TOUCH (S2E1) “Event Horizon” Recap

12 02 2013

“There are infinite ways to communicate.”

And so begins season 2 of TOUCH. After meeting Amelia’s mom, Lucy, (Maria Bello) at the pier at the end of season 1, Martin (Kiefer Sutherland) and Jake (David Mazouz) begin a new adventure: The Search for Amelia (Saxon Sharbino). Guillermo (Said Taghmaoui), a shadowy figure, kisses the tree of life, a pendant around his neck.

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Martin gets Lucy up to speed. Jake plays with the crystal paperweight he got from his aunt in New York, the aunt who works for the evil Aster Corps. Jake looks at the map of the area. Martin tells Lucy Aster Corps staged Amelia’s death.

Jake stops Lucy to look at his notebook that shows the numbers 24, the next numbers in the sequence. The paperweight lights the spot on the map; 24 is translated also as 2-D.

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Once at the spot, Jake jumps out of the car and Martin and Lucy follow as Martin says, “Welcome to my world.” They see the hotel sign pointing to room 2-D. The man behind the door is told they are looking for someone. Then they hear a young girl scream who takes the opportunity to jump out of the window. After a scuffle, the guy runs out of the room. He gets into the car, license plate 9NBW742.

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Martin urges caution to Lucy and convinces her to do things his way. A journalist friend in Los Angeles can help them.

Guillermo is searching for a musician named Frederick LeMay. According to Guillermo, “Some same it’s like hearing the voice of angels” but he never wrote another. The waiter admires his pendant who Guillermo says is “perfection of the universe.” “Each has their own path to God, destiny preordained. It’s a mortal sin to deny it.” The waiter (Anthony Debaeck) is creeped out, especially when Guillermo admires his attire.

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At Aster Corps, Calvin Norburg (Lukas Haas) is having a meltdown. He, too, has the next sequence in the Amelia equation. He wants out of the project and asks his friend, Tony (Adam Campbell) to help him get out of his contract. Calvin tells him that eventually the number will wrap around to the beginning. “This is the God sequence. It’s going to change humanity forever.” He cannot let Aster Corps have it.

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Martin’s friend, Trevor (Greg Ellis), started a news organization similar to Huffington Post called “BreakWire.” Ruben Santiago (Ray Santiago) is their resident hacker who traced the license plate to a private investigator (Kirk B. R. Woller). The PI deposited cash into his bank account the same day he had an appointment with Lawrence J. Pearl (John Prosky), senior partner, of Lesser, Rasmussen and Howe, whose primary client is Aster Corps.

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Frederick LeMay (Ray Proscia) is making bread. Guillermo turns the sign to “closed” and locks the door. Bread of Life: Meet the Tree of Life. Guillermo puts on the vinyl album. Frederick says from time to time people find him. Guillermo is not just seeking his autograph! He tells Frederick he has quit on God. Time to snuff him out: “You are in HIS way.” After giving him a cut that is similar to Guillermo’s neck wound, he says to a dying Frederick: “Thou shalt have no other gods before me.” At the moment of Frederick’s death, Jake lets out a gasp.

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Jake passes the time playing video games and lands on 5227 every time. Meanwhile Trevor and Lucy play ping pong as Lucy gets background on Martin.

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Meanwhile, Martin heads to the building where Pearl is to plant a sniffer program for Ruben, posing as a worker and heads to office # 5227. Norburg and Tony ever the elevator with Martin to meet with the law firm.

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Norburg cannot get out of his contract. Pearl takes a call out in the hallway saying, “You LOST HER?” Martin and Pearl run into each other as Pearl heads back to his office to get a file and Martin is leaving his office. Martin knocks him over and bolts, just missing the elevator down with Calvin and Tony. As Martin passes the car they are in, Calvin opens the door and knocks out the security guy, ensuring Martin’s escape.

Guillermo discovers the sheet music and starts writing numbers for the notes, which, of course, are the God sequence.

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Santiago finds lots of great information, including an address that Lucy connects to Jake’s scores on all the video machines, a place where they might find Amelia, 5227 Lindera, zip code 90046 [not a real address–bummer].

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It leads to a crack house and find someone who they think is Amelia. Jakes come into the building. The PI hits Martin. Lucy and the PI search the house. “What is it with you people?” Martin knocks him out. This is not Amelia. While walking outside, Jake drops her backpack and a map falls out. Nicole (Madison Leisle) tells them some girl gave her the backpack near the pier (Amelia). Pearl apparently is her real father. Lucy makes her call home.

