John Doe

THE TRUTH WILL BE REVEALED......

Virtual Season Episode #203. "First Steps"

TEASER

FADE IN:

EXT. THE VATICAN, ROME - LATE AFTERNOON

We can see the beautiful landscape of the Roman city. The
afternoon sun shines over a lot of centuries old buildings
that can be seen. The most noticeable being the instantly
recognizable dome of The Vatican.

INT. THE VATICAN DOME - LATE AFTERNOON

We pan down the inside of the domed ceiling onto what many
consider a very sacred altar. Beautiful statues of Christ
on the cross, Saints and Angels can be seen around the
walls as we move back from the altar. Many people can be
seen walking about. Groups of Catholic Nuns and Priests
can be seen walking to and fro. We also see tourists
walking about, some with cameras, taking pictures or home
video.

Our attention then focuses to one particular catholic
priest. A very serious man (early 30's), with thinning
black hair. He is holding some papers in his hand and
walking passed all of the people walking about. His name
is Brother Angelo, a 6th year cardinal apprentice, well on
his way to a bright future with the Church. He makes his
way to a door which is locked and reserved for church
personnel only. He produces what looks to be a key card
and inserts it into a scanning lock on the door. A red light
on the lock box switches momentarily from red to green,
then Angelo pushes the door open and walks in.

INT. VATICAN HALLWAY - LATE AFTERNOON

We see Angelo walk down a hallway adorned with many
beautiful works of art and statues. As he walks along he
passes open windows along the wall which show a beautiful
view of Rome. The young priest then turns and heads up a
red carpeted curved stairway, passing a pair of catholic
sisters walking down the opposite way. They each exchange
pleasantries as they pass each other.

Atop the stairs, Angelo walks through a set of double
doors.

INT. VATICAN OFFICE - LATE AFTERNOON

Angelo closes the door behind him as he makes his way
towards a large wooden desk at one end of a large office.
This room is adorned with antique furniture and religious
artifacts. Behind the large desk sits Cardinal Paulo
Osticio, (mid 50's) head of foreign affairs and member of
the Vatican's Papal Council. The cardinal is wearing his
traditional red and black robes with rings on his fingers.
He is working at his desk as Angelo stands in front of the
desk with papers in hand.

ANGELO
Buon Pomeriggio, Padre.

Cardinal Osticio looks up from his desk.

CARDINAL OSTICIO
Ciao Angelo. Che cosa voi hanno oggi
per me?

(Italian Translation Begins)

ANGELO
Here are some forms for you to sign,
father.

CARDINAL OSTICIO
Are this all the arrangements for
the Moroccan Prime Minister?

ANGELO
Yes Father, his visit is scheduled
for next week.

The Cardinal takes the papers from Angelo and begins to
look them over. As the Cardinal begins to sign the papers,
Angelo is looking at his superior with an almost restless
stare. Cardinal Osticio takes notice of this by the unusual
silence coming from Angelo.

CARDINAL OSTICIO
(looking up at
Angelo)
Is there something else Angelo?

Angelo settles in his stands and takes a deep breath.

ANGELO
Yes Father....The Gentleman from the
Holy Unity Foundation is here.

Cardinal Osticio gives Angelo a confused look, not knowing
right away of what his young apprentice is speaking about.

ANGELO (CONT'D)
I...spoke of him with you briefly
last week. He represents a private
Foundation seeking a working
allowance with the Vatican.

CARDINAL OSTICIO
Oh Yes. The Organization asking for
our cooperation on some kind of
Historical Exhibit. Correct?

ANGELO
That's right Father. I took the
liberty of arranging a private tour
for him today. And I was hoping
that you would have some free time
in your schedule for a short
meeting.

Cardinal Osticio leans back in his chair with a slight look
of surprise.

CARDINAL OSTICIO
You want ME to meet with this
man?... I'm curious, this man should
be speaking with one of our
information secretaries first. You
know that.

ANGELO
Yes, I know Father but...

CARDINAL OSTICIO
The Vatican receives thousands of
these business offers every year.
There are procedures to follow
Angelo.

ANGELO
But Father, I've met with this man.
And I think the organization he
represents has something beneficial
to offer the Church.

Cardinal Osticio produces a slight smile.

CARDINAL OSTICIO
I have to say. I'm kind of
surprised at your impulsive behavior
Angelo. In the time that you've
been here, I've never seen you take
this kinds of liberties.

Angelo becomes embarrassed at the accusation.

ANGELO
Father, I ask for your forgiveness
for my behavior regarding this
matter.

CARDINAL OSTICIO
(raising his hand
to ease his
suffering)
Its all right Angelo, there's little
difference between impulsiveness and
initiative. And I encourage
initiative from our people.

ANGELO
(looking a bit
relieved)
You are most kind, Father.

CARDINAL OSTICIO
Now, why don't you refresh my memory
and tell me more about what this
Holy Unity Foundation is all about.

ANGELO
Yes Father. This organization is
privately funded with consortiums
reaching over 24 countries. They
want to create an organized
Christian network, based on solid
morals that they believe have been
suppressed by the whole of mankind.
They want to start at the roots of
Christianity Father. And that's why
they want our help.

The Cardinal looks on with a pensive facade. At that same
moment the doors to his office open and in walks a young
woman. The young nun stands behind Angelo as he finishes
his speech.

ANGELO (CONT'D)
They're asking for our permission to
access to our archives, to our
antique vaults, they wish to catalog
and maybe even produce a type of
exhibit which would show the world
the history and beauty of our
religion.

CARDINAL OSTICIO
But we already have that here. We
have always shown pride in exposing
our history to the world.

ANGELO
Yes Father, but the Holy Unity
Foundation has the means to expand
beyond our Christian borders. They
can go into countries and places
where our reach has grown thin. And
they want to compensate us for this
effort.

CARDINAL OSTICIO
All right. I can see why you are so
taken by this opportunity. If they
have the kind of political power,
maybe we should do some research on
this organization.

Angelo hands the Cardinal a set of papers.

ANGELO
I've already done some research for
you Father. And I think you'll be
pleased.

Cardinal Osticio is even more impressed at Angelo's
efforts.

CARDINAL OSTICIO
Well, I have to say Angelo. I am
completely taken back by your
initiative.

With that the Cardinal motions to the young nun waiting
behind Angelo.

YOUNG NUN
Excuse the interruption Father.
Father Angelo's guest is waiting
outside.

CARDINAL OSTICIO
(looking at Angelo)
My God, it HAS been a day full of
surprises.

ANGELO
I'm sorry Father. I just believed
that this would be a great
opportunity for you to meet this
amazing man. But, if you think this
to be inappropriate...

CARDINAL OSTICIO
(gesturing to
Angelo)
No its all right. I have to say
that I WOULD like to meet the man
who has managed to impress you this
way.

The Cardinal then changes his gaze towards the young nun.

CARDINAL OSTICIO (CONT'D)
Please show our gracious guest in,
sister.

Angelo smiles and lowers his head slightly in appreciation.
We then pan back to the young sister who has already opened
the entrance door to the office and after a few seconds in
walks a man wearing an expensive business jacket . We switch
angles as the man walks towards Angelo and the Cardinal,
who has risen from his chair out of respect for his guest.
We can only see the man from behind as he stops in front of
Angelo.

ANGELO
(smiling and
turning to the
Cardinal)
Father Osticio, I present to you,
Mr. Donovan Waverly, Vice President
of The Holy Unity Foundation.

At that moment we see the mysterious guest come into focus.
It is none other than the man we now know as Samuel, high
level operative of the Phoenix Group and once known to John
Doe as simply Digger. The Cardinal smiles and extends his
hand, showing the ring of his order on his finger.

SAMUEL
(after kissing the
Cardinal's ring)
It is a pleasure to finally meet you
Cardinal Osticio. My people and I
are great admirers of you and your
work for the Church.

(Italian Translation Ends)

We hold on Samuel's smiling face with Father Angelo looking
on.

FADE OUT.

ACT ONE.

FADE IN:

EXT. UNKNOWN BUILDING - NIGHT

Rain is pouring down as thunder and lightning light up the
night in front of a old style concrete building. We pan
down to the figure of a man standing in the rain, looking
in the direction of the building. We switch angles to see
that it is John Doe. He's wearing a T-shirt and jeans,
with no shoes on.

Doe looks around as he slowly walks towards the building.
He looks disoriented, trying to figure out where he is.
Everything is dark, lit only when lightning and thunder
sound off. As Doe makes his way to the building he notices
a statue to his left. The statue is of what looks to be
the Virgin Mary. Doe turns and makes his way to the
statue.

Doe walks up to it, still not sure why or where he is. As
he looks upon it, he notices a plaque with an inscription
written on it. We see Doe come closer to the plaque, then
lightning flashes and we finally see the inscription. It
reads: "Oh Holy Mother, Consoler of the afflicted".

At that moment, the door to the old building busts open.
Doe turns around and looks towards the open door. He sees
nothing and no one coming out. Doe then proceeds to the
door, cautiously looking about for any more surprises. He
looks back one more time before stepping inside.

INT. UNKNOWN BUILDING - NIGHT

Doe is soaking wet and looking around as he comes to find
that he is standing inside a church. Outside, thunder can
be heard and lightning flashes through the windows. He
sees no one in sight.

JOHN DOE
(looking around)
Hello?...Is any one here?

Doe continues to look around the church pulpit. He then
takes notice of someone seated in the front row, facing the
altar. Doe slowly moves towards the front row.

JOHN DOE (CONT'D)
Hello?

We see the back of the person in the front row. We can
tell that it is a woman, but her face is still hidden. As
Doe gets closer the female figure turns to face him, and we
come to see that it is Karen. Doe reacts in surprise as he
sees the face of his deceased friend.

JOHN DOE (CONT'D)
Oh my God... Karen?

Doe wipes away the water from his face to see her better.
Karen looks up at him, just smiling.

KAREN
Hi J.D.

Doe moves closer to her and takes a seat next to her.

JOHN DOE
Karen!? Is it really you? I'm
dreaming this?

KAREN
Your time is running out John. You
have to solve the puzzle. They
don't want you to know, but you have
to know. You have to know
everything before the end comes.

JOHN DOE
Karen..I don't understand. Why are
you here? What is this place?

KAREN
(smiling softly)
He's found you John. It was meant
to be. Now you have to follow the
trail to the end.

Doe looks confused, he's about to say something when Karen
gets up and proceeds to walk slowly towards a side door
near the altar. She's in the same dress she was wearing
the night she was taken by the Phoenix Group. She seems to
be enveloped in a pale heavenly light. Doe gets up and
follows her.

JOHN DOE
No, wait. Please don't go.
Stay...please stay.

Karen stops in front of the closed door. Doe stops behind
her. She turns to him with a smile.

KAREN
Its begun John. Follow the clues,
solve the puzzle.

Karen turns towards the door and opens it. She then
proceeds to walk through the doorway and disappear into the
darkness behind it.

JOHN DOE
Karen?! Wait!

Doe follows her through the door.

CUT TO:

INT. UNKNOWN HALLWAY - NIGHT

We see Doe walking down a dark hallway. Thunder can still
be heard outside. There are a series of doors along the
way, no one else can be seen. Doe is looking around and
trying to open some of the doors, but so far each one he
tries is locked. Suddenly, he hears what sounds to be a
woman wailing down the hall. Doe begins running down the
hall, we hear his bare feet screeching on the linoleum
floor as he turns the corner.

JOHN DOE
KAREN!!..WHERE ARE YOU!!!

Doe then notices an open door down the hallway and proceeds
to run inside.

INT. UNKNOWN ROOM - NIGHT

Doe runs through the doorway and is shocked at what he
sees. We switch angles to see 5 bodies lying around the
room floor. They've been bludgeoned and beaten to death.
Doe grimaces at the horrific site before him. He then
hears the wailing sound of a woman's voice again. Doe sees
an open doorway inside the room and runs through it.

INT. UNKNOWN BEDROOM - NIGHT

Inside Doe sees a bedroom in disarray. The bed has been
overturned, clothes and other objects litter the room
floor. Doe looks around the room a bit, when suddenly he
notices a figure scrunched up in a corner of the room. It
is the figure of a young woman, her clothes look ripped and
she looks to have been beaten as well. She is conscious
and half her face has blood on it. He can hardly make out
her features because she is covering her face and most of
the room is in darkness, except for a lamp light on the
nightstand next to her. Doe tries to console her as he
slowly moves towards her.

JOHN DOE
Its ok. I'm here to help you. Who
did this to you?

The young woman doesn't take notice of Doe. She has her
face hidden in her hands, which are bound by tape. She
then looks up from her hidden gaze. Doe sees her face for
the first time under the bedroom's lamp light. She's
young, looks to be in her early 20's. Suddenly she lets
out a loud scream as she looks towards the doorway to the
bedroom, behind where Doe is standing. Doe turns to see
the dark figure of a man standing in the doorway. His face
is hidden in the dark silhouette of the doorway, but we can
tell he has a large knife in his right hand.

JOHN DOE (CONT'D)
(to the dark
figure)
YOU LEAVE HER ALONE!!.

Doe begins to move towards him. But the dark figure, like
the young victim does not notice him at all. Suddenly Doe
hears a voice.

KAREN
Wait.

Doe turns to Karen who has just appeared standing on the
opposite corner of the room.

JOHN DOE
What?...But..

KAREN
Just wait, and watch carefully.

Doe complies as he turns back to see the killer beginning
to move closer to the young victim lying on the floor. Doe
can barely watch as the killer moves closer and closer. We
see the young woman reacting to this by wailing louder and
louder with a look of complete fear in her eyes.

JOHN DOE
(to Karen)
He's going to kill her.

KAREN
Wait John! Watch.

We see the killer just about to strike his victim. Then
the young woman's face suddenly turns from fearful to one
of determination.

CLOSE ON - VICTIM'S FACE

YOUNG WOMAN
(staring at her
attacker)
No....NOOOOOOOOOO!

The victim's voice seems to change into a deep sounding
thunderous scream which LITERALLY begins to shake the
entire room as if there was a train about to hit it head
on. All kinds of things begin to fall over to the ground
as if an earthquake was shaking ther room apart.
Just then, Doe sees the killer stop in his tracks.
The killer begins to slowly back away. He then drops his
knife on the floor as he raises his hands to his head and
lets out a blood curling scream of pain. As he does so, he
continues to back away looking around the room and then
stumbles out the doorway, fleeing in terror. Doe just
stands there, not understanding what he just saw. He then
turns towards Karen. She stares back at him. The killer's
young victim has stopped screaming and hidden her face in
her hands again.

JOHN DOE
(to Karen)
What happened?

KAREN
She beat him.

JOHN DOE
(turning his gaze
toward the young
victim)
How?

KAREN
That's what you need to figure out.

Doe looks at the young victim's face. She is in shock and
panting heavily, still not noticing Doe or Karen in the
room. He then looks back at Karen.

JOHN DOE
(to Karen)
I don't understand any of this.

KAREN
Time to go now.

With that, the pale light that was once surrounding Karen
begins to expand around the room. Doe can just watch.

JOHN DOE
No wait. Karen?.... I need to know
why.

The light becomes really bright now, slowly fading
everything in the room to white.

CLOSE ON - KAREN'S FACE

KAREN
Solve the puzzle John, and you WILL
know.

Everything turns to white.

