John Doe

THE TRUTH WILL BE REVEALED......

Virtual Season Episode #201. "The Fall"

TEASER

BLACK.

JOHN DOE (V.O.)
Last season on John Doe.

There follows a one minute recap of events from "Remote
Control" and "The Rising", ending with Doe on the ground
with Theresa clutching his jacket. Doe looking up into the
light.

FADE TO BLACK:

JOHN DOE (V.O.) (CONT'D)
"Keep your friends close, but your
enemies closer". Most people would
say this proverb originated in a
gangster movie. But it actually has
its roots in Ancient Western
Literature. From Sophocles to
Shakespeare, we experience man's
nature of betrayal. Betrayal
against his brother, betrayal
against his friend.

FADE IN:

EXT. FOREST - DAY

We are quickly moving through the woods. The sounds of
sirens can be heard in the distance. Two pairs of feet are
seen moving about. The sound of a helicopter is near, but
not yet upon them.

JOHN DOE (V.O.)
In literature, to be betrayed, is to
feel everything around you
disappear. One minute you're upon
the climax that may answer some if
not all of your questions. The
next, you fall. You feel completely
deflated, and a true enemy has
revealed his face.

And now we see the two figures emerge from the brush onto a
clearing, it is none other than Trenchcoat man and Digger.
They look winded but focused in their efforts. After
examining their surroundings, they both notice the road up
ahead and proceed towards it.

JOHN DOE (V.O.) (CONT'D)
The face of my true enemy had been
revealed. He promised to stand by
me no matter what, but he was always
there. I know that now.

CUT TO:

EXT. HIGHWAY - DAY

The two figures make it to the highway, just as they step
out to the side of the road they hear a car approaching.
Its a police cruiser coming around the bend towards them.
Trenchcoat looks to his companion as if awaiting
instructions. Digger tells him to stand by, just by
looking at him.

JOHN DOE (V.O.)
He pretended to be my friend, when I
needed one the most. He always
seemed to know what to say or do at
the right moment.

The cruiser stops a few meters from the pair. Who are
standing by the road facing the lone police officer at the
wheel. The door opens and out steps the officer with
weapon drawn. The officer is pointing at the two men,
shouting instructions, but Trenchcoat and Digger just stare
straight at the officers face.

JOHN DOE (V.O.) (CONT'D)
Little did I know of his true
intentions. Or How far he would go
to get what he wanted most.....

CLOSE ON - THE OFFICER

His hands, grasping his weapon begin to shake. Then his
face becomes emotionless all of a sudden.

WIDER

Trenchcoat casually walks by the stunned officer and gets
in the drivers side of the cruiser. The officer is just
staring at Digger who is now face to face with the officer.
Digger without effort takes the weapon from the officer's
hand and stares with a cold face at the officer. Digger
raises the weapon and points it at the officers fore head.

JOHN DOE (V.O.) (CONT'D)
......MY TRUST.

CUT TO:

EXT. FOREST LANDSCAPE - DAY

A loud gunshot is heard echoing in the distance.

FADE OUT.

ACT ONE

FADE IN:

EXT. COPPER MINE FACILITY - DAY

Federal and Police vehicles are scattered all around the
entrance to the facility, pursuit lights flaring. Officers
and tactical agents are moving to and fro. Two helicopters
can be seen searching in the distance. We move through the
crowd onto the sight of an ambulance with its back doors
open, stretcher has already been removed from the cab.

We pan around to the group parting ways as we see a pair of
medics guiding a stretcher through the commotion . In the
stretcher we see a woman, disoriented and agitated. It's
Theresa, she cannot keep still, John Doe is walking beside
her, his hands holding hers. Doe is trying to calm her
down. Frank Hayes and Lt. Jamie Avery follow them,
heading towards the ambulance.

THERESA
Tommy....,Tommy!!
(loudly)

JOHN DOE
I'm right here....I'm here.
(still holding her
hands)

MEDIC #1
Ok, here we go.
(lifting the
stretcher onto the
cab of the
ambulance)

Doe lets go of Theresa's hand as she is pushed into the
ambulance. She becomes even more agitated and calls out to
Doe even louder than before. Doe stands by the ambulance
as the medics prep her for the trip. He seems emotionally
drained but at the same time apprehensive at the thought of
letting Theresa out of his sight. Frank and Avery join
him.

JOHN DOE
I'm going with her.

AVERY
You go on. We'll let you know what
we find.

FRANK
Yeah, I think it'll be best for both
of you.

Doe hardly acknowledges as he immediately jumps into the
cab of the ambulance. The second medic closes the doors
while Doe and the first medic tend to Theresa inside. The
ambulance begins to drive away leaving Frank and Avery
watching.

EXT. MINE FACILITY ENTRANCE - DAY

Sam from the NSA steps out from the facility entrance.
Behind him a tight group of suspects is led out by NSA
agents. Sam is holding documents in hand. Examining each
carefully. The suspects, all young men in their mid 20's
early 30's are handcuffed and each is led to a prisoner
bus. Frank and Avery walk up to Sam.

SAM
(leafing through
papers)
Unbelievable...this people are
completely anonymous.

FRANK
(sarcastically)
What? No top secret documents?

SAM
Nothing. No names, no passwords, no
logs. Nothing remotely pointing to
some type of identification.

AVERY
Then what the hell were they doing
here in the middle of nowhere?

SAM
All we could identify are
surveillance pictures of John and
some strange drawings.

FRANK
And Stocking Cap?

SAM
I got helicopters doing an aerial
search. With local P.D. holding
checkpoints over a 30 mile radius.
So far, nothing from him or
Trenchcoat Man.

AVERY
John said he saw him sneak out the
back. We got there right after.
How far could he have gone?

SAM
(looking around)
Hey! Where's John?

FRANK
He went with Theresa to the
Hospital.

SAM
(to Frank)
And you let him leave?...He's a
material witness.

FRANK
(not believing his
ears)
Hey! I think the man's been through
enough for one day...and for your
information...Doe is the only reason
we came along in the first place.

AVERY
(to Sam)
You seem to forget... We're not
part of you're operation...and
besides, I think you have plenty of
witnesses.
(gesturing to the
prisoners)

SAM
(annoyed)
I haven't time for this...I got a
man hunt on my hands.

Sam walks away from the pair. Frank and Avery stand there
exchanging looks and somewhat satisfied at the exchange of
words. Then their mood turns serious as they see Michael's
body under a coroner's blanket, being wheeled out of the
mine facility. Frank and Avery just stare as the body goes
by.

INT. PRISONER'S BUS - DAY

The dozen or so young men who are handcuffed inside the bus
stare ahead with cold faces as the last tactical agent
locks the inside gate of the bus. The agent heads out and
speaks briefly with Sam, who is reviewing his instructions
for their transport to a government facility.

At that same time, one of the young prisoners sitting in
one of the front seats turns his head towards the agents
outside. Then he exchanges an emotionless glance at his
companion, who motions his head towards the rest of the
prisoners behind them.

They all acknowledge in unison and each proceeds to reach
into his mouth and with little effort remove one of his
teeth. Each splits open the tooth he holds in his hand,
revealing a small tiny capsule concealed within the tooth
itself. Then without any anticipation or doubt, they all
place the capsules in their mouth. Still looking ahead,
still cold faced, without anything more than a whisper.

