZUM.

- LAURA, I CAN'T BELIEVE IT.

- THEY WEREN'T SUPPOSEDTO REMEMBER.

ALANA DEVLIN, DOUG COLEMAN, YOU.

NONE OF YOU WERE SUPPOSEDTO HURT PHIL.

- HE'S READY TO TALK ABOUTWHAT HAPPENED IN AFGHANISTAN.

- NO, HE WON'T.

PHIL, LISTEN TO ME.YOU ALWAYS HAVE.

YOU SEE, KATHY, WE'RE A TEAM,AND I'M HERE TO SUPPORT HIM.

I'M HERE TO MAKE SURE THAT YOUGET EVERYTHING THAT YOU DESERVE,

INCLUDING THE WASHINGTON JOB.

- HE DOESN'T WANT IT, LAURA.

HE DOESN'T WANT IT LIKE THIS.

- HE DOESN'T HAVE A CHOICE.

NOW, I WILL TAKE MY FILE.

GO ON.

AND THE REST OF IT.

AND ONCE YOU'RE DEAD,THE MEMORIES ARE GONE.

AND IT WILL BE AS IF AFGHANISTANNEVER HAPPENED.

AND PHIL WILL TAKE OFFICE.

- LAURA, WHAT ABOUT MY MEMORIES?

- PHIL, LET ME DO WHAT I NEEDTO DO, FOR US.

- [GUNSHOT]- NO!

- [CRYING] NO!NO, IT'S NOT FAIR!

- IT'S OK.IT'S OVER NOW.

- THIS WAY.

TAKE THE FRONT, MITCH.

- SORRY, PHIL.

- NO, I'M SORRY...FOR EVERYTHING.

LOOK, THE AGENCY TOOK ADVANTAGEOF YOUR PATRIOTISM

AND I TOOK ADVANTAGE OF YOURFRIENDSHIP AND THAT'S WRONG.

- WHAT ABOUT LAURA, PHIL?

- I DON'T KNOW.

I GUESS I HAVE TO BE THEREFOR HER AS BEST I CAN.

AS CRAZY AS IT SEEMS, EVERYTHINGSHE DID SHE DID FOR LOVE.

AND NOW WE HAVE TO LIVEWITH THE CONSEQUENCES.

- GOOD LUCK.

- YOU, TOO.

- AHH, HOW YOU DOING, FRANK?

YOU OK?

- YEAH.

I LOST A LOTOF GOOD FRIENDS.

- WELL, NOW YOUKNOW THE TRUTH.

- SOMETHING SMELLS GOOD.

- IT'S MY WONDERFUL LASAGNAFOR MY WONDERFUL HUSBAND.

- YOU'RE TOO GOOD TO ME.

- WELL, IT'S THE LEAST I CAN DO.

I'M SO SORRY I RUINEDYOUR SHOT WITH MR. RYAN.

- AH, IT'S ALL RIGHT,SWEETHEART.

WHO NEEDS ROB RYAN ANYWAY?

BELIEVE IT OR NOT, THE CITYCOUNCIL REVERSED THEMSELVESON THAT HOMELESS SHELTER.

I MIGHT GET A CHANCETO BID ON IT.

- THAT'S WONDERFUL.

I WONDER WHAT HAPPENED.

- I HAVE NO IDEA.

I GUESS SOMEBODY FINALLYSTOOD UP TO ROB RYAN.

- OH, YOU MEAN WITHOUT THROWINGLASAGNA INTO HIS LAP?

- [DOORBELL RINGS]

- I WONDER IF THAT'STHE MUFFIN LADY.

- OH, I DOUBT IT.

- CAN I HELP YOU?

- JAMES THOMPSON, I'MWITH THEL.A. BEACON.

- OH, THANKS,BUT WE ALREADY SUBSCRIBE.

- HEY, I'M A REPORTER.

I'M HERE FORTHE PRESS CONFERENCE.

- WHAT PRESS CONFERENCE?

- THAT ONE.

- UH, YOU GUYS MUSTHAVE THE WRONG ADDRESS.

- THIS IS THE DAVIS RESIDENCE,RIGHT?

- YEAH, BUT...

- ANY IDEA WHAT TIMEWE'RE GETTING STARTED?

- HEY, YOU GUYS.

DOES ANYBODY KNOW ANYTHINGABOUT A PRESS CONFERENCE?

- UM, YEAH, THAT'S FOR ME.

- WHAT'S GOING ON?

- WHEN THE PEOPLE OF THIS CITYSPEAK OF OUR YOUNG PEOPLE,

TOO OFTEN THEY SPEAK OFUNRULINESS, DISREGARD OF OTHERS,

CRIME, DRUGS,VIOLENCE BUT TODAY,

WE SEE ANOTHER KINDOF YOUNG PERSON.

A YOUNG MAN WHO EXTOLSTHE KINDS OF VIRTUES

THAT WE ALL CAN ASPIRE TO--

KINDNESS, GENEROSITY,CONCERN FOR THE COMMUNITY.

- IS THIS WHAT YOU SPENTYOUR POKER MONEY ON?

- YEAH. SORRYI DIDN'T TELL YOU.

- AND NOW,WITHOUT FURTHER ADO,

I WOULD LIKE TO INTRODUCEA FINE YOUNG MAN

AND A MODEL CITIZEN NICK DAVIS.

NICK.

- HI, MY NAME IS NICK DAVIS,

AND I'M HERE TO PRESENTTHIS CHECK TO THE CITY

FOR THE AMOUNT OF $5,812.59

FOR THE RESCUEAND REHABILITATION

FOR THE 9th STREETHOMELESS SHELTER.

- ALL RIGHT, NICK.

- WHOO! BRAVO!

- FROM WHAT I UNDERSTAND,BECAUSE OF THIS CONTRIBUTION,

COOPERATE SPONSORS ANDTHE CITY HAVE ADDED A FUND

TO HELP PAY BACK TAXES,

FULLY RESTORE AND REBUILDTHE HOMELESS SHELTER

SO IT CAN EXISTFOR YEARS TO COME.

- NICK, TELL US, HOW DID A KIDLIKE YOU RAISE SO MUCH MONEY?

- I, UH, PERSUADED MY FRIENDSTO HELP PITCH IN A LITTLE.

- HE REALLY IS A GOOD BLUFFER,ISN'T HE?

YOU SHOULD HAVE TOLD US, NICK.

- I THOUGHT YOU'D BE MAD.

- I WOULD HAVE,

BUT I ALSO WOULD HAVEGOTTEN OVER IT.

- WELL, THE GOOD NEWSIS YOU'RE STILL GROUNDED.

- I KNOW. I CHEATED AND I LIED.

AND I KNOW IT WAS WRONG,

EVEN IF IT WAS FORALL THE RIGHT REASONS.

- TRUE.

SO WHO'S UP FOR SOME GIN RUMMYAND SOME FRESH LASAGNA?

- ME AND MOM AGAINST YOU GUYS?

- NO WAY. DID YOU KNOW THATTHEY CHEAT AT GIN RUMMY?

- NO WONDER WE NEVER WIN.

- YOU GUYS NEVER WIN BECAUSEYOU'RE TERRIBLE CARD PLAYERS.

- HUH.

- SPOKEN LIKE A TRUE CHEATER.

- [DOG BARKS]

CAPTIONING MADE POSSIBLE BYHALLMARK CHANNELAND FRIENDS OF NCI

CAPTIONED BY THE NATIONALCAPTIONING INSTITUTE--www.ncicap.org--