CUT TO:

INT. DOE'S LOFT APT - DAY

CLOSE ON - DOE'S FACE

We see Doe's eyes open. He looks around for a few seconds
before realizing that he's awake. We pull back to see that
he was sleeping with the same shirt and pants he had in his
dream. He sits up on his bed and turns to put his feet on
the floor. He sits on his bed for another few seconds,
wiping his face and eyes with both hands. Then he stares
ahead. Its early morning.

JOHN DOE (V.O.)
(getting up from
his bed)
Another weird dream. Being getting
a lot of those lately. But this one
was different. Before, I've been
seen flashes of different images,
like a news reel. This one actually
had a message.

Doe walks to his kitchen and begins fixing himself a cup of
tea.

JOHN DOE (V.O.) (CONT'D)
Why do I keep seeing Karen? Is it
so that I can remember my dreams
better? In his Book, "Simple
Dreaming", Dr. Robert Hues claims
that dreams represent messages that
our subconscious mind interprets and
projects to us. Anything from our
everyday lives or the lives of
people close to you is fair game.
Our past, present or even our future
can be used in our dreams as some
type of catalyst. All we have to do
to understand our dreams is learn to
distinguish the mundane ones from
the ones that have a relevant
meaning behind them.

After finishing mixing in his tea bag with a cup of hot
water, he grabs the cup and takes a swig. Doe then
proceeds to his private study.

INT. DOE'S PRIVATE OFFICE - DAY

Doe walks into his familiar office. All kinds of pictures
are pasted on the walls. He puts his cup down before
taking a seat behind his computer. On each monitor, there
is a series of searches being conducted on line. Doe looks
unshaven and sleepless.

JOHN DOE (V.O.)
Thomas Anderson. My only solid
clue, thanks to Theresa. If that is
my real name, there are 31,042
different Thomas Andersons in the
United States alone. Excluding age
brackets and physical descriptions,
it still leaves me with 11,478
possible identities.

Doe focuses on another of his on line searches. We see a
monitor screen showing documents and pictures of newspaper
headlines and crime scene photos.

JOHN DOE (V.O.) (CONT'D)
The Avatar killer. A 3 decade old
murder investigation. 49 victims in
5 years. Only one survivor.....

We see his finger clicking his mouse and a black and white
crime scene picture appears on the screen showing the front
of the building of "The Our Lady of Perpetual Help"
Convent. The site of Avatar's first known attack.

JOHN DOE (V.O.) (CONT'D)
One 23 year old female survivor. No
published picture of the victim.

JOHN DOE (INT P.O.V.)

---Flash image of the young victim in Doe'ss dream. Close
up of her face.

Back to Doe sitting behind his computer.

JOHN DOE (V.O.) (CONT'D)
Is she the woman from my dream?...Is
she the same woman I saw when that
psychopath laid his hand on me?

JOHN DOE (INT P.O.V.)

---The Avatar killer kneeling over a helpleess Doe. A bare
hand being placed on his forehead.(See episode #202
"Unexpected and Wanting")

Back to Doe sitting behind his computer.

JOHN DOE (V.O.) (CONT'D)
Thomas Anderson....Avatar...that
young woman. Is there a connection?

Doe sits back on his chair with fingers crossed under his
chin. He looks over to the wall on his right side. Pasted
on it, is his sketched drawing of Theresa. One he drew to
remember her face some time ago.

JOHN DOE (V.O.) (CONT'D)
For someone who I'd hoped would give
me some answers, she's sure not
given me much to go on. Why?
What's Theresa hiding from me? Is
she afraid to tell me? Or Is she
stalling for some reason?

Doe hits the mouse click button again. He looks over the
crime scene photos again. He focuses on one in particular.
Another picture of the The Perpetual Help Convent. This
one is showing a broken stained glass window, the point of
entry that Avatar took to enter the building. In the
background Doe sees something familiar to him. It is a
statue of the Virgin Mary. A spitting image of the one he
saw in his dream.

JOHN DOE (CONT'D)
(under his breath)
Solve the puzzle.

At that moment, there is a knock at Doe's door.

INT. DOE'S LIVING ROOM - DAY

We see Doe make his way to his front door. After peeking
through the peep hole, he unlocks the door and pulls it
open. Doe is surprised to see Mrs. Rose Nichols standing
in his doorway with her daughter Jenny. The little girl
that Doe help find when she was taken by her father. It
was Doe's first case for the Seattle Police Department.

MRS. NICHOLS
Mr. Doe, Hi. I was hoping you were
home.

JOHN DOE
(a little
surprised)
Mrs. Nichols. Um... How are you?
Hello Jenny!

The little girls smiles as she hides behing her mother.

MRS. NICHOLS
(a bit embarrased)
I know this might seem....I don't
know...awkward.

JOHN DOE
No..please don't be silly....Would
you like to...

JENNY NICHOLS
(smiling)
Its the mystery man momma!!

Mrs. Nichols looks down at her daughter.

MRS. NICHOLS
No sweetheart, this is Mr. Doe.

Doe smiles down at the little girl.

MRS. NICHOLS (CONT'D)
Sorry, it's sort of what she's been
calling you lately.

JOHN DOE
(smiling)
Its all right. Won't you come in?

MRS. NICHOLS
Yes, thank you.

Mrs. Nichols and her daughter walk into Doe's living room,
where he gestures for them to have a seat. After she and
her daughter sit on his couch, Doe stands nearby.

JOHN DOE
(to his guests)
Would you like something to drink?

MRS. NICHOLS
No thank you. We won't take much of
your time.

JENNY NICHOLS
(all excited)
Orange Juice!

MRS. NICHOLS
(placing her hand
on her daughter)
Jenny!!

JOHN DOE
One glass of O.J. coming up.

Doe proceeds to go into his kitchen and opens his
refrigerator. Mrs. Nichols and Jenny are still seating in
the living room watching.

JOHN DOE (CONT'D)
(from his kitchen)
You know, 78% of kids between the
ages of 6 and 12 prefer Orange Juice over
Milk.

MRS. NICHOLS
(smiling)
Wow, I didn't know that....Um....
Mr. Doe, I hope you don't mind, but
I got your address from the Seattle
Police Dept. At first, I was going
to leave you a message, but then I
decided that it would be best if I
came to see you.

Doe comes back from the kitchen with a glass of juice in
his hand. After he gives it to Jenny, he sits across from
Mrs. Nichols.

JOHN DOE
No it's fine. It's a nice surprise.
What can I do for you ladies?

Mrs. Nichols then reaches into her purse and pulls out a
wad of papers she's been carrying.

MRS. NICHOLS
First, I'd like to thank you again,
for everything you did for us. And
for my husband. It took me a while
to understand why he did what he
did, but now I know that he just
wanted to be with his daughter. He
also told me what you did for him.
It meant a lot. He wanted you to
know that.

Mrs. Nichols and Doe both look at Jenny who is smiling and
taking swigs from her glass of juice while she is drawing
a picture with her 3 crayons on a coffee table nearby.

JOHN DOE
I was glad to help.

MRS. NICHOLS
The other reason we came was that..
um... I'm not sure how this is going
to sound to you. But lately, Jenny
has been having this recurring
dreams. Dreams that I think might
have something to do with you.

Doe's face immediately turns serious and intrigued.

MRS. NICHOLS (CONT'D)
At first I didn't know it was you
she was dreaming about. She kept
saying the mystery man this, the
mystery man that. It took me a
while to make the connection. And
when she started drawing these, I
got a little concerned.

Doe takes a series of drawings from Mrs. Nichols' hand. He
begins to look them over. Each drawing shows certain
things that little girls don't normally draw during play
time. Images that look like burning buildings, army tanks
and planes dropping bombs. Burning buildings and people
hurt or dead.

JOHN DOE
Mrs. Nichols, I can see why this
would worry you. Are you sure these
are images from her dreams, not from
a movie or news program.

MRS. NICHOLS
No, I thought the same thing too.
Believe me, I had a long talk with
her school teacher and her friends'
parents before I came here. These
drawings began first, but then she
began to draw more specific things.

Mrs. Nichols points out one of the drawings. Her finger is
pointing at a female figure in a dress.

MRS. NICHOLS (CONT'D)
Jenny told me that a young girl
began to appear in her dreams. A
girl in a pretty dress. She said
her name was Karen and that she had
died.

Doe's eyes become wider in surprise.

MRS. NICHOLS (CONT'D)
Jenny then said that Karen was your
friend. The mystery man. And that
she wanted Jenny to tell you
something. Something important.

Doe is in complete amazement. Something seemed to be going
on and he didn't know what.

MRS. NICHOLS (CONT'D)
Mr. Doe, did you know a young girl
named Karen?

Doe nods as he looks at both Jenny and her mom. His mouth
is mildly open with surprise.

MRS. NICHOLS (CONT'D)
(lowering her voice
so that her
daughter won't
hear)
Is this girl... dead?

JOHN DOE
(in a low voice)
She was my friend. She was killed 3
months ago.

Mrs. Nichols puts her hand over her mouth.

MRS. NICHOLS
Oh my God....That's about the same
time her dreams started. I thought
this was all because of her father
coming back. But now.... Mr. Doe
wants happening to her?

JOHN DOE
Its Ok Mrs. Nichols. You did right
coming to see me. I don't think
this is something for you to be
worried about. But I do think that
Jenny is a very special little girl.

At that moment, Jenny gets up from her spot in front of the
coffee table and runs up to Doe with her latest drawing in
her hand.

JENNY NICHOLS
I made this for you.

Doe takes the drawing, which shows a strange likeness to
him and the image of figure in a dress next to him. The
drawing also shows rain clouds and thunderbolts. And what
looks to be a building with a cross on top of it in the
background.

JOHN DOE
(smiling at Jenny)
Oh thank you Jenny. That's a very
pretty picture.

Doe then looks over at Mrs. Nichols who is smiling with a
worried face. Then he looks back at Jenny.

JOHN DOE (CONT'D)
Honey, your mommy said that a girl
in a pretty dress gave you a message
for me.

JENNY NICHOLS
(nodding)
Yep. Karen. She's my friend.

JOHN DOE
That's right. She's my friend too.
My best friend...Do you remember
what she told you sweetheart?

JENNY NICHOLS
(thinking hard)
Ah Ha...She said that....we don't
have enough time...and...Solve the
puzzle.

Doe stares at Jenny as she walks back to her mom and gives
her hug. Doe looks at them both with a more concerned look
that he had when he woke up this morning.

CLOSE ON - DOE'S FACE

FADE OUT.

ACT TWO.

FADE IN:

INT. THE VATICAN, ROME - EARLY EVENING

We pan down to a wide hallway, with beautiful marble
floors. Vatican personnel can be seen walking back and
forth, then we move in to Father Angelo walking with the
man he knows as Mr. Donovan Waverly, but we know him as the
mysterious Samuel.

(Italian Translation Begins)

ANGELO
(to Samuel)
And this is our Library Wing. A
host to hundreds of thousands of
books and manuscripts dating back to
the 4th century.

SAMUEL
(looking around)
Fascinating...simply fascinating.
So this whole section of the Vatican
houses some of Christianity's first
works of Literature. A priceless
treasure.

ANGELO
Indeed. All kindly preserved and
closely guarded I might add.
(pointing to a pair
of Vatican Guards
standing close by)

SAMUEL
(noticing the
guards)
I see. I've always heard of how
tight Vatican security is.

Samuel then gestures to a set of double sealed doors with a
guard's desk in front of it. Both Samuel and Angelo stop
right in front of the set of tightly guarded doors.

SAMUEL (CONT'D)
So, is this the end of our tour?

ANGELO
I'm afraid so Mr. Waverly. This is
the main entrance to our Vaults.
Access is strictly prohibited. Very
few people have access to this
doors. All part of our security
network. You understand.

Samuel looks at the set of guards watching the doors with a
momentary serious glare. The guards stare back at him with
cold, serious stares. He then glances back at Angelo with
a pleasant look.

SAMUEL
Of course I understand. The
Vatican's tight security is part of
the church's mystique.

Samuel then looks back at the doors.

SAMUEL (CONT'D)
But it is a pity that we cannot
continue into the vaults. I'm sure
there are some incredible pieces of
Christian artwork and artifacts
within. Things the Holy Unity group
could do wonders with. Perhaps
something to look forward to.

ANGELO
I assure you Mr. Waverly. Father
Ostacio was very much impressed with
your presentation. I believe that
your organization is precisely what
The Vatican has been searching for
in a business partnership. And I
think the Cardinal will see that in
time.

Angelo continues to talk about the Cardinal as Samuel
smiles and begins to glance back at the double doors. At
that same moment, those same doors begin to open and the
guards part ways. Then we see Father Dominick Parsento
(late 60's) walking out as he places his security card back
into his pocket and proceeds to sign out on the guards log
book. Father Dominick looks older than his years. He has
long bushy white hair and his clothes need tailoring. To
see him you wouldn't think that he was one of the most
respected figures in the church. He exchanges pleasantries
with the guard behind the desk as we see the double doors
mechanically shut close behind him. Samuel has taken
notice of this and of Father Dominick. The old priest then
begins to make his way in the direction of Father Angelo
and Samuel.

ANGELO (CONT'D)
(to Father
Dominick)
Ah!, perfect timing Father Dominick.

FATHER DOMINICK
(with a jolly
smile)
Angelo my boy! What brings you down
here to our "dungeons".

ANGELO
(gesturing to
Samuel)
Well Father, I'm acting as one of
our tour guides today. I'd like you
to meet Mr. Donovan Waverly.
He represents a very generous
organization who wants to work with
our church.

Samuel pleasantly extends his hand to Father Dominick.

SAMUEL
It is a pleasure to meet you Father
Dominick.

The wise old priest extends his hand to meet Samuel's.

FATHER DOMINICK
The pleasure is all mine Mr.
Waverly.

CLOSE ON - BOTH HANDS TOUCHING

At that exact moment, when the priest's hand and Samuel's
touch, a strange feeling comes over Father Dominick.

CLOSE ON - FATHER DOMINICK'S FACE

Time all of a sudden seems to slow down for Father
Dominick. His face turns from a pleasant smile to one of
seriousness and fear.

FATHER DOMINICK (P.O.V.)

---Samuel's smiling face suddenly goes fromm normal looking
to creepy. His eyes suddenly sink and disappear into their
sockets, leaving Samuel with two black holes for eyes.

---Samuel's face then grows pale in color aand we see towers
of firing flames rise from behind him, with the sounds of
people screaming in terror.

Father Dominick quickly snatches back his hand from
Samuel's. The old priest lets out a small breath of air,
clearly shaken by the experience which only took a split
second. Samuel's face turns from pleasant to one filled
with intrigued at the priests reaction. As if Samuel felt
something as well. He then smiles at the priest to hide
his reaction.

ANGELO
(with an intrigued
face)
Are you all right Father?

Dominick stops staring at Samuel and looks back at Angelo.

FATHER DOMINICK
(slightly panting)
Yes... Yes I'm fine. Please excuse
me... I..have to get ready for
evening mass....
(looking back at
Samuel)
It was nice meeting you Mr. Waverly.

FATHER DOMINICK (CONT'D)
(to Angelo)
Good night Angelo.

Father Dominick begins to walk away almost immediately.
Leaving Angelo and Samuel looking at the priest walking
away.