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Norburg loses it as a stakeholder’s meeting. He says they are using this algorithm to program machines to be smarter than people. Then these machines will create new machines who are more intelligent than them. The human brain will become obsolete. It will be a “dystopian nightmare” brought to you by Aster Corps. “Evolution of the species in numerical form.” Tony tells him to prepare for the mother of all lawsuits, but someone in the audience is intrigued. Vikash Nayar (Dileep Rao) approaches. He has money, something Calvin needs, and no questions asked.

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Guillermo is in a cab and when it jerks, pictures fall out of it, including one of Jake. Jake now has targets on his back, Aster Corps and Guillermo.

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At the beach, Jake finds a knight chess piece after running and creating a circle in the sand.

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The pattern resembles the tides and the scene shifts over to Amelia who sits at a table. IN WALKS NORBURG who says he heard she went to the beach that day. He tells her, “Your parents gave you away.” A knight piece is missing from her chess set. She is communicating with Jake!

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Avram’s cousin (Harvey J. Alperin) gives Martin, Lucy and Jake a nice place to stay. Lucy says to Martin, “Nine hours and we’re already leaving together.” A record even for her.

Martin gets a call from Santiago. He discovered a death certificate on Jake, with the date issued blank, that says, “Injuries sustained in a car crash with 1 other fatality, his father, Martin Bohm. Funeral home is undisclosed. The certificate number is S0195520 (not sure if that is significant, but wrote it down anyway).

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MY COMMENTS

I like the new changes. There are easter eggs if you look for them. An “aster” in biology is “a cellular structure shaped like a star, formed around each centrosome during mitosis.”  If you look closely, you can see the star references. Another example is on Ruben’s desk. One of the puzzle toys on his desk are like Dr. Teller’s, the ones the boarding house tested Jake, the shape that is identical to the crystal he carries. Also, Ruben is using a screensaver on his computer that is full of stars. There are two stars that are on either side of the address at 5227 Lindera. That swirl pattern is in the gate of the crack house. The star of David on the door to Avram’s cousin’s house.

Jake needed out of the boarding house and to be with Martin as they find more pieces to the puzzle. A Los Angeles shoot provides them with access to more diverse scenery. At this point we are unsure of Calvin Norburg’s true intentions. My gut tells me that Amelia may have been feeding him the sequence and his math skills are what they appear. I 100% believe that Guillermo thinks he is doing God’s work and that is totally creepy. It adds an element of evil and explores the world of religious zealots. Going off the grid will be difficult for Martin. While Clea (Gugu Mbatha-Raw) was a great character to play off, it was something that was getting stale. Lucy and Martin understand each other and complement each other. There is potential for romance between them. Instead of having the “A” plot and “B” plot and Martin never seeing the connection between them, it looks, so far, as if the “A” plot and “B” plot have individualized stories that will eventually meet somewhere down the road. Season 1 was about Martin helping individuals reconnect while discovering what the danger was underneath. The wound Guillermo is creating on the 36 Righteous Ones is similar to the one on his own neck, so I am eager to see this episode with his backstory. This year the danger is brought to the forefront which propels the story forward.





Chatting With Marci Michelle from “TOUCH”

8 02 2013

MarciMichelle1Not only does Marci Michelle Peters-Keirn help other actors learn their lines and sometimes perform their scenes during takes, she also can be found as several different characters in the “24” world, and also in the premiere episode, “Event Horizon” on TOUCH which premieres Friday, February 8, 2013 at 8/7 central on FOX. Look for her in the news staff scenes.

From her website, “Marci Michelle grew up surrounded by the stage and screen. Her grandmother, Charlotte Peters, starred in a variety show from 1947 to 1969 and was dubbed the First Woman of St. Louis Television. Her father, Mike Peters, is a Pulitzer Prize winning editorial cartoonist and creator of the comic strip, Mother Goose & Grimm. Sunday afternoons were regularly devoted to black and white movies and she claims “The Women” as one of her favorite films.

After graduating from Ringling School of Art & Design with a Bachelor of Fine Arts, Marci found her way to CA by way of a family friend and immediately fell back in love with being on set and all of the processes of filmmaking. Starting out as a background actor and stand-in, she quickly became a member of the SAG Union and fittingly her first SAG job was as on the movie “Looney Toons: Back In Action” which was endearing to her as the late cartoonist Chuck Jones had been her father’s mentor.”

