EXT. SNOW covered street - NIGHT

insert: "Moscow"

A SCRAGGLY MAN in torn and frozen clothing dashes through a blizzard of white snow.  Coming to an unveiling wall, he leaps onto a bench and pulls himself over the top.

Firing their guns into the air

A couple of CHASING MEN in black suits and dark coats come dashing out of the storm.  Dropping down the other side of the wall, the fleeing man pauses a moment on the inside of some sort of enclosure.  Letting a knowing look etch across his face, he presses on - oblivious as a small book falls from his pocket.

FEET THUMPING AGAINST THE SNOW

The two men in black follow suit, landing inside the mystery enclosure.  Seeing the book laying in the snow, one of the men scoops it up as he runs past.  Flicking open its pages, he takes a look -- 

THEN COMES TO A COMPLETE STOP

His face frozen in horror as he looks up at his pausing colleague.

GROWLING AMONG THE FALLING SNOW

A large set of teeth suddenly emerges, pouncing forth and chomping at the guy holding the book.  Screaming, he drops the book and reaches for his gun.  Before him, the snarling face of a huge lion is revealed as it swipes across his chest.  Horrified, his colleague steps back, firing into the darkness.  Clicking empty, his breathing becomes more rapid as he stumbles to a frightened standstill.  Staring into the black he hears movement, then a growl.  He turns around and freezes before a huge lion lunging at him; jaws opened, covered in blood.

CLOSER ON THE OPENED BOOK

As a sketch is revealed of these two chasing men being eaten by a lion.  Seconds later, the sound of the man screams and his blood splatters across its open pages.  Life imitating art as the snow blizzard deepens - emerging wider on the mystery enclosure, Russian lettering is gradually unveiled.

Translated, it reads ZOO.

Smash cut of events

As the credits roll --

News footage, newspaper clippings, and video scenes of some of the major disasters the world has seen over the last century.  (In no particular order)  The A-bomb, WW2 genocide, Pearl Harbor, September 11th, the Nevadode Ruiz volcano eruption of Colombia in 1985, Exxon Valdez oil spill in 1989, Vietnam, Agent Orange effects, TWA flight 800 plane crash, Tianjin earthquake of 1976,the train crash/gas explosion in Ufa, Russia in 1989, The French Indian Ocean nuclear testing, the June 1990 landslide in Western Iran, the Huascorn, Peru avalanche of 1970, The genocide in Somalia, and the Russian theater hostage rescue gone wrong.  

int. bedroom - early morning

insert: "Los Angeles, one week earlier"

This room is dark, only revealed by the sunlight peeking in through the blinds.  The furniture and accessories reveal a hint of an upper class design.  A MAN and a WOMAN in their thirties sleep next to each other in bed. 

Suddenly, the man sits up.

MAN

No!

Sweat pours from his face as he tries to catch his breath.

carol

(woman, awakening)

What's wrong?

vincENT

Nothing.

Vincent wipes his forehead and rolls out of bed.

vincent

It was just a dream.

This is VINCENT WILMOT - the "Dreamer".

int. hallway - cONTINUOUS

Vincent continues down the hall in his bathrobe.  Various pieces of expensive artwork are awkwardly hung amongst cheap family photos.  He stops at a door and pulls a set of keys from his pocket.

int. office - cONTINUOUS

Vincent enters this dark room and locks the door behind him.  The lights flicker on revealing a collage of sketches, large and small, covering the walls. 

All of the sketches show some form of a horrible disaster, or accident that has taken place over the last thirty years.  Some sketches are on sketch pads, while others string across on newspapers, napkins, parking tickets, anything that will hold a sketch.

He saunters to his desk and drops the keys on a Christmas sales flyer.  An item is circled on the flyer, a now "Sold Out" doll.  He sits, looks at the doll, then pulls out his diary from the drawer. (The same book that fell at the zoo.)  Finding a pencil out of the clutter, he rubs his eyes and begins to sketch an SUV. 

ext. mountain road - evening

Vincent drives along in his nice BMW X5 SUV, his eyes weary from the journey.  He finally finds his turn off; an old dirt path resembling a road.

ext. mountain river - cONTINUOUS

Stopping before a shallow river, Vincent checks his watch and exits his vehicle.  He wears an expensive suit, looking out of place amongst his picturesque surroundings. 

Looking up to the sky, a voice catches him off guard.

PROSPECTOR (O.S.)

Well, suppose I could use the company.

An old prospector sits by the small river panning for gold.  His tattered overalls and long grey beard seeming a hundred years removed.  Rising, he approaches Vincent.

prospector

You lost?

vincent

No.  Just looking.

The prospector gives him an awkward look.

prospector

For gold?

vINCENT

A different kind of gold.

prospector

Well I ain't never heard of much different kinds of gold.

Vincent checks his watch again and begins to walk up river.

prospector

If you're panning, over here down river is...