SAMUEL
(to Dominick)
Hope to see you again soon, Father.

Father Dominick gives them one last pleasant farewell look
as he makes his way down the marble hall. We see that his
look turns to one of worry as soon as he looks away from
both men. We see Samuel's eyes hold a sense of wonder and
curiosity that we have seen before.

ANGELO
(looking at Samuel)
You'll have to excuse Father
Dominick. He can be a bit eccentric
at times, but he is truly one of the
most respected clergymen in his
order. He's a very wise man,
knowledgeable in many of our old
ways. Truly a dying breed.

SAMUEL
I understand. And what does Father
Dominick do for the church?

ANGELO
He oversees our Archives. Organizes
the restoration of some of our
oldest works. Translates old
manuscripts. But his true passion
comes in the preservation and care
of our most treasured artifacts. As
I said, a truly remarkable man.

With that Samuel looks back in the direction Father
Dominick walked off.

SAMUEL
(with a slight
smile)
Yes. A remarkable man.

(Italian Translation Ends)

CLOSE ON - SAMUEL'S SMILING FACE

CUT TO:

EXT. SUBURBAN STREET - DAY

We see Doe's Shelby Cobra turn the corner into a familiar
street, where children are playing street hockey and riding
their bikes. The sporty convertible comes to a stop in
front of a familiar house. Sarah Parkinson's house, where
Theresa rents a room. We see Doe put the car in park and
shut off the engine. He then remains seated in his car,
staring at the house.

JOHN DOE (V.O.)
When this strange dreams began, I
thought they were a product of my
subconscious. But now I have proof
that it appears as if something or
someone is trying to tell me
something through other people's
subconscious as well. I'm being
shown a path of some sort. All I
have to do is decide whether to open
myself to the possibility of
something totally inexplicable. But
now that I think about it, the
unexplained has been a part of me
ever since I can remember.

Doe opens his car door and steps out onto the sidewalk in
front of Sarah's home. As he makes his way to the front
steps, Doe notices that someone is working in the garden on
the side of the house. Doe makes his way towards the side
of the house. We switch angles to see Sarah knelt down
with a gardening shovel digging out holes in order to plant
some new roses. We see Doe walk up behind her.

SARAH
(noticing Doe with
a smile)
Well..,well. I was beginning to
wonder if you'd be coming back.

JOHN DOE
(smiling)
Hi Sarah. It's good to see you.

Sarah stands up with gardening tool in hand.

SARAH
If I didn't know any better, I'd say
you were playing hard to get with a
certain someone we know.

JOHN DOE
I know. I've sort of
been....occupied.

Sarah picks up some of her other tools and proceeds to walk
towards the front of the house.

SARAH
(with a sly smile)
Ah, I swear, you men are all the
same. Always looking for the right
angle, instead of just following
what's in here.
(tapping Doe's
chest with her
hand)

Sarah walks pass him as Doe turns and begins to follow her
towards the front of the house. As they both walk around
the side of the house, someone appears standing on the
porch above them.

THERESA
(smiling)
Welcome back.

Immediately Doe takes notice. A refreshing smile fills his
face instantly. Sarah just stands by with a look of
enjoyment on her face.

JOHN DOE
(looking up at
Theresa)
Hi.

CLOSE ON - THERESA'S SMILING FACE

INT. SARAH'S HOUSE - DAY

Theresa is walking up the stairs to the second story of the
house. Doe is following close behind.

THERESA
I was starting to wonder if you
had disappeared again.

JOHN DOE
Sorry,..I've been dealing with some
strange new ...developments this
last 2 weeks.

Theresa stops and turns to look at Doe in front of an open
door down the second story hallway.

THERESA
(with a smiling
look)
I'm I one of those developments?

Doe looks at Theresa with a little embarrassment.

JOHN DOE
You could say that, yes.

Theresa continues to smile as she then opens the door.
She steps through the door, followed by Doe.

INT. THERESA'S APT - DAY

Doe is standing inside a pretty spacious boarding room. It
clearly looks as if there were originally 2 bedrooms that
were converted into one studio apt. Theresa closes the
door behind her as she walks over to her closet.

THERESA
(to Doe)
Have a seat.

Doe looks around a bit as he sits on a small love seat in
the room

THERESA (O.S.) (CONT'D)
(from inside her
closet)
I've been pretty busy this couple of
weeks too you know. Trying to get back
to my old routine.

JOHN DOE
That's good.... And what is that
exactly?

Theresa steps out of her walk-in closet with a scrapbook in
hand. She then takes a seat next to Doe.

THERESA
Well...I've been volunteering at the
Whole Life Recovery Center.

JOHN DOE
Part of the Outreach Help-Center
Network. Founded in 1985 by Dr.
Laura Beckett.

THERESA
(with a slight
smile)
Sounds about right.

What follows is several seconds of silence. Theresa and
Doe just look at each other, each seemingly happy to see
the other.

JOHN DOE
I....wanted to see you. But there
are just some things about us that
I'm still confused about. You asked
me to give you some time to think
about it. So I did. And now,...

THERESA
You want to know if I've decided to
tell you about Thomas Anderson.

Doe looks down to his hands, as if ashamed to bring this
up. Theresa immediately puts her hand over his in a
gesture of understanding.

THERESA (CONT'D)
Hey..it's Ok.... I have been doing
some thinking. About everything
that has happened. And I've decided
that, despite of how dangerous it
might be, you deserve to know
everything about us.

JOHN DOE
(settling in his
seat)
Theresa...I know that after what
you've been through, the last thing
you want to do is take any more
risks. But believe me...

THERESA
(standing up)
No Tommy...is not about that.

Theresa gets up and walks to the other end of the room. Holding the
scrapbook close to her chest. Doe just sits and watches.
Theresa walks over to her window, looking outside.

THERESA (CONT'D)
(looking outside)
When I look at you, I can't see or
feel the same man I knew 3 years
ago. I really miss him. We had
something very special. I just wish
you could remember it with me.

Theresa turns to look at Doe.

THERESA (CONT'D)
I owe everything to that man. I
wouldn't be here if it wasn't for
him. Because it was Thomas Anderson
that set me free. He arranged it so
that the sins of my past, wouldn't
follow me into my future.

Doe is watching Theresa, absorbing everything she is
telling him. She walks away from the window towards Doe,
still holding the scrapbook close to her chest.

THERESA (CONT'D)
You see, the man that you were 3
years ago gave me a new life, at the
expense of our relationship. So
that I could get away from.....some
very dangerous people. I wanted him
to come with me, but he and I knew
that he couldn't.

We see that Doe is still at a loss for words as he is
listening to Theresa, whose eyes begin to water a bit.

THERESA (CONT'D)
So,..with much regret..I took the
chance Thomas gave me and I started
a new life. But before we parted
ways, we had one last night
together. That night, Thomas told
me that my freedom was conditional.
That I had to forget about my past
and not reveal it to anyone. Then
he said the strangest thing. He
told me, that there might come a
day, when we would meet again,....

Theresa pauses as she attempts to hold back tears.

THERESA (CONT'D)
But that he would not remember me.
That he would be a stranger, and
that no matter what, I could not
risk telling that stranger anything
about Thomas Anderson or us. He said that
it would put both of us in great danger.
He made me promise that I wouldn't say
anything if that situation presented
itself.

Doe is in complete shock as he continues to listen to
Theresa's confession.

THERESA (CONT'D)
(holding back
tears)
I didn't know what that
meant at the time. But I do now.

Theresa walks over to Doe and sits next to him again. She
then gently hands him the scrapbook she had been holding.
Doe takes it and looks at the red leather cover of the
scrapbook. In gold letters Doe sees the words, "Theresa
and Tommy" engraved on the cover.

JOHN DOE
(looking at the
cover)
I...I don't know what to say...

Theresa then takes Does left hand with hers.

THERESA
Tommy, I'm afraid I don't know
what's happened to you since
that time. But I've
decided that you deserve to know
what I know about Thomas Anderson.
About us. Because I believe that
everything that made him what he
was, is still in you. And I don't
care what happens to me because of
it.

Doe looks at Theresa with a sense of gratefulness and
respect that he had felt all along, but was afraid to show
it. He then looks at the scrapbook in his lap.

THERESA (CONT'D)
(staring at Doe)
I started this when we first met.
It's my book of memories.....Open
it.

With that, Doe opens the scrapbook. What he begins to see,
is a series of photographs, featuring Theresa and Thomas
Anderson. Pictures of Theresa at the beach, hiking in the
woods, camping, holding and kissing Thomas Anderson. As
Doe flips from page to page, he begins to realize that
Thomas and Theresa had had a very close relationship. They
did a lot of things together, and were very happy doing
them. Doe begins to wonder about what went wrong. What
could have been so important to Thomas that made him give
up all of this? Did he have a choice? Doe notices that
some of this pictures are the same ones he saw in the house
where he first came in contact with "Yellow Teeth".

JOHN DOE (B/W P.O.V.)

---Pictures in black and white, except the images of
Theresa which are in color.

JOHN DOE
(looking up at
Theresa)
I've seen some of this pictures.
The first time that I ran into the
Phoenix group.(See Episode #108 "Idaho")

THERESA
(intrigued)
How? Where?

JOHN DOE
I was duped into this charade by
this group. My investigation into
the death of a private investigatorled me
to this house at 3712 Queen Ann Ave. I
saw a surveillance picture of you in
front of this house. And inside, I
saw some of this pictures. Framed
and adorning the living room. I
thought it was your house. It
turned out to be just another lie.

THERESA
I think I remember this house. I
was supposed to make a consultation
visit for the shelter because a
woman had supposedly called from
this address asking for help with
her depression. When I got there,
no one was home. The house was unlocked
and empty.

JOHN DOE
(nodding in
realization)
That's how it started. They knew
that seeing you would make me listen
to their lies.

Doe and Theresa look at each other for a moment, before he
takes notice of a familiar picture which shows Thomas,
Theresa and a pet dog. Theresa takes notice of Doe's
interest in that picture.

THERESA
(smiling)
That's Bruno. He used to be the man
in my life before you came along.
He never really took to anyone.
Except you. He died not too
long after I left the Foundation.

Doe reacts to Theresa's first ever mentioning of where she
ran away from.

JOHN DOE
The Foundation? Is that where we
met?

Theresa's face turns to one of complete seriousness and
apprehension.

THERESA
(after pausing a
few seconds)
The Soros Foundation. The people we
used to work for.

JOHN DOE
Soros? Worldwide Conglomerate of
Companies and private investors.
With holdings in over 50 countries.
Specializing in Technological and
Medical research and advancements.

Theresa nods in agreement.

JOHN DOE (CONT'D)
We were scientists?! Researchers?!

THERESA
Something like that.

JOHN DOE
But this Soros Foundation, they're
world renowned. Are they the
Phoenix Group?

THERESA
I told you I've never heard of the
Phoenix Group. But Soros is much
more than what you see on paper.
They are larger and more powerful
than what you might know. The
foundation is just a shell.

Doe slowly closes the scrapbook as he ponders Theresa's
latest revelation.

JOHN DOE
(with a frustrated
look)
I don't remember any of this. I
wish I did. I thought there would
be something, a hint of a past
memory. But I'm at a complete loss.
I don't understand. This is not
amnesia, its something else.
Instead of answers, I'm getting more
questions.

THERESA
I know. I wish I was making things
easier for you.

Doe gets up from his seat.

JOHN DOE
No. I think you've helped me more
than you should have. I shouldn't
have pried into your life like that.
Now I may have placed you in danger
again.

Doe stops in front of a painting on the wall.

THERESA
(smiling and
shaking her head)
You still don't get it, do you
Tommy?...They're everywhere. Always
watching. They can get to anyone,
anywhere at anytime.

Doe turns to look at her.

THERESA (CONT'D)
I may not know how or why you've
changed this way. But you can be
sure, Soros had something to do with
it. And if you're not working with
them now, it's because they wanted
that way. The same reason I'm still
alive.

They both stare at each other for a few seconds. Then
there's a knock at the door.

THERESA (CONT'D)
(out loud)
Come in.

We see Sarah opening the door.

SARAH
Theresa honey, Grace just called
from the Center. She wanted to know
if you could come in today and take
over one of the groups.

Sarah waits by the door as Doe glances over to Theresa.

THERESA
(with a sigh)
Tell her I'll be there.

Sarah smiles and nods to both Doe and Theresa as she shuts
the door. Theresa sits on the couch and watches Doe with a
slight smile.

JOHN DOE
I guess that's enough storytelling
for today.

THERESA
I better get ready.

Doe nods in agreement.

JOHN DOE
Can I drive you?

Theresa smiles as if she knew he was going to say that.

THERESA
That would be nice.

We see Doe smile back at her as well.

CUT TO:

EXT. SEATTLE MIDTOWN STREET - DAY

Doe's convertible sports car makes his way slowly in the
middle of a downtown street before turning and pulling up
to a sidewalk parking spot. We see Doe turn off the engine
and both he and Theresa step out of the car. They both
begin walking down the sidewalk towards the town square.

At that same moment. We switch angles to a far away shot
of Theresa and Doe walking away. Then we see a black SUV
pull slowly out of an alley. The passenger tinted window
rolls down and we see a man (early 30's) with a camera in
hand taking pictures of Doe and Theresa crossing the street
one block away.

EXT. WHOLE LIFE RECOVERY CENTER - DAY

Doe and Theresa walk up to the front doorsteps of the
Recovery center.

THERESA
Well, this is it. My home away from
home.

JOHN DOE
(looking at the
building)
So, this is where you work.

THERESA
No, I'm not on their payroll. Just
a volunteer.

JOHN DOE
(a bit confused)
But, if you don't get paid, how do
you earn a living? Donations?

THERESA
(with an
embarrassing smile)
No. Lets just say, I'm doing this
because I don't have to work. I
want to help people in need, that's
all.

Doe nods as he realizes that Theresa seems to be
financially secure.

JOHN DOE
That's very inspiring.

THERESA
Thanks....You want to come inside?

JOHN DOE
No. I think uh....There are other
people who need your help. Maybe I
can come back later?. Take you to
dinner.

Theresa seems to agree with the idea.

THERESA
(smiling at Doe)
I should be done by 8.

JOHN DOE
It's a date.

At that moment a couple of women walk up to the steps of
the center. Theresa recognizes them.

THERESA
(to both women)
Hi Michelle. Barbara?

The two women smile and exchange pleasantries with Theresa.
Doe stands by watching. Theresa hugs each one
individually.

THERESA (CONT'D)
I'll see you both inside, Ok?

The women nod and proceed to walk in.

THERESA (CONT'D)
(to Doe)
I have to go. See you later?

JOHN DOE
You got it.

Theresa smiles at Doe as she walks up the front steps of
the center. As she opens the glass door, she takes one
last look at Doe, who's still standing at the bottom of the
steps. Theresa then walks inside, with other people coming
out of the building. Doe then begins to walk back to his
car.

EXT. SEATTLE MIDTOWN STREET - DAY

We see Doe run across the street to avoid coming traffic.
He makes it to the sidewalk and walks in the direction his
car is parked. As he takes his keys out of his jacket he
steps in front of his parked car. Suddenly, Doe hears a
familiar voice.

SAM CLARKSON
She's a very pretty lady, Doe. You
make a cute couple.

