John Doe

THE TRUTH WILL BE REVEALED......

Virtual Season Episode #202. "Unexpected and Wanting"

TEASER

FADE IN:

EXT. SUBURBAN HOUSE - NIGHT

We see a bronze SUV pull up to the driveway. The lights
turn off and the driver's side door opens. Robert Sanders
(mid 40's) steps out of the vehicle, he closes the door and
activates his car alarm. With his jacket in one arm and
his briefcase on the other, he heads to the front door of
his house.

INT. SUBURBAN HOUSE - NIGHT

The front door opens and Robert enters his home. The house
is dark since its late at night. He places his briefcase
on a chair near his front door after locking the front door
padlocks. Then he proceeds up his stairs slowly, he looks
really tired after a hard day's work. Robert walks slowly,
loosening his tie, towards his younger daughter's room and
very carefully opens her bedroom door. He peeks inside to
make sure his 11 year old daughter, Sherry, is sleeping
soundly. Its a ritual he does too often, since he doesn't
get to see his family that much during the week. Robert
carefully closes the door and heads to his older daughter
Alice's bedroom. He opens her door and peeks inside,
making sure she is sound asleep. His face smiling as he
looks at her mess inside. He closes her door and proceeds
to his bedroom where his wife is fast asleep. We see him
open his door and close it behind him.

We pull back from Mr. Sanders' bedroom door and after a few
seconds we see his older daughter's door slowly open and
her head peek out into the hall. Alice Sanders (mid teens)
silently looks and listens in the direction of her parent's
room to make sure they have really gone to bed. She then
heads back into her room and closes the door.

INT. ALICE'S ROOM - NIGHT

Alice is careful to walk lightly around her room as she
grabs her red jacket and moves towards her window. She
gently opens it and heads out, pulling the window down
behind her. She leaves the window a tad open for when she
has to get back in.

EXT. PORCH ROOF - NIGHT

We see Alice head across the roof of her porch to the side
of her house. Where she carefully climbs down a wooden
hedge cover. As soon as she hits the ground she looks
around making sure no one saw her, then she sprints down to
the end of her block.

EXT. SUBURBAN STREET - NIGHT

Alice runs to the end of her block and turns around the
corner. We see a 70's 4 door sedan parked down the side of
the street. Its windows are up and covered with
condensation and music from the car stereo can be heard
from the inside. Alice comes up to the car from the
passenger side and opens the door.

INT. CAR - NIGHT

Alice gets in as we see her boyfriend Jason at the wheel
with his head tilted to the side, his face is concealed
from where she is seating.

ALICE
Sorry I'm late. My Dad came in late
as usual, I couldn't get away.

Alice looks at Jason. Awaiting a response.

ALICE (CONT'D)
(shoving him)
Hey you ass,..aren't you even
listening to me?

Jason's head tilts slightly forward touching the driver's
side window. Alice just sits there for a second, still
expecting a response, when she notices he's wearing his
seat belt. Before Alice can say anything, Jason's head
comes forward from his window and hangs forward with the
rest of his body moving with the momentum and hanging just
shy of the stirring wheel.

ALICE (CONT'D)
Jason?....Oh my god!

Just then Alice notices what looks like a wire around
Jason's neck, with a little blood trickling around it.

ALICE (CONT'D)
(backing away)
Oh my GOD!...Jas....

At that very moment we see a dark figure rise from the back
seat just off Alice's view and a gloved hand with a white
handkerchief reach around Alice's right side and cover her
mouth before she can yell out. Immediately Alice gives out
a muffled scream and begins to struggle and trash about the
front seat. As she is struggling the dark figure's other
hand comes around her left side and pulls her towards the
back seat, her feet kicking about still.

EXT. SUBURBAN STREET - NIGHT

We see the car moving from side to side slightly, with the
music still blaring from the inside. After a few seconds
the car stops its shaking. Moments later we see the back
passenger's door open and a dark figure dressed in black
and wearing a dark stocking cap, step out. He calmly shuts
the door and strolls around the back of the sedan towards
the drivers side. He opens the drivers side door.

(Close on the drivers side of the car) The dark figure is
hunched over with his head inside the drivers side of the
car, then he pulls out Jason's body and drops in on the wet
pavement. The dark figure, with his face still unseen,
gets in the car's drivers seat and shuts the door. We hear
the car's engine come to life and slowly get into gear
before slowly moving forward and down the dark street.

We see the car driving further down the street and out of
sight, we then pan down to where Jason's body was left
laying face down on the road.

FADE OUT.

ACT ONE.

FADE IN:

A slide show of color images in the following sequence:

---Images of desert warfare. Tanks shootiing, night vision
images of soldiers firing their weapons.

---Fighter jets firing their payloads fromm the air.

---Blue background with a blurry image of a figure,
engulfed in white light.

---The Phoenix Staff, people rioting in thhe streets,
buildings on fire, the Phoenix Staff.

---Figure engulfed in white light, Karen'ss face, the
Phoenix Staff, Alice Sanders terrified and struggling with
a dark figure inside her boyfriend's car,......hold on
Karen's Face.

KAREN
(soft echoing
voice)
Wake up John....You have to wake up.

INT. HOSPITAL ROOM - DAY

CLOSE ON - DOE

Doe's eyes open suddenly. Doe lets out a sighing breath as
we pull back slowly and see that he was asleep on a chair,
using his jacket to cover himself. He slowly straightens
himself in the chair, letting his eyes adjust to his
surroundings. Doe wipes his eyes and slowly turns towards
the rest of the room. SUDDENLY, Doe is staring at an empty
hospital bed. Theresa is nowhere to be found!!.

Doe's eyes widen, as he quickly gets up from his chair and
looks around the empty hospital room. A look of complete
disbelief and fear in his face, as he begins to imagine the
worse. Doe moves to the room's door and is about to scream
out when he hears water running inside the bathroom. The
bathroom door is close, so Doe can't look inside to be
sure. Doe is breathing heavily now as he is about to knock
on the door when all of a sudden the bathroom door swings
open.

THERESA
(surprisingly calm)
Good morning. Hope I didn't wake
you.

Doe doesn't know what to say exactly. He's not sure how to
react. All he can do is stand back as Theresa casually
walks by him towards her bed. She's wearing the bath robe
and the slippers that Doe bought for her, and her hair is
wet from taking a shower.

THERESA (CONT'D)
The doctor came this morning and
removed my I.V. So I could take a
shower, finally...

She sits down on the bed and looks at Doe with a curious
face. A few seconds of silence passes.

THERESA (CONT'D)
I saw you sleeping there. I still
couldn't believe it. The doctor said
you've been siting there for 2 days
now. Guess I have YOU to thank for
these.
(gesturing to her
bathrobe and gifts)

THERESA (CONT'D)
(smiling)
Well,...Aren't you going to say
anything?

Doe is still taken aback by the current situation. He
seems at a loss for words. Doe has thought of so many
things that he would say to her since that day on the
ferry, but right now he's having trouble thinking of the
right thing to say.

JOHN DOE
How....are you f...

THERESA
(answering before
he could finish)
Better.....Considering.

Doe is still standing at the same spot. Trying to start a
conversation.

THERESA (CONT'D)
Tommy are you Ok? You seem a
little...different.

Doe's face changes a bit. As if expecting for the bubble
to burst.

THERESA (CONT'D)
I know its been a while but I sort
of expected a little less distance,
you know?

In response to her remark, Doe immediately moves closer to
her, trying not to make her feel uncomfortable.

JOHN DOE
(choosing his words
carefully)
I'm sorry, is just that...I'm not
sure how...you would react to seeing
me again...After, such a long time.

THERESA
I can see why you would feel that
way....I never thought I'd see you
again.

We can see that Doe is analyzing the delicate situation in
his head. Not sure if he should tell her the truth right
away, he has decided to play along a bit longer and see
where it takes him, at the risk of deceiving Theresa.

JOHN DOE
Did they,...Hurt you?

THERESA
They? You make them sound like
neighborhood bullies. Tommy what's
going.....

She is interrupted by her room door swinging open and
Doctor Harold Stevens (50's) entering the room. Theresa
and Doe both turn to him.

DR. STEVENS
(to Theresa)
Well, I see SOMEONE is feeling much
better this morning.

Theresa glances at the doctor briefly before looking back
at Doe with a serious look. Doe does the same, wishing
they hadn't been interrupted.

DR. STEVENS (CONT'D)
(extending a
handshake to Doe)
I'm Dr. Stevens, the resident
physician.

JOHN DOE
(shaking his hand)
John Doe.

Just then, Doe realizes he may have made a mistake. He
momentarily glances back at Theresa, and immediately
catches a very confused look coming from her.

DR. STEVENS
(to Doe)
I've already met this little lady,
you were asleep I'm afraid. We've
been analyzing her blood work and
monitoring her vitals. And you'll
be glad to know she is recovering
nicely.

Doe is listening to Dr. Stevens diagnosis while at the same
time looking at Theresa from the corner of his eye.

THERESA
(to Dr. Stevens)
Will I be able to leave today
Doctor?

DR. STEVENS
If you really feel well enough. I
don't see why not.

THERESA
(with an
appreciative smile)
Thank you doctor.

JOHN DOE
Doctor? Is there any risk of an
allergic reaction or relapse from
the antibiotics?

DR. STEVENS
(looking at
Theresa)
I think we're over that hurdle.
She'll be fine.

Doe looks at Theresa with a concerned look, then back at
the doctor.

JOHN DOE
(shaking hands
again)
Thanks again doctor.

DR. STEVENS
You bet. I'll start processing the
discharge.

Dr. Stevens nods at both of them and leaves the room,
leaving Doe and Theresa alone again. What follows is a bit
of uncomfortable silence between them. Doe can tell that
Theresa will be expecting some kind of explanation soon.
Theresa is looking a Doe, confused but not as much as one
would be in her situation.

THERESA
John Doe? You're trying to keep
your anonymity against the medical
staff Tommy?

JOHN DOE
(taking a seat)
Not...exactly. If I'm right, then
there's something you need to know
about me.

Theresa has an intrigued look on her face. She is sitting
on the bed, hanging on Doe's every word.

JOHN DOE (CONT'D)
I don't exactly know who you think I
am, or how you and I know each
other.

THERESA
(calmly)
What? I don't...What are you
saying?

JOHN DOE
(speaking
carefully)
I don't know who you are. I don't
know who Tommy is. I can't remember
anything before seven months ago.

Doe is half expecting Theresa to either call him a liar or
run him out of her room. He's just about ready to beg for
her attention while he attempts to elaborate. But instead,
she just sits on the bed, staring at him, looking to be
sorting things out in her head.

THERESA
(in a low voice)
Oh my God. You really don't
remember me do you?

Doe looks confused at her reaction. He clearly was not
expecting her to be so calm.

JOHN DOE
(trying to explain)
I'm sorry. I know its hard to
believe. But I'm...

THERESA
I THOUGHT something wasn't right.
When I woke up and saw you
there..... I thought it was just
the medication.

JOHN DOE
What do you mean? When I was
sleeping?

THERESA
Your pattern. It felt different
somehow.

JOHN DOE
My pattern? What are you talking
about?

Theresa stands up, grabs her things from the side of the
bed and proceeds towards the bathroom. She looks a bit
distraught now as she walks in.

THERESA
I can't stay here anymore.

JOHN DOE
(getting up)
What? Wait a minute, what were you
saying before?...

THERESA
(from inside the
bathroom)
Could you give me a ride somewhere?

Doe is still trying to understand as he moves towards the
bathroom. The door is partly open.

JOHN DOE
(stopping at the
door)
Look, what did you mean....

Doe looses his train of thought at the reflection of
Theresa's bare back on the bathroom mirror. She has
removed her robe and is in the process of putting on a
sweater. He is just staring now.

THERESA
(from behind the
door)
I need to pick up some things.
Won't take long.

Doe steps back after a few seconds, realizing what he was
doing. He's in deep thought as Theresa peeks her head from
behind the door.

JOHN DOE (B/W POV)

---Theresa's face, in color, standing behiind a black and
white door and frame.

THERESA (CONT'D)
(with an innocent
smile)
If that's Ok with you... Mr. Doe.

Theresa keeps smiling as she ducks her head back inside,
shuts the door and continues changing. Doe stares at the
door, a look of intrigue and confusion on his face.

CUT TO:

EXT. SANDERS' RESIDENCE - DAY

Police vehicles are parked outside the house. Officers are
outside marking off the area with yellow caution tape as
neighbors, spectators and news reporters look on.

INT. SANDERS' RESIDENCE - DAY

We see Mr. and Mrs. Robert Sanders sitting on their living
room couch. Robert consoles his wife, who is crying and
trying to stay calm, as they are being interviewed by
Seattle P.D. Detective David Tate(40's). Other police
personnel can be seen around the house, carrying evidence
and taking pictures of the surroundings.

DETECTIVE TATE
Now Mr. Sanders, when you got home
from work last night, your family
had already gone to bed, correct?

ROBERT SANDERS
(looking at his
wife and keeping
his composure)
That's right. I went upstairs after
locking the front door and checked
on the girls before going to bed, as
I always do.

DETECTIVE TATE
(looking at his
note pad)
And you're certain you saw Alice
asleep in her bed. That was at
around 12:30pm, right?

ROBERT SANDERS
Yes...Look Detective, my wife and I
have already answered this
questions. And we just don't
understand why do we have to keep
going over this.

DETECTIVE TATE
Mr. Sanders, I understand how
frustrating this line of questioning
might be, but we have to look at the
situation from every possible angle.
Your daughter Alice was in her bed
last night and this morning she was
gone. There was no evidence of
breaking and entering, but we are
seeing signs that at some point
after you and your wife went to bed,
she exited through her bedroom
window and met with Jason Keys. A
boy you said she was seeing.