Suddenly, a loud screech fills the valley.  The sound of ripping metal.  Almost as soon as it's heard a 747 plane bursts into flames and drops from the sky.  The impending crash is pure carnage, pieces tossing in every direction as it tumbles over and over.

The prospector's jaw drops in horror.

EMERGING THROUGH THE HANGING SMOKE 

Vincent walks amongst the carnage.  Stepping over luggage, bodies, and burning metal, he finally finds what he's looking for.  He reaches down and opens a small, charred backpack.  From it, he pulls out a child's doll - the same doll "sold out" on the flyer in his office.

man (O.S.)

Help- me.

Vincent looks up to see a MAN with a huge gash in his chest.  Still strapped to his seat, the man stares at Vincent with a dying face.

Vincent stands, doll in hand, and walks over towards him.  Kneeling in front of him as he meets his gaze.

man

Please help.

Vincent places his hand on the man's shoulder, and bows his head as the man cries.  Vincent then stands, takes another look amongst the carnage, and turns back toward his vehicle.

vINCENT

I'm sorry.

The prospector is still standing in shock by the river. Vincent walks past him to his vehicle.  He starts the engine, looks at the wreck once more, and leaves.

 

vINCENT (V.O.)

Don't hate me, there was nothing I could have done.  It wasn't always like this.  I remember the first time it happened.  I was six years old.  Every night I began having these horrible dreams- nightmares.  And then one day it seemed like my dreams became reality. 

FLASHBACK TO VINCENT'S CHILDHOOD

ext. sunny suburban street - mORNING

As Vincent, six years old, watches his best friend get struck by and pulled under the wheels of a passing armored vehicle.  Rapid images of his bedroom flashing across his subconscious, revealing the exact same event captured in a crude drawing.  Staring, Vincent pulls his brand new "Lee Majors, Six Million Dollar Man" diary to his chest.

vincent (V.O.)

They became events in our world.  Sometimes a few days, sometimes a few years, and some yet to present themselves.  I started setting an alarm for myself, trying to find the exact moment my dreams would end.  Finally I found that perfect time.

A woman runs to the child.

mother

Matthew!

int. vincent's bedroom - nIGHT

Vincent sets his alarm to 06:19.

FLASHBACK TO VINCENT AS A TEENAGER

As Vincent, early teens, awakens from a horrifying dream.  Striking at his alarm clock, he scribbles down an impressive sketch of an exploding space shuttle.  Content, he puts the book to one side, adding it to a large pile of existing diaries - the bottom one, a faded copy of Lee Majors from earlier.

CLOSE ON TELEVISION - A FEW DAYS LATER

As the departing shuttle explodes into a thousand pieces. Staring at the same image sketched in the diary, Vincent's father turns to his son and shoots him a disapproving look. 

Fleeing into his room, Vincent cowers into the corner, gazing at the doorway in fear.  Moments later, it creaks open revealing his father stepping closer, slowly unleashing his belt. 

Over, comes the sound of screaming kids.

int. living room - dAY (PRESENT)

Several small children run around the room, playing games and chasing each other.  It is a birthday party for Vincent's daughter, EDITH.  One of the kids bumps Vincent, but he doesn't even notice.  Vincent looks tired and weary, and appears to be off in another world.  In the background a television flashes news images of the plane crash from earlier.

vINCENT (V.O.)

Now though, my dreams are more frequent.  The control I had as a child is slipping away, my sleep no longer my own.

(beat)

It is only a matter of time before it has consumed me.

int. dining room - conTINUOUS

A cake is on the table, candles burning.  Vincent's daughter blows them out, and gifts are passed forward.  She opens several before coming to one wrapped in a birthday bag.  She opens it, and looks at it in shock.  She starts flinging her arms in pure excitement as she pulls the doll from the bag.  The same doll Vincent recovered from the plane crash.  Vincent looks on unfocused, as Carol looks at him in shock.

int. dining room - lATER

Carol cleans up after the party.  Vincent sits at the table looking out into the living room at his daughter playing with the doll.  His focus is on the doll, not the enjoyment it brings her.

CAROL

Should I even ask?

Vincent looks to her in confusion.

Carol stops cleaning the dishes and turns to him in anger.

CAROL

Where'd you get it?

Vincent looks at her, still confused.  Then he gets it.

vincent

The doll?

Carol gives him a quick and agitated nod.

vincent

A guy from work knew someone.

CAROL

(relents)

Yeah.  The guy from work.

Vincent returns his gaze to the doll.

eXT. backyard - nIGHT

Vincent is behind the house's garage standing over a small barrel fire.  Its blaze just out of eyesight of the house.  He pulls some sketches from the ground, and begins burning them.

RISING FROM THE ASHES

The real-life incarnation of these sketches silently float past in Vincent's sub-conscious.  Symbols of wealth acquired from human tragedy - money, paintings, anything.  Their only commonality the scars of their past.  Burned, bloodied, or tainted in some way.

Watching it as it burns, his eyes gradually flicker --

EXT. DESERT - DAY (dream)

A sea of golden sand, silent.

