INT. PETER:'S APARTMENT - LATER The door CLICKS, then opens. Claire moves in carrying bags of take-out. She sees Peter dozing on the couch. Claire kneels beside him, gives him a kiss and Peter leaps out of his sleep with a start.
PETER: Shi... Sorry, honey. I was having the weirdest dream.
CLAIRE: Bad?
PETER: (doesn't want to go over it) Weird. The book again. Sex spelled backwards...
CLAIRE: I must really be slacking off. Hungry?
PETER: Uh...sure...I...what?
CLAIRE: Sushi.
INT. KITCHEN - LATER Claire is clearing her plate as Peter picks at the remains of a sushi dinner. Claire notices the cigarette ash Peter dropped earlier, picking it up and smearing the ash between her fingers. She shoots a glance at Peter, but does not comment on her discovery.
CLAIRE: I can't believe it's already starting to get dark so early.
PETER: Hmmm.
CLAIRE: You know, there was a guy on the radio today trying to explain why we're losing daylight. Quarks and dark matter, things like that. Even how daylight savings has caught up with us over the last hundred years and our universal watch is just fast, you know?
Claire looks up, seeing Peter is lost in thought.
CLAIRE: (CONT'D) Peter, where are you?
PETER: Sorry. It's just...a strange woman waltzes into my office today. Tells me she murdered her parents and can prove Satan exists.
CLAIRE: (dismissive) Did she waltz in or fly on little bat wings?
PETER: (unacknowledged) Says she can get me in to see this killer.
CLAIRE: Now that you're on TV, you're a magnet for all the wackos out there.
Claire sees Peter's thinking about it.
CLAIRE: (CONT'D) Oh, Peter, you're going to pursue this.
PETER: (sees her concern) No. Of course not. (checking out the food) Mmmm. Anago. My favorite.
INT. INTERROGATION ROOM - DAY George Viznick's lawyer is seated at the table. He's impatient. A door opens. A manacled Viznick is brought in by two GUARDS. His orange prison jumpsuit is badly ripped in back. A few bruises are visible on his torso. Viznick stands impassively as his restraints are unlocked.
DEFENSE ATTORNEY: George, come in. (sees his client) What the hell happened to you?
VIZNICK: It's nothing.
DEFENSE ATTORNEY: Sure it is. If the guards did this, we can file charges.
VIZNICK: Not the guards. (smiles) Some of the prisoners are easily disturbed.
DEFENSE ATTORNEY: You have to tell me who did it.
Viznick leans closer to the lawyer.
VIZNICK: I can take care of myself.
DEFENSE ATTORNEY :I'm gonna go make a stink. Sit tight. I'll make sure you get a change of clothes. The attorney exits.
INT. VIEWING ROOM - DAY Peter and Smythe enter a small room with a few chairs. It's dominated by an oversized, one-way window that allows them to look onto the adjacent interrogation room. A speaker system lets them hear what's going on, but they can't be heard. A GUARD enters with a replacement outfit. Viznick stands passively as his restraints are unlocked.
INT. INTERROGATION ROOM - DAY From this side, the window is a mirror. In its reflection, Viznick is seen peeling off his clothes.
INT. VIEWING ROOM - CONTINUOUS
PETER: Seems George isn't making too many friends in lockup.
SMYTHE: Yeah, look at that sweet face. You'd never guess he killed nine people. I'm gonna get my smokes. Be right back.
PETER: You're too old to smoke. Won't be able to shoot hoops with your grandkid.
Smythe gives Peter a dirty look, ignoring the advice, as he exits. Peter looks back down at his notes.
GUARD #1: (O.S.) What the fuck's that?!
Peter looks up and sees the shocked Guard staring at Viznick's bare back. It's covered by an enormous tattoo depicting Christ hanging upside down from the bottom of a cross, pinned there by a nail through his feet. His dangling arms end in stumps. His severed hands are still nailed to the crossbar. The effect is horrific yet mesmerizing. As Peter watches, Viznick puts on a shirt, covering the tattoo, and then sits with his back to Peter. The cops and guard exit. Peter moves closer to the glass.
PETER: (contemptuous) You don't fool me, Georgie.
Viznick's head tilts.
Ever so slowly, he turns around until his eyes meet Peter's. He smiles.
INT. INTERROGATION ROOM: Viznick's looking at the mirror. His reflection looks back.
INT. VIEWING ROOM: Peter's thrown. Is he seeing what he thinks he's seeing? Spooked, he moves three feet to his right. Viznick's stare follows him without hesitation. Perplexed, Peter moves again and again, the killer continuing to track him.
PETER: What the hell?
Peter looks up as Smythe re-enters the viewing room.
Sees Peter's fear.
SMYTHE: What's the matter with you?