Doe stops in his tracks, then looks in the direction that
N.S.A. Agent Sam D. Clarkson is standing. He's wearing the
standard government agent suit with both hands in his
pockets. Doe walks back onto the side walk and stops about
8 feet away from Sam.

JOHN DOE
(with and intense
look)
What the hell do you want?

SAM CLARKSON
Now John! Is that any way to greet
an old friend?

JOHN DOE
We're not friends? And I'm warning
you to stay away from her.

SAM CLARKSON
(trying to look
surprise)
I'm really surprised at all this
hostility coming from you John. I
mean, correct me if I'm wrong, but I
thought that we worked together
pretty damn good last time we saw
each other.

JOHN DOE
Wrong! We used each other to get
what we wanted. And that's where it
ended.

Sam pulls his hand out of his pockets and walks closer to
Doe.

SAM CLARKSON
That's were you're wrong John. What
I wanted was the Phoenix Group.
Instead, I got about 2 dozen bodies
and 2 missing key figures slip away
from me.

JOHN DOE
That's your problem. Not mine.

SAM CLARKSON
Wrong again, John. You seem to
forget that you are still pretty
damn important to them. Which makes
the group our problem. You and me.
I mean, damn it John! I thought we
put all this behind us. Now, we HAVE
to talk.

Doe shakes his head as he steps away from Sam.

JOHN DOE
I got nothing to say to you.

Doe begins to walk to his car when he notices two more
N.S.A. agents standing in front of his car. Apparently
anticipating that Doe would try to drive away. Doe sees
them and stops, then turns and gives Sam an angry look.

SAM CLARKSON
(looking at Doe)
I know about Digger.

Doe looks around to see if there are any more agents close
by.

SAM CLARKSON (CONT'D)
The Police officer he killed had his
video camera on when Digger executed
him. You should have told us John.
We would have known who to look for.
I thought we agreed to help each
other.

JOHN DOE
You never would have found them. It
made no difference who they were.
Anyway, I don't need your help. You
people just want to use me the same
as this damn Phoenix group.

Sam again walks closer to Doe.

SAM CLARKSON
So what are you planning to do John.
You're going to take on this group
on your own. Because they're not
going to stop. They're not gone
John. They're watching you, and
Theresa.

Doe looks at Sam, pondering his words.

SAM CLARKSON (CONT'D)
Now we've been analyzing all the
evidence we found at the Copper mine
that day. And I think we know what
they were doing when we busted in on
them.

A look of intrigue comes over Doe.

SAM CLARKSON (CONT'D)
We've also found some new
information on Digger's whereabouts.
We want to brief you on this John.
We want your input. Now, we're not
exactly sure what this group is up
to. But we consider them a threat.
So I think you owe it to yourself to
help us on this. What do you say?

After a few seconds of pondering, Doe glances at Sam in a
way that lets Sam know he agrees. Sam then signals with
his hand and a black S.U.V. pulls up from the alley behind
him. Sam opens the passenger door and gestures to Doe.

SAM CLARKSON (CONT'D)
Lets go for a ride.

We see Doe get into the S.U.V. with Sam. The other 2
agents get into another vehicle parked down the street.
Then both vehicles drive off down the street. We switch
angles and see the vehicles pass a particular street
corner. We then see that in that corner there is a corner
Cafe shop, with tables outside.

On one of those tables sits a woman. Short brown hair
(early 40's). She watches the cars go by and immediately
begins typing into what looks to be a special kind of
transmitter laptop.

CLOSE ON - LAPTOP SCREEN

We see the words being typed on the screen. "N.S.A. has
contacted target. Please advice"

CLOSE ON - WOMAN'S COLD STARE

FADE OUT.

ACT THREE.

EXT. THE VATICAN, ROME - NIGHT

We see beautiful lights adorn The Vatican Dome in the
distance. As we pull down from the view of the Dome, we
come down to a narrow Roman street. A black sedan with
tinted windows drives away from the direction of the
Vatican Dome. The vehicle makes his way down the street
and turns the corner. After slowing down a few feet the
car turns into an alley behind an Italian bakery.

EXT. ALLEY BEHIND BAKERY - NIGHT

The black vehicle comes to a big warehouse door. After a
few seconds, the metal door lifts open, allowing the car to
drive inside. As soon as the car is inside the metal door
begins to close shut.

INT. UNKNOWN WAREHOUSE - NIGHT

The black car comes to a stop in the middle of a warehouse
full of crates and boxes. No one else is visible inside
the warehouse. We then see both the driver's side and the
passenger's side doors open. From the driver's side steps
out Trenchcoat Man and from the passenger's side steps out
Samuel. Neither man says a word as they both make their way
towards the back part of the warehouse and up a set of
metal stairs to a second level.

We see both men calmly walk across the second level of the
warehouse towards another door. This door looks strangely
out of place, as if it has no place being there. Next to
the closed door there is a box with a number key pad
display. Trenchcoat Man punches in a set of numbers. With
that the door makes a clicking sound and Trenchcoat Man
opens it. Both men walk through the doors and we see the
door close shut behind them.

INT. PHOENIX GROUP HQ - NIGHT

Inside this section of the warehouse we see both Samuel and
Trenchcoat Man walk along a walkway high above what looks
to be a group of about 40 to 50 young men in black suits
and ties. Each of them busy walking about or sitting in
front of a laptop display. Samuel looks around as he makes
his way down a set of metal stairs to the level where the
group of men are following their assignments. Trenchcoat
Man is ahead of him, making his way towards a front section
of the work area, where on a desk a set of reports that
await review. Trenchcoat Man grabs these reports and
brings them to Samuel, who is walking among the group of
men examining their work. Samuel takes the reports in hand
and begins to walk to another part of the workroom,
followed closely by Trenchcoat.

We see both men come to a section that looks like a
makeshift movie theater. A giant projection screen is on
the wall, with a series of images flashing one after the
other in 2 second intervals. The images are pictures of
the Vatican, different Vatican personnel and buildings, men
and women around the Vatican buildings. Sculptures and
paintings of heavenly figures can also be seen among the
flashing of images. We pull back from the screen to see 4
people strapped to chairs pointing at the screen.
Separated into 2 pairs, the 3 men and one woman are all
panting heavily with pad and pencil in front of them. Each
of them is sketching erratically onto the note pad and
being supervised closely by a group of young men in lab
overcoats.

Samuel walks among this 4 subjects and examines their
previous sketches. He sees nothing of interest and turns
towards Trenchcoat who is standing by.

SAMUEL (In Sign Language)
This is not happening fast enough.
It could take us months or years at
this rate before we find the right
lead.

TRENCHCOAT MAN (In Sign Language)
And your tour of the Vatican did not
help us either.

SAMUEL (In Sign Language)
Not true. I did meet a strange
fellow. He projected a sense of
fear towards me I did not foresee.
I want him under surveillance
immediately.

TRENCHCOAT MAN (In Sign Language)
Who is he?

SAMUEL (In Sign Language)
Father Dominick Parsento. Head of
the Corinthian Order. Angelo told
me he has the highest security
clearance in the Vatican. This man
has access to their deepest secrets.
I believe our paths did not cross by
chance. We need to know everything
about him. Make this happen within
the hour.

Samuel proceeds to walk into his private office nearby.
Trenchcoat watches him leave and then begins to walk back
to the workroom.

EXT. THE VATICAN, ROME - NIGHT

The moon lights up the night as we see Father Dominick
calmly walk out of the side entrance of one of the
courtyards of the Vatican. He is pushing his old bicycle
which he rides everyday. Father Dominick adjusts his scarf
and places his book bag on the bicycle's basket. He then
pushes it outside the courtyard past a beautiful fountain.
As he reaches the street we can see that other people are
walking about, possibly leaving evening mass. On the
street, Father Dominick slowly gets on his bike and
proceeds to ride down the street.

EXT. ROMAN STREET - NIGHT

We see the old priest ride his bicycle past businesses and
tourist who are enjoying the beautiful Roman night. Father
Dominick looks to be in deep thought. He seems to be
thinking about something that has clearly bothered him
today. As he rides he is looking around for anything
suspicious to him. As he reaches an intersection the old
priest stops to let traffic pass. While doing so, he takes
a look behind him and notices a young man riding a scooter
bike, pull up next to him. The young man looks like a
typical Italian youth on his way to a place where no priest
would probably go. The priest and the young man exchange
smiling glances.

As the young man then looks ahead for the light to turn
green, we notice that Father Dominick is looking a the
young man out of the corner of his eye. It seems that
Father Dominick is noticing something odd about the young
man. Seconds pass before the young man senses the priest's
stare and turns to the old man.

CLOSE ON - FATHER DOMINICK'S FACE

FATHER DOMINICK (INT P.O.V.)

---The young man's face suddenly turns fromm normal to pale
white. His eyes sink into their sockets and become two
black holes.

---At the same time, everything around him turns black and
rotten looking.

In a split second second everything turns back to normal
for Father Dominick. His face jolts back as he sees the
young man ride off down the street without even looking
back at the old priest. Father Dominick remains at the
intersection, he raises his hand towards his forehead in
obvious concern and fear. After a few seconds, the priest
looks around some more and proceeds back in the opposite
direction he was heading.

CUT TO:

EXT. ST MARTIN STREET - NIGHT

We see the white street sign that reads "St. Martin" near a
light post. As we pull back, we come down to an inclined
street where Father Dominick is riding down in a hurry. As
he turns down St. Martin street, he slows down and comes to
a stop in front of a particular store window. As we move
closer, we see the old priest get off his bicycle and place
it to the side. He is clearly shaken as he keeps looking
around trying to see if anyone is watching him. After
grabbing his book bag from his bike he proceeds towards the
front door of the shop and opens it. As he does we see the
sign painted on the store window. It says in Italian:
"Bertucci's Rare Books", the priest steps inside and closes
the door.

INT. BERTUCCI'S BOOKSTORE - NIGHT

Father Dominick is locking the door, still looking outside
for anything strange. We then see the store owner peaking
from his upstairs office. His name is Frederico
Bertucci,(late 60's) long time friend of Father Dominick.

(Italian Translation Begins)

BERTUCCI
(with books in
hand)
Dominick!? What brings you here so
late? I told you, I won't have your
books until next Tuesday. You're
loosing your memory in your old age
my friend.

The old priest loosens his scarf as he proceeds to walk
inside the store. Bertucci comes down his stairs to the
lower floor to see his old friend. Father Dominick is
panting from exhaustion. He takes a seat in the store's
old reading couch.

FATHER DOMINICK
Thank Goodness your were still open
'Tucci.

Bertucci begins to look concerned as he realizes his old
friend is truly worried about something.

BERTUCCI
I had to. Corso called me today.
Said he had some books he wanted me
to appraise for him.

Dominick's face lights up at his old friend's revelation.

FATHER DOMINICK
Corso is in town!? He's coming here
tonight?

BERTUCCI
That's right. Is something wrong
Dominick?

FATHER DOMINICK
(looking up at his
friend)
How long is he here for?

BERTUCCI
(still looking
confused)
He leaves tomorrow. Are you going
to tell me what's happening? Or am
I going to have to guess?

Bertucci takes the books in his hand and places them on a
table with about 10 stacks of other books. We see that his
whole store is just a small narrow shop with a endless rows
of books on countless shelves. Each shelf appears to be
growing from the floor of the store, giving us a sense of
their age.

FATHER DOMINICK
(deep in thought)
I don't think you would believe me
if I told you.

Bertucci turns to his friend in confusion. Still not
understanding his words.

BERTUCCI
(trying to annoy
his friend)
I'm afraid you're going to have to
be more specific Dominick. There's
a lot of things about you that I've
found to be unbelievable over the
years.

Bertucci's humoristic approach is lost in Dominick's
worried eyes. The priest has a far away look in his face.
He then turns to Bertucci who is more confused than ever.

FATHER DOMINICK
Imagine spending your whole life
preparing for something so important
and so improbable, that you begin to
disbelieve it. And then suddenly
without warning, it is upon you.

Dominick's tone of voice finally convinces Bertucci that
his old friend is truly distraught. What follows is a few
seconds of silence as both men look at each other. When
suddenly there is a loud knock on the glass door of the
bookstore. The pair of old men almost jump out of their
shoes as they are both startled by the abrupt noise.
Bertucci looks closer at the window and sees that it is
none other than Dr. Adriano Corso (early 50's). A freelance
Theologian and Archeologist who travels the world
constantly, working and moving from different historical
digs all over the globe.

CUT TO:

INT. BERTUCCI'S OFFICE - NIGHT

Father Dominick, Dr. Corso and Bertucci are sitting in the
upstairs office of the bookstore. The store is now closed
and the front lights are off. Corso is holding a glass of
wine which Bertucci has already poured in. The well
traveled Theologian looks more like a homeless man. He
looks like man who has not had a haircut or a shave in 3
months. Father Dominick is next in line as Bertucci grabs
another glass from his cabinet and fills the glass half
full. As he hands it to the old priest, we see Dominick
has a nervous mood about him. His hands shake as he takes
the glass of wine. Corso glances at Bertucci, both men see
that the old priest is in some type of distress.

CORSO
(to Dominick)
It is good to see your old face
Dominick. I WAS going to come see
you tomorrow. Brought you some
Spanish Brandy. '74 Cortez, very
good year.

Father Dominick doesn't react to his friend's good news, he
has a far away look on his face. Corso is a little taken
back by this, he's never seen the old priest act this way.
After a few seconds of silence, Dominick looks up at both
Bertucci and Corso who are staring at him.

FATHER DOMINICK
I'm.. I'm sorry. It's just that
something very important has
happened. Tucci please, I need to
speak with Corso in private if you
don't mind.

The shop owner and Corso give each other a curious look.
Bertucci seems to be a bit insulted by the omission.

BERTUCCI
Looks like SOMEONE is full of
secrets today. Hum... What do I
care? I got books file.

With a bitter funny look, Bertucci proceeds downstairs to
his books. Corso has a slight smile as he watches his
friend walk down the stairs, mumbling things under his
breath. Father Dominick is looking at Corso with a very
serious look.

FATHER DOMINICK
I'm so glad you're here Corso.

CORSO
(smiling)
Well I should hope so. What's with
you? And why did you shut out Tucci
like that? In his own store
nonetheless.

Dominick pulls his chair closer to Corso.

FATHER DOMINICK
No..No one else can know about this.
It's for his own good.

CORSO
Dominick. What's wrong? I've never
seen you this way.

FATHER DOMINICK
I'm sorry my friend. Now please,
you must listen to me. How long are
you in Rome for? Are you leaving
tomorrow?

Dr. Corso face grows more curious at the priest's
questions.

CORSO
(thinking)
Um...I'm driving to Bella Leon
tomorrow night. Why?

FATHER DOMINICK
No. You must leave tonight.
Please.

CORSO
(laughing)
What? I just drove into town
tonight. What are you talking
about?

FATHER DOMINICK
Please Corso. I need you to do
something for me. You must leave
Rome tonight and take something of
mine with you. I assure you, it is
the most important task you have
ever done.
(looking down)
When I came here tonight, I didn't
know what to do. But when Tucci
told me you were in town on this
precise night of all nights, I knew
that it must have been God showing
me the way.

Corso is now in disbelief at what his old friend is asking.

CORSO
Dominick. I don't know what is
making you act this way. But I want
you to know that you can tell me
what's troubling you in confidence.