CLOSER

Sunlight glistens across the dunes as Vincent walks alongside a mysterious FIGURE - his face constantly obscured by the blinding sunlight.

Eventually, the figure speaks, his softened voice monotone and emotionless. 

FIGURE

You seem troubled.

VINCENT

You would be too, if you had to live the life that I did.

The figure doesn't respond.

FIGURE

Perhaps it is time for change?

VINCENT

Change?  I don't even know if I know how to do that anymore.

Again, the figure is silent.

vINCENT

My path was chosen a long time ago.  There's nothing I can do about that now.

Gaining no reply, Vincent smiles.

viNCENT

(softly)

God, who are you anyway?

figURE

Who do you think I am?

VINCENT

Out of all my dreams you're the only person I've seen that doesn't die, and the only one who can see me.  Why is that?

The figure again doesn't answer.

viNCENT

(laughs)

I figured as much.

Suddenly, the figure stops.

fIGURE

Change is hidden deep within you, Vincent.

A look of confusion crosses Vincent's face.

FIGURE

It is only a matter of knowing where to look --

i/E VINCENT'S CAR - DAY

Vincent awakens from his dream and gazes around at his waiting workplace.

vINCENT

Shit.

He pops a caffeine pill.

EXT. CARPARK - day

BEEP BEEP --

Vincent sets the alarm on his BMW and leaves it sitting amongst a sea of less expensive vehicles.  Getting out of one, a CO-WORKER in a ruffled suit slams his door shut.  He looks up at Vincent's vehicle and shakes his head in disgust. 

INT. OFFICE - DAY

A swarm of office workers dash back and forth, waving sheets of paper.  Their indistinct chatter filling a massive open floor, sectioned off into claustrophobic looking cubicles.  Gradually revealing in the furthest cubicle, Vincent hunches before the glow of his computer.

CLOSER ON VINCENT

As he types in "Dreams and Premonitions".  Thousands of sites ranging from ancient Babylonians to Nostradamus pop up, the majority of which have been clicked on before.  One name, though, isn't highlighted.

VLADIMIR KOMAROV

Clicking on one of the options, he pulls up a web page for further detail.  Appearing is a picture of Komarov, decked out in a smart, tweed suit, and bearing the remnants of a horrific scar down the side of his face.

Alongside him is a passage of text.  Its title the only thing written in English: "Renowned Russian lecturer vanishes deep underground". 

vINCENT

Great.

Suddenly, a young office assistant, SUSAN, interrupts.

SUSAN

Coffee?

Startled, Vincent clicks off his screen.

VINCENT

Huh?  Oh, no thanks, I'm okay.

Susan smiles at him, sexy and flirtatious.

susan

Let me guess, it still keeps you up all night, huh?

Vincent anxiously looks around.

VINCENT

Maybe you shouldn't be so loud.

SUSAN

Why Vincent, you frightened someone might hear us?

VINCENT

I'm married, remember.

SUSAN

Funny, that didn't seem to matter last week, did it?

Vincent stares after her as she exits with her clinking mugs. Slowly, his gaze happens upon a framed picture of him and his wife.

VINCENT

(sotto)

You know that I'm sorry.

Turning back to his computer, he pops another caffeine pill.  Cricking the tension out of his neck --

Ext. british embassy - dAY (dream)

The flag flaps in the breeze, unfurling and snapping as its nationality is revealed.

INT. BRITISH embassy - DAY

The sun blazes through the windows as FIGURES glide across a magnificent, marble floor.  Slowly, Vincent emerges.  Stepping out amongst them and adjusting his eyes to his surroundings.

VOICE (O.S.)

Oh, look at you, you messy thing.

A baby giggles.

vOICE (O.S.)

I just can't take you anywhere.

Turning around, Vincent pauses before a magically appearing MOTHER AND CHILD.  The baby no more than a month old and her mother revelling in that - a picture of pure innocence.

MOTHER

Here, let me clean that off for you.

She pulls out a tissue and dabs the baby's face as Vincent kneels down before them.

VINCENT

Nice baby.

The mother continues.

MOTHER

There.  Is that better?

The baby reaches for its bottle again.

VINCENT

(reiterates)

I said that's a nice baby.

The mother looks up, staring right through him and freezing.

VinCENT

Lady?

Vincent straightens upright and turns towards the lobby.  Before him, the figures pause in mid motion.

Tick.  Tick.  Tick.  Tick.

Vincent turns before a large clock, its hands the only thing moving. 

Suddenly, it ceases, causing Vincent to gasp.

vINCENT

No.

BOOM.

A huge wall of fire sweeps through the lobby,  whipping people off their feet and sending them sailing past him in slow motion - "silently screaming".  Frozen, Vincent stands physically unaffected.  Watching in horror as their flesh begins to melt.

INT. WORK CAFETERIA - DAY (present)

Vincent snaps open his eyes, sweating.  Sitting at the table opposite him is Susan, peacefully conversing with her friend REBECCA.

rebecca

So what did you tell them?

susAN

That my mother was ill and I needed to take her to a doctor.