MRS SANDERS
(sobbing)
How...how do you know she was with
him?..Maybe she's at a rave
somewhere,
(looking at her
husband)
Like she did last fall, remember
honey?

Mr. Sanders just smiles at her slightly and holds her hand.

MRS SANDERS (CONT'D)
(to Detective Tate)
She was grounded for a month. But
she's always been headstrong. Maybe
she's somewhere else, she could
still come back. Right honey?
(looking back at
her husband)

Detective Tate tries to reason with the grieving mother.

DETECTIVE TATE
I don't think that's possible Mrs.
Sanders, I'm sorry....

MRS SANDERS
(with a worried
smile)
Nancy,...please.

DETECTIVE TATE
All right. Nancy. We found Jason
Keys' car abandoned in an empty lot
not too far from here....

Detective Tate pauses for a bit, searching for the right
words.

DETECTIVE TATE (CONT'D)
(looking at Mrs.
Sanders)
We found Alice's purse in the car.
There was a letter inside.

Mr. and Mrs. Sanders look at each other, a very worried
look on their faces.

ROBERT SANDERS
What do you mean a letter? Is it a
ransom note?, Wha...what did it say?

MRS SANDERS
(holding her
husband tighter)
Oh my god....

DETECTIVE TATE
I'm not at liberty to say at this
time, but rest assured that the
letter leads us to believe that she
was abducted and we're going to do
everything to find her. I promise.

Mrs. Sanders is unable to hold back tears as she buries her
head on her husband's chest. Robert just holds her tight
and sobs with grief. Detective Tate sits across from them,
trying to give them hope.

DETECTIVE TATE (CONT'D)
I know this is hard for you both.
But please understand that we have
to ask you some more questions about
your daughter. Questions that might
be a hard for you to answer.

At that moment, Sherry Sanders, the youngest daughter comes
downstairs and walks into the living room. She looks like
she has been crying for a while.

SHERRY
Mom?....

Mrs. Sanders immediately stands up and walks towards her
daughter. She hugs her and consoles her as they both sob
in each other's arms. Robert Sanders can only sit and
watch while he ponders on Detective Tate's questioning.
Detective Tate also watches mother and daughter consoling
each other.

ROBERT SANDERS
(with a crackling
voice)
Detective?.....

Detective Tate turns to look at Mr. Sanders.

CLOSE ON - ROBERT SANDERS

ROBERT SANDERS (CONT'D)
(sobbing now)
You find my daughter.....You bring
her home. You bring her home
Detective.

We see Detective Tate take the father's words to heart, as
he nods in a respectful manner.

CUT TO:

INT. VAN - DAY

We see a close shot on a closed eyelid. After a few
seconds the eyelid opens revealing a blue eye, as it begins
to move around we pull back slowly and see that we are
looking at Alice Sanders's face. She has duck tape over
her mouth and is lying on the back of a dirty van. Her
hands behind her back are bound and chained to a bolted
down loop on the bed of the van. We can see the van moving
from side to side and hear its tires riding on the road.

Alice gets her head up and tries to get up, but is
immediately held down by her chains. She can only manage
to sit slightly as she finds that her legs are shackled as
well. The chain goes from her hands down through the loop
and to her legs, not giving her too much room to move.
Alice looks around her and is able to see the back of the
driver of the van. The driver is alone and wearing a dark
stocking cap with sunglasses. He's wearing a dark jacket
and gloves and is calmly driving the van paying no
attention to his hostage. We cannot make the driver's
facial features. Alice begins to moan in fear as she
realizes the reality of her predicament. Her eyes water
and begins to cry. The mysterious driver pays absolutely
no attention to her, almost as if she's not even there.

EXT. RURAL HIGHWAY - DAY

We see a black dirty van driving down the highway, past a
rest stop on mile marker 125. Down the road past a road
sign with "Pender Falls Next Right" written on it. The van
begins to slow down before turning right onto a dirt road.

INT. VAN - DAY

The back of the van rocks back and forth as we see Alice
still shackled and scared out of her mind. She looks
towards the front of the van to see the back of the driver,
beyond him past the dusty dirty windshield she can barely
see what looks to be a gravel road in the middle of a
wooded area. Alice can see the reflection of the drivers
sunglasses and black cap from the rear view mirror. But
once again, the driver does not even gesture towards her
presence in the back of the van. She cannot see the
driver's facial features. She gets even more scared as she
notices the driver slow down and turn the wheel to the
left.

EXT. PENDER FALLS ROAD - DAY

The black van turns onto a side road and proceeds down a
wooded road until we come to an old wood house. It is two
stories high with a concrete foundation. There's an old
stone well out back with junk and clutter in the nearby
wooded area. A couple of junk cars can be seen on the
property as the black van comes to a stop in front of the
old house.

INT. VAN - DAY

We see Alice's eyes wide open with fright as she sees the
driver put the van in park and turn off the engine. Alice
watches the driver just sit there for a few seconds. She
muffles a few incoherent words, but the driver just sits
there. After a few seconds more the driver can be seen
looking up at his rear view mirror. All poor Alice can see
is the driver's sunglasses reflect on the mirror. It gets
real quiet as the driver seems to be staring at Alice
through the rear view mirror. Alice just sits there and
tries to remain calm. Suddenly the driver opens the door
making an incredible screeching noise as it sounds like the
door hinges of the van are completely rusted. Alice jumps
as the van's door is slammed shut, leaving her to wait for
what comes next.

EXT. HOUSE IN THE WOODS - DAY

The back of the dark figure with a stocking cap and
sunglasses on, is all that we see as he walks calmly from
the van towards the front door of the house. The man opens
the door and walks inside.

INT. VAN - DAY

Alice is breathing heavy now as she tries to see what she
can out the windshield of the van, but again her chains
keep her from getting too far up front. Suddenly she hears
something outside. She tries to make little noise as she
listens to her surroundings. She hears only the wind in
the woods and what sounds like running water nearby.

Suddenly the back of the van opens up, scaring Alice half
to death as she turns and sees a white man (50's), wearing
dark clothes and sporting a buzzed haircut. He has the
mean scared face of a lumber jack. The man grabs the
chains and pulls, Alice is already screaming through her
duck tape, but can do very little since her hands are
behind her back. Alice can only keep screaming as she sees
the retched man put a white handkerchief over her face.
Kicking about and with the tape over her mouth all she can
do is breathe in the chloroform as she slowly begins to
pass out again. We hold on the abductor's face as he
smiles at the site of Alice's unconscious body.

FADE OUT.

ACT TWO.

FADE IN:

EXT. HOSPITAL - DAY

We see Doe standing outside the hospital entrance with his
Shelby Cobra parked nearby. He's talking into his cell
phone.

JOHN DOE
(into his cell)
She's being discharged now. She
asked me to give her a ride.

INT. SEATTLE POLICE STATION - DAY

Frank is sitting at his desk with a pile of case files in
front of him. He's talking to Doe on his phone.

FRANK
So what the hell happened? She woke
up and said.."Hi Tommy, nice to see
you. Could you give me a ride
somewhere?"

JOHN DOE
(voice on the
phone)
Not quite.

FRANK
What do you mean? Come on give me
the details.

EXT. HOSPITAL - DAY

Doe is walking by the front entrance to the Hospital and
takes notice of Theresa being wheeled out on a wheel chair
by an orderly. He is still speaking to Frank on his cell.

JOHN DOE
(into his cell)
I'll tell you when I know more, and
hey, tell your friends I said thanks
again for keeping an eye on her for
me.

FRANK
(voice on the
phone)
Sure. You be careful John.

Doe flips his cell phone closed and waits as Theresa is
wheeled outside of the hospital. The orderly behind
Theresa stops just outside, steps around the front of the
chair and helps her out of her chair.

THERESA
(to the orderly)
Thank you.

She takes notice of Doe standing there looking a bit
nervous about the whole situation. He steps to the side of
his sports car and opens the passenger door.

JOHN DOE
(with a sly smile)
Your chariot awaits.

THERESA
(looking a bit
surprised)
This is YOUR car?

JOHN DOE
(smiling)
That's right.

THERESA
Well aren't YOU full of surprises
today.

Theresa walks by Doe and proceeds to take a sit inside the
sports car. Doe gently closes the passenger door, before
walking enthusiastically around the car and getting into
the driver's seat. Doe turns the key and the car's engine
comes to life.

JOHN DOE
(looking at
Theresa)
Ok....Where to.

We see Theresa smiling back at Doe.

CUT TO:

EXT. HIGHWAY - DAY

Doe's car is riding down the highway on a beautiful sunny
day. The top is down as Theresa's hair dances with the
breeze.

INT. DOE'S CAR - DAY

JOHN DOE
I saw on the registry that your last
name is Kirkland. Theresa Kirkland?

THERESA
Is just a name I've been using.

Doe gets a curious look on his face. A short moment of
silence passes.

JOHN DOE
So...How long you've been in
Seattle.

Theresa smiles a bit at his question.

THERESA
I don't think that's what you really
want to ask me.

Doe looks at Theresa. It is obvious he's realizing that
there's something more to her than just a face from his
past. Each time he has tried to indirectly get some
information from her, she has been able to see right
through him.

JOHN DOE
(looking at the
road ahead)
What do I want to know then?

THERESA
(with a serious
look towards Doe)
Who you are?...Who I am?...How did
this happened to you? I'm I Right?

Doe looks at Theresa. Amazed at how easy she's making all
of this for him.

JOHN DOE
That's right.

THERESA
I can't tell you how strange all
this is for me. Ever since I've
known you, you always seemed to have
all the answers. Nothing surprised
you. And now, you seemed so lost.
So......Innocent.
(shaking her head
in confusion)

THERESA (CONT'D)
It's like you're a different person.

Doe looks at his companion and then back at the road.

JOHN DOE
Maybe I'm not the man you knew. It
has been theorized that we all have
at least one twin living within each
generation....and according to the
Journal of Science...

THERESA
(amused)
Oh please!...
(getting serious
now)
It is you. Take my word for it.

After hearing this, Doe begins to put away all his
remaining doubts.

JOHN DOE
If that's the case. Then I need to
know everything you know. About ME,
and about the people that took you.

THERESA
I wish it were that simple.

JOHN DOE
Listen, you're not telling much. I
mean those people almost killed you
because of me.

THERESA
You think I don't know that. The
only reason I'm still alive is
because they want it that way. God,
I was a fool to think I could
disappear. Believe me the less you
know about them, the better.

Doe has just about enough as he could take as his long
frustration gets the better of him. He pulls to the side
of the road a bit suddenly, bringing his car to a dead
stop. Theresa is looking down at her feet, not too
surprised at his reaction. Doe stares straight ahead with
both hands on the wheel. A short moment of silence passes
before either of them speaks.

JOHN DOE
Theresa. Seven months ago I
LITERALLY woke up on a deserted
island. Naked as a newborn baby,
without any clue as to how I got
there or most importantly, Who I
was?, Where I've been? I knew
nothing about myself.

Theresa is looking at Doe now, listening to his every word
in amazement.

JOHN DOE (CONT'D)
Up until that day I saw you on the
ferry, I thought no one knew who I
was. I've been searching for you
ever since. Up until today, every
lead that I've followed has been a
lie. This people, the Phoenix group
have been behind every single lie.
They've killed two people who tried
to help me, they tried to kill you.
Now...I have to know. I have to
know that I'm not part of them.
YOU, are the only one who can help
me. Please. I'm asking you to help
me.

Theresa is looking at Doe with a very caring look. She
seems to feel his pain as she turns to glance at the road
up ahead. Doe is doing the same, determined not to move an
inch until Theresa gives him an answer.

THERESA
Tommy,....I'm sorry. Is just that,
this whole situation is so
bizarre...I'm not sure what to do
next.

Doe looks at her with a curious look.

THERESA (CONT'D)
Could you give me some time to think
about it? I promise you is with
good reason.

Doe is in a very pensive state now, he ponders his next
move.

JOHN DOE
(with a serious
look)
Do you mind if we make a brief stop?
There's something I have to do.

Theresa stares at Doe with an appreciative look. She knows
that Doe has a right to be frustrated and she seems to be
grateful for his patience and understanding.

THERESA
Sure.

Doe gives her a smile as he revs up the engine and drives
on.

CUT TO:

EXT. CEMETERY - DAY

We see Doe's car pull up to St. Augustine Cemetery. He
drives through the main entrance and proceeds along the
road past rows and rows of headstones. Eventually Doe
comes to a stop near a grave site that is in the process of
being filled. A group of 3 men can be seen preparing a
casket to be interred onto the ground. Doe pauses as he
looks on.

INT. DOE'S CAR - DAY

JOHN DOE
(with a serious
look)
I won't be long. I just have to pay
my respects to someone....Someone
who tried to help me.

THERESA
Michael.

This surprises Doe.

JOHN DOE
You knew him. Didn't you?

THERESA
(with a somber
face)
No. But you did. And he did help
you. He helped me too.

Doe looks at Theresa with the familiar look he's been
giving her since this morning. He can see that she's
holding back a lot more than she's telling him. With that
same look he opens his door to get out. Theresa gets out
too as we see Doe slowly walking towards the grave site,
she follows close behind, her hands crossed and her head
low out of respect to Doe's friend.

EXT. MICHAEL'S GRAVE SITE - DAY

Doe gives a nod to the 3 cemetery workers who are in the
process of placing the casket into position to be lowered.
When they are ready to lower it, they wait for Doe to give
the word. Doe takes this as his que to say some final
words. As he prepares to give his eulogy, Theresa and the
workers bow their heads.

JOHN DOE
The purpose of a eulogy is to honor
a person's life in order make his
death less tragic and more
acceptable. Usually, the task of
giving this eulogy is done by
someone close to the deceased. For
that reason, I wish I were that
person. I believe, that given
enough time, I could have been.

Theresa lifts her head to watch Doe.