How did you become a dialogue coach?

I don’t really coach, it’s more of a ‘dialogue consultant’ job and it started back on “24”. That show had copious amounts of scenes where actors were delivering most their dialogue on the phone, on comm, into a walkie, speaker, etc. so instead of figuring out complicated scheduling for actors to come in and deliver their off-camera lines to the actor on camera, it just became easier for me to deliver the lines to them. Especially for Kiefer [Sutherland}. Kiefer had such a heavy load of technical dialogue to get through in every scene that it worked well for us to run the lines thus getting the fast-paced rhythm down. And then, on rare occasion, when he was unavailable, I could deliver his rapid-fire lines to the other actors when they performed on camera.

What are the attributes that make a dialogue consultant outstanding in their field?

From what I have been told by the actors I have worked with, to deliver lines to actors with enough of a “heart-beat” without verbally dictating where the scene should go emotionally seems to be my forte. If, on occasion, an actor asks for the scene to be read with more life I can do that, but most of the time, reading the dialogue with just enough inflection to enable them to make their own artistic choices works best.

What is one memorable moment (a positive memory or a valuable lesson) that you can share with us?

Memorable moment: Kiefer’s uncanny ability to read the nerve level of young actors and instantly and subtly figure out a way of taking their mind off their nerves thus allowing them to give excellent performances. This virtue of his has helped numerous times he has worked in scenes with children especially. He’ll break out coloring books and get down on their level, running the scene with them while keeping them occupied with crayons.

What surprises have you encountered being a dialogue consultant that you did not expect when you entered the industry?

What surprises me and what I adore about my job is seeing the way different actors prepare for their scenes. I’m dyslexic–no joke–so it fascinates me to see the way people memorize anything! Kiefer is an auditory learner. He just needs to hear the words out loud and it locks into that sponge of a brain of his. Some need to run the lines continuously, others need to run them fast just a couple times before a take, and some need lots of props within a scene to play with. Just fascinating.

Besides your parents, who have been great influencers in your life?

Probably my husband of 22 years for being such an incredibly hard worker all the time and my paternal grandmother for being such an outspoken strong woman.

Are there any set differences between working on “24” and working on “TOUCH?”  For example, the pace, the tone, the location, your interaction with the actors or extras in your capacity on set?

The biggest difference between the two series, especially in the first season of “TOUCH” was the pace of the show. Season 2, you will find, picks up pace in a GRAND way. The dialogue is, of course, different as well, not as much technical military vocabulary happening. And the emotional range of where Kiefer’s character, Martin Bohm, has had to go is much broader than that of Jack Bauer I think.

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Marci Michelle & Kiefer Sutherland in TOUCH, Season 1, “Safety In Numbers”

The premise of “TOUCH” expands the Chinese legend of the red string of fate of soul mates into a larger theme of tying the destiny of people together. Do you believe in destiny?

I believe in the connectivity of life. I believe that we are connected on a vibrational level and that when you tap into that idea you can see glimmers of those connections.

Do you have your own “TOUCH” story?

You have no idea. SO MANY! Here’s one: When I first moved to Los Angeles I worked as a Massage Therapist. My car had recently gotten broken into, and while finishing up paperwork at the spa I worked in, I was telling the receptionist this crazy story of how when I went to the car dealer to have my CD changer replaced. He told me to head to the parts department. I went over to the parts department and told the man that I needed a new CD changer. He went into the back and said they were out. He said “Write your name down with your number and I’ll call you when it comes in.” I write my maiden name down, Marci Peters. He looks at me and asks “Are you related to Mike and Marian Peters?” I dumbfoundedly replied, “YES?! How would you know that?” He said “I was stationed with your dad in Okinawa. You look like your parents.” I said “So you’ve kept in contact with them?” He replied “Nope. Haven’t talked to them in 30 years!” WHAT!! Now while I’m telling this story to the receptionist, there is a man that I had worked on [therapy], sitting in the lobby of the spa hearing all this, waiting for his wife. He interrupted and said “Your dad is Mike Peters, the cartoonist?” I said, “Yes”, to which he replied, “My sister used to babysit you and your sisters back in Ohio!” I KID YOU NOT!!

Do you believe in karma? Do you have examples from your own life of a positive or negative karmic experience?