REBECCA

Susan!

SUSAN

I know, I know.  But I didn't know what else to say.  I feel terrible.

Vincent wipes the sweat off his face.

REBECCA

I mean, how long has he been working at the embassy anyway?

sUSAN

I don't know, about two months.

Knocking over his coffee, Vincent screeches back in his chair and stares.

vINCENT

The embassy?

Alarmed, Susan and Rebecca turn.

sUSAN

What?

VINCENT

You said something about the embassy, Susan.  Which one?

SUSAN

Which one?  The British one.  Why do   you --

Hurrying past, Vincent goes to leave.  Suddenly, he halts in the doorway, wavering a moment as he struggles with his conscience.

VINCENT

Just stay away, Susan.

SUSAN

Excuse me?

VINCENT

Stay away from the embassy.

Susan locks eyes with his warning gaze.

SUSAN

But, I --

Vincent disappears outside.

int. vINCENT'S HOUSE - lATER

Vincent returns home, and marches straight up the stairs.  Carol steps out from the kitchen.

caROL

Vince, is that you?

Carol walks to the main entrance and looks up the stairs just in time to catch Vincent's office door closing behind him.  Sighing, as she hears the lock click.

int. VINCENT'S HOUSE - MORNING

Slowly, the sun burns through the windows, and a new day begins --

The lock on Vincent's office jostles, then the door opens revealing an unshaven mess in Vincent.  He locks the door and walks downstairs.

INT. VINCENT'S HOUSE - momENTS LATER

Vincent stands before the screen, clicking the remote.  Finally, he settles on one of the various news channels,  staring at it open mouthed as Carol saunters up behind him with a look of disapproval.

CAROL

(re: Vincent's appearance)

Going in late today?

Vincent doesn't answer.

carOL

You didn't come to bed last night.  I was...

Mesmerized by the screen, Vincent doesn't notice her.  Carol follows his eyes to the television, freezing in shock at the breaking news flashing up - a horrific explosion at the British Embassy.

Seeing this, Vincent takes a step closer.

carOL

(unsure)

Vincent?

Vincent drifts towards the television, transitioning into real life --

EXT. BRITISH Embassy - DAY

Smoke plumes out onto the street as the emergency services swarm.

OFFICER

I need everybody back, now!

Through the onlookers, Vincent appears.  He sidles forward towards the devastated building, pausing as he sees the burnt woman and child.

FIREMAN

Sir, I'm afraid I'm gonna have to ask you to step back.

Glancing up, Vincent pauses.  Before him stands Susan.  Seeing that she is alive, he smiles, but in return, she glares at him accusingly.

FIREMAN

Sir, I am not going to ask you again.

vINCENT

What?

FIREMAN

Just step back, all right?

Hastily, Vincent complies.  Whitening as he notices Susan heading towards an officer.

VINCENT

(sotto)

Susan --

Reacting, the officer turns, hesitating upon the empty space where Vincent just was.  Confused, Susan attempts to explain - her arms waving excitedly as a man in a black suit sinisterly takes note.

i/E vinCENT'S CAR - dAY

Vincent slams his brakes as he reaches the end of his street.  Parked in front of his house is a white van.  Across from that, a second white van, and a telephone truck.  Vincent leans forward noticing the telephone workers on the pole looking down at his house.  Suddenly, two men in black suits step from the back of one of the vans and light up cigarettes.

Freaked, Vincent reverses off the street.

vINCENT

(sotto)

How could they have gotten here so quickly?

i/E vINCENT'S CAR - dAY

Vincent eyes his mirrors for followers.  He stops at a red light and realizes his gas tank is almost empty.

ext. gas station/convenience store - cONTINUOUS

Vincent pulls up to fill his tank.  Pulling out a credit card, he falters.  Sliding it back in, he checks his empty wallet for cash.

int. GAS STATION/CONVENIENcE STORE - cONTINUOUS

Entering his pin code at the ATM, Vincent suddenly hears his name mentioned.  Turning around, he pauses before a picture of himself on the television.  The word "terrorist" alongside him as an interview with the gold prospector is in progress.  Stumbling back into one of the food racks, Vincent locks eyes with the clerk behind the counter.

Alarmed, the clerk makes for the phone --

ext. gAS STATION/CONVENIENcE STORE - cONTINUOUS

Vincent hops in his car and speeds off.

i/E vincent's car - dAY

Vincent drives along, thinking.  In the foreground, his destination; the airport.  Suddenly, he hears police sirens from behind.  In a quick decision, he follows the traffic to the shoulder, hoping to blend in.

vinCENT

Next time try keeping your big mouth shut.

He slams his steering wheel, fearing he's been caught.  Flashing past, the four police cars continue towards the airport.

Pausing for a moment, Vincent makes a U-turn and speeds off.

ext. boat docks - SUNSET

Vincent parks his car behind a series of well-hidden crates.  Reaching into his pocket, he pulls out his diary and flips it open to a sketch of a sinking boat; the "Sea Mark".  As he lowers the diary, the actual boat is revealed.