CUT TO:

EXT. HIGHWAY - DAY

We see an ambulance driving down the road, lights and
sirens blaring.

INT. AMBULANCE - DAY

Theresa is strapped to the bed of the ambulance, she is
still struggling while the medic checks her vital signs.
Rambling at times, Theresa is clearly under some type of
induced state, all she can due is call out Doe's alias. As
if she is lost in a void. Doe looks on, concerned and
frustrated by the situation.

THERESA
Help...help me....Tommy!!!

Doe moves closer so she can see him better.

JOHN DOE
(touching her hand)
Theresa, tell me what you see. Do
you know what they gave you.

THERESA
(sobbing and
panting)
Please.....Please!!! No!

As Theresa goes on, the medic is relaying her vitals to the
awaiting Emergency Care center by radio.

MEDIC #1
(to the radio)
I have a female Caucasian, late 20's
early 30's. B/P 250 over 90.
Puncture wounds to both arms.

Doe caresses Theresa's hand and makes her focus on his
face.

JOHN DOE
Look at me...I'm right here. It's
over...your safe now.

Theresa is now looking at Doe intently. (Close on Theresa)

THERESA
(heavy panting)
They were looking....they were
looking.... I saw you...... I could
see you....

CLOSE ON - Doe

JOHN DOE
Yes, I saw you too. I found you.

CLOSE ON - Theresa

Theresa smiles slightly, before her eyes
suddenly roll back and shakes uncontrollably.

JOHN DOE (CONT'D)
No!...No, no, no.

The medic notices immediately and proceeds to prepare some
type of injection.

JOHN DOE (CONT'D)
(yelling to the
medic)
She's going to anaphylactic shock!!
I need a praline shot to counter it.

MEDIC #1
You don't know that.

The medic begins to give Theresa an injection. Doe grabs
him by his jacket.

JOHN DOE
(agitated)
If you give her sodium trihedral its
going to induce sleep. She might go
into a comma or die. We need to
keep her awake and induce her immune
system long enough to reach the
hospital.

MEDIC #1
Sir! Her blood pressure is too
high. Praline could give her a
heart attack....

Theresa is still shaking mildly.

JOHN DOE
(even more
agitated)
SHE'LL DIE!!...Please you don't know
what she's been subjected to the
last few weeks...Now we need to keep
her conscious...

MEDIC #1
(looking at
Theresa)
Sir, Please....

JOHN DOE
DO IT!...NOW.

The medic thinks on it for about two seconds, then finally
budges and prepares a praline injection. Doe sees this and
rushes back to Theresa's side. She is still shaking but
the medic is right there and applies the shot. Almost
immediately, Theresa stops shaking and begins to moan
slightly. Doe and the medic look at each other with
feelings of expectancy.

CUT TO:

INT. EMERGENCY ROOM - DAY

Emergency double doors open and we see Theresa being
wheeled into the Hospital in a hurry. Both medics are
pushing the stretcher in while Doe is hurrying along side,
making sure Theresa is still conscious. Two emergency room
doctors, one male (30's) and one female (20's), approach
the new arrival ready to work.

MALE DOCTOR
(to medic #1)
Is she stable?

JOHN DOE
Her Blood pressure is 250 over 90,
she went into anaphylactic shock,
she's conscious but we have to know
what they gave her. You need to do
level 4 blood work on her right
away.

MALE DOCTOR
Sir! Please, let us do our job.

JOHN DOE
(in the male
doctor's face)
She's been awake for days, she's
probably on an amphetamine
derivative or hypocotyl solution.

MALE DOCTOR
We'll take good care of her...Now
please wait here and someone will be
with you.

JOHN DOE
Please listen.....

FEMALE DOCTOR
(holding Doe back)
Sir, we'll do a full blood work on
her. Please we know what we're
doing. She's in good hands.

Doe stands back and watches as Theresa disappears behind
another set of doors. We hold on Doe as he stands still
and helpless in the middle of the emergency room.

CUT TO:

EXT. COPPER MINE FACILITY - LATE AFTERNOON

We pan down to the facility grounds. A group of law
enforcement personnel are gathered around the prisoner bus
we saw earlier.

INT. PRISONER'S BUS - LATE AFTERNOON

One federal agent stands at the front of the bus, with a
look of complete disbelief. We see Sam enter the bus
behind him.

AGENT
(to Sam)
They're all dead sir.

The agent hands Sam a piece of a plastic tooth. Sam takes
it and examines it closely.

SAM
Perfect fail safe....All right, I
want to know who this people are. I
want each body thoroughly examined
and identified.

The agent exits the bus immediately. Sam stares at the
bodies for a few seconds.

SAM (CONT'D)
(in a low voice)
Who the hell were you protecting?

CUT TO:

INT. HOSPITAL WAITING ROOM - NIGHT

We see Doe sitting alone in this waiting room. He sits
staring down at something he is holding in his hands.

JOHN DOE (B/W POV)

---his hands handling the cap he found afteer he rescued
Theresa from her captor.

---Digger's face staring down at him from tthe the mine
emergency exit.

---Digger shaking hands with Doe after makiing his promise
to John.

CLOSE ON - Doe

A grim far away look on his face.

INT. HOSPITAL WAITING ROOM - NIGHT

Frank and Lt. Avery walk into the waiting room, they both
notice Doe in the corner and walk towards him.

LT. AVERY
John?

Doe casually folds the cap and sneaks it inside his jacket
pocket. He stands up to greet his friends.

FRANK
(to Doe)
How she doing?

JOHN DOE
(with a sigh)
Don't know. She's been in there for
hours. They won't let me see her.

Frank and Avery stand in front of Doe, as if not knowing
what to say next.

JOHN DOE (CONT'D)
Any news?.

Frank and Avery give each other an embarrassing look.

FRANK
A state patrol officer was found
dead by the side of a mountain road
five miles from the copper mine.
His patrol car was found two hours
later at a rest stop, forty two
miles north on I-95 .

Doe wipes his eyebrow with this right hand and slowly walks
away from Avery and Frank towards a nearby window.
Disappointed by the news but not really surprised.

JOHN DOE
(looking out into
the night)
They're not going to find them.
This people know how to be ghosts.
Sam is not going to learn anything
from those men either.

Frank clears his throat, not sure how to break the next bit
of news to Doe. Lt. Avery steps in. Doe turns around,
waiting to hear what came next.

LT. AVERY
The men arrested in the mine
committed suicide while awaiting
transport. They.....had some sort
of poison ingested. The NSA are
investigating the why and how.

Doe forces a sarcastic smirk. He looks worn out, like he
hasn't slept for months. He walks over to one of the
couches, and sits with both hands wiping his weary face.
Frank walks over and tries to ease Doe's duress.

FRANK
(with a low voice)
Hey listen,.... We had Michael's
body turned over to the coroner's
office. We figured, it was the
least we could do.

Doe looks up at Frank, with Lt. Avery standing near. He
forces a smile to his friends.

JOHN DOE
Thanks.....

At that moment, the female doctor that spoke to Doe before
comes into the waiting room. She's holding a work pad.
Doe immediately springs to life and meets her half way with
Frank and Lt. Avery behind.

JOHN DOE (CONT'D)
(with a terrified
look on his face)
How is she?... Is she all right? Is
she stable?!!

FEMALE DOCTOR
(in a calming tone)
She's fine. We did a full blood
work on her and managed to lower her
blood pressure. We were uncertain
at one point but I think she's out
of danger now.