FATHER DOMINICK
(standing up)
No. Not here. Corso please. I
know how all of this sounds. But I
ask you. Have I ever giving you any
cause to doubt me before?

Corso just stares at him in silence as he realizes the
sense of importance in the priest's voice. Dominick grabs
his book bag and gets ready to leave.

FATHER DOMINICK (CONT'D)
Now my friend. If our friendship
over the years has meant anything to
you, then please do what I ask of
you now. Meet me at my house in
half an hour. Come alone and make
sure that you are not followed. I
promise, I will explain everything
to you there. Will you do this for
me?

After a few seconds of contemplating his options, Corso
nods in agreement. Father Dominick then smiles at his
friends decision and shakes his friend's hand.

FATHER DOMINICK (CONT'D)
Thank you my friend. You will not
regret this. I promise.

(Italian Translation Ends)

Dominick then proceeds down the steps in a hurry. Leaving
Corso sitting behind in his chair, with a very concerned
and intrigued look in his face.

EXT. BERTUCCI'S BOOKSTORE - NIGHT

We see Father Dominick step out of the bookstore. It is
late now, close to 11:00PM. Dominick looks around again,
but sees no one. He gets on his bicycle and proceed to
ride down the street in a hurry.

EXT. ROMAN STREET - NIGHT

Father Dominick rides his bike quickly around the corner,
pass a series of parked cars. As he goes by, we switch
angles to look in the direction he came from. After a few
seconds, we see a man in a scooter pull up slowly to the
corner and stop. It is the same young man that Dominick
saw before, his face is emotionless as he stares in the
direction that the priest rode down.

CUT TO:

EXT. PHOENIX GROUP HQ - NIGHT

We pan down from the flashing Vatican images in the
projection screen on the wall to the group of apparent
remote viewers the Phoenix Group is using to surveillance
the Holy site. We then focus on one of the viewers,
concentrating on the note pad he is sketching on. We see
that he begins to draw a circular shape, of what looks to
be a domed ceiling building. Different from the familiar
Vatican dome. This building had a door in front of it, and
windows on either side. The viewer begins to draw faster
and becomes more agitated as he appears to be receiving a
particular strong vision. We then see on the note pad that
he is drawing the figure of a man walking a bicycle towards
the door on this small domed building.

DISSOLVE TO:

EXT. FATHER DOMINICK'S HOME - NIGHT

Just as if the remote viewer's latest sketch was
superimposed on what we are seeing now, we see a similar
small domed building with windows and a door. We also see
Father Dominick walking his bicycle towards the door. It
appears to be his home, which stands on top of a hill
overlooking a beautiful roman landscape with a beautiful
view of the Vatican Dome close by.

Father Dominick walks his bike up the steps to the front
door and takes out his keys. As he looks around some more
he inserts his house key and opens the door. He walks the
bicycle inside his open home, then looks outside one more
time before shutting the door.

INT. FATHER DOMINICK'S HOME - NIGHT

We see Dominick put his bike to the side, then take his
scarf off and proceed to a table in the middle of his home.
He turns on the lights. With the lights on, we see
Dominick's humble abode, which looks more like storage
space than a house. Things you would normally see in
someone's home seem to be absent. No television, no
kitchen, not even a phone. The whole place is curved with
a staircase looping from one side to the other leading to
an upstairs level. Concrete walls surround the whole place
and everything inside seems in disarray, with dust
everywhere. There are papers all about and what seem like
antiques and stacks of books of every kind fill every open
space.

Dominick puts his things on the table. He is in deep
thought, trying to figure out his next move. The old
priest then proceeds up his staircase towards the second
floor. We see him pass his unmade bed, surrounded by more
books and papers, towards his closet. He opens his walk-in
closet door and walks inside. Inside his closet there are
clothes and more books everywhere. Father Dominick looks
up to what looks to be an attic door with a rope attached
above his closet. Dominick pulls down on the rope, which
in turns pulls down the attic door that unfolds to a small
latter leading to the upstairs attic. Dominick then grabs
a flash light from somewhere and proceeds to climb the
latter up to his attic.

INT. FATHER DOMINICK'S ATTIC - NIGHT

The priest's head rises from the floor bellow as he
finishes climbing the ladder to his attic. We then see his
flashlight turn on, illuminating what looks to be a very
cluttered room. Statues of the Virgin Mary, very old thick
books, and Christian crosses are all over the place.
Father Dominick walks in between all this items through a
makeshift path towards the other end of the attic. Along
the concrete walls we can see, all kinds of Christian
artifacts, some undoubtedly priceless in value. The old
priest makes his way to a particular spot. We switch
angles to see that he's standing next to what looks to be a
5 foot long wooden crate with a glass cover, lying flat on
a wooden table.

Father Dominick hesitates for a few seconds as he shines
the light on the crate. We see the light slowly creep up
from the bottom end of the crate, along the glass cover
toward the top of the crate. Dominick focuses the light to
see what is encased under the glass. Finally we see what
is inside the crate; it is The Phoenix Staff.

CLOSE ON - FATHER DOMINICK'S FACE

(Italian Translation)

FATHER DOMINICK
(staring at the
staff)
Give me strength God. The Time of
Judgment is here.

CLOSE ON - THE PHOENIX STAFF

CUT TO:

INT. PHOENIX GROUP HQ - NIGHT

We see Trenchcoat man walking up from the work area towards
the side office where Samuel is standing. As he makes his
way there he passes the 2 pairs of remote viewers still
working away. Trenchcoat stops at the doorway to Samuel's
office. We switch angles to see Samuel turn around to look
at his colleague.

TRENCHCOAT MAN (In Sign Language)
We have your Father Dominick under
surveillance. Information we have
says that he lives outside the
Vatican grounds. He is well known
by antique dealers around the world.
The priest fits our profile
perfectly.

SAMUEL (In Sign Language)
(with a stern face)
Where is he now?

TRENCHCOAT MAN (In Sign Language)
Our shadow tells us he stopped at an
Antique Books Store on St. Martin's
street. Met with two men, then
left.

Samuel acknowledges and walks out of his office onto the
area where the remote viewers are still working.
Trenchcoat follows close behind. We see Samuel look over
at the remote viewers and then stares back at Trenchcoat.

SAMUEL (In Sign Language)
He's the lead we've been looking
for. I felt it when he shook my
hand. We must watch him closely.

TRENCHCOAT MAN (In Sign Language)
He may already know we are watching
him. Our man reported that the
priest took an unusual interest in
him.

SAMUEL (In Sign Language)
That may be my fault. The priest
had a sensory discharge when our
hands touched. We may have to bring
him in.

As Samuel and Trenchcoat continue talking, one of the labcoat
personnel looking over the remote viewers notices what one
of the viewers is sketching. The young man's eyes widen,
then he grabs the drawing from the viewers station. He
quickly takes it over to Samuel, who takes notice of the
young man's excitement.

PHOENIX OPERATIVE #1 (In Sign
Language)
(after handing the
drawing to Samuel)
They found something sir.

Samuel looks at the drawing for a few seconds with
Trenchcoat and the young operative looking on. Samuel
turns stone face as he continues to stare at the drawing.
He then moves quickly towards a table where the previous
drawings of the viewers are being reviewed. He searches
through them and quickly comes to the drawing of Father
Dominick walking his bike towards a domed building with a
door in front of it.

SAMUEL
(looking at the
drawing)
Get the car ready.

Trenchcoat and the young operative look stunned as they
hear their boss speaking out loud. Samuel turns and looks
up at both of them.

SAMUEL (CONT'D)
(louder)
NOW!!!!!

Trenchcoat immediately moves out, as does the young
operative. We see other Phoenix members take notice of the
speaking voice of their leader. We then switch angles to
see the drawing that seemed to set Samuel off. It is a
rough sketch of what looks to be the Phoenix Staff.

CUT TO:

EXT. FATHER DOMINICK'S HOME - NIGHT

We see a blue '77 Volkswagen van with European plates drive
up the hill and pull towards the cul-de-sac in front of
Dominick's home. The van parks and we hear the engine shut
off. After a few seconds the driver's side door opens and
we see Dr. Adriano Corso step out and shut the door behind
him. He begins to walk towards Dominick's door, as he does
so he looks behind him and sees a figure standing at the
bottom of the hill. He can't make out his features but the
figure is standing on the street corner, looking up the
hill towards Dominick's place. Corso is curious but
nothing more than that as he pulls down on a rope next to
Dominicks door. The rope makes a rattling sound inside the
home, obviously serving the purpose of a doorbell.

After a few seconds, a small peephole door opens on
Dominick's Door.

(Italian Translation Begins)

CORSO
(looking at the
door)
It's ME Dominick. Open up.

Dominick opens the door in a hurry.

FATHER DOMINICK
(looking behind
Corso)
You weren't followed?

CORSO
Of course not. What...

FATHER DOMINICK
(rushing Corso to
enter)
Not here..Come in, come in.

Dominick shuts his door after letting Corso in. We switch
angles to the figure standing at the street corner down the
hill. As he comes out of the shadows, we see that it is
the young man who was riding the scooter before. He pulls
out a portable keypad device, and begins typing. All the
time looking up in the direction of Dominick's place.

INT. FATHER DOMINICK'S HOME - NIGHT

Corso walks to the middle of Dominick's home, looking
around a bit before moving some books out of the way and
sitting on an old couch. Dominick locks his door and looks
out his windows, completely nervous. Corso can only stare
at his old friend in confusion.

CORSO
Dominick, I just got into town. Ok?
I need a shower and a bed. Now I'd
like to get to my hotel room soon,
so would you mind telling me what
this is all about?

Dominick walks towards his old friend and sits on a chair
in front of Corso.

FATHER DOMINICK
I know how all this must look to
you. You must understand, I did not
mean for this to happen this way.
But you're the only one I can trust
with this.

Corso leans forward in his seat to listen to his friend
better.

CORSO
Dominick. Maybe I would understand
this whole situation better, if you
just told me what exactly you need
me to do for you.

Dominick smiles and gets up from his chair and begins to
walk around the room.

FATHER DOMINICK
Ah, my friend. I wish it were that
simple....I don't even know how to
begin....How to explain this to you
without sounding like an old senile
fool.

CORSO
Dominick. We have known each other
for a long time and I think you know
you can trust me with anything. If
you ask me to believe you, I will.
There's no reason for me not to.

The old priest crosses his hands as he listens to Corso.
Dominick is now staring at an old painting of the
crucifixion of Christ. Corso looks from behind him.

FATHER DOMINICK
That's good. Because I'm about to
entrust you with something that was
entrusted to me a long time ago.

Dominick turns to look at Corso, who is looking with an
intrigued face.

FATHER DOMINICK (CONT'D)
Something more important than life
itself.

Corso smiles slightly at what appears to him to be an
exaggeration in terms.

CORSO
And what is THAT Dominick?

FATHER DOMINICK
(looking intently
at Corso)
The FUTURE.

(Italian Translation Ends)

INT. PHOENIX GROUP HQ - NIGHT

We see a phoenix group member (20's) walking up the stairs
to the second level and head towards the exit door to the
other side of the warehouse. He gets to the door, punches
a series of numbers on the keypad lock and opens the door.
Not far behind, we see that Trenchcoat man is making his
way across the work area towards the same stairs.

Suddenly we hear muffled gunshots being fired from fully
automatic firearms with silencers attached. The young
operative who had just walked through the upstairs door
stumbles back inside suffering from gunshot wounds.
Immediately he is followed by a group of a dozen men, all
in full black assault gear. They move with the speed and
skill of a tactical attack team.

We switch angles to see that all the Phoenix members are
immediately following preplanned contingency procedures.
Each member begins to destroy reports and technical
equipment. Samuel and Trenchcoat Man begin making their
way towards the opposite end of the warehouse. Meanwhile
the attacking force make their way down to the work area,
executing every phoenix member they see. We see that even
though they are being massacred, each member seems to
follow their final duties to the end, with no care for
their own lives.

Samuel and Trenchcoat are walking through the back area of
the warehouse, pass the group of 4 remote viewers who are
each being executed by phoenix members with cyanide
injections. After that they begin to destroy all the
sketches that the viewers had drawn. We see Trenchcoat
with a gun in hand, cover the exit for Samuel through a
hidden backdoor. Trenchcoat then activates a incendiary
device which ignites a series of minor controlled
explosions within the complex, which in turn begin to torch
the whole inside of the warehouse.

We switch angles to the burning area inside of what used to
be The Phoenix Group work area. Fires are burning all
over. The assault team that just attacked the place stand
inside watching the warehouse burn. The bodies of dead Phoenix
members lie around the burning room. The tactical team all stand
in a circle around one team member in particular, who appears to
be their leader. The leader of the group then puts his gun
down and proceeds to remove his helmet and mask off. We
see that he is a man in his late 30's with black hair. One
of the team members walks up to him from the back of the
warehouse.

TAC TEAM MEMBER #1
(handing over a
burnt drawing to
him)
They had a projection team. They're
all dead. Everything is torched.

TAC TEAM LEADER
(taking the
drawing)
No. Samuel is still alive.

Sirens can be heard in the distance. The assault group
takes notice.

TAC TEAM LEADER (CONT'D)
Move out and initiate a search grid.
NOW.

All tactical team members move out in a hurry. Their
leader remains behind looking over the sea of burning
bodies and equipment. He then looks down to the burnt
drawing in his hand. It shows a partial burnt image of the
Phoenix Staff. A deep look of hatred fills his eyes. He
then tosses the drawing into a nearby fire and proceeds to
walk out of the warehouse. Police sirens can be heard
getting closer and closer.

CLOSE ON - BURNING DRAWING

FADE OUT.

ACT FOUR.

FADE IN:

INT. NSA OFFICE, SEATTLE - DAY

We see Doe with his hands crossed looking out the 11th
floor window of a Federal building where the NSA keeps
offices. Doe is alone in a conference room with a table
and 12 empty chairs. Then the door opens and Sam Clarkson
walks in with papers in hand. Two young associates of his
walk in with him. Doe turns and sees Sam take a seat
across the table with his two men standing behind him. Sam
then proceeds to open his files and lay all kinds of
pictures and reports on the table. Doe just stands there
watching and waiting for Sam to begin either his debriefing
or interrogation.

SAM CLARKSON
(placing pictures
on the table)
5 years. Over 1 million man
hours. Surveillance photos,
wiretaps, and about thousand dead
ends. All in pursuit of this
mysterious group of people.

Sam has a serious stare on his face.

SAM CLARKSON (CONT'D)
The infiltration at the Copper mine
was supposed to be the payday of
this whole operation.....Instead all
we have are more questions and about
22 dead bodies.

Doe stares at Sam with a stern face.

JOHN DOE
What do you want from me?

Sam looks at both his associates then back at Doe.

SAM CLARKSON
You know what we want.

Doe turns and looks out the window again.

JOHN DOE
I'm not joining your operation. You
know everything I know about this
people. You said you have some new
information, that's should be enough
to continue your operation.

SAM CLARKSON
What we have are bits and pieces of
a puzzle. We've been able to
determine that they were using
Theresa and Michael as remote
viewers. They were using a slide
show of images as a stimulus to
influence their abilities.

With that, Sam takes a remote control in hand and points it
to a television screen on the wall. A series of images
begin to appear, changing once every few seconds.