JOHN DOE (CONT'D)
I wish I could say something that
would be considered memorable, but
only poets can do that. Churchill
once wrote, "If you need to say
something beautiful and memorable,
you can always quote Shakespeare".
So here goes, "Good night sweet
prince; and flights of angels sing
thee to thy rest".

Doe's eyes are watered a bit as he pulls a harmonica out of
his jacket pocket. He walks towards the casket and lifts
the lid carefully. Not all the way, just enough to slip
the harmonica inside, Doe promptly closes the lid again.
He then steps back and gestures to the workers to begin
lowering Michael's casket.

As the casket is lowered Doe looks on, Theresa can be seen
behind him. She glances over to Doe, a somewhat intrigued
look on her face.

CUT TO:

INT. SEATTLE POLICE STATION - DAY

Detective Frank Hayes can be seen working through case
files at his desk and getting caught up on ongoing
investigations. Then we see Lt. Jamie Avery come out of
her office and head towards him.

LT. AVERY
Stop whatever you're doing Frank.
We have a briefing in 10 minutes.

FRANK
What? What are you talking about?

LT. AVERY
We've been asked to join the
Sanders's kidnapping case.

FRANK
The teenager from South Bend? Why
are they asking for help?

LT. AVERY
That's what we're going to find out.

INT. STATION CONFERENCE ROOM - DAY

We see Detective David Tate standing in front of an
audience of police officers and detectives, an audience
including Frank and Jamie. Detective Tate is standing with
a series of files and slides in front of him. He is
handling an overhead with a big white screen behind him.
Frank leans in to say something to Jamie.

FRANK
(in a low voice)
Why didn't you tell me David Tate
was leading the Sanders
investigation?

LT. AVERY
(in a low voice)
Because it wasn't worth mentioning,
Ok?

FRANK
(not believing her)
Ok.

Det. Tate prepares to bring the meeting to order.

DETECTIVE TATE
All right. If I could have
everyone's attention. I'd like to
thank you all in advance for your
time and efforts. I know you all
have questions but please save them
until the end of the briefing.

Det. Tate gets the first slide ready on the overhead and
gestures to have the room lights dimmed.

DETECTIVE TATE (CONT'D)
(turning on the
overhead light)
At approximately 12:20AM this
morning, the body of one Jason Keys
was found near the corner of Justin
Dr and Church St in the Waldon
Estates Subdivision in South Bend
county. Evidence indicates that he
was strangled with a length piece of
thin wire.

Det. Tate places the picture Jason's dead body on the
special overhead which projects the picture to the white
screen above.

DETECTIVE TATE (CONT'D)
After informing his parents, an all
points was issued for his 73
Tempest, which was found in an empty
lot a few miles away. A search
inside the vehicle yielded signs of
a struggle and a female purse
belonging to one Alice Sanders.
Nothing seemed to be taken from the
purse, but inside we found this.
(placing a picture
of an envelope with
the word POLICE
written on it on
the overhead)
This letter, ladies and gentlemen is
the reason we are organizing this
task force. We have confirmed with
the Sanders family, their oldest
daughter was in bed around midnight
last night and this morning she was
gone.

Det. Tate switches the slide to a high school picture of
Alice Sanders.

DETECTIVE TATE (CONT'D)
We have also confirmed that she was
going out with Jason Keys.
Therefore we think that Alice
Sanders left her home, shortly after
midnight and met with her boyfriend
Jason, who may have parked his car 2
blocks from her house. At some
point after their encounter,
possibly after she realized he was
dead, Alice Sanders was overpowered
and taken by one or more assailants.

Det. Tate pauses for a moment.

DETECTIVE TATE (CONT'D)
Any questions so far?

LT. AVERY
(from the side of
the room)
What did the letter say?

Det. Tate gives her a serious look as he proceeds to put
another slide on the overhead.

DETECTIVE TATE
Whoever wrote the letter, called
himself Avatar.

Immediately some people in the audience begin taking
amongst themselves. Frank and Avery give each other a
surprised look. On the big screen a copy of the letter can
be seen. It is written in beautiful penmanship, the kind
you see in Hallmark cards. All written in free hand.

DETECTIVE TATE (CONT'D)
The letter reads as follows:

" This is Avatar speaking. After a long period of sleep,
my thirst for killing has gotten the better of me. As a
result, poor little Jason Keys and Alice Sanders have
become the instruments of my return. Now, before you all
start screaming copycat killer, I assure you it is ME.
Whether you all choose to believe me or not, I leave up to
you. As you can see by now, nothing can be done for young
Jason Keys, but little Miss Alice Sanders still has a
chance. Her life is now in the hands of the Seattle Police
Department, and the clock is ticking boys and girls, so
I'll get right to the point. At midnight tonight, I will
cut Alice's throat from ear to ear, that is unless you can
stop me in time. And if you doubt whether this is for real
or not, just ask Miss Sandra Allison from San Francisco.
She'll tell you the extent of my conviction. If you wish
to play the game, you will have to follow my rules, which
is only one; Tell the press about me, by 7:00PM tonight.
Refuse to do so, and I'll gut her by prime time. That's
all I ask. In return, I have given you the tools to
apprehend me. Enclosed you will find a cipher and a map of
your beautiful city. The map contains symbols found on the
cipher. Crack the code and you will find where little
Alice is being kept. If you don't solve the riddle, you'll
still find her, but not the way her parents remember her.
I leave it up to you. Tick, Tock, Tick, Tock."

Det. Tate pauses as he looks around the room. Frank and
Avery have a common stunned look. Everyone in the room
sits in silence.

DETECTIVE TATE (CONT'D)
I think everyone here knows or has
heard about the "Avatar Killings" at
one time or another. But I'll give
you guys a refresher course anyway.

Det. Tate changes the slide on the overhead to another
which shows newspaper clippings and sketches of different
types of male suspects.

DETECTIVE TATE (CONT'D)
Avatar. Also known as the Avatar
Killer. He's been called one of the
most methodical, ruthless and
evasive serial killers in history.
From the Summer of 1969 until the
Fall of 1974, he was responsible for
the death of 48 people. People from
all walks of life, different ages,
genders, and race. His killing
spree spread over the major cities
of New York, Houston, Denver and
San Francisco. His method of
killing his victims varied, he
killed by either shooting, stabbing,
torturing, or strangulation. He
would kill his victims in daylight
or at night. In the city or in the
country. He would abduct his
victims or simply kill them where he
found them. No other serial killer
has been as diverse as Avatar. Only
one of his victims ever survived his
attacks. A 23 year old nun in New
York. She was ironically one of his
first victims in 1969. She
disappeared a month after her
attack. No one has seen her since.

Every one in the room is hanging on his every word. At the
same time, Lt. Avery seems a little anxious to get on with
the investigation.

DETECTIVE TATE (CONT'D)
Avatar would send letters addressed
to the police about once every 2 to
3 killings. A total of 28 letters
have been archived as being from
Avatar. Each letter contained a
cipher of symbols. Avatar claimed
that the cipher contained his
current whereabouts and the means to
catch him. None of his ciphers were
ever decoded. His last victim was
16 year old Sandra Allison, she was
taken while she was walking home
from school one October afternoon.
A letter was found inside her school
bag. It told the San Francisco
police that the girl would be his
last victim for awhile, and that if
they did not break the code on the
cipher, she would be found with her
throat slit the next day. SFPD were
unable to crack the code, and the
next day, the body of Sandra Allison
was found in an abandoned house near
the bay.

A deep look of concern overtakes everyone in the room

DETECTIVE TATE (CONT'D)
Avatar was never heard from again.
Of course over the years, there have
been a few crackpots who've claimed
to be Avatar, but each was quickly
disproved.

FRANK
And what makes this guy any
different?

DETECTIVE TATE
He may be a copycat after all. But
a quick writing analysis of the
Alice Sander's letter yielded a 93%
match to one of the Avatar letters
in the archives.

This gives Frank and the others a better understanding of
the urgency of the situation.

LT. AVERY
Any luck with the cipher?

DETECTIVE TATE
Still been analyzed. But we can't
afford to wait around. And the
brass over at city hall have
approved the complete cooperation
from all police agencies on this
matter. We have a detailed map of
Washington with a number of key
symbols marking different areas
around the Seattle area. This is
the map given to us by the abductor.
And we believe we have...
(looking at his
watch)
Less than 7 hours to find Alice
Sanders. Now, you will all be given
a copy of the map marking a
designated city block area, your
task will be to do a thorough search
of that area. I know that this may
all seem like we are knocking on
every door hoping to get lucky, but
its the best we can do with the
amount of time we have. And we are
coordinating with every precinct in
the city. We're not taking any
chances on this one. For all
intense and purposes, we are
treating this case as if he is the
real Avatar. Any questions?

Short pause as there are no questions from the group.

DETECTIVE TATE (CONT'D)
In that case, I thank you all again,
and you can now get your assignments
from the staff sergeant.

With that, the briefing ends and the audience starts making
their way out of the room. Lt. Avery and Det. Tate
exchange a sideways glance as Avery walks by and he gathers
his things.

INT. LT. AVERY'S OFFICE - DAY

Avery enters her office and proceeds to sit at her desk.
Moments later Frank peeks his head in through the open
door.

FRANK
You Ok boss?

LT. AVERY
(little annoyed at
the implication)
I'm fine.

FRANK
(stepping inside)
Want to talk about it?

LT. AVERY
(trying to end the
discussion)
Frank.....There's no need. We need
to get out there.

At that moment Det. Tate knocks on the open door, signaling
that he wants a word. Frank turns around and steps aside.

DETECTIVE TATE
A minute of your time Lieutenant?

After noticing Det. Tate, Lt. Avery straightens herself up
in her chair.

LT. AVERY
(to Frank)
That's all Frank. I'll see you out
there.

Frank nods in agreement at Lt. Avery and gives Det. Tate a
quick eyeball to eyeball look as he steps out. Det. Tate,
who is holding some files in his hand gently closes the
door to the office and slowly proceeds to take a seat in
front of Lt. Avery's desk. His files are in his lap.
There's a short silence as they both look at each other.

DETECTIVE TATE
(glancing around
the room)
I see you got Terry's old office.

LT. AVERY
What can I do for you Detective?

DETECTIVE TATE
Jamie, my reason for being here is
strictly job related. Ok?. I know
I'm not welcomed here.

LT. AVERY
Your past history is the last thing
we need to be talking about
DETECTIVE. You're here asking for
our help in your investigation, and
you're going to get it. Now, if
there isn't anything else, I got
work to do.

Det. Tate takes that as his que to reach into his folder
and pull out a file.

DETECTIVE TATE
Actually, there is something else,
LIEUTENANT. As you probably know,
Avatar always stamped his letters
with some type weird symbol. A
different symbol for each letter.
The Alice Sanders letter had one
too.

With that, Det. Tate tosses a photo on the desk, in front
of Lt. Avery. She gives Det. Tate an annoyed look as she
takes the picture and examines it. Her look turns very
serious, then she glances back at Det. Tate. He has a sly
smile on his face now.

DETECTIVE TATE (CONT'D)
What can you tell me about the man
you call; John Doe?

We hold on Lt. Avery's face for a moment. She has a
surprised look on her face. We switch to her point of view
and finally see the photo she is holding in her hand. The
photo shows the very distinct circular symbol of John Doe
on the back of the Alice Sanders' letter.

CUT TO:

INT. DARK BASEMENT - DAY

The faint muffled sounds of Alice Sanders moans can be
heard as we move around a decrepit, dirty dark basement.
We pan around until we stop on Alice, with her hands still
shackled and raised above her head. The chains on her
hands are looped around a metal hook near the basement
ceiling. She is awake now, a look of complete terror on
her face. She is unable to move or turn completely around
as she is hanging from the ceiling support. Suddenly she
hears the sound of a door opening above her, she then hears
the sounds of footsteps getting closer as we see a dark
figure coming down the steps behind her.

Alice is unable to turn around to see the figure but she
knows he's there. Her moans become increasingly louder as
she becomes even more scared because she knows there is
someone there with her now. Alice jerks back suddenly as
the same lumber jack face man from before appears before
her. The man has a cold stare as he watches her, he then
reaches towards her face and as Alice tries to turn her
face away in fright he tugs away the duck tape from her
mouth. Alice can now speak.

ALICE
(crying and
sobbing)
Please dont' hurt me....please....

Lumber jack man just stares at her without saying a word.
He then proceeds to slowly touch her face, which
immediately terrifies her as she continues to cry.

ALICE (CONT'D)
(crying)
NO!...please...Please don't hurt me.

Lumber jack man's hands look very rough in comparison to
Alice's skin. He begins to move his face closer to Alice's
face, as if he is preparing to kiss her. Alice becomes
even more agitated as he does so and tries to pull away but
Lumber jack man holds her face still. Suddenly just before
he is about to kiss her, he stops and looks above him.
After a few seconds he looks back into Alice's eyes and
lets go of her face. Lumber jack man then proceeds to
slowly walk back the way he came and up the stairs to the
upper part of the house. The door slams shut, leaving
Alice crying down in the basement. We hold on Alice's
crying face.

FADE OUT.

ACT THREE.

FADE IN:

EXT. SUBURBAN STREET - DAY

We see Doe's car pulling up to a house in a suburban street
full of many different houses. Theresa sits next to him as
he puts the car in park and shuts down the engine. Doe is
looking to his left at the 2 story green house, Theresa is
staring at it too. She gets out through the passenger side
as Doe gets out too. Theresa walks slowly towards the
front door of the house, looking around for something, or
someone.

JOHN DOE
This is your house?

THERESA
(looking back at
Doe)
I've been staying here for a while.

Theresa walks up the steps and onto the porch. Doe follows
behind her. Theresa stops at the door and proceeds to ring
the doorbell. She moves about the porch, looking inside
the windows.

JOHN DOE
You lived here with someone?