JOHN DOE
(hugging the doctor
out of sheer
relief)
OH!! Thank you!!! Thanks doctor.

The female doctor is taken a bit by surprise but is
understandably receptive to Doe's outburst.

FEMALE DOCTOR
(flipping through
her work pad)
Now, she is stable but under
observation, because I have to say, we
had the hardest time pin pointing
what exactly she was under. As far
as we could tell, it was like you
said, some type of amphetamine
derivative.

Frank and Lt. Avery give each other a concerned look. Doe
doesn't take his focus of the doctor.

JOHN DOE
What else did you find?

FEMALE DOCTOR
(with a exhausting
breath)
Extreme sleep depravation, ligature
marks on her wrists and ankles.
Numerous puncture wounds around her
neck and arms....whoever did this,
really did a job on her. I hope you
find the creep.

The female doctor is paged as she is finishing her
diagnosis.

FEMALE DOCTOR (CONT'D)
(looking at her
pager)
I'm needed inside... Your
girlfriend is going to be with us
for few days. We need to run some
tests and keep her under
observation.

JOHN DOE
(a bit embarrassed)
She's a friend.....Can I see her?

FEMALE DOCTOR
She's needs a lot of rest. We have
her in intensive care. Someone will
come get you when she's transferred.

JOHN DOE
Thanks again, doctor.

FEMALE DOCTOR
You should give yourself some of the
credit. That praline shot may have
saved her life. The paramedics
would never have given her one in
her condition.

CLOSE ON - DOE

He nods in an understanding way as the
female doctor leaves the room.

CUT TO:

INT. MORGUE - NIGHT

We see several bodies laid out around a sterilized room.
We are inside some undisclosed Federal building, a couple
of medical examiners meticulously look at a particular
body, which is stripped and covered around the groin area.
The dead bodies are of the Phoenix group members who
committed mass suicide earlier in the day.

Sam walks into the room, wearing medical scrubs over his
white shirt and tie. He looks like a man on a mission,
looking for any clue that may have been left behind. The
examiners are carefully taking hair and dirt samples. They
are cautiously checking under fingernails, inside mouth
cavities, and every orifice on each of the dead bodies.
Then one of the examiners gestures to Sam, who immediately
takes notice.

SAM
(approaching the
examiner)
What do we got?

MEDICAL EXAMINER
Some type of marking, sir.

(Close on the examiner's hands) He is pointing to a symbol
tattooed to the back of the head of the dead body, its
about the size of a nickel. His hands keep the hair parted
as the tattoo is beneath the hair, barely visible. Sam
struggles to look, then grabs a small flashlight and a
magnifying glass.

SAM
Is definitely man made, not a scar.

MEDICAL EXAMINER
We found a similar marking in the
same area of every body we've
examined so far.

SAM
Lets clear the hair off of it. Take
some pictures.

Sam proceeds to head out of the morgue. Through a swinging
metal door.

INT. EVIDENCE LAB - NIGHT

We see Sam open the door and walk into a room where 6
agents in white lab coats are examining fiber and hair
samples gathered from the bodies next door. Sam removes
his scrubs coveralls and proceeds to take a seat at a desk
across the room. He opens a yellow folder he's been
holding. Inside, Sam takes out freshly developed crime
scene pictures, which show the body of the dead state
trooper shot by the side of the road. Other pictures in
the pile show the trooper's police cruiser parked at a rest
stop. Obviously where Trenchcoat man and Digger left it.

CLOSE ON - SAM

A determined look on his face as he stares down at the pictures.
He sits back and glances to his right.

(We pull back) To see what Sam's is staring at. He is
staring at what seems like his own personal bulletin board.
On it there are several pictures, illustrating surveillance
pictures, of Yellow Teeth, Trenchcoat man, Stocking Cap.
We move down the small board and hold on a picture of John
Doe. Its one of the many missing posters that Doe has been
posting and sending to police agencies all over the United
states.

FADE OUT.

ACT TWO.

FADE IN:

INT. HOSPITAL CORRIDOR - DAY

Its morning. We see Doe walking down the corridor, passing
several patient room doors. He stops in front of a
particular one. The room where he was told Theresa was
transferred to. Doe is holding flowers and a bag of
personal items for Theresa. He hesitates for a few seconds
before finally opening the door.

INT. THERESA'S HOSPITAL ROOM - DAY

Doe peeks his head inside slowly. He immediately takes
notice of Theresa sleeping in her bed. She is perfectly
still, tubes feeding her oxygen, sensors record her vital
signs, and an intravenous solution is by her side. With a
worried face, Doe places the flowers on a table next to her
bed and the bag of personal gifts on a chair beside the
table. Doe examines the monitors recording her vital
signs, making sure that nothing has been left undone.

Doe looks tired, he has been up all night. He walks
towards the window, looking out to the world outside.

CLOSE ON - DOE

His face radiates a million thoughts racing
through his mind. Then there is a faint knock on the door,
Doe turns and sees Frank standing by the open door.

CUT TO:

INT. HOSPITAL CORRIDOR - DAY

Doe comes out of Theresa's room, Frank is waiting with two
uniformed officers standing nearby.

FRANK
(gesturing to the
officers)
John....this is sergeant Crossly and
officer Swans. They're going to be
guarding Theresa for the time being.

JOHN DOE
(to the officers)
Hey....,Frank can I talk to you?

Frank and Doe head down the corridor while the officers
stand guard by the room door.

JOHN DOE (CONT'D)
Frank, I don't want to seem
unappreciative...but how well do you
know those two.

FRANK
John,...Relax....Crossly and Swans
are friends of mine. We play
softball together OK?

JOHN DOE
Fine....Its just that...

FRANK
Hey, I know. And believe me, I know
how important she is to you, but you
have to trust us on this. You can't
do this to yourself. You heard the
doc, she's going to be resting for a
few days. I got them so you could
go home, get yourself together.

JOHN DOE
I can't do that....not now.

FRANK
John....

JOHN DOE
(stopping within
site of Theresa's
room)
Frank. I can't leave her. After
all that's happened, after all my
searches, all my disappointments,
she is the only link I have to my
past. It all comes back to her.
The Phoenix group knows that.

FRANK
Yeah, but they're still human John.
I don't care who they are or how
secretive they can be. You have to
trust me on this. She's going to be
all right.

Frank's remark makes Doe a little uneasy. A friend's trust
is something he's having trouble giving after recent
events.

FRANK (CONT'D)
Now, what do you say you let me
drive you home. You can get some
rest, take a shower, clean yourself
up for when she wakes up.
Meanwhile, Avery is going to drop by
later and check up on Theresa.
How's that sound?

Doe thinks on it for a few seconds, then nods in agreement.

CUT TO:

EXT. HIGHWAY - DAY

Frank's unmarked police cruiser heads down the highway.
Frank and Doe are inside.

INT. FRANK'S CAR - DAY

Doe has his head tilted back against the headrest. His
eyes are closed, but he is not sleeping.

FRANK
So that's the famous Theresa. She's
a very pretty girl Doe. At least we
were able to save her. That's one
good thing that came out of all this
fiasco.

JOHN DOE
I want to thank you for everything
you and Avery are doing for me. It
means a lot.

FRANK
Hey, what a friends for, right?

Doe is in a real thinking mood now, he stares straight
ahead, his mind is racing.