SAM CLARKSON (CONT'D)
This images did not make much sense
to us. Some where surveillance
photos of you. And others, seemed
to center around pictures and
drawings of the Phoenix. One
in particular. This is a specific
image of what looks to be some kind
of imprint on some type of piece of
cloth or shroud. This was the most
prominent one of the lot.

Doe stares at the image of the Phoenix shroud that is
paused on the screen.

JOHN DOE (B/W P.O.V.)

---Color image of the shroud being shown onn the tv screen.
Everything else around it is in black and white.

Doe's eyes widen as he recognizes the faded image of the
Phoenix staff with the image of the real staff in his
dreams of late. A sense of fear begins to come over him.
It is clear to him that he is being guided somehow. But he
doesn't understand where or by what exactly.

SAM CLARKSON (CONT'D)
This image means something to you
doesn't it?..Its the Staff...The
artifact you mentioned to us before.
Isn't it?

JOHN DOE
(with a serious
look)
Yes.

SAM CLARKSON
And you said that they expect you to
use this artifact to complete THEIR
destiny?....What does that mean?

JOHN DOE
I don't know. Some type of
prophecy.

Sam looks on, then takes out to yellow pieces of paper
inside evidence bags. Each showing a drawing of the
Vatican Dome.

SAM CLARKSON
Well, whatever this Staff is. They
seem to think that they'll find it
in The Vatican.

JOHN DOE
Rome? Is that where they are?

SAM CLARKSON
We think so. We are already working
with the Italian government on this.
We're keeping our eyes open.
Nothing so far.

Doe looks down with his hands resting on his hips. Sam
pulls out other pictures. This ones showing what looks to
be tatoos in the back of cadavers' heads. The tattoos are
of a circular image of a red bird.

SAM CLARKSON (CONT'D)
We're definitely dealing with some
pretty determined people John. Who
seem to believe in their cause
totally and without question.
Willing to die if necessary to keep
their secrets. We believe that they
are much more than just a group of
fanatics. More like a cult. With
unlimited resources all over the
world and willing to kill or die for
their believes.

Doe leans in and takes the picture of the cadaver's head.
Then looks back at Sam.

SAM CLARKSON (CONT'D)
They are very good at deceit and
staying out of site when it suits
them. They can be anyone, anywhere.
But you know that already don't
you?.

Doe tosses the picture back on the table. And walks back
towards the window with his arms crossed.

JOHN DOE
If you're trying to make your point
about Digger, you already made it,
Ok? I should have told you I saw
him at the mine. I get it.

Sam looks back at his colleagues again, then prepares to
say something else.

SAM CLARKSON
I wasn't talking about Digger John.

Doe looks back at Sam with a look of confusion at first.
But then his look turns to one of contempt.

JOHN DOE
Now you wait a minute. Theresa is a
victim here. You know that.

SAM CLARKSON
Is she? How sure are you about
that?

JOHN DOE
POSITIVE!! She has nothing to do
with the Phoenix Group, and I
believe her.

SAM CLARKSON
Why? Because she told you?..You
don't seem to understand that this
group specializes in the art of
lying and impersonation.

JOHN DOE
(shaking his head)
No...Not her.

SAM CLARKSON
John. I truly hope we're wrong
about her. But ask yourself. What
do you really know about her?

Sam pulls out another set of papers. Doe is pacing around
the room.

SAM CLARKSON (CONT'D)
The name she used in the Hospital,
Kirkland? Is fake.

JOHN DOE
(in a stern voice)
She told me already. You're wasting
your time.

SAM CLARKSON
Did she tell you that there is no
evidence of her existence before 3
years ago?

JOHN DOE
Stop this. You don't understand.

SAM CLARKSON
Then MAKE me understand John.
Because she has no record since
before the new millennium. And I'll
give you one better.

Sam flips the pages on the documents in his hands.

SAM CLARKSON (CONT'D)
We analyzed the prints that were
taken from her at the Hospital, and
guess what?

Doe stops pacing and waits for Sam to continue.

SAM CLARKSON (CONT'D)
It seems we were able to match her
palm print to the print of a 9 year
old girl who died of brain cancer
over 20 years ago.

Sam looks at Doe, who ponders on what he is hearing.

SAM CLARKSON (CONT'D)
But the best part, the part that has
really stumped us is the fact that
her FINGER prints do not match that
little girl. There are no
documented cases of this kind of
print match. We checked.

Doe turns and looks out the window again.

SAM CLARKSON (CONT'D)
So either this is a first. Or!
Your Theresa has had her
fingerprints altered in order to
fake her own death.

Doe turns to Sam with a concerned face.

JOHN DOE
What was the girl's name?

SAM CLARKSON
(looking at his
file)
Theresa Ann Mathews.

Doe sighs, showing his frustration.

SAM CLARKSON (CONT'D)
What does that tell you John?

JOHN DOE
(with a
contemptuous stare)
That this meeting is over.

Doe proceeds to walk out of the room, but one of Sam's
colleagues gets in his way. Doe stops right on the man's
face. Doe stares at him, waiting for him to move.

SAM CLARKSON
(looking at his
files)
Think about what you're doing John.
Think real hard.

Doe looks down to Sam who is still sitting at the table.
Then he stares back at the young man in his way. Doe then
lunges at him and grabs him by his collar and forces him
against the wall. The other NSA operative immediately
grabs Doe from behind.

SAM CLARKSON (CONT'D)
(standing up)
LET HIM GO!!

Both NSA men immediately stop struggling with Doe and
proceed to let him walk out. Doe pauses for a few seconds
then opens the door and walks out. Sam stares at his two
colleagues, then back down to his files in frustration.

EXT. FEDERAL BUILDING - DAY

The front door to the building opens and we see Doe walk
out. As Doe begins walking across the square in front of
the building, we see Sam come out of the building and
sprint to catch up to Doe.

SAM CLARKSON
You're not making things easy for me
John.

JOHN DOE
(still walking
away)
Look, I listened to what you had to
say. I figured I owed you that
much.

SAM CLARKSON
(following Doe)
Thanks. Really I appreciate your
candor. But I should tell you that
my superiors have given me the
authority to bring you and Theresa
into custody.

Doe stops and turns to look at Sam.

SAM CLARKSON (CONT'D)
I'm running out of excuses for you
John. The NSA wants me to arrest
you, but I'm not, because my gut is
still telling me I should trust you.

JOHN DOE
You do whatever you want to me, but
you leave Theresa alone.

SAM CLARKSON
I can't do that John. You and her
are the only links we have to the
this group. You don't want to work with
us, fine. But you leave me no
choice but to put you and Theresa
under full time surveillance.

Doe's frustration is very apparent. He realizes that he
has no way to fight this at this time.

JOHN DOE
Fine. Why should you be any
different from them?

Doe turns and begins to walk away. Sam does not follow as
he watches him cross the street. Sam looks frustrated as
well. We pull back to see the entire street full of people
walking about, and Sam still standing at the same spot.

CUT TO:

INT. FATHER DOMINICK'S ATTIC, ITALY - NIGHT

We see Dominick climb up to the attic from the floor door,
followed by Corso. Dominick hands his friend the flash
light. Corso immediately begins to shine the light all
over the attic. Looking around at Dominick's secret vault
of antiquities.

(Italian Translation Begins)

CORSO
(looking around in
amazement)
My God. I always thought you had a
room like this. But I never
expected to see what I'm seeing.

Dominick walks towards the back of the attic.

FATHER DOMINICK
(looking back at
Corso)
Come......This way. Hurry.

Corso continues to marvel at Dominick's secret treasure as
he follows the old priest to the back of the room. They
both stop on a table with a long wooden case. Dominick
looks at the case, then at his friend Corso, who has also
taken notice of it.

FATHER DOMINICK (CONT'D)
This is the reason I asked you here
tonight.

Corso shines the light on the case. He sees the glass
cover and begins to runs his hand over the glass. He
examines the case closely with his hands, using his
knowledge of wood carvings and artwork of different
cultures.

CORSO
(looking at the
case)
This looks like African Rosewood.
Its beautiful. How old is this?

FATHER DOMINICK
Centuries. But look inside of it
Corso. What's inside was old when
the Earth was new.

Corso stares at the old priest for a few seconds, then he
proceeds to look through the glass. He sees the Phoenix
Staff. Time seems to slow down as Corso appears to be
pulled in by the ancient artifact.

CLOSE ON - THE PHOENIX STAFF

CORSO
(mesmerized)
What is this Dominick?

FATHER DOMINICK
It has many names. You should feel
fortunate, for only a few have ever
been this close to it.

Corso still can't get his eyes off of it. Dominick crosses
his arms and walks towards his attic window. He looks out
to see the night sky over the Vatican Dome in the distance.
The priest's eyes show a sense of reckoning. Corso finally
looks up towards Dominick.

CORSO
Why have you brought me here? I....
don't understand what you want of
me.

Dominick looks down with a slight smile and turns towards
his friend.

FATHER DOMINICK
You're right. Before you can take
on this burden, you must understand
its importance.

The priest's eyes well up a bit as he continues.

FATHER DOMINICK (CONT'D)
Please understand, if I were 10
years younger I would not be putting
you through this. But I have no
choice. You're the only I can trust
now.

CORSO
Dominick what....

FATHER DOMINICK
(gesturing to
Corso)
Please...Just listen.....I will tell
you what was told to me the day that
I became the keeper of this ancient
object.

Dominick then walks to the wall and stares at a cross
hanging there. Corso looks on, waiting for his next words.

FATHER DOMINICK (CONT'D)
Throughout known history, mankind
has struggled to define itself. To
find meaning in our existence. Most
of us rely on faith of religion to
go on living. We want to believe in
something bigger than ourselves.
Simply because there HAS to be
something more than this thing we
call life.

Dominick points out the cross to Corso who glances at his
old friend with a sense of intrigue.

FATHER DOMINICK (CONT'D)
However, there are others who don't
believe in such a divine outlook of
life. They believe life is merely
an accident of nature. A momentary
lapse in a universe full of chaos.
So... our whole history has
consisted of the conflict between
this two points of view. One
looking for a divine plan, the other
for mere coincidences in reality. Sprouting
the creation of religion and
science. The two ends of a
spectrum.

The old priest walks closer to the Phoenix Staff. He
glances over it.

FATHER DOMINICK (CONT'D)
There's an old proverb that I've
always enjoyed. It states that FACT
is the enemy of FAITH, and never the
two shall meet.

Corso still looks on, waiting for Dominick to make his
point.

FATHER DOMINICK (CONT'D)
Ironic when you think about it. For
you and I represent the two ends of
the spectrum. And this,
(placing his hand
on the wooden case)
Is where FAITH AND FACT will meet.

CORSO
Dominick. What is this thing? Why
are you acting this way?

Dominick looks to his old friend with a sense of
revelation.

FATHER DOMINICK
This is the answer to all of
mankind's founding questions. Where
did we come from? Are we alone in
the Universe? What is the meaning
of Life? Does God exists?

Corso eyes widen at Dominick's truthful tone.

FATHER DOMINICK (CONT'D)
Most of us think that the reason
we've been asking these questions is
because we've never had the answers.

Dominick looks at Corso with an intent stare.

FATHER DOMINICK (CONT'D)
But what if I told you that the real
reason is because we forgot them.
That mankind once knew all the
answers to the these questions, but
that we were made to forget them to
keep us from destroying ourselves.

Corso leans against a stacks of books behind him. His face
radiates obvious disbelief. The old priest stares at his
friend. Corso then notices that the priest is holding a
stone cross in his hand.

FATHER DOMINICK (CONT'D)
(smiling)
You don't believe me....It's all
right. I didn't believe it at first
either. I didn't want to believe
it. It went against everything I
stood for. Then I felt the power of
the Staff. After that, I became its
keeper. A protector against those
who would come for the staff once
they learned of its meaning.

Corso still has a look of disbelief.

CORSO
(shaking his head)
I'm sorry Dominick. This is not
enough for me. You said it
yourself, I'm a man of science. I
look at the facts. And you haven't
shown me anything other than just a
very impressive private collection.
All I see is someone who seems to be
scared of something. I want to help
you. But you'll have to do better
if you want to convince me.

Dominick stares at his old friend, still holding the stone
cross in his hand.

FATHER DOMINICK
I know. You'll have to see what I
saw 40 years ago. Its the only way.

The old priest suddenly raises the stone cross and SMASHES
the glass cover protecting the Phoenix Staff. After the
loud crashing sound, shards of glass cover the now exposed
artifact. Corso is stunned as he watches Father Dominick
calmly put the cross down and clear the shattered glass
from the staff. Corso moves closer to get a better look at
the strange object. We switch angles and see a clear view
of the Phoenix Staff. It looks to be carved out of some
type of bronze or copper metal.

CORSO
(staring at the
staff)
Why did you have to do THAT for?

FATHER DOMINICK
(calmly)
If you look closely, the case never
had a lock to open. It was made to enclose
the staff, so that no one would
touch it by mistake.

CORSO
Why?

FATHER DOMINICK
Hard to explain. You have to see
for yourself.

Dominick finishes cleaning the glass to the side and then
proceeds to stand aside.

FATHER DOMINICK (CONT'D)
(looking at Corso)
Go ahead. Feel its texture.

Corso looks at Dominick with a confused stare. Dominick
gestures to him to go on. Corso then, with small
hesitation, proceeds to lay his hand on the carving of the
Phoenix which adorns the staff. Dominick watches his
friend closely, expecting something. After a few seconds
of Corso feeling the carving on the staff, his eyes appear
to focus on something. Not on the staff, but instead on
something beyond. His mouth opens as he appears to be
having some type of vision.

DR. CORSO (INT P.O.V.)

---The landscape of a beautiful stone city,, with incredible
architecture. Panning around we see that it is surrounded
by a beautiful green forest and an immense waterfall
cascading from a giant green mountain. The waterfall is
feeding a river which runs straight through the middle of
this city. The ocean can be seen in the far distance.

---Fire balls raining from the sky. Earthqquakes, Tornadoes
and giant walls of water consuming the once beautiful city.

---Images of moving clouds over mountains. Ocean waves
crashing. Rivers of Lava flowing. Bright orange flames of
fire. Image of a figure surrounded by light

---Fast forward to flashing images of otherr more
recognizable civilizations. The Incas, Mayans, Egyptians,
Romans. All flashing through rapidly like some movie.
With sounds of different languages.

---Fast forward to flashing images of horriible things.
Death, famine, natural disasters, modern warfare. A
blinding Nuclear Explosion

CLOSE ON - CORSO'S FACE

We see that his eyes are wide open as his mouth. His head
begins to shake mildly as blood begins to trickle down his
nose. We pull back and see a pair of old hands take hold
of him and push him back. We see his hand leave the touch
of The Phoenix Staff.

We switch angles to see Corso fall to the ground with
Dominick attempting to slow his fall. Corso's hands shake
as his gaze comes back to reality and takes notice of
Dominick kneeling on the ground in front of him.

FATHER DOMINICK (CONT'D)
(looking at Corso)
Are you all right?

CORSO
Wha....What....How?

FATHER DOMINICK
I'm sorry Corso. But you had to see
and feel its power. If just for an
instant. So you would be able to
understand.

CORSO
(still shaking)
I feel....like my blood is burning.

FATHER DOMINICK
Any longer, and you would have died.

CORSO
But...why?....How's this possible?