THERESA
(looking at Doe)
Yes.

Theresa rings the doorbell again. Doe looks kind of
nervous as to what may happen next. Theresa is a little
impatient as she moves to look in one of the windows again.
At that moment the front door opens and the face of Sarah
Parkinson (early 50's) is staring at Doe.

SARAH
Yes? Can I help you?

Doe just stares at her, while Theresa looks on from the
side of the porch with a smile.

THERESA
Hi Doodle Bug.

Sarah turns immediately to Theresa, who she hadn't seen
standing there. An overjoyed look fills Sarah's face.

SARAH
Oh my God in Heaven!

Sarah rushes over to Theresa and gives her a big long hug.

SARAH (CONT'D)
Oh child, thank God you're all
right.

THERESA
I'm fine. You shouldn't worry so
much.

SARAH
Well you disappeared all of a
sudden! I didn't know what to
think. I mean, you told me of what
could happen, but I was never
prepared....

Sarah stops short after seeing Theresa gesture to Doe, who
is still standing on the porch.

SARAH (CONT'D)
Oh my word! I'm sorry, where are my
manners.

THERESA
Sarah I'd like you to meet a friend
of mine. Thomas And.....

Theresa pauses as Doe gives her a surprised look. Theresa
seems as if she has said something she did not intend to.

THERESA (CONT'D)
Thomas Anderson.

SARAH
You're Tommy Anderson? My God, I've
heard so much about you.
(extending her hand
out to Doe)

Theresa looks a bit embarrassed, Doe notices her
expression.

JOHN DOE
(shaking her hand)
Nice to meet you ma'm.

SARAH
Please! Call me Sarah.

JOHN DOE
Ok, Sarah.

SARAH
(to both visitors)
Now come on, what are we standing
around here for?. Lets go inside, I
want to hear everything that
happened.
(entering her home)

JOHN DOE
(looking at Theresa
with a sly smile)
Yeah...Me too.

Theresa gives Doe an embarrassed stare as she follows Sarah
inside. Doe is the last one to walk in the house.

CUT TO:

INT. LT. AVERY'S OFFICE - DAY

Det. Tate and Lt. Avery are talking inside her office.

DETECTIVE TATE
So you concluded that the Mourner
killer had no connection to this
John Doe. Just some infatuation
with him?

LT. AVERY
That's right. John has been
consulting with this Department for
months now. And he's acquired some
notoriety in the press. So he is
bound to get fan mail every once in
a while. That's all this is.
(holding up the
photo of the Avatar
letter)

DETECTIVE TATE
Well my Department hasn't made that
decision yet. And I would still
like to have a chat with him.

LT. AVERY
On what grounds?

DETECTIVE TATE
Oh lets see, the fact that you dont'
know anything about his past. The
fact that up until last fall, there
are no records of his existence
anywhere. The fact that he seems to
have some type of mysterious
clairvoyance no one can explain.
Should I continue?

LT. AVERY
You're looking at this all wrong.
He's just someone who is trying to
figure things out for himself. It
isn't his fault and he doesn't need
this kind of guilt trip right now.

DETECTIVE TATE
Come on Jamie. You're getting too
personal with this guy. Now I can
do this with you or I can go over
your head, your choice.

LT. AVERY
You have always done whatever you
have to to get your way. We all now
that. But you're wrong about this.
This is just another nutjob trying
to get attention. You're wasting
your time.

Det. Tate gets up from his chair, grabbing the photo from
Avery's desk.

DETECTIVE TATE
I'm just going where the trail leads
me. And this is no nutjob, believe
me my Department is pursuing this
killer as the real deal. Because if
he is Avatar, then this could be
just the beginning. Unless we
follow every lead, people's lives
are going to be in danger. So if
you want to protect your friend,
that's fine for now. But I'm
holding you responsible if it turns
out that he and this killer are
connected somehow.

Det. Tate leaves the office, leaving Lt. Avery pondering
about his words. A look of concern stays on her face.

CUT TO:

INT. SARAH PARKINSON'S HOUSE - DAY

We see Doe standing in the living room of an old style
house. Lots of antique furniture can be seen around the
room, along with lots of pictures and figurines. Doe takes
his time as he looks around and notices the pictures on the
table and on the walls.

JOHN DOE (B/W POV)

---Different size framed pictures on the wwall. Mostly of
Sarah Parkinson, at different ages in her life. She can be
seen with an older man in some pictures, but no children.

Doe notices one framed picture on a table.

JOHN DOE (B/W POV)

---A picture showing Theresa in color, aloong with a little
boy and a little girl, both about 5 or 6 years old. A
happy smile on her face.

Doe is holding it in his hand, looking at it closely.

SARAH
That was a very happy day for
Theresa.

Doe is startled by Sarah standing behind him. She is
holding a tray with coffee and cookies. Doe puts the
picture down where he got it from.

JOHN DOE
Uh...She looks happy.

SARAH
(putting the tray
on the coffee
table)
She should be. That's Robert and
Shirley she's with. Two homeless
kids from the shelter. Their father
had finally found a steady job and
they were moving into their own
home.

Doe smiles and nods.

JOHN DOE
She was in a shelter?

SARAH
She volunteered there. She helped
out people and families who where
down on their luck. For as long as
I've known her, she's always liked
to help others. How do you take
your coffee?
(holding a cup in
her hand)

JOHN DOE
Cream and sugar.....So she lived
here with you?

SARAH
Yes. She rented a room upstairs.
(handing him his
coffee)

JOHN DOE
(taking the cup)
Thanks. You have a real nice home
here.

SARAH
Well thank you...You know I must
say, I am so happy to see that she
is ok. I was so worried about her.
I haven't had a good night sleep
ever since she disappeared.

JOHN DOE
(a bit confused)
When did she disappeared?

SARAH
(pouring herself a
cup of coffee)
3 months ago. I was starting to
believe I'd never see her again.

JOHN DOE
(putting his cup
down)
I'm sorry. I'm not sure I
understand. You never reported it
to the police?

SARAH
Well that's because she always said
that she might have to leave one day
suddenly. And she made me promise
not to inform the police if it ever
happened. Believe me, I had a hard
time agreeing to such a thing.

JOHN DOE
(nodding in
confusion)
But why, I don't understand. Did
she tell you why?

SARAH
Well, she would tell me certain
things now and then about her past.
But I'm not one to pry. I guess
that's why she and I had such a nice
relationship. But now that YOU're
here. Maybe she can live a normal
life again.

JOHN DOE
(smiling)
I'm not sure how answer to that.

SARAH
Well honey, for as long as she's
been here, you're the only thing
from her past that would always
bring a smile to her face. And
that's saying a lot. Like I always
told her, a pretty girl like her
shouldn't be so serious and alone.
She deserves more than that....Don't
you like your coffee?.

JOHN DOE
(realizing his
oversight)
NO!...Its..its great thank you. I'm
just uh....

SARAH
(patting him on his
knee)
Oh, its Ok. I know there's a lot
more going on here between you two.
I'm just glad she's ok, and that she
found YOU.

Doe smiles at her. Sarah seems to be a very wise woman to
him, someone who helped Theresa on a day to day basis.

THERESA
(from the back of
the living room
area)
I see you two are getting
acquainted.

Theresa walks in from the upstairs area. She has a change
of clothes and looks as if she has made herself at home.
She's wearing make up now and looks like she's been working
on her hair. Doe gets up from his chair out of courtesy,
coffee in hand. He notices her change right away.

SARAH
(pouring another
coffee for Theresa)
Oh child, me and Tommy have just
been getting to know each other.
I've been telling him how worried
I've been this last few months.

Theresa takes the cup from Sarah's hand and kisses her on
her cheek.

THERESA
I'm sorry Doodle Bug. I know I've
must have put you through hell.

SARAH
(holding Theresa
close to her)
It's all right sweety. I know how
you can make it up to me though.
You can both have some of my famous
lasagna. What do you say Tommy?
Its really good, and I won't take no
for an answer.

THERESA
I would love some.

They both are looking at Doe now. He smiles back at them.

JOHN DOE
(in a happy mood)
Sure. Why not?

SARAH
Great. Now if you'll excuse me,
I'll be in the kitchen making sure I
don't burn the mozzarella. It'll be
ready in a flash.

Sarah makes her way to the kitchen. Leaving Theresa and
Doe in the living room. Theresa looks a bit nervous about
how the whole situation just seems so surreal.

THERESA
(smiling)
That's my Sarah. Always seems to
just go with the flow. She likes
you, I knew she would.

JOHN DOE
I can see that. She's a very caring
person.

THERESA
Yeah, she is the best.

JOHN DOE
The kind of person who can keep a
secret. Right?

THERESA
(with a serious
look now)
Something like that...She understood
my situation, and she didn't mind my
sketchy past.

Doe looks at Theresa with curious eyes. Then we hear Doe's
cell phone ringing. He looks inside his jacket pocket and
takes it out, but doesn't pick it up right away. It keeps
ringing. Doe looks at Theresa instead.

THERESA (CONT'D)
(with a dreading
look)
If you have to leave I'll
understand.

The phone keeps ringing for a few seconds. Doe still
hasn't answered it. He keeps staring at Theresa. Then the
phone stops ringing, Doe looks a it for a second, then puts
it back in his pocket.

JOHN DOE
Is there a bathroom I could use?

Theresa smiles with a look of gratitude.

THERESA
Upstairs, first door on the right.
I'll go help Sarah.

Theresa walks towards the kitchen, while Doe watches her
with a smile as she walks away. He then proceeds upstairs,
a relieved smile on his face.

CUT TO:

EXT. SEATTLE CITY STREETS - LATE DAY

We see different scenes of police officers and detectives
searching different parts of the city. Public buildings,
crack houses, empty lots, public parks, abandoned
buildings, and knocking on people's houses. We see police
investigators interviewing different people on the streets
and in buildings. Police and news helicopters can be seen
flying around the city.

We stop on a street corner where Det. Frank Hayes is
overseeing a search around a city block. He looks
frustrated about the whole situation. An unmarked police
cruiser arrives at the scene, Lt. Avery steps out and heads
over to Frank.

LT. AVERY
(to Frank)
What do we got?

FRANK
Whole lot of nothing. Sun is going
down and we're down to just under 5
hours left. I don't think we have
enough manpower to conduct a search
this wide.

LT. AVERY
(walking along the
street)
I know. We'll just have to do the
best we can.

FRANK
(walking beside
Avery)
I wonder how they're doing on that
cipher.

LT. AVERY
I don't think it matters. They're
not going to crack the code in time.
Avatar's code has never been broken.

FRANK
Maybe we should call Doe in on this
one.

Lt. Avery stops and turns to Frank.

LT. AVERY
Tate had the same idea.

FRANK
(with a curious
face)
How's that? Has he been following
our cases?

LT. AVERY
Just one. The Mourner Killer.

Frank's face turns serious. Then Lt. Avery continues to
walk along the sidewalk. Frank follows.

LT. AVERY (CONT'D)
The Alice Sanders letter had John's
symbol printed on it. Tate wanted
to bring him in for questioning.

FRANK
I'll be damned. He thinks Doe is a
suspect?

LT. AVERY
He thinks John is connected to all
this somehow. I told him it was
probably another fanatic who's been
following John's cases.

FRANK
Did he buy that?

LT. AVERY
No, and he's blaming me for not
calling him in on this.

Frank and Avery are standing on a street corner now,
surrounded by other police personnel working the block.
Frank is pondering the situation at hand.

FRANK
You know, maybe we should give John
a call all the same. I think we
need him on this.

LT. AVERY
(with a frustrated
look)
I already did. I got no answer.
Can say I blame him if he wasn't
answering.

FRANK
(a bit confused)
Why do you say that?

LT. AVERY
Well, he's been through some
traumatic crap the last few days. I
just figured that he would want some
time for himself.

FRANK
Yeah, I think you're right. But if
he IS connected to this case
somehow, we should keep trying to
contact him. I have a bad feeling
about this one.

Lt. Avery nods in agreement. She looks frustrated and
helpless at the unfolding turn of events.

CUT TO:

INT. HOUSE IN THE WOODS - NIGHT

We pan around a dirty living room, the sound of classical
music can be heard coming from an old stile record player.
It is the piano piece, "My Funny Valentine". As we move
around the room we come to a dark figure, sitting on a
chair. We see the figure from behind, we cannot see his
face. He is watching a small red television set. The dark
figure is flipping through the channels as he looks as his
watch. He stops on a "Breaking News" bulletin that appears
on the tv screen. We see the figure settle in his chair
and turn up the volume. We hold on the tv screen which
shows a podium full of different microphones from
television and radio stations.

ON THE TV SCREEN:

Detective Tate walks towards the podium and prepares to
give a statement.

DETECTIVE TATE
(flipping through a
printed sheet of
paper)
The Seattle Police Department has
issued a statement which I will read
to you know. We will not take any
questions.

Det. Tate looks at the papers in his hand.

DETECTIVE TATE (CONT'D)
Early this morning, the body of a
young man was found in the vicinity
of South Bend county. Upon further
investigation, we found that he was
the victim of foul play and that he
was not the only one. His young
female companion at the time has
apparently disappeared and we
believe she is being held against
her will.

Det. Tate looks up at the crowd of reporters. He
apparently is preparing himself for what he is about to say
next.

DETECTIVE TATE (CONT'D)
We believe the young woman's
abductor left a message for the
police department. Although we are
not at liberty to reveal the
specifics of the letter, we have
received one demand from the
perpetrator.....We've been
instructed to reveal that the letter
was sent by someone calling himself
Avatar.

Immediately a roar of comments surges from the crowd of
reporters. Each trying to get a question in.

DETECTIVE TATE (CONT'D)
(speaking over the
crowd)
That is all we have at this time.
Thank you.

Det. Tate walks away from the podium among a barrage of
questions from reporters. Each question resonating the
word Avatar.