PETER: He's looking right at me.
Both men turn to face Viznick, who is now gazing placidly a few inches to the left.
PETER: (CONT'D) He could see me.
SMYTHE: (offers Peter a cigarette) I'll quit, maybe you should start.
A docile Viznick pivots in his chair and yawns.
PETER: Maybe...my imagination.
Peter gives Smythe a short smile.
EXT. CITY STREET: Peter crosses the street from the police station. He steps out between two parked cars and immediately into the path of a speeding van. Suddenly, a hand reaches out, jerking him back. The van ZOOMS by, missing Peter by inches. He looks at his savior, it's a CRANKY middle-aged woman.
CRANKY WOMAN: (acerbic expression) Wake up!
Peter stares at her as she walks by. She turns, sticks out her tongue at him.
INT. ELEVATOR - LATER: Peter ascends. The button for the fifth floor is illuminated. The elevator chimes. He looks up and sees the elevator stopping on the fourth floor. He steps back to make room. It's Claire.
CLAIRE: Hey, what are you doing here in the middle of the day?
PETER: Forgot my car keys. What are you doing on the fourth floor?
CLAIRE: I spaced out.
PETER: Well, it's a nice surprise. Should I hit the "stop" button?
He leans in and gives her a sexy kiss.
EXT. NEW YORK PUBLIC LIBRARY - DAY: Maya's waiting. A group of Japanese TOURISTS including several women in kimonos, a group of Catholic school GIRLS in uniform and a mounted POLICEMAN are part of the street scene. Maya stamps out her cigarette as Peter pulls up.
INT. RANGE ROVER - DAY: As they take off, Peter motions to his cupholder, where two coffees sit securely.
MAYA: (picks up coffee) Thanks. I'm glad you came. Take the Williamsburg Bridge.
As Maya glances over at Peter, she's slightly fascinated. Peter remains reserved, but polite.
MAYA: (CONT'D) So...what did you think of the tape.
PETER: I think you gave me the wrong one.
MAYA: (carefully) What do you mean?
PETER: (slightly irritated) It was blank. Nothing on it. You gave me the wrong one.
Maya takes a sip of coffee to conceal her shock.
MAYA: You're sure? There was nothing?
PETER: I cranked it all the way up. Nothing but hum.
Maya's unnerved. Peter sees it.
PETER: (CONT'D) So what'd I miss?
MAYA: (covering well) You're right. I must've made a mistake.
EXT. PARKING LOT: Maya and Peter are walking towards the entrance. She's touching the cuffs of her sleeves.
INT. HOSPITAL CORRIDOR: Peter and Maya turn the corner and approach the door to Birdson's room. An ORDERLY is walking with them.
ORDERLY: Shouldn't we wait for the doctor?
MAYA: I'm sure she won't mind. (re: the door) It's not locked?
ORDERLY: Not necessary...anymore.
INT. BIRDSON'S ROOM - DAY: Maya and Peter enter the room. Followed by the orderly. A motionless Birdson lies on his bed. Eyes closed. His body curled backwards at a horribly severe angle and his arms are wrapped tightly around his torso. He's a gruesome sight. An IV TUBE is taped to his wrist and an EEG is attached to his head. The brain wave monitor indicates no activity.
PETER: Jesus.
A beaming Dr. Allen walks in. She's a little starstruck.
DR. ALLEN: Mr. Kelson, what a pleasure to meet you. I have to say your instincts about the criminally insane are impeccable. I am a fan.
PETER: Quite a compliment coming from you, doctor.
Dr. Allen realizes Maya's beside him.
DR. ALLEN: (to Peter) When your secretary called, she made no mention of her coming, too.
PETER: (glancing at Maya) My secretary?
DR. ALLEN: You're aware that this woman was party to the so-called exorcism.
PETER: No, I wasn't, actually.
DR. ALLEN: You should know I never felt Mr. Birdson needed anything but professional psychiatric care. And then, minutes after they left, he suffered a stroke. He's comatose. No brain wave activity at all.
Dr. Allen adjusts Birdson's IV unit, re-taping an already swollen hand.
PETER: So you don't believe his condition is the result of anything supernatural?
DR. ALLEN: Of course not. They put him through severe mental stress. Causing this aneurysm.
MAYA: Dr. Allen, could you please tell Mr. Kelson what you heard as you tried to enter Mr. Birdson's room?
DR. ALLEN: (ignoring Maya) I certainly hope you're not lending any credence to this.
MAYA: (aggressive) What did you hear?
Peter looks at Dr. Allen questioningly.
DR. ALLEN: The patient was in great distress. Naturally he was...yelling.
MAYA: And was he in distress when you opened the door? Or was he sitting here, relaxed, at this table?
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.
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