FATHER DOMINICK
The staff is only meant for one
person to wield. It would kill any
other who tries to use it. .

Dominick helps Corso to stand. Corso stumbles a bit as he
gets his bearings. Dominick hands him a piece of cloth so
he can wipe the blood from his face.

CORSO
(panting slightly)
I saw...a city, civilizations,...as
clear as day.

FATHER DOMINICK
I know. I saw the same things a
long time ago.

CORSO
(sounding agitated)
What happened Dominick? What is
this thing? How can this be?

Dominick grabs an old leather journal sealed by a leather
string.

FATHER DOMINICK
(looking at Corso)
I can't tell you any more now.
We're out of time.
(gesturing to the
journal)
Everything you need to know is
written here. It is in italic code,
but you can decipher it as I did.

CORSO
Wait. Why are you telling me all
this? Why me?

FATHER DOMINICK
Because....Others have found the
staff. They are here, in Rome. I
saw them. People who want to
control its power. I was told that
it could happen one day. And that
it would be up to me to decide what
to do next.

CORSO
But how do you know these people are
after it?

FATHER DOMINICK
The same way you will. You have
touched the staff. You've been
given something that will let you
know when someone is after it.

Dominick hands the leather journal to Corso, then takes a
large piece of cloth and proceeds to pick up and wrap the
Staff with the cloth.

CORSO
But what if these people you speak
of, just want to study it? How do
you know their intentions?

FATHER DOMINICK
(turning to Corso)
Because it is only meant for one
person. The Veritas. The truth
seer. The true master of the Staff.
No one else.

Corso looks confused.

FATHER DOMINICK (CONT'D)
This being, the Veritas, will be
drawn to the Staff. It will call to
him. You will be able to see his
true essence. And when he comes, he
will fulfill his destiny. As it is
written.

Dominick picks up the Phoenix Staff and carries it towards
the attic door. Corso follows.

CORSO
You still haven't told me why you
want ME to take this from you.

Dominick stops at the attic door and turns to Corso.

FATHER DOMINICK
I chose you because you have always
dealt with the importance of human
history. Because you have no real
home. You're always traveling. You
have contacts all over the world, so
you can easily disappear. And most
of all, because you are my friend.

Corso stares at the old priest with a sense of realization.

FATHER DOMINICK (CONT'D)
Now...the time for questions is
over. You must leave tonight with
the Staff. Take the journal, study
it. It will all make sense, I
promise you.....Can I trust you will
do this for me?

Dominick with the concealed Staff in hand waits for Corso's
acknowledgment. Corso hesitates for what seems like
forever while wiping the sweat from his forehead.

CORSO
(nodding slightly)
I'll do it. I must be out of my
mind, but I'll do it.

(Italian Translation Ends)

Dominick smiles at his old friend. Both men then proceed
to walk down the attic door.

CUT TO:

EXT. ROMAN STREET - NIGHT

Police cars and fire trucks can be seen blocking an ally
behind an Italian bakery. Firemen are trying to keep the
fire under control, while police officers direct traffic.
About a block away we see two dark vans with tinted windows
turn the corner one after the other, away from the
commotion.

INT. 1ST DARK VAN - NIGHT

The man we know to be the Leader of the Tactical assault
team that just attacked the Phoenix Group is seated in the
passenger side. He looks on the rear view mirror at the
emergency vehicles left behind. Then he takes out what
looks to be a cell phone and punches a series of numbers,
waits for a special tone, then punches another series of
numbers. He then puts the phone to his ear. After line
connection sounds are heard, a voice answers.

MYSTERY VOICE (From Phone)
Report.

TAC TEAM LEADER
(into phone)
Line secure. We engaged target.
Evident viewer activity found.
Neutralized operation. Big bird
slipped away.

MYSTERY VOICE (From Phone)
Did they find the item?

TAC TEAM LEADER
(into phone)
Unknown. Looks like they got a hit.

MYSTERY VOICE (From Phone)
The Vatican?

TAC TEAM LEADER
(into phone)
It appears so. We're conducting a
grid search of the city.

MYSTERY VOICE (From Phone)
Useless Now. We lost our element of
surprise. He'll disappear again.

TAC TEAM LEADER
(into phone)
I know. He still has the advantage.
What do you want to do?

MYSTERY VOICE (From Phone)
Come home. We may have a lead on
The Veritas.

TAC TEAM LEADER
(into phone)
Who from?

MYSTERY VOICE (From Phone)
The NSA. You're going to Seattle.

TAC TEAM LEADER
(into phone)
Acknowledged. End Transmission.

The Team leader closes his cell phone.

TAC TEAM LEADER (CONT'D)
(to the driver)
Pack it up.

TAC TEAM MEMBER #1
Yes sir.

As the driver speaks into his communicator, the Team Leader
rest his chin on his hand as he looks out the window,
pondering the recent turn of events.

CLOSE ON - TEAM LEADER'S FACE

CUT TO:

EXT. FATHER DOMINICK'S HOME - NIGHT

The young man who's been keeping a watch on Dominck is
standing near the priest's house. Watching from the bottom
of the hill. In the distance, the young man reacts as he
hears police and emergency vehicle sirens. He reaches into
his jacket pocket and pulls out a small device with a
keypad. He stares into it as he punches the keys.
Suddenly a hand touches his shoulder from behind. The
young man is startled as he turns and sees Trenchcoat Man,
looking a bit dirty as if he just crawled out of a sewer.

YOUNG MAN (In Sign Language)
(after putting away
his communicator)
Sir. I've lost contact with Base.
What happened?

TRENCHCOAT MAN (In Sign Language)
That's not important. Is the priest
inside?

The young man notices Samuel walk out of the nearby shadows
looking at them.

YOUNG MAN (In Sign Language)
He's inside. He has a visitor.

Trenchcoat then turns to Samuel who has been reading their
conversation. They both await for Samuel's command.
Samuel moves his gaze up the hill to Dominick's home. He
then glances back at his two followers.

CUT TO:

INT. FATHER DOMINICK'S HOME - NIGHT

Father Dominick is busy tying a rope around the white
shroud that engulfs the Phoenix Staff. Corso is putting on
his jacket, with the old journal in his hand. Both men are
standing in the middle of the downstairs living room.

(Italian Translation Begins)

CORSO
How long do you want me to keep this
thing? Where do you want me to take
it?

FATHER DOMINICK
(tying the last
knot on the rope)
I don't know how long. And don't
tell me where you're going. Just
keep moving. Do what you do best.
Stay on the road. Study the
journal. Wait for your next move.

Dominick then picks up the staff and turns to Corso.

CORSO
Dominick, this is crazy. If this
people you fear found you, they will
surely find me.

FATHER DOMINICK
(handing the staff
to Corso)
That may be, but we both have to try
our best to keep it from them. I
know the danger I'm putting you in.
But believe me when I tell you.
What you're holding in your hands is
the most important piece in all of
mankind's history. It knows our
past, it guides our present and it
controls our future. Now GO.
Hurry!!

Corso is being edged towards the front door by Dominick.
The old priest then proceeds to look outside through his
peephole to make sure the coast is clear. We then see
Dominick's eyes widen in fear.

We switch angles to see what the priest is looking at
through the door. He is seeing the silhouette of 3 figures
slowly walking up the ramp to his home. The 3 people are
walking side by side, covering the width of the road.

We then see Dominick immediately close the peephole and
turn towards Corso in a hurry.

FATHER DOMINICK (CONT'D)
(looking at Corso)
My God! They're here.

CORSO
(with a worried
face)
What do we do now?

(Italian Translation Ends)

CLOSE ON - FATHER DOMINICK'S WORRIED FACE

EXT. FATHER DOMINICK'S HOME - NIGHT

We see Samuel slowly walking up to the house with
Trenchcoat and the young man at each side. They are
looking around to make sure that no one is watching them.
Each of them is holding an automatic gun with a silencer in
one hand. As Samuel gets to the front door, Trenchcoat and
the young accomplice take positions on either side. Samuel
raises his left hand slowly and touches the door lightly.
Samuel then closes his eyes, as if trying to feel something
more than the door. After a few seconds Samuel takes his
hand away from the door.

SAMUEL
(looking at the
door)
There are two of them. They know
we're here.

Trenchcoat and the young man acknowledge and get ready to
follow Samuel's lead. Without taking his eyes of the door,
Samuel takes one step back, points the gun at the door with
his right hand and fires 3 quick shots, destroying the
lock. After that, Samuel plants one foot firm on the
ground and busts the door open by kicking it in with his
other foot. Samuel steps back and Trenchcoat rushes in
with both hands pointing his gun forward. As the young man
then proceeds to follow him in, Samuel puts his hand on his
underling's chest, stopping him in his tracks.

SAMUEL (CONT'D)
(to the young man)
Watch the front. No one leaves.

The young man immediately complies and Samuel walks inside.

INT. FATHER DOMINICK'S HOME - NIGHT

Trenchcoat has his back against the inner entrance wall
overlooking the living room of the house. Samuel calmly
walks in behind Trenchcoat assessing the situation. After
looking around the corner Samuel walks into the living room
slowly. He's looking around as Trenchcoat provides cover
for him with his gun raised. Samuel's gun is pointed down.
Both men look around the old place, absorbing the entire
panorama of antiquities that lie all around.

Samuel then notices a figure seated near the window across
the living room. The figure is of Father Dominick who is
seated facing the 2 men. Samuel walks towards him slowly
with Trenchcoat still looking around covering Samuel's
back. Dominick has a cup of tea in his hand as he watches
Samuel walk closer to him and stop about 2 feet away.

(Italian Translation Begins)

SAMUEL
(with a smooth
tone)
Good evening Father. Please forgive
our intrusion. Hope you still
remember me?

Dominick takes a sip of his tea, then lowers the cup slowly
from his lips.

FATHER DOMINICK
(staring at Samuel)
I know who you are. And, I know why
you are here.

SAMUEL
If that's true, then you must know
what I seek.

(Italian Translation Ends)

FATHER DOMINICK
Ah yes. The Incas called it,
Zozomoc. The Visigoths named it The
Tulga. The Egyptians?, The Yaxum
Balan. You probably know it as the
Phoenix Staff. Handed down from the
Phoenician dialects no doubt.

Samuel looks at Trenchcoat Man standing behind him. Both
men realize that they seemed to have found the right man.
Samuel looks back at the old priest with a sly smile on his
face.

CLOSE ON - SAMUEL'S FACE

CUT TO:

EXT. FATHER DOMINICK'S HOME - NIGHT

We see the young Phoenix Member outside standing watch. It
is still pitch black. The sun is only a few hours away.
We slowly move away from the young man at Dominick's door
to a stone fence by the side of the road. We move over the
fence and down to the sidewalk below. We keep moving along
the sidewalk and come to rest on the figure of Dr. Corso,
who is standing with his back against the wall. The
Phoenix Staff and Dominick's journal are clutched to his
chest. Corso is slowly moving forward.

Corso has apparently gone out an old coal chute from
Dominick's basement. His bushy long hair and beard are
dirty with mildew. He's moving up the wall, below where
Samuel's lookout is standing. Corso is out of site for the
time being, but he still has a problem. He has to make it
to the road and to his van which is parked in front of
Dominick's house. We see Corso make it to the road and
look up the hill towards Dominick's House. The good news
is his van is parked facing down, so all he's got to do is
get to it open the door and release the brake. Gravity
will move the van down the hill without making too much
noise. The bad news is that the young man standing guard
is looking in the direction of the van, so as soon as it
begins to move he will see and proceed to shoot first and
ask questions later.

After a moment of consideration, Corso decides to go for
it. Apparently taking a chance on being able to sneak into
his van without being spotted. Then he would proceed to
let go of the parking brake and see what happens.

INT. FATHER DOMINICK'S HOME - NIGHT

We see Trenchcoat rummaging through Dominick's place.
Knocking over stacks of books, shelves, chairs and
artifacts. Samuel is still standing in front of Dominick.

SAMUEL
(glancing around
the room)
We know you're not alone. You're a
man of the cloth. So you're not
armed. Tell your friend to come
out. This will all go much smoother
is you comply.

Dominick remains silent, glancing over at Trenchcoat and
then at his ceiling. Samuel catches the priest's upwards
glance, then gestures to Trenchcoat.

SAMUEL (CONT'D)
(to Trenchcoat)
There's an attic. Find the door.

Trenchcoat immediately hurries up the steps towards the
second level of the house.

FATHER DOMINICK
(looking up at
Samuel)
You don't understand what the Staff
can do. It is not for your hands.

Samuel glances back at Dominick.

SAMUEL
I know more than you think. The
Phoenix has risen. I'm just
searching for what belongs to him.
Fulfilling his destiny.

FATHER DOMINICK
No. I know what you people really
want. You want to control the power
of the Staff. But you can't control
his master, so you're trying to find
the Staff before he takes hold of
it. So can control his destiny.

Samuel smiles at the priest's accusation. He then looks up
and sees Trenchcoat rummaging upstairs. We switch angles
to see Trenchcoat turning over the bed and other furniture.
He then makes his way to the closet and sees the latter
leading up to the attic. Trenchcoat cocks his gun and
proceeds to go up the ladder.

EXT. FATHER DOMINICK'S HOME - NIGHT

We see Corso slowly moving up the road towards his parked
van. He's hunched down as he walks, fighting the weight of
the Staff and the journal. He glances carefully past his
van and sees that the young man has not seen him yet.
Corso then manages to finally get to the front of his van.
He keeps down out of site, still using the van as cover.
We see that Corso is about to move to the driver's side
door when he hears a police siren. The sound keeps getting
louder as the police car apparently gets closer.

We switch angles to see the young Phoenix member standing
guard taking notice of the coming police vehicle. He's not
sure what's happening so he begins to walk down the hill
towards Corso's van to get a closer look at the coming
police car. As he does so, the young man hides his gun
around the back of his pants. We see that he is
approaching Corso's blue V.W. van.

Corso who is glancing at the coming police car is not sure
what to do. He then takes a peek to see where the young
man standing watch is doing. Corso is then shocked to see
the young man heading down the hill towards him along the
driver's side of the van. Corso notices just in time and
quickly moves in the opposite direction, around the
passenger side of the van. As he does so, the young man
just passes the front of the van and walks a few more feet
down the hill towards the main street. The police siren is
getting closer and closer. Then the police car lights
appear around the corner. The young man stops at the
bottom of the road with one hand around his back touching
his concealed weapon. Corso sees this as his opportunity
to get into his van. He pulls out his keys carefully and
opens the passenger side door.

INT. FATHER DOMINICK'S HOME - NIGHT

Samuel is looking around the downstairs living room. As
Dominick watches on. The sounds of the police siren is
then heard by both men, prompting Samuel to point his gun
to Dominick.

SAMUEL
(to Dominick)
Keep quiet and you might live
through this father.

INT. FATHER DOMINICK'S ATTIC - NIGHT

Trenchcoat is in the upstairs attic looking around with a
small flashlight he has taken out of his jacket. He is
knocking things over, looking around in a hurry, for he too
has taken notice of the approaching police siren.
Trenchcoat keeps moving around the attic, until he takes
notice of a long wooden case lying on a table. He quickly
proceeds to it and shines his light on it. We switch
angles to see the light shinning on the padded indentation
of the unmistaken shape of the Phoenix Staff. Trenchcoat's
eyes widen in the realization of his find.