We pull back from the tv to see the outline of the dark
figure watching the screen. He is looking at a reporter
who is now talking on the television set. The word Avatar
can be heard repeatedly on his report. The dark figure
takes out what appears to be a cell phone and begins
dialing a telephone number.

CUT TO:

EXT. POWER PLANT GRID - NIGHT

We move about a power plant in the outskirts of the city of
Seattle. The humming of electrical power can be heard all
around. We stop at a particular spot. The digital display
of a cell phone attached to a concealed metal box comes on
and begins ringing. The digital display indicates the
message "incoming call", after the cell phone rings a third
time, we see the box and the cell phone explode in a
controlled explosion.

Immediately we begin hearing the humming of the power plant
interrupting and all kinds of alarms begin to sound,
warning of the impending power failure.

CUT TO:

EXT. CITY OF SEATTLE LANDSCAPE - NIGHT

A sea of lights coming from the city of Seattle Washington
can be seen all around. After a few seconds, different
groups of those lights begin to flicker, some begin to turn
off. An apparent domino effect has been triggered, caused
by a calculated strike in a specific weak point of the West
Coast Power Grid.

CUT TO:

EXT. SEATTLE CITY STREETS - NIGHT

Frank and Lt. Avery are still investigating an empty lot of
a city block marked on Avatar's map. Police personnel are
all around, searching the surrounding areas for any clues.
Frank is holding his cell phone to his ear, when suddenly
the lights around the city block begin to flicker a bit.

FRANK
(into his cell)
Listen John, is Frank. Look man I
know you're probably pretty busy
right now, but we really need your
help here. Please call.......

The lights around the block go out for a period of seconds.
Frank finally notices and looks around him.

FRANK (CONT'D)
What the hell? Of all the times for
this to happen.

Frank notices his phone signal is gone now.

FRANK (CONT'D)
Oh great. Perfect!!
(closing his cell
phone)

The lights come on again as we see Lt. Avery come from
behind one of the buildings.

LT. AVERY
Did you get through to him?

FRANK
No, I got his answering service
again and I just lost my cell
signal. Check yours.

LT. AVERY
(checking her cell)
Mine's down too.

FRANK
(looking at Avery)
Great! If I knew any better, I'd
say this was all preplanned.

Lt. Avery gives Frank a sudden look.

LT. AVERY
(sarcastically)
God! That's all we need right now.
Some kind of psycho with a brain on
the loose.

CUT TO:

INT. SEATTLE POWER CONTROL CENTER - NIGHT

Technicians can be seen moving about in a panic. A series
of monitors showing the Seattle Metropolitan area can be
seen overlooking the room. Different blinking lights can
be seen all over the display of the city. We pan down to a
senior executive speaking on the phone.

CENTER MANAGER
(into the phone)
I'm telling you we're still not sure
what happened. All of a sudden
we're getting a massive drainage of
power from sector 12. I got people
down there right now.

The manager pauses to listen at the voice on the other end.

CENTER MANAGER (CONT'D)
Well whatever it is, we better plug
the leak soon, because grids are
failing all over the city. I mean,
we might be looking at a complete
Blackout if we don't fix this in the
next hour.

CUT TO:

INT. HOUSE IN THE WOODS - NIGHT

We see the Dark figure patiently waiting and standing by
the window, overlooking the woods. The piano piece "My
funny Valentine" can be heard inside the living room. We
still cannot see the the dark figure's face, only his back.
He is wearing a stocking cap with dark clothes. We can
hear him humming to his favorite piece of music. All of a
sudden, the lights around the room flicker and finally go
out. The tv is out and the music stops. Complete darkness
envelopes the living room now. However the Dark figure has
not moved from the window. He is still humming the tunes
of "My funny Valentine". We move down to his feet.

INT. DARK BASEMENT - NIGHT

We come down from the ceiling of the basement and hold on
the dark silhouette of young Alice Sanders, who sobs
quietly in the darkness. Her hands still strung up and
looking as scared as ever, listening to the humming coming
from her abductor upstairs. She begins to cry under her
breath as all kinds of fearful thoughts run through her
mind.

CUT TO:

INT. SARAH PARKINSON'S HOUSE - NIGHT

We pan around the kitchen as we see empty dirty plates and
empty bowls along the kitchen. Leftover lasagna and bread
rolls can be seen on the kitchen table. We move from the
kitchen down the hall as we hear laughter coming from the
living room.

In the living room we see Sarah, Theresa and Doe. They
each have a glass of wine as Sarah seems to be telling a
story. Sarah is standing as Theresa and Doe are sitting
and listening to her.

SARAH
So I come downstairs, expecting a
bouquet of roses or something simple
like that. When, What do my eyes
see?....A real Mariachi band blaring
music in this living room and my
husband dressed in a white tuxedo
and holding a bouquet of roses for
me.

Doe and Theresa begin laughing at Sarah's humorous romantic
tale.

SARAH (CONT'D)
Well I don't have to tell you that
he had a hard time topping that feat
for my next birthday.

Sarah laughs as she puts down her glass on the table and
sits down. Doe and Theresa are still smiling and laughing.

SARAH (CONT'D)
(with a smile)
Yeah, my Steven was always one to
make me laugh.

THERESA
I always loved that story.

JOHN DOE
He seemed quite the romantic your
husband.

SARAH
He sure was...You know, even when we
found out about his cancer, he
wouldn't let me get depressed. He
would tell me that it was a waste of
time to let things like that get you
down. So he made an effort to never
let me get depressed.

The mood gets a little serious as Doe gives Sarah a look of
deep sorrow. Theresa just smiles at her.

SARAH (CONT'D)
OH! Would you look at what I've
done. I managed to kill the happy
mood around here.

Sarah gets up and takes her wine glass into the kitchen.
Doe smiles and looks down at his glass. Theresa glances at
him with a pensive look. Doe looks up and catches her
gaze. They both stare at each other in silence for what
seems to be an eternity. Neither of them turns away until
Sarah gets back in the room.

SARAH (CONT'D)
Listen sweety, don't even think
about touching anything in that
sink. You let me take care of that
tomorrow.

Theresa gets up from her chair.

SARAH (CONT'D)
(giving Theresa a
motherly hug)
Now, I'm going to turn in. Your
room is all ready, in case you
decide to stay, Ok?

THERESA
(holding Sarah's
hand in affection)
Thanks Doodle Bug. I'll see you in
the morning.

Doe gets up from his seat. Sarah moves towards him.

SARAH
(extending her
hand)
Thomas, it was a pleasure to finally
meet you. Now you keep this girl
safe, you hear me?

Doe glances at Theresa, then back at Sarah.

JOHN DOE
(shaking Sarah's
hand)
I will.

Sarah adjust her sweater as she proceeds to walk upstairs
to bed. Theresa watches her leave with a loving smile.
Doe glances at Theresa, getting a feel of the type of
person she is.

THERESA
(glancing back at
Doe)
So...Would you like some more wine?

JOHN DOE
(looking at his
half empty glass)
No!...I think I've reached my limit.

Theresa nods as she proceeds to sit across from Doe, while
he takes a seat on the love seat. A short moment of
silence passes between them. Each looking to be searching
for the right way to continue the conversation. Theresa
realizes the awkward moment and produces a slight smile,
which Doe notices immediately.

JOHN DOE (CONT'D)
(smiling)
What is it?

THERESA
Something is on your mind. You're
dying to ask me so many questions.

Doe looks at with a curious face.

JOHN DOE
How are you doing this? Can you see
what I'm thinking?

THERESA
(with a sigh)
I'm not a mind reader, if that's
what your asking....Not exactly.

JOHN DOE
But you knew there was something
different about me. You said my
PATTERN was different.

THERESA
(choosing her words
carefully)
Well...that's what I call people's
thought signatures. Each person has
a different one...Think of it as a
mental fingerprint.

JOHN DOE
And you can see this? Right now?

THERESA
Not the way you think. Not with my
eyes. It sort of like, receiving a
signal.

Doe settles in his seat, trying to understand what she's
telling him.

JOHN DOE
There have been documented cases of
people been claiming to see energy
patterns emitted by others. Like an
aura.

THERESA
It's like being a receiver for other
peoples thoughts, dreams, emotional
states. But not all the time and
you never see everything right away.
Human contact helps clear the
signal. And I'm not able to do it
with just anyone . Some people are
easier to read than others.

JOHN DOE
You've always had this ability?

THERESA
Pretty much. At first I couldn't
control it, but with training, I was
able to subdue it and keep myself
sane at the same time.

Doe is intrigued by her response.

JOHN DOE
Who trained you?

Theresa looks down at her drink glass. She looks
uncomfortable about the last question. She gets up and
takes the open wine bottle from the table. She proceeds to
walk towards the kitchen.

THERESA
I better put this back. Don't want
to let it breath too long.

Doe sees this as her attempt to avoid the subject. He gets
up and follows her into the kitchen after a few seconds
pass. We follow Doe into the kitchen, where Theresa is
putting the cork back on the bottle and placing it on the
wine rack. He stands at the entrance way to the kitchen.

JOHN DOE
It was them, wasn't it? The Phoenix
Group.

Theresa looks down and leans against the kitchen counter.

THERESA
I've never heard of the Phoenix
Group Tommy....Not until
today....But I was trained by people
like them. Maybe even connected to
them....All I know about this
Phoenix Group as you call them, is
that they were interested in YOU.
And that they were using me to get
something FROM you.

Doe looks down in guilt. He turns and leans against the
kitchen entry way.

JOHN DOE
(looking at Theresa
intently)
Did they come here to take you?

THERESA
(with a sigh)
No....I was...buying groceries.
They approached me as I was heading
to my car.

FLASHBACK IN:

EXT. SUPERMARKET PARKING LOT - DAY

We see Theresa carrying a bag of groceries as she calmly
walks to her car. She is wearing the same clothes she was
wearing in the "Ashes to Ashes" episode from Season One.
As theresa passes a parked white van with tinted windows,
we see Yellow Teeth emerge from behind a parked car.

YELLOW TEETH
Hello Theresa.

Theresa turns immediately. Looking at Yellow Teeth in
complete surprise.

THERESA
What do you want!?

YELLOW TEETH
Come now child. Is that any way to
greet an old friend.

Theresa backs away from Yellow Teeth.

THERESA
You can't make me go back. I won't
do it!!

YELLOW TEETH
(in a calm voice)
Theresa....don't be that way. We
just need you do us a favor. Then
you can go back to your MUNDANE little
life. I promise.

THERESA
(yelling)
YOU GO TO HELL!!

Theresa drops the grocery bag and begins to sprint away,
but as she turns she runs smack into Trenchcoat Man, who
immediately grabs her and pierces her skin with a small
strange looking needle protruding from a thumbnail device
in one of his fingers. We see Theresa try to yell but the
effects of the sedative are instantaneous. It does not
knock her out but it makes her docile and easy to handle as
Trenchcoat guides her towards the white van parked nearby.

FLASHBACK OUT.

INT. SARAH PARKINSON'S HOUSE - NIGHT

Theresa is in Sarah's kitchen as we se Doe with his eyes
closed in total disgust.

THERESA
I remember only bits and pieces of
what happened afterwards.

Doe tilts his head down, not understanding the logic of
such an act. He walks back into the living room. Doe
comes from the kitchen an proceeds to take a seat on the
couch. He is looking down with his hands over his face.

THERESA (CONT'D)
(walking in from
the kitchen)
It wasn't your fault. You didn't
know.

JOHN DOE
Why don't I believe that?

Doe settles back on his seat. Nodding in disbelief.
Theresa sits next to him on the couch.

THERESA
Who's Karen?

JOHN DOE
What?

THERESA
(smiling)
The girl you're thinking about. She
was your friend?

JOHN DOE
(smiling)
My best friend.

THERESA
I remember her. Her beautiful
dress.....I wish I could tell you we
spoke. But we didn't.

Doe nods with a sorrow look towards Theresa.

JOHN DOE
They killed her because of me.

THERESA
And you feel you could have saved
her.

JOHN DOE
(in a low voice)
Yes.

Theresa moves closer to Doe, placing her hand gently on
Doe's hand. Doe looks at his hand touching hers.

THERESA
I'm sorry Tommy.

Doe acknowledges her words of comfort.

JOHN DOE
Is my name really Thomas Anderson?

Theresa smiles at him.

THERESA
I hope so. That's the name I knew
you by.

JOHN DOE
(in a proud tone)
Anderson. Son of Ander. Meaning
manly; brave. Variant of English
Andrew.

THERESA
(amusingly
confused)
Yeah!?

JOHN DOE
Interesting.

Theresa chuckles at the sight of Doe analyzing his own
name.

THERESA
Can I ask you something?

Doe looks back at her intently. Theresa grabs a pen from
the nightstand near her and a magazine.

THERESA (CONT'D)
(writing on the
page)
Why doe I keep seeing this shape
when I look at you?

Theresa holds up the cover of the magazine with the
circular symbol of John Doe. Doe's mouth is open as he is
completely dumfounded at Theresa's abilities.

THERESA (CONT'D)
What does it mean?

JOHN DOE
(taken aback)
Uh..I don't know. Its just
something I woke up with one day.
Its been a mystery to me ever since.

THERESA
You mean, Its part of you?

JOHN DOE
(choosing his
answer)
Yeah.

THERESA
How?

JOHN DOE
That's something I wanted to ask
you.

Doe unbuttons his dress shirt and pulls back his shirt
underneath to reveal the part of his chest which bears his
mysterious circular scar. A look of complete surprise
fills Theresa's face as she instinctively moves closer to
Doe and proceeds to gently touch the scar with her hand.

THERESA
(in a low voice)
Oh my God.