JOHN DOE
You are my friend aren't you Frank?

FRANK
And what's that supposed to mean?

JOHN DOE
Well, because being that you are my
friend, studies show that friendship
rises out of mutual history. But if
you think about it, we haven't had
that long of a history together.

FRANK
(puzzled)
Its all this leading somewhere?

JOHN DOE
What I'm saying is, that when it
comes down to it. You really don't
know anything about me.

FRANK
Well, last time I checked, you don't
know anything about you.

JOHN DOE
How do you know that? Why would you
believe me?

FRANK
Because, I just do all right? Look
John, I'm not the type of guy to
hand out my friendship to just
anybody. And you and I have been
through enough together that proves
to me that you're a person worthy of
my trust. And the same goes for
Avery. I thought you'd figured that
out by now.

JOHN DOE
Yeah,...Yeah I know.

Doe wipes his eyebrow in deep thought as Frank glances
momentarily at him with a puzzled look.

CUT TO:

EXT. THE SEA BAR LOT - DAY

Frank's car pulls up near "The Sea Bar" lot, above it is
Doe's place.

INT. FRANK'S CAR - DAY

Doe is staring straight ahead at The Sea Bar sign. Again
Doe seems distant.

FRANK
Hey man, You Ok?..Maybe I should
come up with you. You think you're
fan club might be waiting for you
there?

JOHN DOE
(still staring
ahead)
Strange way to put it.

FRANK
Doe, you're going off again.

JOHN DOE
Frank, there's something I
didn't....I need you to come with
me.

CUT TO:

INT. THE SEA BAR - DAY

Front doors swing open, Doe walks in with Frank following
behind. The bar has just opened for business, a couple of
waitresses are setting the tables and Willy (early 30's) is
the bartender on duty today setting up the bar. He notices
Doe and Frank entering the bar. Willy recognizes Doe,
mostly because he is been working at the bar with Digger
ever since the place opened and Doe began hanging around
the bar not long after. Doe is looking around the bar
carefully as if looking for somebody in particular. Frank
is not sure why they are there in the first place.

FRANK
John don't you think is a little
early for a drink.

WILLY
(from behind the
bar)
Morning Mr. Doe, you looking for
Digger?

Doe stares at Willy for moment without answering, as he
carries empty beer boxes from behind the bar area toward
the front where Doe and Frank are now standing.

WILLY (CONT'D)
(to Doe)
He is not here today. Is there
something I can help you with?

JOHN DOE
(with an intense
look)
Are you all part of this?

WILLY
I'm sorry?

Doe suddenly lunges at Willy, grabbing him by the collar.

JOHN DOE
(screaming)
DID YOU ALL PLANNED THIS FROM THE
BEGINNING!!!?

Frank immediately gets his hands between Doe and his victim
trying to pull them apart.

FRANK
(finally pulling
Doe away)
JOHN!!! You gone crazy man?

WILLY
(backing away from
Doe)
Hey!!, what the hell is you're
problem?

The two waitresses cleaning the tables have stopped working
and are now staring at the commotion going on, confusion on
their faces. Frank has one hand on Does chest, keeping him
back.

FRANK
(to Willy)
Sorry, man, the guy's had a rough
night, know what I mean?

JOHN DOE
(to Willy)
Where's Digger? WHERE'S YOUR
BOSS?!!

WILLY
I already told you, he's not here
today.

JOHN DOE
(not satisfied)
Where is he? Where does he live?!!

FRANK
John, what.....!?

Doe tries to shove Frank away, not paying attention to him,
so Willy can see him better, but Frank does not budge too
much.

JOHN DOE
(to Willy)
Where does he live?, How long have
you known him? Answer me or so help
me....

WILLY
Look, I'm not sure what's you're
beef with him, but maybe you ought
to wait till he gets back?

JOHN DOE
Back? Back from where?

WILLY
I don't know!!! He left me a
message, told me to open up today,
said he had some things to take care
of.

JOHN DOE
(moving towards
Willy again)
YOU'RE LYING!!!

Frank is right there again to push Doe back. He holds Doe
still while he calms him down.

FRANK
(in Doe's face)
Now you listen to me. I've been
giving you some slack today because
of all the crap you've been through
in the last 24 hours, but now you've
stepped over the line. You've
become hostile and almost incited an
altercation without provocation.
Now that's assault and disturbing
the peace. You get me?

Doe realizes his mistake and nods in agreement.

FRANK (CONT'D)
So no more secrets. You and I are
going to take a walk.... And have
ourselves a little one on one.
Savy?

Doe gives Willy a glance as he slowly walks towards the
front doors.

FRANK (CONT'D)
Its all right guys, he's just a
little bit under the weather? Sorry
to for the disturbance.

Willy just stands there, dumfounded as Frank walks out of
the bar's front doors. The two waitresses are also
standing by the tables, not understanding what's going on.

CUT TO:

EXT. WATERFRONT PARK - DAY

Doe has his hands resting on the arm rails looking out to
the waterfront. Frank walks up behind him. The Sea Bar
can be seen in the background.

FRANK
You know, there's a lot things about
you that I've learned to live with.
Your encyclopedia brain, your
screwed up memory and even your
silly taste in clothes. But using
me like that, and trying to muscle
someone, is something that I didn't
expect from you.

Doe tilts his head down, between his hands.

JOHN DOE
I'm sorry....

FRANK
No, no, we're passed that John. Now
I think its time you came clean with
me. No more secrets.

Upon hearing this, Doe slowly raises his head, turns away
from the arm rails and slowly walks past Frank, who is
standing with his hands resting on his hips, waiting for an
answer. Doe walks to a nearby bench and takes a seat.
Frank turns to face him, and walks closer, waiting for Doe
to speak.

JOHN DOE
I saw him.

FRANK
Saw who?

Doe reaches inside his jacket pocket, pulling out the
stocking cap. He tosses it to Frank. Frank catches it
right away, and examines it, but still he's not sure what
Doe is trying to say.

JOHN DOE
Stocking Cap, I saw his face.

FRANK
(holding out the
cap in his hand)
You mean, this is...... And You saw
his face?

JOHN DOE
I was there. When I found Theresa,
he was trying to....I don't know, I
pulled her away from him. He went
up the escape latter, I saw him
looking down....

FRANK
(with a serious
look on his face)
Who did you see John?

JOHN DOE
(looking straight
at Frank)
Digger.

FRANK
DIGGER!!!...Bartender
Digger!!...Pony Tail Digger!!...You
mean to tell me he's been the guy
behind all this cloak and dagger, X
files conspiracy.

JOHN DOE
(standing up and
pacing back and
forth)
YES...

FRANK
How the hell do you explain that?

JOHN DOE
I've been trying to figure that out.

FRANK
Are you sure that's who you saw? I
mean you are color blind.

JOHN DOE
Its was HIM!!

Frank takes a moment to ponder what Doe is saying.

FRANK
Karen's killer. All this time.

JOHN DOE
Yeah. He was manipulating me from
day one. Watching me from behind
the scenes. Like some sort of
project.

FRANK
How do you mean?

JOHN DOE
I waltzed into his bar right on que,
he gave me a reason to be there, then
he saw to it that I was always
within his reach. A little too
convenient now that I think about
it. A part time job playing piano,
a convenient apartment just feet
away and a friendly face to go with
it. Its almost, like he knew what I
needed.

