Lost Souls Page #10

DR. ALLEN

(calmly)

There is a medical explanation for

everything that happened.

MAYA:

(boring in)

You heard voices, you know you did.

There's a silence in the room. Dr. Allen stares at Maya.

ORDERLY:

It sounded like a hundred people to me.

Maya, Peter and Dr. Allen turn and look at the orderly.

Peter's shocked by the orderly's admission. Glances back at

Dr. Allen.

DR. ALLEN

I've already said, Mr. Birdson was

agitated. Victor, why don't you go and

check on the patient in room 5.

Her tone is frighteningly friendly. The orderly leaves.

Peter looks at Maya, then Dr. Allen.

PETER:

(curious)

Just describe it to me, the scene, when

you came back.

As Peter speaks, Maya has an uncomfortable feeling. She

turns and sees Birdson STARING AT HER. Eyes wide open.

Above him, the monitor's still showing no brain wave

activity. He grins at her.

MAYA:

Oh my God!

Peter and Dr. Allen turn quickly - as Birdson snaps his eyes

back shut.

MAYA (CONT'D)

He just woke up. He's awake.

What they see is a motionless man in exactly the same

position as before. The monitor's still showing nothing but

steady, horizontal waves.

Dr. Allen shakes her head at Maya's outburst. Dismissive of

her altogether and then to Peter.

DR. ALLEN

I'm surprised at you, Mr. Kelson. And

now I'm afraid I'm going to have to ask

the two of you to leave.

INT. RANGE ROVER

Peter drives out the hospital gates. Maya's with him. The

radio is on. Peter's angry.

PETER:

Where do you get off pretending to be my

secretary?

MAYA:

I had to.

PETER:

And this is evil? The guy had an

aneurysm and now he's in a coma.

MAYA:

That's their explanation. You might not

believe me...

PETER:

Well, why should I?

(beat)

Alright, what's your name, where do you

live, when did you kill your parents?

Maya doesn't answer. Peter stops at a red light. A pick up

truck full of teenagers with a young girl at the wheel, RADIO

BLASTING SOUL MUSIC, pulls up next to them. Maya uses the

moment to get out and walk quickly away. Peter watches her

go for a moment, then stares at her paper coffee cup, picks

up his cell and dials a number.

PETER (CONT'D)

Detective Smythe?

(beat)

Hey, Mike, it's Peter. Could you pull

some prints off something for me?

INT. ELEVATOR - NIGHT

Peter rides the elevator in his building. It stops and he

gets off.

INT. PETER'S APARTMENT - MOMENTS LATER

Peter enters the living room.

CLAIRE (O.S.)

In here.

Peter moves into the bathroom. Claire's sitting in front of

a mirror. Her hair's up in a smooth twist, and all she's got

on is a bathrobe. We note a photograph of Peter's mother

sporting a similar hair style on the dresser.

CLAIRE (CONT'D)

So, guess which stylist just got this

month's "Elle" cover?

Peter runs a hand through his hair.

PETER:

(half-heartedly)

You're amazing.

Claire smiles, in her own world.

CLAIRE:

Hurry up, you don't want to be late.

DISSOLVE TO:

INT. PLUSH HOTEL - NIGHT

A glittering Italianate chandelier. As we look down we SEE:

Men in black tie and women in high fashion chic form a mosaic

of money and power beneath the chandelier's blazing lights.

A lavish publisher's party is underway in the hotel's

ballroom. In one corner, a CROWD hovers around Peter and

Claire, the quintessential perfect couple.

She's in a dramatic skintight dress. He looks great in the

latest tux. Adrenaline BUZZ of admiration has soothed Peter,

but he's still distracted. Claire, however, is her outgoing

self. William in a rented tux and Susan, in a modest gown,

hang on the edge of the golden crowd. A JADED YOUNG MAN is

leading the conversation.

YOUNG MAN:

Did you hear how the TIMES zinged Paul

Guenette's new book? They said "He

writes for the ages - between five and

twelve."

Everyone enjoys that remark. A gorgeous woman named LAUREN

moves closer to Peter, flirting.

LAUREN:

I saw you on the news. But I think

you're even better live.

CLAIRE:

(interrupting)

He is. By the way, Lauren, did you ever

finish your book on tattoo art? I hear

your publisher wants his advance back.

LAUREN:

(cold)

That's not true.

SECOND YOUNG WOMAN

I think Rhonda Huston's assistant was

just made an editor at S&S.

SECOND YOUNG MAN

The guy with the weird fingernails?

Imagine looking over galleys with him.

YOUNG MAN:

So, Peter, how crowded is the field now?

There are, what, seven books in the

offing about the Viznick case?

PETER:

Yeah, but no one has the access I've

got.

LAUREN:

Is it true the cops used a psychic?

SECOND YOUNG WOMAN

I saw a psychic once. Some of these

guys are definitely for real.

SECOND YOUNG MAN

Oh, really? I dropped $250 on a session

once and they guy didn't get a thing

right.

YOUNG MAN:

And you, Peter? Where do you stand?

PETER:

Wherever there's room.

Peter feels a tap on his shoulder. A WAITER serving hors

d'oeuvres is standing there.

PETER (CONT'D)

None for me, thanks.

The waiter wipes the frame and as he does, John Townsend is

revealed, beads of sweat glistening on his brow and a gun in

his hand.

TOWNSEND:

(whispering)

God will forgive me, the time of

transformation is so near.

He points it at Peter's face. Peter is in shock. Everything

around him seems to blur, except the gun floating a few feet

away. But Townsend hesitates, obviously conflicted.

And suddenly, the woman to Peter's left SCREAMS. The

waiter's tray goes flying. With astonishing speed, William

flings himself onto Townsend. They both go down. A SHOT

RINGS OUT. Pandemonium. Screams & shouting. Peter sees

that William has Townsend in a brutal headlock. Townsend

looks panicked, helpless. Peter is pulled back, as the two

men disappear beneath a swarm of other bodies.

INT. BALLROOM - NIGHT

The enormous room is empty. All the guests are gone. The

uneaten food and overturned chairs testimony to their hasty

departure. Peter, Claire, Susan and William are sitting in a

semi-circle. Smythe walks over.

PETER:

Thanks for handling this.

SMYTHE:

Sure thing. Look, I've got enough,

between your preliminary statements and

all the witness accounts. You can go

home.

(to Peter)

Gimme til morning. Find out who he is.

Until then, don't sweat it, huh? Just

your random bad cheese trying to hole

you.

CLAIRE:

Well said.

SMYTHE:

Colloquialisms 101. My only "A" in the

Academy.

Peter stands and pats Smythe on the back.

PETER:

Thanks again for everything.

SMYTHE:

Hey, don't thank me. Somebody up there

likes you.

Peter looks at William, then hugs him in a powerful embrace.

PETER:

(moved)

Will, this is...

WILLIAM:

It's okay.

They smile, exhausted.

SUSAN:

Can we please leave now?

EXT. LOBBY - PETER'S APARTMENT BUILDING - NIGHT

Peter and Claire exit a limo. The scaffolding is still in

place but the workers are gone. Josef pushes open the door

for Peter and Claire.

JOSEF:

Good evening, Mr. Kelson. Miss Claire.

INT. LOBBY

Peter and Claire enter the lobby.

JOSEF:

(urgent)

I want to tell you...your neighbor, Mrs.

Levotsky, she's dead.

Peter and Claire are both caught off guard.

CLAIRE:

What? That's horrible!

Rate this script:0.0 / 0 votes