"Lou, it's a start. Whatever happens is bound to be slow. But this could be the beginning. . . ."
We both knew what I was saying was perilously close to wishful thinking, but nobody in the room was under oath. For the moment, though, she was back in her coma, as though nothing had changed.
I waited around until eight o'clock, when I finally convinced myself that being there was not doing anybody any good. Lou, I later learned, stayed on till well past eleven, when they finally had to send security to evict him.
Okay, I've been holding out on the most important detail. The truth is, I hardly knew what to make of it. At one point when I was bending over Sarah's seemingly unconscious face, her eyes had clicked open for just a fleeting moment, startling me the way those horror movies do when the "un-dead" suddenly come alive. Lou was in his chair and didn't see it, didn't notice me jump.
The last thing I wanted to do was tell him about it, and I was still shivering as I shoved my key into the Toyota's ignition and headed for home. She'd looked directly into my eyes, a flicker of recognition, and then came the fear. She sort of moved her mouth, trying to speak, but all that came was a silent scream, after which her eyes went blank as death and closed again.
She knew me, I was sure of it, but she had looked through me and seen a reminder of some horror now locked deep in her soul.
[Chapter Four]
Lou took the next few days off to spend by Sarah's side, but nothing more happened. I repeatedly called him at the hospital to check on her, though it was becoming clear her brush with consciousness had only been an interlude. Finally, I decided to show Carly's rushes to David (he loved them) and try to concentrate on postproduction for the rest of the week and the weekend, anything to make me not have to dwell on Sarah's ghostlike, soundless cry of anguish.
Postproduction. When you're shooting a picture, you have to make all kinds of compromises; but in post, with luck and skill, you can transform that raw footage into art. You mix and cut the takes till the performances are taut; you loop in rerecorded dialogue where necessary to get just the right reading of a line; the Foley guys give you clear sound effects where the production sound is muddy; and you balance the hues of reds and blues, darks and lights till you get just the right color tone.