FRANK
But how did he know you would walk
into his bar, play his piano, take
all his offerings?

JOHN DOE
Because he knows ME!! That's the
only explanation....he was waiting
for me that day, He knew I would
come....

It all becomes too much for Doe to take, his eyes water
from the feeling of helplessness.....

JOHN DOE (CONT'D)
(screaming)
HE ALWAYS KNEW!!! BASTARD!!!!

Doe falls to his knees and crouches on the floor in
despair. Frank understands and tries to comfort him.

FRANK
(placing his hand
on Doe's shoulder)
Hey....Hey partner..I'm not even
going to try to imagine what you're
feeling right now. This is all
pretty hard to swallow, even for me.
But you have to trust me, we have to
go through this by the book.

Doe looks up at Frank.

FRANK (CONT'D)
We'll find them....You got to
believe that.

CUT TO:

INT. THE SEA BAR - DAY

The Sea Bar is closed to the public, only police officers
are seen inside. They are conducting interviews with each
of the employees of the establishment. Willy, the 2
waitresses and other staff are all present. Some being
questioned, others waiting to be questioned. We follow
through the crowd. Doe is on one of the bar stools,
looking at Digger's memorabilia he kept behind the bar.

In his hands, Doe holds an old picture of Digger and Jay
Dougan (from "Remote Control" episode), the same picture
that gave Doe a glimpse into what he thought was an
important part of Digger's past. Doe stares at the picture
of the two, wondering if any of it was true, or just
another piece in the charade. Just then, Lt. Avery walks
into the bar, looks around as she heads to where Doe is
sitting.

LT. AVERY
(to Doe)
Just came from the Hospital.
Theresa is still resting, and I
spoke with her doctor, looks like
she's going to be ok. How you
holding up?

Doe puts the picture down on the bar. He seems to be even
more tired and emotionally drained.

JOHN DOE
More dead ends.

LT. AVERY
Frank just told me what happened.
I'm not going to ask you if you're
about this.

JOHN DOE
(with a hand over
his forehead,
trying to stay
focused)
Don't.

Frank walks up from behind Avery.

FRANK
All right, this is what we got so
far. Apparently Digger was not
close friends with any of his
employees. None of them has any
idea where Digger lived, nor what
his real name was. Did a check on
the lease of this place, looks like
it was a bankrupted sushi bar until
six months ago. Then it was bought
by Douglas Industries and turned
into the Sea Bar. We're still
trying to contact someone from this
company, so far all we have is an
endless trail of disconnected phone
numbers.

LT. AVERY
Yeah, a lot of that going around
lately.

Doe slams his fist on the bar.

JOHN DOE
This is a complete waste of time.
We'll never find them this way.

FRANK
(to Doe)
Well, what did you expect? I mean
from what I've found, you were the
only person he ever got remotely
close to. And he never talked to
you about his private life?

JOHN DOE
NO!. I told you, all he talked
about was his failed marriages and
secret military career. Nothing
specific. Just comments really.

LT. AVERY
And you never saw where he went when
he left the bar. You saw each other
outside this bar, didn't you?

JOHN DOE
(leaning against
the bar)
Yeah, but we always ended up here,
nowhere else.

Just then, Doe's eyes widen, as if realizing something that
was obvious all along. Frank and Avery glance at each
other, as if waiting for the punch line.

JOHN DOE (CONT'D)
(looking around the
bar)
Here....He was always here.

LT. AVERY
Are you saying he lived here?

JOHN DOE
Why not? I'm willing to believe
anything at this point.

Doe walks away from the bar area. And gestures to Willy,
who is sitting in a nearby table.

JOHN DOE (CONT'D)
(to Willy)
WILLY!

WILLY
(jumping in his
seat)
What!

JOHN DOE
Where's Digger's office?

INT. BAR MANAGER'S OFFICE - DAY

Doe walks inside the office, followed by Frank, Avery and
Willy. He shuffles papers from the desk, and moves stuff
about. Looking behind shelves, feeling behind around the
walls.

FRANK
John. I already got people looking
through all the paperwork.

Doe is back to his quick thinking self, moving quickly and
deducing from clues. He is moving cabinets and chairs
around. The manager's office also served as storage space.

JOHN DOE
No, no, no, He lived here and no one
knew about it. There's got be some
type of hidden.....

Suddenly he feels something behind a file cabinet. Doe
moves his hands around the surface, looking it over, then
gently pushes it away towards the rest of the group. The
cabinet moves easily from its usual place, revealing an
opening on the wall behind it. The others are
understandably dumfounded. The opening looks to be without
a door. Doe looks back at the others, before stepping
inside.

INT. HIDDEN ROOM - DAY

The room is dark, inside walls are made of concrete. He
looks around and lets his eyes adjust for a bit.

JOHN DOE (B/W POV)

---Dark room, light can be seen at the otheer end.

Doe walks slowly towards the end of the hidden room. Frank
and Avery walk in behind him.

FRANK
Don't touch anything John. Lets get
the lab unit in here. Dust for
prints.

Doe continues on toward the lighted part of the room. At
the same time, Avery finds a set of switches, she flips
them on and the room lights up. Doe's eyes adjust quickly
as he finally sees what had caught his eye. We see a
number of video monitors, recording equipment, recording
media, tons of pictures on the wall to the left. Pictures
of John, in his apartment, on the street, driving his car,
and doing many other everyday activities. The monitors are
off at the moment, except for one, which is showing an
angled view of what looks to be an apartment. Doe is
completely taken aback by this, Frank and Avery join him.

AVERY
Just when I thought this couldn't
get any weirder.

JOHN DOE
He kept surveillance on me.

FRANK
(examining the
photos on the wall)
Looks like he kept an eye on you 24-
7.

Doe grabs a set of latex gloves from Frank's jacket pocket,
puts them on and switches on all ot the remaining video
monitors. Each video monitor reveals different images.
Images of every room in Doe's apartment along with images
of the Sea Bar interior.

JOHN DOE
(looking at dozens
of catalogued
digital tapes on
shelves)
He recorded everything. Why? What
the hell was he expecting me to do?

FRANK
Our man Digger was definitely not
who he seemed to be.

AVERY
(flipping through a
book)
This are print out of phone
conversations. He had your phone
bugged, even your cell.

Doe looks at some of the photos posted on the wall. Among
them, he notices pictures of Theresa and Michael. It shows
Theresa coming out of her house, getting into her car and
doing other things. Michael's pictures show him in
hospital gowns during test sessions, with all kinds of men
in white coats around him, the doctor's faces are not
shown.

JOHN DOE
Michael. They used him, Digger
arranged it so that he and I would
meet in that hospital. Why did I
see him in color?
(whispering to
himself)
I'm sorry.

AVERY
(to Doe)
John. Why don't you let us handle
this, we'll need to dust for prints
and look at all the surveillance on
this building. You should also stay
in a hotel tonight since we'll need
to look in your apartment too. So
get some rest ok? Get cleaned up.
We'll let you know what we find.
All right?

Avery gestures to Frank, who immediately guides Doe towards
the exit. Doe doesn't say anything as he leaves. Avery
watches them leave, a look of extreme concern for her
friend in her face. (Close on Avery's face).

FADE OUT.

ACT THREE.