Doe is a little surprised to say the least. Not at her
reaction per say, but more at how close she was to him at
that moment. He notices that Theresa has her hand over the
scar, gently touching it, her eyes are closed. He quickly
realizes she is doing something. He waits for what she
does next. Her face sits close to Doe.

THERESA (CONT'D)
(concentrating and
in a low voice)
I see a bright
light....Pain..Terrible pain. Then
Silence. Death.

Doe is in complete awe at what she is saying. Theresa then
opens her eyes, her head still close to Doe's chest. She
looks up at him, still close to him, staring at him with a
worried face. Doe is unsure of what to do next.

THERESA (CONT'D)
God Tommy, What's happened to you?

They both stare at each other for what seems to be an
eternity. Then, as if from nowhere, Doe begins to move
closer to Theresa's face. She does not pull back, instead
she sits and stares at his eyes intently. Their lips
slowly meet, as if for the first time. They both close
their eyes and slowly move closer, embracing each other,
living for that moment. As they shift on the couch, the tv
suddenly comes ON. Startling both of them out of their
embrace and ruining their quiet moment. Theresa pulls
back, not sure of how this all began. She reaches
underneath the cushions of the couch they're sitting on and
pulls out a small tv remote control. Doe sees this with a
look of embarrassment.

JOHN DOE
I'm sorry. I shouldn't have..

Theresa smiles confidently at him.

THERESA
You don't have to be sorry.

Doe stares at her with a blushing smile as she proceeds to
use the remote to turn off the tv. In that split second
Doe glances over at the tv screen and to his surprise, he
catches a glimpse of a photo of Alice Sanders.

JOHN DOE (B/W POV)

---Alice Sanders's High school photo on thhe Television
screen. IN COLOR!!!!

The image goes away as the TV is switched off by Theresa.

JOHN DOE
NO WAIT!! The photo...the girl in
the photo.

Doe grabs the remote from Theresa and turns the tv on
again.

THERESA
Tommy, What's wrong?

The tv image comes back on with the photo of Alice Sanders.
In color.

JOHN DOE
I can see her. I see her in color.
Just like I see YOU.

Doe looks at Theresa.

JOHN DOE (B/W POV)

---Theresa in color, confusingly looking aat Doe.

THERESA
What?

JOHN DOE
(in an exited tone)
I'm color blind. I only see certain
things in color. Usually is some
type of clue or warning.

Theresa looks on in confusion as Doe watches the news
program.

ON THE TV SCREEN:

We see a female Asian reporter speaking with a picture of
Alice displayed next to her.

REPORTER
Sources close to the investigation
indicate that the girl's abductor
has given Seattle police a deadline
of midnight tonight. At which
point, it is believed that the
abductor threatened to hurt or
possibly kill Alice Sanders. Police
agencies from all over the city are
conducting a combined search over
different areas in and around the
Seattle metropolitan area. So far,
no new developments on this case, as
we slowly near the midnight hour
here in Seattle.......

We pull back from the tv to Doe, who is intently looking at
the picture of Alice Sanders.

JOHN DOE
(taking out his
cell)
Oh God. That's probably why Frank
and Jamie where calling me.

Doe flips his cell phone on and starts dialing as he
glances at the tv. Theresa is still looking on. Suddenly
Doe is jolted back by some type of internal shock. Doe
drops the phone and grabs his head, as if experiencing a
piercing headache. Theresa immediately gets up and comes
to his aide. The pain in Doe's head is so sharp that he
kneels to the ground, not screaming but moaning in pain.
His eyes are closed as he holds his hands up to his
forehead.

THERESA
(with her hands on
Doe's arms)
TOMMY! Tommy what's wrong?

We hold close on Doe's eyes.

JOHN DOE (INT POV)

---Images of torture and pain. Different people in pain.
Then we see Alice Sanders.

---Alice shackled in a van. In a dark bassement. Alice
begging for her life. Alice screaming in the dark.

---Glimpses on the Dark Figure driving thee van, struggling
with Alice inside Jason Keys's car. The Dark Figure
standing by the window. The face of the Dark Figure
obscured or not seen.

We see Theresa knelt on the floor next to Doe. Who is
still grasping his forehead in pain. Suddenly the lights
on the house begin to flicker as Sarah begins to come down
the stairs. Apparently coming down to see what the
commotion was. Then the house goes completely dark.
Everything is Dark.

SARAH
What happened?. What's wrong?

Doe's pain finally subsides and he opens his eyes looking
up at Theresa. Sarah makes her way through the dark living
room to where they are.

SARAH (CONT'D)
What's the matter?

THERESA
(to Sarah)
I'm not sure.

THERESA (CONT'D)
(to Doe)
Tommy. Are you Ok?

JOHN DOE
(panting heavily)
I saw her. She's scared. She's in
danger.

THERESA
(helping Doe get
up)
Who Tommy? Alice Sanders?

JOHN DOE
Yes. She was in a van. Then in a
basement somewhere. Damn it I
can't.....I can't see her anymore.

THERESA
(close to Doe)
Ok..its Ok..

JOHN DOE
I got to go. I got to find Frank.

SARAH
Are you sure you're all right.

Doe tries to leave but Theresa holds him down in his seat.

THERESA
Wait. You said you saw her. But
you don't know where she is.

JOHN DOE
(agitated)
I'm not sure. It all came at me so
fast.

THERESA
(in a calm voice)
Tommy listen. Maybe I can help you
see better. I felt something happen
to you just now. I've seen this
before. If I'm right, its called
sensory overload, caused by some
type of traumatic experience. You
felt it like a receiver. You seemed
to have received a projection. Just
like you did with me. But you're not
catching all the images. I can
help you sort them out. We may find
out more than what you saw.

Doe looks at Theresa as Sarah lights a scent candle on the
table near them in order to bring light into the room.
Theresa's eyes becomes clearer to him as the light of the
flame dances on her face.

THERESA (CONT'D)
Let me help you?

Doe nods in agreement.

CUT TO:

EXT. SEATTLE CITY STREETS - NIGHT

Lights all over the city buildings are out. It is a
complete black out of different areas around the city. We
see traffic jams all over the city streets as traffic
lights are no longer working. We come down to a particular
street corner, where Frank and Jamie are stuck inside a
police cruiser with its police lights flaring.

INT. AVERY'S CAR - NIGHT

Frank is in the drivers seat and Jamie is talking on the
police radio.

LT. AVERY
(into her radio)
No, no. We can't have everybody
trying to direct traffic all over
the place. Concentrate on all the
major interstate exits. We don't
want to let this turn into a city
riot.

The radio clicks and a voice comes back with a resounding
"copy that". Lt. Avery sets the radio down.

LT. AVERY (CONT'D)
(to Frank)
Damn it, this is the last thing we
needed right now.

FRANK
And it looks like we ain't going
nowhere stuck in this mess.

LT. AVERY
We can't stay here, this isn't
right. Something is really wrong
about this whole thing.

FRANK
(sounding the car's
siren)
Yeah....Well, we better get a move
on if we're going to get to the
bottom of this.

EXT. SEATTLE CITY STREETS - NIGHT

We pan back from the unmarked cruiser with Frank and Avery
inside. People can be seen standing by their cars, their
headlights on. Car horns blazing can be heard all over
city.

INT. SARAH PARKINSON'S HOUSE - NIGHT

Doe is sitting straight on the couch. Theresa sits
directly in front of him on a wooden chair. Her hands are
placed on top of Doe's hands, which are face down and
resting on his lap. The whole house is dark except the
area where they are both sitting. Sarah is sitting nearby,
in her pajamas, watching intently.

THERESA
Ok, close your eyes, breathe
normally. Clear your mind.

Doe complies and closes his eyes. He then does his best to
keep calm and breathe normally. Theresa is watching Doe,
getting her bearings and settling on her chair. The whole
scene looks like a hypnosis session.

THERESA (CONT'D)
(to Doe)
What I'm going to try to do now is
called an Echo Reading. If someone
was projecting to you, then I should
be able to see the images you saw
more clearly. Just keep your eyes
closed and clear your mind.

Theresa closes her eyes and takes a deep breath. A look of
deep concentration on her face. Sarah looks on, watching
both Theresa and Doe intently. Both in deep concentration.
A few seconds pass with complete silence. Then we see
Theresa's closed eyes squint a little.

CLOSE ON - THERESA

THERESA (INT POV)

---Flashes of different images. Differentt individuals in
pain and torture. High school picture of Alice Sanders,
Alice inside Jason Keys's car, struggling with a dark
figure.

---Alice shackled inside the van. Her vieew of the Dark
figure driving the van.

THERESA (CONT'D)
(in a calm voice)
She was taken. She struggled to get
away. She was taken in a van. She
couldn't get up. There's one man
driving.

Doe can be seen starting to breathe heavily, as if he is
getting a view of what she is seeing.

THERESA (INT POV)

---Close view of the back of the Dark figuure as he drives
the van. We pan across the outside of the windshield as
the van begins to slow down.

---Highway sign. "Pender Falls next rightt". Sign saying
mile marker 125. Flash forward to a dark van coming to a
stop near an old wooden house. Flash forward to Alice
screaming in a dark basement. Begging for her life.

THERESA (CONT'D)
Pender Falls Road. An old wooden
house. A Dark basement. Musty
smell. Can't see him.

THERESA (INT POV)

---A sudden flash of images. Different peeople screaming,
pain, blood, culminating in a split second shot of a face
with black eyes shooting out of the darkness right into
focus.

---The face screams; "WHERE DO YOU COME FRROM"

Both Theresa and Doe jolt back and open their eyes.
Theresa lets out a SCREAM as she puts her hands up to her
face in fear. Doe heaves forward to make sure she's all
right. He's on his knees close to Theresa. Sarah comes
closer to them.

SARAH
(holding her
collar)
My God in Heaven! Are you Ok honey?

Theresa looks up at both Doe and Sarah.

JOHN DOE
(his hand on
Theresa's cheek)
Are you ok?

THERESA
(looking at Doe)
Yes....Pender Falls.

JOHN DOE
(in a low voice)
I know. The police will be looking
for her.

Doe gets up from his knees. He reaches to check his cell
phone.

JOHN DOE (CONT'D)
(looking at his
phone)
I got no signal....
(to Sarah)
May I use your phone please?

Sarah nods as she heads over to Theresa and puts her hand
on her shoulder for comfort. Doe heads over to the living
room Phone and begins dialing Frank's and Avery's phone
numbers.

JOHN DOE (CONT'D)
(shaking his head
in frustration)
Busy. Lines are jammed.

He turns to look at Theresa and Sarah.

JOHN DOE (CONT'D)
(grabbing his
jacket)
I got to get up there. I'm closer
to Pender Falls. I can get there
faster.

Doe heads to the door as Theresa immediately gets up with
Sarah standing behind her. He opens the door.

THERESA
You're not going alone.

JOHN DOE
(knowing what she's
suggesting)
Yes I am. I'll be fine.

Doe heads outside the open door.

THERESA
You need me. I'm coming with you.

JOHN DOE
(stopping outside
the door)
Absolutely NOT!!.

Doe proceeds to head out to his car, putting his jacket on
in the process.

EXT. SARAH PARKINSON'S HOUSE - NIGHT

We see Doe coming down the steps of the porch, adjusting
his jacket. Theresa comes storming out of the house, also
putting on her jacket, heading towards Doe's car. Sarah
comes out and stands on her doorway.

THERESA
You're not going without ME.

Doe stops to cut her off. Theresa comes right up to him.
We can see both standing on the sidewalk in front of the
house.

JOHN DOE
Are you crazy?

THERESA
Are YOU? You don't know what you're
going to find there. I can help.

JOHN DOE
You're not going!!

THERESA
We're wasting time. We have until
midnight.

Theresa ignores Doe completely and proceeds to walk right
past him. Doe makes a half ass attempt to get in her way
but he's too late or too shy to do so. Theresa opens the
passenger door and gets in, closing the door behind her.
Doe stares at her from the sidewalk for a few seconds, then
stares at his watch. Theresa just stares right back at him
with a stubborn look. Realizing he can't do nothing about
it now, Doe turns to Sarah.

JOHN DOE
Sarah keep trying the police. Ask
for Lt. Jamie Avery, tell her that
John Doe said Alice Sanders is in a
house off route 48. Pender Falls
road, mile marker 125. Got it?.

SARAH
(from her porch)
Ok.

JOHN DOE
(heading to his
car)
Tell them to hurry.

Doe hurries around the back of his sports car and jumps in
the driver's seat. He revs up the engine and peels off
into the night.

CUT TO:

INT. HOUSE IN THE WOODS - NIGHT

We see the Dark figure looking out the window. We look
from his point of view out the window to a completely dark
forest. We can see a deserted dirt road which leads to the
main highway. We cannot see his face. He is wearing a
dark stocking cap. We can only see part of the side of his
face. He then proceeds to walk calmly towards the inside
of the house.

INT. DARK BASEMENT - NIGHT

Alice Sanders is looking up as she hears the floor panels
screech and grind at the weight of someone walking above
her. She is surrounded by darkness, all we can see is her
frightened face as she breathes heavily.

CUT TO:

INT. DOE'S CAR - NIGHT

Theresa looks at her watch as Doe turns and weaves through
stop and go traffic in the outskirts of town. Parts of the
city can be seen lit up but others show complete darkness.

THERESA
We have 55 minutes till midnight.

JOHN DOE
(handing her his
cell)
Here....Keep dialing this number.
With any luck well get through to
Frank. Now, if we take the Warren
overpass and head north we should be
able to make it to the Franklin
exit.

THERESA
You're heading to Lanier Lake? We
can't take the Ferry, it'll take too
long.

JOHN DOE
We're not. Taking into account the
current Power failure and the 2002
Seattle Department of Transportation
report, we'll make it to route 48 in
37.3 minutes if we take the lake
view drive. Reason being that there
are 42.3% less intersections and
34.5% less traffic lights if we go
this way. So, barring any
unforeseen traffic accidents along
the way, we should be able to make
Pender Falls in time.