EXT. FATHER DOMINICK'S HOME - NIGHT

The police car is know approaching at a high rate of speed
through the roman street. The young man stands at the
bottom of the hill waiting for the next move.

INT. DR. CORSO'S VAN - NIGHT

We see Corso looking ahead as he is settling himself on the
driver seat. He has closed the passenger side door without
making too much noise. Through the windshield we the
figure of the young man at the bottom of the hill and the
police car approaching from the left side. The Phoenix
Staff and the Journal can be seen on the floor of the van.
We now see Corso with both hands on the wheel, he has
placed the keys on the ignition but has not started the
engine yet. He watches in anticipation at will happen in
the next few seconds. Waiting for an opportunity that may
or may not come.

EXT. FATHER DOMINICK'S HOME - NIGHT

The police car now comes wheezing by the corner where the
young man is standing. It completely passes by without
even slowing down. Apparently a false alarm, since they
were heading to another part of the city. We see the young
man's face smile slightly in relief.

INT. DR. CORSO'S VAN - NIGHT

Corso sees the police car drive by without stopping. He
realizes that it is now or never for him to make his move.
We see his hands release the parking brake on his van and
his foot moving off the brake pedal and his other foot push
the clutch pedal. The Van begins to move.

CUT TO:

INT. FATHER DOMINICK'S HOME - NIGHT

Samuel is pointing the gun at Dominick as he realizes the
police are not coming. At that same moment he hears
Trenchcoat running down from the upstairs attic, and
through the upstairs floor. Samuel looks up.

TRENCHCOAT MAN
(from upstairs)
IT WAS HERE!! THE OTHER ONE TOOK IT.

CLOSE ON - SAMUEL'S FACE

Samuel's eyes are filled with rage as he realizes he's been
wasting his time. He looks over at Dominick.

CUT TO:

EXT. FATHER DOMINICK'S HOME - NIGHT

We see Corso's blue van slowly moving forward as the young
man turns from looking down the street and notices the Blue
V.W. van coming right at him. Without hesitation the young
man takes out his gun and points it at Corso.

INT. DR. CORSO'S VAN - NIGHT

We see Corso grimacing as he realizes he's too late. He
sees the young man pointing the gun straight at him. In a
last ditch effort to get away, Corso turns the key and revs
up the van's engine. Corso then tries to get his head down
to avoid getting shot.

EXT. FATHER DOMINICK'S HOME - NIGHT

The young man aims with both hands on the gun and squeezes
the trigger. Suddenly what should have been the sound of a
bullet firing turns into a "click". The gun has not
jammed. A bullet was in the chamber ready to fire. But it
just didn't. We see the young man realize this and freeze
in his tracks for a second. But a second is all he has
before Corso's van rams him head on. Sending his body
flying a few feet and landing head first on the sidewalk.

Corso's van then turns the corner and heads down the road
as fast as the van can go.

INT. DR. CORSO'S VAN - NIGHT

We see Corso's head come up and look behind him. He sees
the body of the young man on the sidewalk as he drives
away. A look of confusion fills his face. He is not sure
exactly what happened. As he continues to drive he looks
down at the floor of the van and notices the covered
Phoenix Staff.

CLOSE ON - CORSO'S FACE

Corso eyes show a sense of intrigue, as if wondering if the
Staff had anything to do with his escape. He then glances
at his rear view mirror and sees Dominick's house in the
distance.

(Italian Translation)

CORSO
(under his breath)
Gods speed my friend.

EXT. ROMAN STREET - NIGHT

Corso's van heading down the dark roman street.

EXT. FATHER DOMINICK'S HOME - NIGHT

We see Trenchcoat man standing outside Dominick's house.
He looks around and notices the van gone and the dead body
of his young accomplice lying on the sidewalk. He then
turns and hurries inside.

INT. FATHER DOMINICK'S HOME - NIGHT

Trenchcoat walks in from the entrance to the living room
where Samuel is standing looking at him. Dominick still
sitting behind him.

TRENCHCOAT MAN
(to Samuel)
It's in the open. We have to go.

Samuel raises his hand to his forehead in complete
frustration. We see Dominick's face filled with relief.
He understands now that his distraction tactic was a success.
Samuel turns to look at the old priest. Trenchcoat walks up and stands
next to Samuel.

TRENCHCOAT MAN (CONT'D)
(refiring to
Dominick)
What about him?

Samuel is still looking at the priest with an evil stare.

CLOSE ON - SAMUEL'S FACE

SAMUEL
We take him with us.

We switch angles to show Dominick's face.

FATHER DOMINICK
(to both men)
It has begun.

CLOSE ON - FATHER DOMINICK'S FACE

CUT TO:

EXT. WHOLE LIFE RECOVERY CENTER - NIGHT

We see Theresa standing outside the Recovery center, saying
good-bye to members of her therapy group. She smiles as
she hugs each of them as they leave the center. We then
switch angles to see Doe's car turn the corner and slow
down to a stop in front of the center. Theresa notices him
as she says good-bye to her friend. She then walks over
from the sidewalk onto the street and stops by the
passenger side of Doe's car.

THERESA
(to Doe)
Right on time.

JOHN DOE
(looking up from
his car)
Yeah. Ready to go?

Theresa opens the door and gets in. We can see that Doe
looks a bit distracted since he has been doing some
thinking since she last saw him.

THERESA
(shutting the door)
There's a deli down the road. I
thought maybe some old habits might help
jog your memory.

JOHN DOE
(revving up the
engine)
Why not?

We see Does car drive down the road with both of them inside.

CUT TO:

EXT. JARMAN'S DELI - NIGHT

CLOSE ON - SLOPPY SANDWICH

We pull back to see Doe staring at an oversized sandwich
with enough meat to fill 2 grown men. His face shows a
look of disbelief. Theresa is eating a sandwich about as
big as that one herself. A big smile fills her stuffed
face.

THERESA
(chewing her food)
Its the double salami giro. Your
favorite.

Doe stares at her with an open mouth.

JOHN DOE
You're kidding, right?

Theresa begins to laugh at the silliness of the situation.

THERESA
(cleaning her
fingers)
I guess I was hoping something would
come back to you.

Doe smiles as well, but his face seems to be hiding
something. A fact that is not lost to Theresa for long.

JOHN DOE
(smiling at the
sandwich)
Maybe there are things I shouldn't
remember.

Theresa continues to smile at the joke but her face begins
to show some intrigue, sensing Doe's underlying mood.

JOHN DOE (CONT'D)
(covering the
sandwich)
So, I didn't know you were a
qualified therapist.

THERESA
I mostly listen to their problems.
Give them some suggestions in how to
solve them.

JOHN DOE
You must have gotten some training
in psychology.

Theresa smiles at Doe's line of questioning. Knowing he is
trying to find out more about her.

THERESA
I completed 2 masters. One in
Psychology, and one in Sociology.

JOHN DOE
Really? Paid by The Soros
Foundation?

Doe sees her uneasy reaction to the mention of The
Foundation.

THERESA
Yes.

JOHN DOE
(looking down in
shame)
I'm sorry, I just....I can't get
away from it.

THERESA
It's Ok. I told you, I would tell
you everything I know.

JOHN DOE
(shaking his head)
No. This isn't the way. You said
it yourself. They're everywhere.
We're probably being watched right
now.

Doe looks around at the people around them.

THERESA
(touching Doe's
hand)
Hey...It doesn't matter. I'm not
afraid. You need to know
everything.

JOHN DOE
(caressing her
hand)
You're right. But I AM afraid. I
can't risk anything happening to
you. You've made a life here for
yourself. I'm not going to stand in
the way of that.

THERESA
But I WANT to help you.

JOHN DOE
I know. But the truth is, my
memories have been taken from me.
You can keep calling me Tommy and
show me all the pictures you want.
Its not going to change the fact
that I can't remember Thomas
Anderson. That I don't know who he
was.

Theresa stares at Doe, with a concerned look in her face.

JOHN DOE (CONT'D)
Worst of all, I don't remember you.
I can't remember what we had.

THERESA
I can feel how hard this is for you
Tommy. But shutting people out is
not the answer.

JOHN DOE
I know, and I appreciate all your
help. But lately I'm getting the
feeling that if I don't find out
what happened to me, and soon, there
may......

Theresa eyes show a look of concern. Doe hesitates, as he
seems to be deep in thought. He notices other people
walking and standing around. A sense of uneasiness fills
him, as if anyone of those people could be watching and
listening to them

THERESA
What.

Doe looks at Theresa with a caring smile.

JOHN DOE
Nothing. I..uh..I think I better
drive you home.

Theresa stares at Doe with a sense of disappointment.

CUT TO:

EXT. SARAH'S HOUSE - NIGHT

We see Doe's car pull up the suburban street and slow to a
stop in front of Sarah's house. After a few seconds, Doe
shuts down the engine and we see Doe and Theresa just sit
in the car.

INT. DOE'S CAR - NIGHT

Doe stares straight ahead as Theresa looks at Doe with a
sense of worry.

THERESA
You know. There are other ways to
bring out repressed memories....Have
you thought about...

JOHN DOE
I've done everything. Past regression,
Hypnotherapy, Word association, even
possible Blunt force trauma.

Theresa realizes that Doe's case is something that may not
have scientific explanation.

THERESA
So what are you going to do now?

Doe listens to her words with a look of deep thought.
After a few seconds he looks at Theresa intently.

JOHN DOE
I think,.. Something or Someone is
guiding me towards a particular
missing person's case.....I think I
have to investigate it. To see if
there's a connection between the
victim and me.

Theresa ponders his words.

THERESA
I wish you'll let me help you.

Doe smiles at her offer, but shakes his head respectfully.
Theresa looks down, showing her frustration and
disappointment.

JOHN DOE
There...IS something I've been
meaning to ask you.

She looks up at him again.

JOHN DOE (CONT'D)
I haven't asked you about my family.
My Mother? Father? Any Brothers or
Sisters?

Theresa smiles and stares up for a few seconds, thinking
back a few years.

THERESA
(looking back at
Doe)
I asked Thomas once, about his
childhood. He just said that that
part of his life was over with. And
there was no need to dwell in it....
It made him sad to think about it.
So I never brought it up again. I
figured, he would tell me when he
was ready. He never did.

Doe smiles slightly feeling a sense of irony.

JOHN DOE
I guess Thomas had his secrets too.

THERESA
I'm not helping much am I.

JOHN DOE
(with a smile)
You are, believe me. Most people
never know if they would care for
someone so much, that they would
risk everything for that person.
You helped me realized that I used
to be someone like that.

Theresa smiles at Doe's compliment. She then glances
towards her house.

THERESA
If you change your mind. I'll be
here if you need me.

JOHN DOE
I'll let you know what I find.

With that Theresa leans over and gives Doe a kiss on his
cheek. She then opens the her door and steps out. Doe
stays inside the car. She closes the door, but keeps both
hands on the door.

THERESA
You're taking a trip aren't you?

Doe smiles as if he knows he can't hide anything from her.

JOHN DOE
(looking up at her)
That's right.

THERESA
You won't tell me where?

JOHN DOE
You probably already know.

THERESA
(with a serious
look)
Maybe...Be careful Tommy. You may
not like what you find.

Doe smiles in a intriguing manner as he continues to be
amazed at her intuition.

JOHN DOE
How do you do that?

Theresa produces a smile.

THERESA
I'll see you when you get back.

Doe nods in agreement. Theresa then turns and walks away
towards Sarah's house.

EXT. SARAH'S HOUSE - NIGHT

Doe watches as Theresa reaches the house entrance. She
turns to say one last good-bye. They smile at each other
across the way as Doe turns on the engine of his car.
Theresa then steps inside as Doe puts the car in gear and
proceeds to drive off.

INT. DOE'S CAR - NIGHT

CLOSE ON - DOE'S FACE

JOHN DOE (V.O.)
She was right. If my dreams of late
were any indication of what I would
find, this missing woman's case may
reveal some pretty horrible things.
But I've decided. If I'm going to
to find out who I used to be, I need
to solve the puzzle that is been
placed before me. It all seems to
point to a woman who's been
missing for more than 30 years. Is
she connected to me somehow?

CUT TO:

INT. SEATTLE AIRPORT TERMINAL - DAY

We see Doe walking through the terminal. He's walking
through a crowd of air travelers coming to and fro. Doe is
holding a carry on bag over his right shoulder. An
airplane ticket can be seen on his other hand.

JOHN DOE (V.O.)
So now I'm getting ready to fly
across a continent because of a
dream. Logic would suggest that I'm
being misguided by stress or past
traumatic experiences.

Doe makes it to his designated gate. He sees there is
already a line of people getting ready to board, so he
takes his place in line. The display above the gate door flashes
"Flight 192 to New York Now Boarding"

JOHN DOE (V.O.) (CONT'D)
On the other hand, basic psychology
teaches us that traumatic
experiences can cause us to have
repressed memories. If my so called
condition is the result of some
traumatic experience, then maybe
this missing person's case might
give me the some answers.

Doe makes it to the ticket agent who's checking the
tickets. After checking through, the agent gives him his
ticket stub and we see Doe walk through the gate entrance
towards his plane.

CUT TO:

EXT. BELLA LEON, ITALY - DAY

THEME SONG BEGINS - ("I am the Highway" by Audioslave)

"Pearls and swine bereft of me
Long and weary my road has been
I was lost in the cities
Alone in the hills
No sorrow or Pity for leaving I feel"

We see a dirty blue V.W. Van driving on a dirt road. On
one side we see the blue Mediterranean Ocean, on the other
we see ancient brick homes along the coastline.

INT. DR. CORSO'S VAN - DAY

Corso has both hands on the steering wheel, looking at the
blue ocean on his right side. He then glances down to his
floorboard for a few seconds. Corso's eyes show a great
sense of wonder, as he continues to drive along. We switch
angles to see what he was looking at.

CLOSE ON - PHOENIX STAFF WRAPPED INSIDE A SHROUD

CUT TO:

INT. COMMERCIAL AIRLINER - DAY

THEME SONG CONTINUES - ("I am the Highway" by Audioslave)

"Friends and liars don't wait for me
I'll get on all by myself
I put millions of miles
Under my heels
And still too close to you
I feel"

We move along the first class cabin slowly. An airline
stewardess is going about her job. She stops on one
particular seat, she says something to the passenger, then
proceeds further down the cabin. We move closer to see who
she was just talking with.

The passenger is John Doe. He's looking at something on
his lap. We switch angles to see that he's looking at a
series of printed photographs. We switch angles to look at
one of the photos. Bellow on the borderline, we see a
typed label which says "Our lady of Perpetual Help Convent,
Landsburg New York".

CLOSE ON - DOE'S FACE

JOHN DOE (V.O.)
I feel like I'm embarking on a long
journey. Not across country, but
across TIME. I'm overwhelmed by a
sense of longevity looming ahead of
me. If this is the path I need to
follow, then I'm about to take the
First Steps.

THEME SONG CONTINUES - ("I am the Highway" by Audioslave")

"I am not your rolling wheels
I am the highway
I am not your carpet ride
I am the sky
I am not your blowing wind
I am the lightning
I am not your Autumn moon
I am the night"

We pull back and see Doe glance outside the airplane
window, sitting by himself, pondering the road ahead.

FADE OUT.

The End.