FADE IN:

INT. HOTEL ROOM BATHROOM - NIGHT

We move in through a half open door, the mirror is fogged
up with steam as we slowly close on a silhouette behind a
shower curtain. As we close in, we see that its Doe, he
has both hands over his face as he lets the water hits his
face. He moves his head up and under the flow of the
shower, letting the water massage his neck and face. He
looks completely exhausted, clearly dealing with a mild
case of insomnia. Suddenly Doe's head tilts back as if
jolted by something. Doe struggles to keep his balance as
he manages to get out of the shower.

JOHN DOE (INT POV)

---A sudden flash of Theresa and Michael unnder duress.
Both struggling under their captors control.

INT. HOTEL ROOM - NIGHT

Doe struggling out of the bathroom. He is trying to
understand what he just saw. He hasn't had time to grab a
towel. He has one hand on his forehead, as if experiencing
a headache. Doe struggles to find his cell phone, then his
head jolts back again.

JOHN DOE (INT POV)

---Rapid flashes of Theresa, Michael, The PPhoenix Staff,
The Vatican Dome. And finally Digger's face.

Doe stops in front of the mirror. Looking straight at his
own reflection.

JOHN DOE
No... What do you want from me?
Huh?...You Son of a bitch!

Doe kicks over his night bag from the stand. He quickly
grabs his cell phone and dials out.

JOHN DOE (CONT'D)
Frank!... Did you call
your men at the hospital?

INT. FRANK'S CAR - NIGHT

Frank is driving.

FRANK
Just talk to them. They're running
some more tests on her.

JOHN DOE (PHONE)
How long ago?

FRANK
About 5 minutes? You ok? Did you
get some rest?

JOHN DOE (PHONE)
Call them again. I'm heading to the
coroner's office.

FRANK
What? John, we're still...

Doe hangs up.

FRANK (CONT'D)
(sarcastically)
Yeah, no problem.

CUT TO:

INT. CORONER'S OFFICE MORGUE - NIGHT

An orderly (late 20's) opens a set of double doors. Doe
follows him inside. The orderly is holding a clipboard
looking for the correct entry printed on it.

ORDERLY
(looking at the
clipboard)
Let's see....he was brought in
around 3 o'clock...Ah yes, here we
go.

The orderly puts the clipboard down and opens one of the
body freezer doors, he goes about it as he's done it a
million times before. Doe, stands silent in the
background, waiting for the orderly to finish. Doe moves
forward as the orderly pulls back the small cover sheet on
Michael's body.

ORDERLY (CONT'D)
(smiling at Doe)
Got to tell you Mr. Doe, couple of
my colleagues and I have been
following your work with the Seattle
police the last few months. I must
say its an honor.

Doe doesn't even look at the orderly, let alone hear his
comment, he just stares at Michael whose's lying there
motionless, clean and pale.

JOHN DOE
I'd like a few minutes alone with
him, if I you don't mind.

ORDERLY
(awkwardly)
Yeah...Sure.

The orderly steps out of the room, leaving Doe alone with
Michael's body. Doe looks very emotional about the whole
situation. He looks at Michael face, Doe sees him finally
at peace, bringing him a sense of relief.

JOHN DOE
(looking at
Michael's face)
You know...I thought that whenever I
saw someone in color, it meant that
that person knew me from before or
was connected to me somehow.

JOHN DOE (B/W POV)

---Michael's face in color, everything elsee around him in
black and white.

JOHN DOE (CONT'D)
But now I'm starting to believe it
has little to do with me, but more
about that person. That maybe they
need me, or are in some kind of
need. Maybe I've been looking at
this all wrong. I've been so
obsessed with my identity that it
has cost the lives of two innocent
people that have tried to help me.
How many more have to die before I
can let this go?

Doe's eyes water as he continues his confession.

JOHN DOE (CONT'D)
I'm sorry I didn't help you like I
should have. I should have taken
you out of that hospital and kept
going. You didn't deserve
this....I'm not sure what this
people are after, or what they want
from me, but I'm going to make them
pay for this. For you and Karen, I
promise.

CLOSE ON - DOE

CUT TO:

EXT. CITY LANDSCAPE - NIGHT

Skyscrapers light up the night as a black helicopter makes
his way over an undisclosed city rooftops. Lights flash on
and off as beacons from buildings and towers pass by the
helicopter as it flies to its destination. As the
helicopter closes on a particular building rooftop, we see
a lit landing platform in the distance. The helicopter
slows down and comes in for a smooth landing on the waiting
platform.

As the helicopter settles in and begins to shut its
engines, we see its side doors open. Two figures wearing
long coats step out of the helicopter and make their way
towards the rooftop entrance and step inside. The
helicopter is left in the background, the pilot inside is
shutting down its engines.

INT. BUILDING - NIGHT

We see an interior staircase leading down from the rooftop,
the two dark figures walk down the staircase and open the
door. These figures are unknown, the faces are not shown,
we only see them from a top angle or from behind, just
before we think their faces will be shown, we switch to
another angle. The two figures walk down a corridor where
an elevator door awaits them. The taller figure pushes the
elevator button and a few seconds later the elevator double
doors open.

The two figures walk inside. As the doors close, the
taller figure takes out a special key and opens a panel
just bellow the floor buttons of the elevator. Inside this
locked portion of the elevator we see a series of buttons,
on each button there is a strange symbol, instead of
numbers. The taller figure punches the buttons in a
particular order giving some type of 8 digit code. At that
moment a "B4" displays on the screen that tells you what
floor your on. The elevator begins to descend, down and
down past all the floors into the lowest floor of the
building. This floor is a secret part of this building,
only a select few can access it.

INT. "B4" FLOOR - NIGHT

A pair of elevator doors can be seen down a long dark
corridor. The display atop of the elevator doors lights
up, at that same moment, a chain of lights along the
corridor come to life, lighting the entire corridor. We
see that there are no doors along the bare concrete walls
of the corridor leading to the elevator. The elevator
doors open, immediately we see the two figures inside. It
is none other than Digger and Trenchcoat man. Digger is
clean shaven and has cut his hair shorter than the last
time we saw him. Digger's hair is darker and is brushed
back. Trenchcoat man's hair is a little shorter but still
looks the same, they both have long coats, with a suit and
a tie underneath.

We see both of them head out of the elevator down the long
corridor. The angle of view switches to reveal what they
are walking to. Its a set of double wooden doors, a design
of the globe is edged upon the doors. On top of the globe
a bird is perched. A red bird.

We see the two men walk upon the door. Trenchcoat man
looks at Digger who nods to him. Trenchcoat man opens the
double doors and both men walk in.

INT. SECRET CONFERENCE ROOM - NIGHT

The double doors close behind them as Digger and Trenchcoat
man stand at the foot of a long table. The room is
surrounded by 4 concrete walls, each wall with a door and
adorned with old turn of the century paintings. The
paintings show images of many civilizations in history,
images of the Romans, Egyptians, Colonial America, Turkish
and African depictions. The table has 10 empty chairs on
each side. As both men stand and wait, the door on the
opposite end opens, two young men in black suits enter,
followed by an older man (early 60's). The pair of young
men stand at attention as the older man takes a seat at the
end of the table.