Definitely. I’m a pay-it-forward-type person and definitely live my life with much respect to KARMA. My life is proof of positive energy begetting positive energy.

RAPID-FIRE QUESTIONS

I really wish I knew...how to sing better, play the guitar, and speak fluent French.

I’d love to spend a lazy Sunday... with my family watching old black and white movies.

My secret talent is… I’m a book binder, yogi, and massage therapist.

Best spontaneous decision was… moving to LA.

The best advice someone gave you was… to do what I love and the money will follow (my father).

I would like to extend my deepest gratitude to Marci for stopping by today to give us some insight into how things work behind the scenes. Tune in to TOUCH on Friday nights, starting Friday, February 8, 2013 at 8/7 central on FOX.

You can follow Marci on Twitter:   @MarciMichelle





“TOUCH” Season 2 Premiere Preview

6 02 2013

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During the last season of TOUCH, we learned that Jake (David Mazouz) is one of the 36 Righteous Ones (Lamed Vav Tzadikim in Judaism mysticism). According to the Talmud, “as a mystical concept, the number 36 is even more intriguing. It is said that at all times there are 36 special people in the world, and that were it not for them, all of them, if even one of them was missing, the world would come to an end.” The sequence Professor Teller was working on he called “The Amelia Sequence” also known as the “mind of God.” We learned that Aster Corps, the corporation that Abigail (Martin’s sister in law) works, is interested in knowing the Amelia sequence for their own greed. (Note: an “aster” is a cellular structure shaped like a star, formed around each centrosome during mitosis, although their corporate logo is not represented by a star which may or may not be an important symbol in the show. I did see several stars during the season 2 premiere episode). Jake was part of their bigger plan. Martin (Kiefer Sutherland) taps into people he helped in season 1 to help him break Jake out of the boarding facility and try to disappear. The numbers lead them to Los Angeles which lead them to finding Amelia’s mother (Maria Bello) at the pier.

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Jake, Martin and Lucy

Last season, TOUCH ran into problems having Jake at a boarding facility (lack of mobility in the world), having Clea (Gugu Mbatha-Raw) as the adult Martin played off of (who was often tied to the boarding facility), and Martin who goes out on these quests for Jake. Clea, being the outsider, took awhile before she began to believe that the numbers Jake was showing the world were significant. Her dialogue lines almost became cliché, like Jack Bauer’s “We’re running out of time.” After a few episodes, while the thought was intriguing about the interconnectedness of everyone, a deeper mythos needed to emerge in order for the show to remain viable. As it was true with the shows “Alias” and “Lost,” TOUCH now moves into that realm.

TOUCH also had an image to get past. Unfortunately, it was not made clear that Jake did NOT have autism. Many media outlets reported it like that, and indeed on Netflix, they still describe season 1 as just that:

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Even though during the episode, Martin Bohm says that he was diagnosed with many things, including autism, he never bought into any of those diagnoses, but he is curious about Jake’s mutism. Mutism is NOT autism. Because of this, there were strong reactions from families with kids with autism. Having a character with autism is tricky enough. If the creators get it wrong, the backlash is horrible. I cannot tell you how many people have said, “Well, they say the kid has autism but that character is all the misconceptions of autism in one child.” And I have to still correct them. Kiefer Sutherland was on Ellen this past week saying Jake had supernatural abilities and not autism.

At the end of season 1, with the mysticism of the 36 Righteous Ones, coupled with an evil player (Aster Corp), coupled with several unknown characters of good and/or evil, you begin to develop a path where good and evil will collide. TOUCH adds the elements of hidden clues within the episodes that Lost so perfectly executed. Often I have to watch the episodes several times to see the subtle hints, like in this new episode of season 2, “Event Horizon.” It took my second viewing to see the object on the hacker’s desk.

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Guillermo Ortiz

While Gugu Mbatha-Raw was a great actress, the chemistry between her character and Martin Bohm could never become romantic. Thus, Maria Bello was added to the cast this season as Amelia’s mother, Lucy Robbins. This gives Martin another parent who understands exactly what he is going through, and gives way to the mission of season 2: Finding Amelia (Saxon Sharbino).

Added to the cast in this episode are Lukas Haas (24, Inception), as Calvin Norburg, who is part of Aster Corps. Actor Said Taghmaoui plays the character Guillermo Ortiz who has his own agenda. Fans of “24” will be pleased to see Greg Ellis (who played Michael Amador in the show “24”) as Jack’s former colleague, Trevor. Ray Santiago joins the cast as the hacker named Ruben Santiago. Dileep Rao (from Inception) joins the show for at least these 2 episodes. The episode also features another “24” and “Fringe” character actor, John Prosky, and “Date Movie” star Adam Campbell.

