the conscious mind abhors uncertainty. it seeks a pattern or reason for everything. when we can't find that pattern or reason, we sometimes ascribe it's cause to the world of the supernatural. the spiritual world is created by the human mind to conveniently explain everything we can't. so when does a belief in the supernatural cross into the field of abnormal behavior? where do you, the psychologist, come in? when these beliefs negatively affect our patients activities of daily living. their jobs, their friends, their sense of well being-- the class bell rings.
tomorrow we'll be covering the clinical manifestations of psychosis. you'll find it all t referenced in the text.
how're things at the bank? how's that new position looking?
really? you sounded so sure.
that job needs somebody with your experience. they know that. stephanie nods.
a 1925 indian head! hey, good find. where'd you get it?
thanks.
hi mom, can you hold on a sec? he turns from the phone, whispering to stephanie:
i'll call you tonight. she kisses ray and exits.
what about a restraining order?
i just thank god you're okay. you are okay, right?
your fine, but.
loo]. you said the bank had already granted her two extensions.
you're kidding right? she cajoles a protesting ray through the front door of the establishment.
i just hope to god none of my students see me here. five bucks says he's wearing a turban. a beaded curtain parts, revealing.  rham jas, a small, dark skinned, fifty year old indian man. he wears a plain black suit and a white turban. his inquisitive eyes evaluate the couple.
but you probably already knew that. just kidding. rham jas gives ray a tight smile.
sixty dollars? isn't that a little steep for this kind of thing?
freud said destiny was not an act of fate but rather something created by our subconscious to control our conscious choices.
carl jung.
jung-- the new agers' favorite psychologist.
well anyone can see she lost a button. so what?
why would she do that?
what is this?!
know what? that you lost,a button?1 he makes some good guesses, stirs you up, leaving you with a lot of questions. and conveniently, his business card. c'mon, he's a scam artist.
in the end, he took it, didn't he?
so this is him. got a name?
sure you don't want me to spend the night?
okay. ray kisses her, opens the front door and exits. he calls back to her from his car:
remember, dinner at my folk's house, tomorrow night. we're supposed to bring desert. i could pick something up?
sounds good. try not to stay up too late. ray waves and steps into his car. stephanie watches him drive off.
so she came to your house? this is crazy. i'm calling that police officer. he begins to dial but stephanie stops him.
i don't understand.
what?
what do you think?
how worried should i be?
how you doing?
don't be, you had a terrible day and you.got a little wigged out. it happens.
i was gonna surprise you, but what the hell. i've been planning a little trip for us this week end. saturday morning we're taking a train to santa barbara.
my family owns a cabin up there. in, the hills. overlooking this little river. we'll light a fire, drink some champagne and screw our brains out.
it's a chance to just be together. undisturbed. there's a lot of stuff i want to talk to you abqut but it never seems to be the right time.
steph! wake upl
it was just a dream. it's okay. she gets control. ray smooths out the tangled hair from her sweaty face. he looks deeply into her eyes, afraid of what's happening to her. the phone in the next room, rings.'ray looks over, decides to ignore it. it keeps ringing.
i'll be right back. he steps into the next room and we hear him answer the phone. stephanie sighs and lays back down.  next to mrs. ganush! the old woman is covered in.a swarm of black flies! stephanie
you, okay?
want to tell me about them?
doctor rangervertz said you could stop by his office during your lunch hour. stephanie nods.
i had them replace the window last night. still needs some body work.
we've got to be prepared that it might take some time for you to get over this. she nods.
i like.
something wrong?
maybe. but in the end, it's about what you and i want.
stephanie, this is my mother, trudy, and my father, george. trudy glances at stephanie's revealing cocktail dress with thinly veiled disapproval. stephanie self-consciously tugs it lower.
what do you mean "had a cat"? what happened to him?
i try to. in fact stephanie just found me a 1925 indian head nickel at her bank.
stephanie's a loan officer in charge of small business and home loans. and she's on a fast track for a promotion. right, steph?
cut her some slack, mom, she--
mors, please.
are you okay?
i'm so sorry, stephanie. i don't know how that fly got. into your--
steph, it's okay! there's nothing there. she looks about. george and trudy regard stephanie as if she were mad.
she needs me. trudy grabs ray's arm.
what did you see in there?
tell me!
listen to me. what you're going through right now-- it's like the doctor said, it's a stress reaction and --
i'll be waiting.
t yeah. stephanie steps from the car. ray drives off. she turns to face the old house.
is it over? stephanie, stares at her envelope, thinks about telling him, then.
are you okay? stephanie nods, catching her breath.
are you'still okay about the santa barbara trip?
okay. our train leaves tomorrow morning. seven a.m. when do you want me to pick you up?
what envelope? she opens the car door and frantically rummages around the floor, through ray's papers.
tomorrow's gonna be a new start for, us. don't be late. they kiss and ray drives off.
is everything okay?
i'm so glad you're here. there's so much i've been meaning to tell you. 0 she takes his hand. 0
did i tell you, you look great?
what'd you do with your old coat? just the mention of it, makes her face darken.
too bad,'cause i just found this. ray produces the envelope. and from it, withdraws.  the
yeah, it was in my car. hey, have you seen my indian head nickel? i put it in an envelope just like this one. stephanie stares at the button, shaking her head in disbelief. the rumbling of the approaching train builds on the sound track.
what? what is it? she backs away in horror, but ray follows her with the button still in his hand. the rumbling grows louder. she's backing up toward the edge of the platform.
stephanie. stop! ray steps forward, still holding out the button. stephanie shrieks as she falls backwards, off the platform and onto the tracks. in her last moment of life, she turns her head to see.