The older man calmly pours himself a glass of water, then
he gestures to his young escorts, causing them to
immediately leave the room. As the men leave, Digger takes
his coat off and takes a seat not too far from the head of
the table. Trenchcoat man stays by the double doors at the
end of the table. Digger sits at the table, waiting for
his counterpart to speak. The older man sits calmly at the
table, reaches for a pen thin size remote control, taps a
button and one of the paintings pushes back and a digital
flat screen comes down. The screen comes on and a picture
of John Doe appears. The older man looks to Digger.

OLD MAN
Its been 223 days since Thomas
finally came back to us. Time is
running out. How certain are you
about your recent findings?

DIGGER
I'm certain. Its in the Vatican.
He revealed it to us.

OLD MAN
A longer session may have revealed a
more exact location. The Vatican is
a vast place, it may take some time
to find it.

DIGGER
Our blind prophet has shown us the
staff's resting place. It is our
job to find it for him. As it is
written.

OLD MAN
What about Theresa?

DIGGER
She is not important?

OLD MAN
Thomas would disagree. Then and
Now. She is a distraction, and she
should have been eliminated.

DIGGER
There was no time....She is no
threat, and if she was, she would
have been dealt with long ago.

OLD MAN
It is no coincidence that she and
Thomas found each other again. I
believe she is a threat.

DIGGER
(sarcastically)
Thomas would disagree.

The old man produces a slight smirk as if remembering a
similar conversation from the past. Then he gets serious
again and taps his remote again. An image of the police at
the Sea Bar appears on the screen.

OLD MAN
He has pulled back the curtain,
looking for the little man working
the levers of the all Mighty OZ.

DIGGER
(looking at the
screen)
He'll find nothing but more
questions. It was to be expected
sooner or later. Sadina's plan
failed on the same premise. We
tried to earn his trust.

OLD MAN
You think we were wrong in doing so?

DIGGER
In my time with him this past few
months, I've come to believe that he
is not the same man he was. His
transformation has changed him in
such a way that would make it
difficult for us to earn his trust.
Even if we had told him the truth,
it would have backfired still.

OLD MAN
Then maybe we should take him into
custody until the time comes.

DIGGER
We know better than that. The
prophecy states that the staff will
call to him. When we find the
staff, he will come to us. That was
the plan from the start. Therefore
we must concentrate on finding the
staff.

The old man takes a moment to ponder Digger's statement.

DIGGER (CONT'D)
We have analyzed every possible
scenario, no harm will come to John,
I promise you.

OLD MAN
(looking at the
screen)
John Doe....How fitting.....If he
only knew how important he
is,.....How far we've come.

DIGGER
He will find out eventually. As the
time grows near, he will realize his
purpose.

OLD MAN
(intently looking
at Digger)
His PURPOSE is merely to guide us
into the next thousand years. We
cannot let this opportunity slip
away. The staff must be in our
possession when the time comes. You
cannot be wrong about this.

DIGGER
It is there, and we will find it.

OLD MAN
We better. You know too well the
price of failure.

Digger stares at the old man getting up from his chair.
Digger follows suit by standing up out of respect for his
superior.

OLD MAN (CONT'D)
There are 143 days
remaining.....Find it.

Digger bows his head slightly as does Trenchcoat man.
Digger grabs his coat and proceeds to walk out in the same
direction he came in. Trenchcoat man opens the double
doors to leave. At the same time, the two young man enter
the room as the old man proceeds to leave, but before doing
so he turns towards Digger.

OLD MAN (CONT'D)
SAMUEL!!...

Digger stops just before stepping out of the room and looks
back at the old man. Trenchcoat man waits outside the
room.

OLD MAN (CONT'D)
(slightly smiling)
It is good to see you again.

Samuel stares at him with a smile.

SAMUEL
(in sign language)
The EYE always sees....LUCIAN.

Samuel turns and leaves through the double doors. Lucian
continues smiling slightly as he steps out of the door on
his end. We are left inside the room, as both sets of
doors close. We slowly pan from the double doors with the
globe symbol, along the wall pass the paintings and come to
rest on the plasma screen Lucian and Samuel were looking at
before. On the screen we see a picture of Doe, but the
picture is different, he looks younger, with shorter hair,
wearing a white shirt and tie. Then we slowly pan down
from the big plasma screen, revealing a glass display case
on a table against the wall. In it, there is an ancient
looking piece of paper, worn by time, brown in color and
vacuum sealed inside the glass. Printed on it, we can see
from the top of the page, a carefully written paragraph, it
is some sort of ancient looking language. A lot of strange
looking symbols, resembling letters but not quite. We
slowly move down the paragraph of the ancient scroll,
toward the end of the piece of writing. Suddenly, we see a
familiar symbol inscribed squarely at the bottom of the
page......It is the SYMBOL OF JOHN DOE.

FADE OUT.

ACT FOUR.

FADE IN:

INT. HOSPITAL WAITING ROOM - NIGHT

Doe walks through the hospital entrance holding a couple of
bags and proceeds to the front desk. As he is signing in,
Lt. Avery comes out of one of the elevators and takes
notice of him.

LT. AVERY
There you are. Frank missed you at
the coroner's office. Don't you
answer your phone anymore?

JOHN DOE
(grabbing the bag)
Sorry...I lost track of time.

LT. AVERY
I told Frank you probably needed
some time alone.

JOHN DOE
Thanks. I just...had to... I've
claimed Michael's body. I've
arranged for his burial. Its the
least I could do.

LT. AVERY
Good....

Doe lowers his head slightly in grief. Lt. Avery
understood how Doe must be feeling and decided to casually
change the subject.

LT. AVERY (CONT'D)
(smiling)
Hey, what's in the bags?

JOHN DOE
Well, I huh,... I just thought
that she would need some things, you
know, some basic feminine hygiene
products. Bath robe, shampoo,
conditioner, change of clothes.

LT. AVERY
(glancing inside
the bags)
Aren't you the thoughtful one?
She's a lucky girl having you for a
boyfriend.

JOHN DOE
(biting his lip in
embarrassment)
Funny.

Doe and Lt. Avery walk along the lobby and head to the
elevators.

LT. AVERY
(getting serious)
John, we found some prints in that
hidden room at the bar. We're
running them through the ICC, so far
nothing.

JOHN DOE
And my place?

LT. AVERY
8 small video cameras, located all
around your apartment. The whole
place wired.

Doe grimaces in disgust at the thought of his every move
being watched.

LT. AVERY (CONT'D)
(placing a hand on
Doe's arm)
He fooled all of us John. Not just
you, and no matter how much you
know, you could have never seen this
coming. We all have to trust those
close to us. Its in our nature.

Doe gives an appreciative look to Lt. Avery.

CUT TO:

INT. HOSPITAL CORRIDOR - NIGHT

The pair of elevator doors open. Doe and Lt. Avery step
out onto the patient care floor, walking side by side.

LT. AVERY
Have you thought about what she's
all about?

JOHN DOE
Ever day since the ferry.

LT. AVERY
What are you going to say to her?
When she's conscious I mean.

JOHN DOE
The real question is, What she has
to say to me?

Lt. Avery looks at Doe with a concerned face.

LT. AVERY
(searching the
right words)
John. Have you thought....about the
possibility that she... might be one
of them?

Doe slows his pace and stops. He looks at Lt. Avery.

JOHN DOE
I know what you're saying Jamie.
But I think that she is my only
chance. I have to take it. I have
to know.

LT. AVERY
Fair enough. Personally, I think
she's the real thing. Call it a
hunch.

Lt. Avery looks down the corridor, to where the two
officers stand guard.