Exiting his car, he pulls a wad of cash from his pocket and follows the sign for "Arctic Cruises".

int. vINCENT'S HOUSE - lIVING ROOM - night (dream)

Carol reads Oprah magazine, while watching Oprah on television.  On the floor in front of her, Edith plays with the doll.

ext. vincent's house - cONTINUOUS

A group of men in black suits walk towards the house.

int. vINCENT'S HOUSE - cONTINUOUS

A knock is heard at the door.  Carol gets up to answer it. 

ext. vinCENT'S HOUSE - cONTINUOUS

The suits stand at the front door, exchanging looks.  The two in the back pull their pistols.

int. vINCENT'S HOUSE - cONTINUOUS

Carol opens the door to reveal the men in suits.  A look of fear strikes across her face as...

A loud burst of a horn blows through the air

int. Sea Mark cabin - night

Vincent is awoken from his dream by the loud horn of the ship.  Wiping the sweat from his brow, he glances out at the surrounding ocean and pulls his cell from his pocket.

Frantically, he begins dialling --

int. vINCENT'S HOUSE - LIVING ROOM - night

This scene is eerily familiar, as it's just played out in Vincent's head.

Carol hears a knock at the door, and gets up to answer it.  Hearing the phone ring, she picks it up, checking the caller ID.

Carol

(on phone)

Where did you run off to?

Vincent's cell phone barely has any signal, and his voice is choppy at best.

vincent (V.O.)

Get out of the house.

caROL

What?

Chinning the phone, she twists the door knob.

int. Sea Mark CABIN - NIGHT

vincent

Don't answer the --

int. vincent'S HOUSE - same time

Carol opens the door.

The phone dropping from her chin as she stares in horror.

int. Sea Mark CABIN - sAME TIME

vinceNT

(defeated)

Don't answer the door.

Vincent looks down to see his phone has lost signal. 

vincent

No, no, no, no, no!

He throws the phone onto the ground, shattering it.

ext. vINCENT'S HOUSE - later

Four suits make their way into the house.

Watching on, a cigarette lights within one of the cars.

I/e CAR - SAME TIME

JACK DOYLE sits alone.  A Marlboro hanging off his lip as he flicks among a thick file.  In it, a photo of the same Russian lecturer that Vincent uncovered earlier during his internet search.  (Vladimir Komarov.)  This picture though, was taken earlier - and his facial scar is noticeably absent.  Flipping through a second, much smaller file a picture of Vincent is clipped to the top.  Below his picture a short listing of disasters and crime scenes.  Rubbing his tired, forty-year old eyes, Doyle closes the files, looks to the house, and sighs.

iNT. Sea Mark CABIN - sAME TIME

Vincent sits on the bed with his hands over his face.  He is angry, yet saddened.  He wipes his face of sweat and looks down at his feet.  His coat lies on the ground.  Something sparks in his mind as he picks up his coat, and pulls out his diary.  He quickly checks his watch, then pulls his coat on as he exits the cabin.

Hands left illuminating in the dark, the clock loudly ticks.

Its time: 04:39.

int. Sea Mark hallway - cONTINUOUS

Vincent runs down the hallway hysterically knocking on all the cabin doors.

vincent

There's been an accident, everyone on deck.  Hurry, everyone on deck, there isn't much time.

PEOPLE step from their cabins and watch Vincent.  Some are curious, some annoyed, and others worried.  Several people grab their coats and head towards the deck. 

int. Sea Mark HALLWAY two - nIGHT

Vincent continues knocking and warning on this level as well.  Finally, he himself decides to head towards the deck.

int. Sea Mark stairwell - nIGHT

As Vincent runs up the stairs, a loud explosion rings out from the belly of the ship.  He loses his footing for a moment, then continues upwards.  Screams can be heard below as several people flee up the stairs in panic.

ext. vINCENT'S HOUSE - nIGHT

The men in black suits slip out the front door and dispose of two body bags in a white van.

Bloody footprints following each step.

I/E CAR - CONTINUOUS

A tap comes at the passenger side window.

Unlocking the door, Doyle tosses out his cigarette as the white vans speed away.

ciA GUY

(getting in)

All clear inside.

Doyle doesn't respond.

The CIA Guy hands him a pile of sketches and diaries.

CIA GUY

We found these in his office.

Doyle takes a hold of them, nodding.

cia GUY

And these from a barrel out back.

The CIA Guy then hands him a batch of charred pages and fragments of sketches that didn't burn entirely.

Doyle flips through the sketches, stopping abruptly on a sketch of a bombing.  A sketch very much resembling the embassy disaster that just took place, except the date on it says 1998.  He stares at it with a stunned, and hardened face.

The CIA Guy notices this.

ciA GUY

You okay, sir?

Doyle gathers the sketches and puts them on the backseat of his car. 

doyle

Fine.

ciA GUY

What about the wife and kid?