Doe jerks the wheel left and right as he weaves through
current traffic. He also happens to notice Theresa's
expression of shock in her face.

JOHN DOE (CONT'D)
(looking at
Theresa.)
Trust me.

THERESA
Ok?!

CUT TO:

EXT. SEATTLE POLICE STATION - NIGHT

We see Detective Tate and members of the Avatar task force
come out of one of the side doors of the station. They are
making their way to their vehicles.

DETECTIVE TATE
All right. What's the ETA on the
SWAT team.

DETECTIVE #1
There 10 minutes away.

DETECTIVE TATE
Good, tell them to get in position
but not to move in until we get
there.

At that moment Frank and Avery pull up. They both get out
of the car, expecting to hear the latest news on the
investigation. Avery makes her way towards Detective Tate,
Frank close behind.

LT. AVERY
Tell me you got something.

Detective Tate gives her a slight smile as he keeps walking
past Avery and Frank. They both follow him closely.

DETECTIVE TATE
(speaking ahead of
them)
We got a report from a night parking
attendant who says he saw a man
carrying something strange out of a
dark van through the back entrance
of an apartment building early this
morning. Witness said it could have
been a body wrapped in a tarp.

FRANK
That's all!

Detective Tate gives Frank a sideways glance as he opens
the passenger door to a police cruiser.

DETECTIVE TATE
We ran the plates on the van. Came
back as belonging to one Ray Craven,
52 year old convicted child
molester. 2nd year into his
probation.

Detective Tate gets in the passenger seat of the police
cruiser and speaks to Avery from inside.

LT. AVERY
You really think this Craven is the
one that took that little girl.

Detective Tate gives out an exhausting sigh as the driver
turns on the engine.

DETECTIVE TATE
No. But after an 11 hour search,
its the best lead we have.

FRANK
What about the cipher?

Detective Tate just shakes his head in response. A
disappointing look fills his face.

FRANK (CONT'D)
Oh man. This could end badly.

LT. AVERY
You need back up?

DETECTIVE TATE
(looking at Avery)
No. I think we got it.

LT. AVERY
We tried to call in John Doe.
Couldn't get through to him.

Detective Tate gives Avery an understanding look. Then he
motions for the driver to go. The car gets into gear and
drives away. Avery looks on as it drives on.

CLOSE ON - LT. AVERY

Seconds later, a police officer drives up to Lt. Avery and
Frank in his police car. He sounds his police siren a
little bit to get their attention. They both turn to the
patrolman.

POLICE OFFICER #1
(from inside his
police car)
Lieutenant. Dispatch just relayed a
message for you, supposedly from
John Doe.

Lt. Avery and Frank give each other a surprising look.

CUT TO:

EXT. RURAL HIGHWAY - NIGHT

Doe's convertible can be seen driving along a lake side
road. As we move closer and see the car drive by, we see a
highway sign which says route 48, and another sign that
says mile marker 120.

INT. DOE'S CAR - NIGHT

JOHN DOE
(looking ahead)
Not far now.

THERESA
(holding Doe's
cell)
Still no signal.

Doe gives her a frustrating look. Then just as suddenly he
puts on the brakes and slows the car considerably as he
notices the road sign ahead. The highway sign says "Pender
Falls Next Right".

THERESA (CONT'D)
(looking at her
watch)
We have 11 minutes till midnight.

JOHN DOE
(turning the
stirring wheel)
I know.

Doe has a worried look on his face as he turns into the
dirt road heading down towards Pender Falls.

EXT. PENDER FALLS ROAD - NIGHT

It is a pitch dark road with absolutely no light posts.
The only lights visible are the ones from Doe's car. The
car is going slowly now, as Doe looks around for some type
of sign.

INT. DOE'S CAR - NIGHT

JOHN DOE
(looking out to his
left)
We are close.

THERESA
(looking to her
right)
The house may not be visible from
this road.

Suddenly Doe stops the car completely.

THERESA (CONT'D)
(looking at Doe)
What?

Doe has a wide eyed face as he stares straight ahead.
Theresa looks and notices what he's looking at.

EXT. PENDER FALLS ROAD - NIGHT

We see an old rotten mailbox. Hanging from it we see a red
jacket. The same red jacket that Alice Sanders was
wearing.

INT. DOE'S CAR - NIGHT

Doe has a look of disbelief on his face.

JOHN DOE (B/W POV)

---A red jacket hanging by the mailbox. EEverything is in
black and white except for the bright red color of the
jacket.

JOHN DOE
(opening his car
door)
Theresa. You stay here. Keep
trying that cell phone.

THERESA
(opening her
passenger door)
Wait a minute.

She sees that Doe is at the mailbox and has grabbed the
jacket.

EXT. PENDER FALLS ROAD - NIGHT

Theresa comes around the front of Doe's car towards him.
Doe is examining the jacket.

THERESA
You can't just walk in there by
yourself.

JOHN DOE
(in a stern voice)
That's EXACTLY what I'm going to do.
And you're going to stay HERE. You
give me 15 minutes, if you don't
hear from me by then, you drive to
the nearest pay phone. You got
that.

THERESA
NO. Listen...

Doe moves towards Theresa and grabs her just above each
elbow and pulls her closer to him.

JOHN DOE
YOU listen. We dont' have time to
argue. If something happens in
there, I can't risk it happening to
both of us. One of us has to stay
here and wait for help. And that
someone is going to be YOU. No
arguments.

Theresa just stares at Doe closely. She looks down,
submitting to his demand. Doe then lets go of her gently
giving her Alice's red jacket and proceeds to walk into the
dirt side road leading him down the path before him. He
gives her one last look before continuing on.

CUT TO:

INT. DARK BASEMENT - NIGHT

Alice Sanders can be seen with her hands strung up. Unable
to move much. She is surrounded by complete darkness.
Suddenly she hears the upstairs door screech open and
footsteps start coming down to the basement. Alice tries
to turn her head to see, but there is nothing to see.
Darkness fills the room. The sound of footsteps stops at
the bottom of the stairs. Now there's only silence.

ALICE
(sobbing)
Hello?....Who's there?....Please
talk to me.....

Faint sounds of wood settling and scrapes against the floor
are heard around the room.

CLOSE ON - ALICE

ALICE (CONT'D)
Please just tell me what you want.

Suddenly we see a small flip style knife come from behind
her head and hold just under her neck. She lets out a
short scream. The dark figure is standing just behind her.
Alice keeps perfectly still as she feels the cold steel
against her skin. All we see of him is his shadowy figure.

AVATAR
(low cryptic voice)
Your time has come, child.

CUT TO:

EXT. DARK WOODS - NIGHT

We see Doe making his way through the woods. As he comes
through a brush he sees the old wooden house ahead of him.
Just then, he jolts back putting his hand to his forehead.

JOHN DOE (INT POV)

---Alice Sanders surrounded by darkness. A knife being
held against her throat. Her face in total fear.

Doe's face grimaces as he tries to understand what he just
saw.

INT. DARK BASEMENT - NIGHT

Alice is terrified as the knife is still against her
throat. She waits for what may happen next.

AVATAR
(in a low cryptic
voice)
Scream.

ALICE
(in a low sobbing
voice)
Please don't kill me.

AVATAR
(with a sterner
voice)
Scream NOW!! Or I will MAKE you
scream for the last time.

The knife presses closer to Alice's skin and a hint of
blood can be seen.

EXT. HOUSE IN THE WOODS - NIGHT

Doe walks up to the house as he hears the screaming voice
of Alice Sanders coming from inside. She is screaming
"Help" as Doe's face fills with terror as he thinks of
what's happening inside. He immediately runs to the front
door and opens it.

INT. HOUSE IN THE WOODS - NIGHT

Doe hurries inside and stops just inside the living room.
He lets his eyes adjust to the darkness. He continues to
hear the screaming voice of Alice from somewhere in this
house.

ALICE (VOICE)
(screaming and
crying)
HELP ME!! HELP!!!

Doe realizes the screams are coming from the basement. He
immediately heads to what he thinks is the basement door.

CUT TO:

EXT. RURAL HIGHWAY - NIGHT

A convoy of police vehicles can be seen heading down the
road. We see their lights and hear their sirens as they
drive along route 48 heading north in a hurry.

INT. DARK BASEMENT - NIGHT

The basement door opens and we see Doe standing at the top
of the stairs. Alice can still be heard screaming for help
from bellow. Doe is looking down to the basement as he
slowly heads down the stairs.

JOHN DOE
Alice?!....

ALICE
(from bellow)
PLEASE HELP ME!!...I DON'T WANT TO
DIE!!..PLEASE!!

Doe gets to the bottom of the stairs and finally makes out
the outline of Alice, with her hands strung up, alone and
surrounded by a dark basement. Her back is to him as she
cannot turn around all the way to see him.

JOHN DOE (B/W POV)

---Alice Sanders with her back to him. Shhe is in color
surrounded by darkness.

JOHN DOE
(in a loud voice)
It's going to be Ok.....Where is
he?!! Are you alone?

ALICE
(crying in terror)
HE'S HERE!! HE'S STILL
HERE....PLEASE HELP ME...HE'S GOT A
KNIFE!!

Doe tries to look around the basement more. He doesn't
know the outline of the room so he is keeping his back
against the wall. He is making his way along the wall of
the basement, knocking things over in the process. He's
keeping one eye on Alice and another on his surroundings.
Suddenly Doe jolts his head back as he begins getting
another flash of visions.

JOHN DOE (INT POV)

---Flashing images of different people beiing tortured,
stabbed, and shot.

---A split second image of a man with blacck eyes coming out
of the darkness suddenly. He screams the words; "TELL ME"

We see Doe grimace at the horrible visions he's getting.

EXT. PENDER FALLS ROAD - NIGHT

At that same instant we see Theresa jolt back as she too
gets flashes of images.

THERESA (INT POV)

---Image of hands carefully drawing in beaautiful penmanship
the symbol of John Doe on what looks to be the Alice
Sanders's letter that was left for the police.

---Flashes of images of different people bbeing tortured,
stabbed, and shot.

Theresa holds her head in discomfort.

THERESA
(looking in the
direction of the
old house)
Tommy!!

We see her start to run down the gravel road towards the
old house.

INT. DARK BASEMENT - NIGHT

Doe takes wipes his eyes as he keeps looking around, his
visions seem to have gone away now. His hands feel for
something on a shelf behind him. He grabs what looks to be
a rusted pipe with his right hand. Alice can now tell
where Doe is standing and is looking in his direction.

ALICE
(HYSTERICALLY)
PLEASE....HE'S STILL HERE. HE'S
GOING TO KILL ME....

JOHN DOE
(looking at Alice)
I know he's here.

Doe then looks around the room.

JOHN DOE (CONT'D)
(out loud)
I know you're down here. The police
are on their way. You might as well
make a run for it while you still
can.

Doe moves closer to Alice, who is still crying
hysterically. He gestures to her to calm down, still
holding a piece of rusted pipe in his right hand and still
listening to his surroundings for the killers next move.
He's close enough now to see her face better. She looks at
him with tired watered eyes.

ALICE
(in a low sobbing
voice)
I don't want to die. Please...

At that moment Alice notices a dark shadow coming towards
Doe from behind him.

ALICE (CONT'D)
(screaming)
BEHIND YOU!!!!!

Doe turns around immediately and starts to swing his pipe,
but suddenly a small blue light of electricity can be seen.
The buzzing sound of a high voltage stun gun is heard
before we see the blue light touch Doe. Stopping in mid
swing, Doe is bolted back by the electrical shock.

Alice screams as we see Doe fall to the floor incapacitated
by the shock.

ALICE (CONT'D)
(looking down at
Doe)
NO!!!!

We now see the dark figure that is Avatar come out of the
darkness. He is dressed all in black and his stocking cap
is now a full face ski mask covering his whole face except
his two eyes and his lips. Avatar slowly walks towards
Doe. He stops and stands over him. Doe is starting to
move slightly, he manages to turn and look up towards
Avatar.

ALICE (CONT'D)
(yelling)
LEAVE HIM ALONE!!!

Doe tries to move more but he is still trying to get full
control of his limbs. Meanwhile Avatar kneels down next to
Doe. We see Avatar produce a flash light and point it
straight at Doe's face now. Avatar seems to be looking at
Doe's features. Doe grunts as he squints his eyes at the
glare from the flashlight.

Avatar just stares at Doe without saying a word. He then
takes his free hand and puts it to his mouth. He bites
down on the tip of the black glove he's wearing and pulls
his hand out of the glove. Avatar then slowly places his
exposed hand on Doe's forehead. Doe immediately reacts to
the touch of Avatar.

JOHN DOE (INT POV)

---Face of a young woman. Brunette, with her hands tied
around her back. She's wearing the black uniform of a
catholic nun.

---The same young woman struggling with heer captor. A
knife being held close to her face. A medallion of Saint
Thomas Aquinas can be seen around her neck.

We see Doe's face pull back as Avatar's bare hand leaves
his forehead. Avatar stands up and looks over Doe for a
few more seconds. Doe stares at Avatar with a confused
look on his face. Avatar then turns around and proceeds to
calmly walk up the stairs out of the basement.

CUT TO:

EXT. PENDER FALLS ROAD - NIGHT

We see police cruisers pull up past Doe's convertible and
proceed down the gravel road towards the house.

INT. DARK BASEMENT - NIGHT

Doe is slowly getting up amidst Alice's pleads for help.

ALICE
(sobbing)
He..He left..Hurry Please!!!

Doe walks up to Alice and after looking at how her hands
are tied to the basement ceiling, proceeds to grab and push
her body up, just enough to free Alice's chains from the
metal hook atop the basement. Doe has to help Alice walk
as her hands are numb ans she is weakened by her ordeal.
They both proceed to carefully walk up the basement stairs
as it is the only way out of there.