LT. AVERY (CONT'D)
(looking back at
Doe)
You know, she's been asking for you.
She's still pretty groggy, but the
nurses say she keeps calling to
Tommy. If that's really you.

JOHN DOE
We'll see.

LT. AVERY
I better get going. I'm neglecting
my turtle. I'll check with you
later.

Lt. Avery starts to walk away.

JOHN DOE
Jamie...

Lt. Avery stops and turns to Doe.

JOHN DOE (CONT'D)
You have my trust.

To this Lt. Avery gives out a smile.

LT. AVERY
Good luck, Romeo.

Doe smiles at his friend's pun. Lt. Avery gets in the
elevator and leaves.

CUT TO:

EXT. AIRPORT HANGAR - NIGHT

Flashing lights in the distance get closer and closer,
until we see and hear the helicopter engine fly in above
the lit airport tarmacs. The black helicopter does a fly
over before settling in and landing on a designated area
near an open hangar. Inside the hangar we see a private
jet with its engines running and an open hatch.

The helicopter slows its engines and its doors open.
Samuel and Trenchcoat man step out and commandingly walk
across the runway towards the awaiting jet inside the
hangar. The pair head to an awaiting man (late 20's)
holding a large sealed envelope. The young man gestures a
greeting to his superiors in sign language, before handing
the envelope to Samuel. The three men waste no time and
immediately board the aircraft. The hatch closes right
away and we hear the jets engines roar louder as the jet
begins to taxi onto the runway.

INT. PRIVATE JET - NIGHT

We see the young man sitting working on his portable
computer. Trenchcoat man walks up from the front cabin
towards Samuel, who has finished reading the report handed
to him by the other group member. Samuel places the report
on the table as Trenchcoat man sets on the nearby seat
facing him. Samuel looks at his companion.

SAMUEL
(in sign language)
The NSA is using all its resources
to track our movements.

TRENCHCOAT MAN
(in sign language)
All they have are theories. Let
them try.

SAMUEL
(in sign language)
They got too close last time.

TRENCHCOAT MAN
(in sign language)
They had help. It won't happen
again.

SAMUEL
(in sign language)
Don't be so sure. John helped them
once. He may do it again. They may
obligate him.

TRENCHCOAT MAN
(in sign language)
The NSA is bound by laws. Even with
his help, we'll always be one step
ahead of them.

SAMUEL
(in sign language)
Inform our people in Seattle. We
need daily reports on his movements.
If he begins working with the NSA, I
want to know immediately.

TRENCHCOAT MAN
(in sign language)
What about the woman? I think
Management is right. She should be
dealt with immediately. She's a
loose end.

SAMUEL
(in sign language)
She's his weakness. Its ironic, to
think that after everything Thomas
went through for her, she just fell
right back into the fold. It
happened for a reason.

TRENCHCOAT MAN
(in sign language)
You're not worried about what she'll
tell him? She may lead him to us.

SAMUEL
(in sign language)
Everything happens for a reason.
She is just a piece of the puzzle
and doesn't know enough. She'll
give John direction and fuel his
quest. But we'll still be there to
fulfill his destiny.

Trenchcoat man ponders on his superior's assumption while
Samuel takes a drink and stares onto the night sky.

EXT. NIGHT SKY - NIGHT

We see the private jet slowly climb through the clouds and
move on into the distance with its beacons flashing.

CUT TO:

INT. THERESA'S HOSPITAL ROOM - NIGHT

Doe opens the door slowly and steps in the room. The
lights are dimmed inside as Theresa continues to sleep.
Doe gently closes the door and puts away the bags of
personal things he brought for Theresa. She continues to
sleep as he finds himself staring at her. He walks to the
other side of the private room and silently pulls up a
chair. He sits next to her bed. Still staring at the
mysterious woman he's been searching for for so long.

CLOSE ON - DOE

JOHN DOE (V.O.)
Theresa... Is that really your name?
That day on the ferry, you gave me
hope, when I needed it the most.

We look at Theresa who is sound asleep.

JOHN DOE (V.O.) (CONT'D)
How did you know me? What am I to
you? Were we close once? Are we
related? Oh God, there so many
questions.

Doe leans back on his chair and runs his hand back through
his hair in quiet frustration.

JOHN DOE (V.O.) (CONT'D)
I still can't believe you're here.
I was beginning to doubt whether you
were real or not. That maybe I
created you somehow.

Doe continues to stare at Theresa.

JOHN DOE (V.O.) (CONT'D)
I feel like I'm so close to the
truth after craving it so much that
I'm afraid to see my way ahead. I'm
I ready for whatever you may or may
not know about me? Will you help me
remember...me?

Doe stands up from his chair and walks to the window. He
stares out into the night.

JOHN DOE (V.O.) (CONT'D)
There has to be a reason for all of
this. Why would I see you in color?

JOHN DOE (INT POV)

---Theresa at the ferry, in color, waiving at Doe as she
yells out the name Tommy.

JOHN DOE (V.O.) (CONT'D)
Whatever the reason? It cannot be
just chance. This gift....this
curse has a purpose. There are
people out there who believe that.
People who do not care who gets in
their way.

Doe places his hand on the window as it begins to rain
outside. The rain drops are hitting the window glass. Doe
stares at his hands pondering.

JOHN DOE (INT POV)

---Trenchcoat man in custody at the NSA. SStaring at Doe
through the glass.

---Digger staring at Doe from the top of thhe copper mine
shaft.

---Yellow teeth looking at Doe from her deaath bed.

JOHN DOE (V.O.) (CONT'D)
Could I be one of them? I'm I
capable of doing the things they've
done. Could I've prevented the
innocent from dying on my behalf.

JOHN DOE (INT POV)

---Karen being her joking self around Doe.

---Michael talking to Doe in the hotel roomm.

Doe tilts his head down with his eyes closed. Letting the
images run through his head. He then raises his head up
again, an expression of pain in his face.

JOHN DOE (V.O.) (CONT'D)
Why is this happening to me? Why
can't I remember? Can anyone truly
help me?

THERESA (O.S.)
(faint and softly)
Tommy.....

Doe turns quickly and looks towards the bed. We see
Theresa, her eyes half open staring at Doe. He moves
towards the bed and sits down next to it. Doe gently and a
bit nervously takes Theresa's right hand, which laid flat
on the bed and had an I.V. injected to it. Doe holds it
with both his hands and looks at Theresa. She looks very
groggy still, and half a sleep, but she is smiling back at
him.

THERESA (CONT'D)
(softly)
Tommy.....its really you.....mmmmm

Theresa's eyes begin to blink slowly but steadily as she
begins to fall asleep again.

CLOSE ON - DOE

His eyes watered a bit as he smiles slightly. A look of extreme gratitude on
his face as he stares at the sleeping Theresa. It is as if her few short
words managed to ease the pain he was feeling before.

THEME SONG ("Like a stone" by Audioslave)

".....in all I read...till the day was gone....and I sat in
regret....in all the things I've done....for all that I've
blessed....and all that I've wronged.....in dreams till my
death....I will wonder on".

Doe looks relieved and grateful as we pull back slowly
leaving Doe, sitting by Theresa's bed, still holding her
hand.

THEME SONG ("Like a stone" by Audioslave)

"....I'll wait for you there....like a stone....I'll wait
for you there....alone....alone".

FADE OUT.

THE END