Eyeing the sketch of the embassy bombing, Doyle sighs.

Doyle

I have a feeling this is much worse.

The CIA Guy nods in agreement and heads back to the house.

Doyle reaches into the back and grabs the embassy sketch.  He studies it for a moment, then calmly folds it up, and places it in his coat pocket.

ext. Sea Mark deck - nIGHT

Several people stand on the deck, wrapped in night gowns and coats.  Vincent looks out at the ocean, unaware as they watch him in fear, thanks, and curiosity. 

Suddenly, a light flashes directly where he's looking.  The blinking is followed by another flash, then another and another, until we can make out that it is an approaching vessel.  A Russian trawler boat, on route to the injured ship.

ext. russian vessel - lATER

reporter 1

And this is the third report now of this so called guardian angel warning the survivors of the disaster to come aboard this once pleasant Arctic cruise.  We're gathering a description as we speak, as it seems this angel has disappeared just as quickly as he arrived.

Japanese and Russian reporters have gathered on, or above the Russian vessel as it moves slowly towards the closest Russian port.

The evacuated survivors stand on the deck in safety blankets and jackets. 

reporter 2

As this cargo ship, turned life boat moves ever closer to land and safety, word of the guardian angel spreads quickly throughout the survivors.  It leads one to ask if this was in fact an accident, or an act of terrorism gone awry.

int. hospital - information desk - night

Two nurses sit watching the news on television.

reporter 3 (On TV)

We have been searching for this guardian angel, but with thousands of survivors, and minimal descriptions, most efforts have been exhausted.  We're currently having a composite sketch put together back in the studio.

INT. HOSPITAL ROOM - NIGHT

A young girl lies in a hospital bed paralyzed from the neck down.  Tubes are connected into various parts of her body as a solitary life support machine beeps.  The room is decorated with posters and items that any normal 13 year old would have.  However most are of a religious overtone, including the holy cross mounted prominently above her bed.

Entering, Doyle sits down beside her.

JESSICA

Daddy!

DOYLE

Hey, honey.  Wide awake as usual, I see?

Jessica puts on a brave face, beaming.

JESSICA

Well, you know me.  Whole life in a bed - normal sleeping patterns don't apply.

Doyle rubs his eyes in obvious exhaustion.  Jessica looks at him with a hint of sympathy.

JESSICA

You forgot the book again, didn't you?

Doyle buries his face in his hands.  Quickly, Jessica acts to dismiss its importance.

JESSICA

Oh, well, that's okay --

DOYLE

I'm sorry, baby, I...

JESSICA

No, no, we can just watch some TV or something.

Doyle snaps around towards the nearby box, remembering the horror of recent events.

DOYLE

No.

Jessica gives him a startled frown.

Scanning around the room, Doyle settles upon a copy of the bible on her night-stand.

dOYLe

How about a prayer instead?

The frown on Jessica's face remains.

jESSICA

You're acting weird tonight.

Doyle picks up a framed picture of Jessica, himself, and another woman.

He stares at it a moment, forcing a smile.

DOYLE

(distant)

You always think I'm weird.

Nodding, Jessica closes her eyes and recites a prayer. 

Doyle takes a deep breath, shifting.  His smile becoming a lot harder to maintain as she begins.

JESSICA

Great is the Lord, and most worthy of praise...

int. hospital - waiting area - sAME TIME

A young agent sits in the waiting area eating vending machine instant soup.  He looks like he's followed this routine a million times before.  He dumps some oyster crackers into his soup and takes a big spoonful as he looks up to the television.  He spits out his soup and stares at the screen.  Jumping up, he spills the bowl on his lap and runs down the hall.

Young AGENT

Shit!

int. hospital room - momENTS LATER

A knock on the door cuts Jessica's prayer short.  The Young Agent opens the door, and signals for Doyle.

Irritated, Doyle gets up out his seat.

DOYLE

(to Jessica)

I'll just be a minute, honey.

JESSICA

Promise?

Doyle smiles softly to Jessica before turning with a face of anger to the Young Agent.  Jessica smiles.

Doyle places the framed photo down on a table by the door and exits.  The frame rocks a bit before falling face down on the table.  The back reads "Me, Mom, and Dad at the beach".

int. hospital corridor - cONTINUOUS

Doyle slams the Young Agent against a wall.

DOYLE

I thought I told you to wait in the lobby.

Young AGENT

I'm sorry, sir.  It's Wilmot.

Doyle's face slips into curiosity.

DOYLE

Where?

INT. HOSPITAL - WAITING ROOM - MOMENTS LATER

Doyle and the Young Agent halt before an artist's impression of Vincent on the TV.

reporter (o.S.)

... and early reports would seem to suggest that this mysterious guardian angel fled the scene as quickly as he appeared upon it.  This is Alison Ashley, reporting live for...

Young aGENT

You think it's him?

Doyle's brow creases with importance.  Clearly he would seem to think that it is.

int. hospital corridor - laTER

Doyle stands outside his daughter's door, cell phone in hand.

doyle

(on phone)

You know who he's going to see.