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Calvin Norburg

The episode of “Closer” was written by Carol Barbee (Jericho, Three Rivers). Everything she touches turns to gold and this episode is no exception. “Event Horizon” was written by Tim Kring. David Eick adds a producing credit and we know the quality we can expect from his productions.

Some people we see in “Closer” are Ayelet Zurer, Linda Gehringer, Randy Oglesby (Argo), John Boyd (of 24 & Argo), Isabella Acres (as Soleil, which means sun, which is the brightest star in our galaxy).

After watching the two episodes, I think the show has improved a great deal. There is an element of danger that was elusive in season 1. Instead of the numbers pushing the path for Martin to find the clues, the numbers serve as markers for Martin and Lucy that they are on the right path. There are other signs given along the way as well. Jake undergoes dramatic character changes. While it is recommended you watch season 1 to understand the base story, a new viewer can easily jump into season 2 with the explanation of important plot points given in the narration and the first episode. There are several targets on Jake’s back so danger is all around and you have to be careful who you trust. The change of location shoot opens up the scenery which is also a refreshing change.  I feel they make a joke within the dialogue:  Lucy:  “Maybe he’s ready for something new.”  Martin:  Aren’t we all?

I wish to thank FOX Broadcasting and the FOX VIP program for allowing me the privilege of the preview.

The special two-hour Season Two premiere episode of TOUCH, “Event Horizon/Closer,” airs Friday, Feb. 8 (8:00-10:00 PM ET/PT) on FOX. Join us on Twitter for a tweet up.

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Touch Recap: Safety In Numbers

28 05 2012

(A bit behind so I’ll keep these brief so I can be current before the season finale). I thought I’d try writing this up in arcs, but since they are interconnected, it makes that difficult. Also thought I would maybe sum up the last 6 episodes but that was not going to work, so back to the old format.

This episode’s important number was 3287 and what is up with door #6 at the Board and Care?

The opening starts with a reflective thought of evolution, “If a species wants to survive, it has to prove it deserves to.” Jake (David Mazouz) talks about how fire ants can hold onto each other like a living raft waiting for the water to recede and how did that all begin that they knew to do that?

At The Claremont, address 3287, a man (Rob Benedict) places a paper at the door. Another man picks it up. Jake is sitting at the door with the number 6 on it (room 122 on the placard). Jake narrating the dialogue lines: “What if you were the one who knew what needed to be done but you had no words? How do you make the others understand? How do you call for help? ”

We’ve been experiencing this with my son. He is nonverbal. We try a communication system. He seems to have this burst of learning. Then he refuses to use it, and it leaves him. First it was sign language, then others in between, and last year, it was with a program called Proloquo2go (pronounced PRO-LOW-QUO-TWO-GO) for the IPhone/IPad. He seemed to just excel in it, and now he gets agitated whenever we ask him to use it to communicate. He can’t ask for help. All he can do is communicate through behavior. Let’s just say he has been VERY LOUD the last few months.

Back to Touch, Jake places a call to Martin (Kiefer Sutherland) who hears static on the phone but knows Jake needs him. Like a Bat Signal. Martin opens the door to Jake’s room, but he’s gone. They find Jake at door 6. Jake stuffs the paper into Martin’s coat and returns to his room, but gives him direct, sustained eye contact (something Jake does not do). The picture is a dragon.

Martin visits Professor Arthur Teller (Danny Glover). Martin asked if he would spend his life chasing down numbers for Jake. Teller reminded Martin that Jake feels the pain of these threads, real physical pain. The professor warns that Jake has a higher purpose and he won’t be the only one that notices (foreshadow for future episodes).

Meanwhile in Soweto, South Africa, Grace (user name Grace22) (actress Yetide Badaki) takes a career aptitude and placement test (Version 1.6) in her village. Her ID to complete the test is 3287. Baruti (Darrell Luke) tells Grace she needs to leave her friend, Sauda (Khanya Mkhize), and take a job in the city. A young boy watches from the window. The two boys, Thabo (Dante Brown) and Farai (Kwesi Boakye) put a bottle cap in the window. I’m guessing they intend to go back later.