EXT. HOUSE IN THE WOODS - NIGHT

Theresa has made it to the front of the house. She turns
back as she hears police sirens coming up the road towards
the house.

THERESA
(looking back at
the house)
TOMMY!!!
(in a loud voice)

INT. HOUSE IN THE WOODS - NIGHT

Doe with his arm around Alice for support struggles out of
the basement doorway towards the living room. He has heard
the voice of Theresa outside. Doe looks around the living
room as if expecting Alice's kidnaper from reappearing.
They are making their way to the front door.

JOHN DOE
(yelling)
THERESA! Don't come in here. We're
coming to you.

EXT. HOUSE IN THE WOODS - NIGHT

Police cruisers are pulling up to the front of the house.

THERESA
(relieved to hear his
voice)
Did you find her?....The police are
here.

Just then the front door opens and we see Doe come out of
the house with Alice Sanders in hand. She looks very tired
and scared. Alice is hanging on Doe for dear life.
Meanwhile Frank and Lt. Avery step out of one of the police
cars, followed closely by Detective Tate and the rest of
his task force coming out of their own cars respectively.
Everyone has their weapons drawn and are heading towards
Doe, Theresa and Alice, who are now waiting at the bottom
of the steps of the house.

Suddenly out of nowhere, the door of the house busts open
and we see Lumber Jack face man charging out of the house
with a wooden handle ax. He is screaming as he proceeds to
swing his ax at the direction of Doe. He is not wearing a
stocking cap and is not wearing any gloves. Immediately
Lt. Avery and the rest of the police task force begin
yelling at the suspect to freeze. Everything seems to slow
down as we see Doe pull Alice and Theresa down on the
ground. Police officers fire on the ax wielding man, who
immediately succumbs to multiple gun shot wounds.

After the shooting is over, we see some police officers
tend to Doe, Alice and Theresa while other officers secure
the body of the lumber jack man. Everything is still
moving in slow motion as Alice looks up at Doe with
frightened eyes. Doe looks down at her letting her know
everything is going to be all right now. Theresa looks on
while she is helped off the ground by officers. Lt. Avery
and Frank are also there as Doe and Alice are helped.

We see Detective Tate move towards Alice Sanders. He
places a blanket around her. His eyes show a great deal of
gratefulness as he realizes that Alice is for the most part
ok and her parents will get to see their daughter again.
He glances over at Doe with a suspicious look on his face.
Doe still looks a bit woozy as we see Theresa, Frank and
Lt. Avery surrounding him.

CUT TO:

INT. HOSPITAL EMERGENCY ROOM - NIGHT

Doe is sitting on a hospital bed with his shirt off and his
left arm raised above his head. Other patients are being
treated in small emergency rooms around him. An emergency
room nurse is finishing the application of antibiotics to
two burned marks on the left side of his mid-torso. Frank
appears and stands near the doorway looking in.

NURSE
All done. You can get dressed now
Mr. Doe.

JOHN DOE
Thank you.

The nurse grabs her things and walks out past Frank.

FRANK
You know, I think you're frequenting
too many Hospitals lately.

Doe smiles at his friends comment as he buttons his shirt
up. Doe then grabs his jacket in one hand and proceeds to
walk out with Frank.

JOHN DOE
How's the girl?

FRANK
I think she's going to be all right.
All thanks to you I might add.

Frank gestures to the other side of the Hospital Emergency
room. Doe looks and sees Alice and the rest of the
Sanders' family smiling happily at the current turn of
events.

FRANK (CONT'D)
(looking at Doe)
How the hell did you find her? We
had half the city looking for her.

JOHN DOE
(looking at the
Sanders family)
Frank, I'm not sure.

FRANK
Well that might be enough for me,
but I don't think it'll be
enough....

At that moment Detective Tate comes from the direction of
the Sanders' family.

DETECTIVE TATE
Mr. Doe?

Doe and Frank look over at Det. Tate.

DETECTIVE TATE (CONT'D)
(holding out his
badge)
I'm Detective Tate. I'd like to ask
you a few questions if I may.

Doe gives Frank and apprehensive look. Frank senses that
Detective Tate would like to keep the conversation private.

FRANK
I'll go see how Theresa's doing.

Doe nods at Frank, then glances back at Detective Tate.

JOHN DOE
How may I help you Detective?

DETECTIVE TATE
(smiling
politely)
Well, I'd say you've all ready
helped me plenty today Mr. Doe. I
just had a few questions if you
don't mind.

JOHN DOE
Sure.

Detective Tate starts flipping through his notes in order
to begin.

DETECTIVE TATE
Now, Mr. Doe we've already
questioned Alice Sanders about what
happened during her time in that house. And
in doing so she had some pretty
interesting things to say about what
happened when you got there.

JOHN DOE
Look Detective. I know how this
must look to you.

DETECTIVE TATE
(his tone turns
sarcastic)
Do you Now? And how would you
explain the way and the reason you
found yourself connected to this
case?

JOHN DOE
I really can't detective. But I
assure you I would tell you if I
did.

Detective Tate is clearly not satisfied with Doe's answer.

DETECTIVE TATE
Mr. Doe, this case has presented
some very unpleasant and strange
facts. To tell you the truth, I'm
having trouble believing your
story. I know all about your work
with Lt. Avery's Dept. But none of
it explains how you were able to
just see where a kidnaped girl was
taken.

JOHN DOE
I understand.

DETECTIVE TATE
(crossing his arms)
I don't think you do. You see Mr.
Doe, no one is going to convince me
that this little girl was taken by
the man we killed today. The
evidence is just not there for me.
This man was just a common criminal.
He has no history of kidnaping or
statutory rape. Plus we may be able
to verify that this suspect was at a
local tavern at the time of the
Sanders' abduction.

Doe's face is one of expectation as he waits for what the
detective will say next.

JOHN DOE
So what are you saying?

Det. Tate looks at Doe intently now.

DETECTIVE TATE
(close to Doe)
I'm saying, that that little girl's
testimony is the only reason I'm not
questioning you as a suspect right
now. Because I think you're not
telling me everything you need to
tell me. I'm saying that you're
connected to this killer somehow and
rest assured I will be investigating
this matter further, so don't go too
far Mr. Doe. Because my gut tells
me, we're going to be seeing each
other real soon.

Doe looks as Detective Tate sizes him up. Doe is about to
respond to Det. Tate's insinuations, when Lt. Avery walks
up to them.

LT. AVERY
(to both men)
You two getting acquainted?

Det. Tate takes notice of her, as does Doe. Doe chooses
not to respond to the detective's threat.

DETECTIVE TATE
(to Avery)
Just getting to know the man of the
hour here.

Doe keeps staring at Det. Tate.

LT. AVERY
You Ok John?

JOHN DOE
Yeah I'm fine.

DETECTIVE TATE
Well I better get going. I have to
give a statement to the press.
(to Doe)
You're sure you don't want to come
along Mr. Doe? Might want to take
some of the credit.

Lt. Avery gives a curious look at Tate's last remark. Doe
just stares at him.

JOHN DOE
(catching a whiff
of his sarcasm)
No thanks Detective. I'm just glad
its over.

DETECTIVE TATE
Well, for me its just begun.

Detective Tate nods to Avery and Doe as he walks away from
both of them.

LT. AVERY
What was that all about?

JOHN DOE
Just a little message for me.

LT. AVERY
Let me guess, told you not to leave
town.

JOHN DOE
(looking at Avery)
Something like that.

Doe and Avery begin to walk out of the Emergency room wing
of the Hospital.

LT. AVERY
Well you can bet, if this Avatar
killer is still out there, you'll be
seeing Tate again. That's the kind
of guy he is.

JOHN DOE
An old friend of yours?

LT. AVERY
That's funny. I was going to ask
you the same thing about Avatar.

Doe looks at her with a bit of seriousness.

JOHN DOE
I'm not sure.

Lt. Avery gets in front of Doe.

LT. AVERY
You know that's not good enough
John.

JOHN DOE
(with a sigh)
I'm sorry, I can't explain it Jamie.
I found her the same way I found
Theresa. She just popped into my
head, and I went to her.

LT. AVERY
(with a frustrated
look)
Right. Well this might get you off
the hook with me, but don't expect
the same treatment from Tate.
Especially if this killer IS Avatar
and he's not the man that was shot
in those woods.

JOHN DOE
The man you were looking for was not
shot in those woods.

LT. AVERY
How do you know?

JOHN DOE
(with a confused
look)
I can't explain it.

LT. AVERY
(more frustrated
now)
All right. Lets just not talk about
this anymore tonight Ok?

Avery and Doe keep walking out of the Emergency Room.

EXT. HOSPITAL - NIGHT

We see Theresa standing outside with Frank. They are both
having a pleasant conversation. Doe and Avery come out
from the Hospital double doors and walk towards them.

FRANK
(noticing them)
Hey, you two.

Doe catches Theresa's gaze upon him immediately. She looks
in good spirits.

FRANK (CONT'D)
(to Doe)
I was just telling Theresa here
about the first case we worked
together John.

JOHN DOE
(nodding in
acknowledgment)
The Jenny Nichols kidnapping.

FRANK
Yeah, I was telling her how you
managed to find that girl using your
mad skills. And how you managed to
bring us along for the ride.

LT. AVERY
Yeah we all had our first dose of
John Doe police work on that day let
me tell you.

Everyone is laughing now, except Doe who just smiles.
After a few moments of comfortable silence, Lt. Avery can
tell Doe wants to speak to Theresa alone.

LT. AVERY (CONT'D)
Well I better get going.
(to Theresa)
I'll drive the car around.

THERESA
(to Avery)
Ok.

Doe notices this and is a little surprised.

FRANK
(wanting to give
them privacy)
I'll go with her.

Frank and Avery walk away towards the parking lot, leaving
Doe and Theresa alone in front the Hospital.

THERESA
I've been getting to know them. You
all seem to be good friends.

JOHN DOE
Yeah, well, we've been through a lot
together. I've helped them and
they've surely helped me many times.

THERESA
(nodding in
agreement)
I can see that.

An uncomfortable silence ensues. Doe looks at Theresa, not
sure what to say next.

THERESA (CONT'D)
I've uh,...I've asked Lt. Avery to
take me home if you don't mind. Its
just that...I'm not sure if we...

JOHN DOE
I understand. I guess this whole
thing still seems a bit awkward.

THERESA
No. Its not that at all.

Lt Avery pulls up on her unmarked police cruiser. Frank is
on the passenger side. Doe and Theresa take notice of it.

JOHN DOE
Will you be staying in Seattle?

Theresa ponders her answer.

THERESA
Well,..I was thinking of moving on.
But now, I don't think it matters
where I go. You know?

Doe nods as he understand where she's coming from.

JOHN DOE
Well, I sure would like to stay in
touch if you don't mind.

THERESA
(looking at Doe
intently)
No. I wouldn't mind that at all.

To this Doe smiles and manages to blush a little.

THERESA (CONT'D)
(motioning back to
Avery)
Well, I better get going.

Doe moves closer to Theresa, but we can see he's not sure
if he should shake her hand, hug her or even kiss her. He
decides it would be best to hug her. But as he moves
closer to hug her Theresa moves her head in front of his
and Doe stops shy of her lips. Theresa then gives him a
surprisingly long and passionate kiss on his lips. After a
few seconds, they pull back, but keep their embrace a while
longer as they stare at each other closely.

JOHN DOE
Hell of a first date, Huh?

Theresa grins with a nostalgic look.

THERESA
(with a caring
look)
This wasn't our first date.

With that Theresa slowly pulls away and proceeds to head
over to Avery's car. She looks intently at Doe as he lets
her hand slip away from his in the motion. We then see
Frank step out of the passenger side and hold the door
open for Theresa, who says good-bye to him as she gets in.
Frank closes the passenger door behind her. Then he steps
away and make his way back to Doe, who is looking at her
still.

We see Theresa's face looking at Doe through the glass as
the car begins to pull away.

JOHN DOE (B/W POV)

---Avery's car pulling away and a color immage of Theresa in
the front seat. Theresa puts her left hand flat on the
window, saying one last good-bye to Doe.

As the car pulls out, we see Doe and Frank left in front of
the Hospital.

FRANK
(to Doe)
Hell of a woman you got there Doe.

JOHN DOE
(still looking out
to the direction
where she left)
That she is.

FRANK
You look like you could use a drink.

JOHN DOE
(smiling and
turning to Frank)
That I do. You look like you could
use a ride.

FRANK
That I do.

Frank and Doe smile at each other as they both make their
way out towards the parking lot, where Doe's convertible
has been parked. We pull back from them in a wide shot
which looks at a lighted city in the distance.

CUT TO:

INT. UNKNOWN LOCATION - NIGHT

We pan around a large warehouse loft looking room. Lots of
neatly placed items can be seen. Finished and unfinished
paintings. Pictures and photos of landscapes and famous
world monuments along the walls. A piano piece of music
can be heard around the room; it's "My Funny Valentine".
We come around the room and rest on a Television News
Program already in progress.

ON THE TV SCREEN:

We see a reporter with microphone in hand, standing in
front of a police precinct.

REPORTER
So as this night comes to an end, we
are happy to report that young Alice
Sanders is back safe with her family
and that our city's power blackout
has now been completely resolved....

We pull back from the tv screen as the reporter finishes
his broadcast. We move across the room to where we see a
massive computer desk. The outline of a man can be seen
looking at the computer screen. We cannot see his face
from behind the computer monitor. We switch angle to see
what the figure is looking at on the monitor. We watch him
from behind his right shoulder. He's looking at a missing
poster picture of John Doe. The poster Doe has posted on
line in a effort to find his identity.

AVATAR
(in a refined
cryptic voice)
Looking real good My Boy.

We hold close on Doe's picture on the screen.

FADE OUT.

THE END.