Doyle hangs up the phone and turns to the Young Agent.

doYLE

Get the car, I'll be there in a minute.

The Young Agent runs off.  Doyle looks at the door to Jessica's room, takes in breath, then enters.

MONTAGE AS VINCENT'S JOURNEY BEGINS

Night slowly passing by to daybreak, as:

EXT. RUSSIAN VESSEL - morning

Vincent sits out on deck, wet, alone, and shivering.  Wrapping himself in a blanket, he conceals his identity and attempts to keep himself warm.

INT. DOYLE'S OFFICE - DAY

Doyle hangs up his phone, then closes up his briefcase.

A look of intent upon his face as he secures his weapon in its holster.

EXT. RUSSIAN VESSEl - day

Taking out a photo of his wife and daughter, Vincent struggles to hold back tears.  A passenger walks by, causing him to avert his face and conceal his mourning.

EXT. AIRPORT - day

A taxying airplane approaches.

Silent, Doyle and his men await.

(MONTAGE ENDS)

ext. Russian boat docks - SUNset

Fishermen unload their catches, oblivious as the large Russian vessel sails in.

CLOSER ON RUSSIAN VESSEL

The survivors are exiting the vessel onto a commercial docking area.  Vincent stands between a few of the survivors, head hanging low to avoid recognition.  A warehouse has been made into a temporary shelter.  Vincent walks along with everyone until he reaches the entrance.  Slowly stepping away from the line, he dashes off.

ext. RUNDOWN STREETS - later

Vincent checks his pocket for his cell phone, then cringes when he recalls smashing it on the boat.  He searches for a phone booth.

i/E phone booth - cONTINUOUS

Vincent finally gets the operator to connect him.  The phone rings a few times before.

automated message

The number you are trying to reach has been disconnected.  Please hang up and try again.

Vincent hangs up and tries it all again.  The look on his face tells us he got the same thing.  He slams the phone on the hanger, thinks to himself for a moment, then picks it up and dials a new number. 

vincent

(sotto)

The only time I'd ever call my mother-in-law willingly.  Come on, come on.

russian operator (o.s.)

(Russian, subtitled)

Hello, how may I help you?

vincent

English?

The phone beeps, then a new woman picks up.

operator (O.S.)

(broken English)

Hello, how I help you?

vincent

I'm having trouble connecting to a number in the United States.

operator (O.S.)

Number please.

vincENT

555-213-6667.

operator (O.S.)

I'm sorry that number does not exist.

(beat)

Are you sure you have right --

vincenT

I know the number exists, I called it earlier.

operator (O.S.)

I'm sorry sir, it is not in the registry.

Vincent pulls the phone from his ear and looks at it confused.  Hanging it back up, he tightens his coat and steps from the booth, revealing he is at a train station.

EXT. TRAIN STATION - SAME TIME

As a train arrives, he makes his way towards it.

EXT. MOSCOW AIRPORT - DAY

A plane lands upon the runway, wheels screeching.

EXT. PLANE - MiNUTES LATER

The doorway opens revealing Doyle and a number of undercover agents.  Gasping at the harsh, Russian conditions, the agents immediately adjust their coats.

aGENT #1

Holy shit, you got to be fucking kidding me.

agENT #2

(dryly)

Yeah, now I know why they wear those funny hats.

Seemingly unaffected, Doyle descends the gangway.

EXT. MOSCOW AIRPORT - DAY

Doyle and the agents wait on the runway as a number of  black, nondescript cars pull up.

CIA GUY

How long before it starts?

doYLE

The sooner the better.

CIA GUY

(turns)

Do you think he'll be there?

Seeing a government car swing around the plane, Doyle pauses beside the open door.  Eyeing a pair of Russian flags flapping on its hood, he considers a moment before getting in.

Seconds later, the cavalcade of vehicles pull away.

i/e train compartment - later

Vincent awakes as the train slams into a curve.  Noticing he is no longer alone, he eyes three ELDER MEN sitting with him.  They are silent, almost as if they don't even notice him.  Vincent looks out the window, unsure if this is a dream.  He sees his reflection in the window, and content, he smiles and  closes his eyes. 

ext. government building - niGHT

Doyle hurries down the steps, clutching a wad of Russian documents.  Passing the Young agent, he slaps them against his chest.

dOYLE

We got forty-eight hours.

(beat)

After that, we can consider ourselves behind enemy lines.

The Young Agent gazes after him with concern, then glances down at his watch.

i/e train station - daY

Vincent looks from his watch to a sign that reads "Moscow". He rubs his eyes to clear his vision then joins the hustle of commuters.

ext. train station - dAY

Vincent drifts along the street, quickly realizing he doesn't know any Russian.  He searches the store fronts, and finds what he's looking for --

int. bookstore - late afternoon

Vincent walks amongst the titles in Russian until finally he finds one he can read - an English-Russian dictionary.  He grabs the dictionary, and makes his way to the counter. 

clerk

(Russian, subtitled)

Fifty rubles.