Grace and Sauda in Soweto

The Worldwide Dance Battle is on the TV at the Center and Jake focuses in on it. The audience would be picking a winner.

A woman in a red dress (Olesya Rulin) goes through security at the dance battle. She is supposed to meet someone outside a tent. The security guy (Brett Wagner) is very kind to her.

A taxi hits a homeless woman who we are led to think is Clea’s mom (Taxi 4R21) in front of Martin. The man from the beginning of the show steals a book she has. A nurse comes to attend to the woman (Marci Michelle). Martin runs after him.

It’s Marci Michelle!

Meanwhile the Beastmaster (Stephen “tWitch’ Boss) is on the stage, dancing to “I’m Sexy and I Know It.” I adore tWitch from So You Think You Can Dance. He is among my top 20 favorite dances ever on the show (especially the one with Alex). I digress.

Twitch from So You Think You Can Dance.

Back in Soweto, a violent man named Fumbe (Ike Onuoha) is with Grace’s friend Sauda. Fumbe has beaten her. Grace wants her to leave. Fumbe freaks and strikes Grace to the ground.

Martin catches up with “The Invisible Prince.” He shows Martin that the book is his; the woman stole it from him. The book is similar to what Jake gave Martin in his pocket. The Prince is just like Jake but he can speak and is an adult. He tells Martin, “The dragon is loose.” Was Martin looking at this man concerned that Jake would go insane as he aged?

Martin and The Invisible Prince. Is this Jake’s future fate?

Jake is playing with the red car again. Clea (Gugu Mbatha-Raw) is doing RFFC’s with him (applied behavior analysis term for receptive by feature, function, class). She takes the car to try to get Jake to give her eye contact. He grabs the car, giving her a side glance only, and walks downstairs to door 6 again. He slides the car under the door.

The kids in South Africa have aspirations. They want to compete in this internet dance battle.

The Prince is upset that he almost missed changing a light at a corner for a woman to cross without waiting (Kate Fuglei). He then goes and buys a red flower and puts it on the bus bench for a different woman (Janeline Hayes). The Prince pauses in front of The Claremont for a moment before moving on. He tells Martin that he tried to slay the dragon with a magic sword but failed. He offered it to The King and he buried it deep within the Mountain of Clare (I’m guessing The Claremont) behind a wall of stones. The final battle was tonight. Then the two women arrive at their destination together in a building with a red dragon sign on the outside: Morton Starling Finances.

Izumi (Satomi Okuno) and Miyoko (May Miyata) from Japan are at the Coachella Valley festival because The Morticians will be playing. They’ve been in the running thread since the pilot. They converse with the girl in the red dress using a translator app on 2 phones (one translating to English what they said in Japanese; the other translating her English to Japanese). Clever! Apparently the red-dressed girl got stood up by a guy she met online (imagine that). The Morticians will be playing in 15 minutes, so they leave, but one phone is left behind. This is the phone that has been roaming the world since the pilot episode in January.

Izumi and Miyoko from Japan here for the Morticians, and the girl in the red dress.

The women who the Prince was connecting had a conversation at the elevator to which Martin listens. They are plaintiffs in some class-action suit and they are about to settle. They talk about “Roger King” and Martin knows that name. Martin pretends he is representing Roger King to go to the meeting. A journalist, Rush Middleton (Graham Hamilton), who was a former colleague that Martin would request bring him coffee, saw Martin and thought he was there in a journalistic capacity. Martin thinks he can get Roger King to talk, so Rush gives him the address: 3287 Avondale (Just FYI, The Claremont’s real address in NYC is 229 East 12th Street, New York, NY 10003).

Clea asks Sheri (Roxana Brusso) about room 6; Sheri says it is empty. A phone call from 212-920-6922 (reverse white pages says this is a phone number, a landline in the Bronx) comes in to Clea’s phone. It is her mother. When she answers, she is told her mother is in the hospital.

Martin goes to The Claremont. Charlie King (Vince Grant) Roger’s son, tells him Roger is dead. When Martin says, “The Invisible Prince” an open door awaits. The Invisible Prince was a bedtime story that Roger used to tell. The Invisible Prince had to do good deeds in secret or they would not count. Charles says Walt (the Prince) was a genius at numbers and produced a financial system that made Morton Starling billions. Charlie’s son Matt (Elijah Nelson) is also watching the internet dance battle. He was “The Domin8tor”. Because he bowed out of the competition so Charlie and Martin could do some internet research, it led to an opening for 4Soweto. But I’m getting ahead of myself. (Just FYI, the web address on the computer is not a real site). From the “Invisible Prince” story, Charlie says it was the magic sword of truth.

Clea’s mom apparently is schizophrenic (supposedly; I’m wondering if she isn’t like Jake). She asks the nurse if the woman was hit by the taxis near the tracks at Queensboro Plaza. The nurse (Deidrie Henri) says yes. Her mother is in room 5290, but ta-da, it’s not her mother. The woman stole her mother’s phone.

Sheri recognizes Teller at the Board and Care. Teller asks for a tour because he is considering placing a patient there. She obliges a short tour.

Martin finds a box requiring a combination, but Charlie does not know it. The audience knows 3287 will open that lockbox. Documents that were never previously opened are in there–the magic sword of truth. It’s now 5:43 p.m. and Martin has to RUN to get to the New York Herald–16 minutes to go 22 blocks. If this is possible is if this is a north-south street or an east/west avenue in New York City because the lengths are different. A 20-block street equals about a mile. And that’s not counting traffic lights.

Jake begins to hum and catches the attention of Sheri who thinks he is in pain or something. Teller observes. It gets louder. Sauda is being beaten in Soweto and is screaming. Martin is running. Grace rhythmically drugs on a pot. Jake is screaming (to what Clea previously described about her mother screaming when the trains rushed by that scared the crap out of her). The women in Soweto come out with their pots and rhythmically drum in solidarity to support Sauda.

Thabo did not show up, so Farai dances instead. The crowd goes wild. They show room 6 again. The red car gets pushed back out into the hallway. Sheri lied about it being empty.

Walt King wrote a memo showing Morton Starling the flaws in his financial model design and the company exploited it to make millions. Rush does not understand Martin’s intention. Martin replies that it was the same reason he told him to get him coffee everyday–because he knew Rush would be a great reporter. Rush offers Martin a by-line, but Martin refuses, saying it would be their little secret, otherwise it would not count.

The girl in the red dress meets the Beastmaster who just lost to the 10-year-old in the dance competition. They bond over the videos from the cell phone that has traveled the world.

Martin meets up with Walt and tells him they fixed the thread. The Invisible Prince then knights Martin as the Invisible Knight. Martin relays a message that Charlie and his family welcome him to come home any time he wants.

A montage begins: Clea sees the red car in the hallway and knows Sheri lied. Teller creates a file on Jake. The reporter on TV (Craig Stepp) shows that Main Street won out over Wall Street. The 2 women from the lawsuit toast their victory.

The Invisible Prince watches his brother and his family come home to the Mountain of Clare, his face showing the longing to be with them but knowing he has a greater purpose to fulfill. Sauda is taking a computer test to be able to move to the city with Grace and rise above the domestic violence. Martin tucks Jake into his bed donned with red sheets and a comforter of red with white circles (patterns). Clea returns Jake’s red car to him. Clea sees herself in Martin’s actions and promises to be more understanding.

Martin starts a bedtime story for Jake about The Invisible Knight who served The Silent King and together they helped people they did not even know were there. And The Silent King closed his eyes and went to Dreamland.

Jake listens to the The Silent King story.

What I adore about this show is the thoughtfulness they put into providing clues for us. Like the eye contact Jake gave Martin to communicate how important this task was. The running theme of the color red–the car, the flower, the dress, Jake’s sheets/comforter, the red dragon logo on the company’s building. When we were first working with Patrick, we noticed he stopped on the color red of his One Fish, Two Fish book. The group of people working with him asked, “How can we use the color red to help him?” They came up with these thoughts: Use red lipstick so that he will look at your lips when you are speaking. Eat something red (popsicle or lollypop) so he can see movement of the tongue. Use red to put near your eyes so he will give greater eye contact. But I think the show is emphasizing the red string of fate. I wonder if Jakes gets any peace from the pain in the dream state. What I think they can improve upon is uberfans who adored Lost for the same reason: The clues, trying to figure out the larger story. Perhaps they can put more real-life clues into the show. For example, on “24” one of the times they had a cell phone number, fans from 24 actually called the number and got a message from the actors. What if one of the numbers could provide the uberfan with additional exclusive clues that they would not get anywhere else. Lost created a whole web presence built about its mythos. I think the producers of Touch should do the same. It helps us to experience the show on a different level than just viewing. It is about participating and making the global connections.