Vincent reaches into his pocket and reveals American money.

vincENT

(re: money)

American?

The Russian clerk smiles, and wilfully takes a twenty.

Vincent takes the dictionary and begins flipping through.

vincent

(broken Russian)

I looking lectured, for lecturer?

The clerk looks at him confused.

clerk

Lecture?

vincent

Yes.  Um.

He flips through pages to find the word.

vincent

(Russian)

Yes.

The clerk points to a bulletin board of various posted events.  The clerk rambles something to the other clerk and they both laugh.

On the board Vincent finds pages posted for ballet classes, poetry readings, and things of that sort.  He looks at them, then his dictionary.  Finding nothing of interest, he returns to the counter.

vincent

No, I need help --

Shooting a gaze at his dictionary.

VINCENT

(broken Russian)

I with Komarov, Vladimir Komarov.

At the sound of the name both clerks freeze.

clerk

I do not want any trouble.  I do not deal with that kind of clientele.

Vincent searches his dictionary, unable to understand what  the clerk is saying.

vinceNT

Hold on, slow down.  I don't understand.

The clerk looks at the clock, then continues on, as if Vincent understands.

clerK

Lunch break, we have to close now.  We see you another day.

The clerk manages to gently push Vincent back out into the cold of Moscow.  The clerk flips a sign that reads "closed" and locks the door behind him.  Vincent looks on confused.

vincent

What'd I say?

Vincent shakes his head and continues on down the street.  He stops and checks a street map.  As he bends over to read the map better a man can be seen behind him.  The man wears a nice black suit.  He has a ponytail, and looks the role of a bouncer.  Vincent doesn't notice him as he continues on, followed. 

MONTAGE:

Vincent visits a few more book shops and art galleries, receiving the same kind of treatment, or just flat out "Don't know who that is".

ext. moscow streets - night

As the day has turned into night, Vincent decides to try one last shop.  He sees the Russian word for "books" on a store front and heads inside.

int. underground porn shop - nIGHt

Vincent realizes he's entered a porn shop, and turns to leave.

porn clerk

(English, Russian accent)

You're the one looking for Komarov aren't you?

Vincent turns to him, surprised.

vinCENT

How do you know?

porN CLERK

A friend of mine works at one of the shops you visited earlier.  He said you'd gone to a few, but I didn't expect to see you in mine.

They both look around at the selection of adult magazines, books and toys.

vincent

The sign on the door - books.

The PORN clerk nods in agreement.

vincent

Do you know Komarov?

The clerk laughs.

pORN CLERK

No one really knows Komarov, they simply know of him or what people say he is.

Frustrated, Vincent sighs.

pORN CLERK

He gives lectures at the city hall sometimes.  But it is very concealed, you must be invited to attend.

Vincent glances back at him, piqued.

vINCENT

When are these lectures?

Taking out one of his flyers, the clerk scribbles down the time and place of the lecture.

PORN CLERK

Be careful, my friend.  Komarov is not a man to be messed with.

Taking the flyer, Vincent nods.

Urgently, the clerk snatches his hand.

PORN CLERK

I mean it - he'll know that you are coming.

Vincent holds his stare on him a moment, nervously retracting his hand from out of his grip.

VINCENT

Thank you.

eXT. uNDERGROUND PORN SHOP - nIGHT

Vincent steps from the shop, places the flyer in his coat and looks up and down the street.  He focuses on a mildly rundown hotel.

int. hotel room - nIGHT

Vincent sits on the bed, phone in hand.  Over it, the muffled sound of previous recordings can be heard.  Sighing, he lays it down beside the photo of his wife and daughter and sits in thought.  Before him, snow silently falls outside.  Peaceful and serene.

Staring at it a moment, his eyelids gradually flicker --

eXT. Lecture hall - dAY (dream)

Vincent stands from his crouched position.  He looks around, but there is no one.  A still silence as though he is all that exists.

Suddenly, a loud CAW screams from above.

Looking up, he sees a black crow.

CAW.  CAW.  CAW. 

Then, just as fast as he came into this dream, he is pulled away.  As he goes everything speeds up, as though it was on pause for this moment, and now must fast-forward to make up time.

Its noise rising and transforming into --

ext. lecture hall - outside walls - night (present)

Traffic is bustling through this downtown area of Moscow.  Snow falls heavy and fast, covering the ground.  Amongst the flow of people a few familiar faces stand out.  A man stands reading a paper by the phone booth.  Another man stands by the bus stop watching the lecture hall.  Both are undercover, but obviously CIA.  Several others spread along the outside walls of the lecture hall and the park across the street.

i/E doyle's car - sAME TIME

Doyle sits in the car with the Young Agent from the hospital.  They are both warm inside this car, watching their partners outside.

young agent

I don't get it.  Why can't we just wait inside?

doyle

(distant)

Arrangements have been made.

Confused, the Young Agent gives him a look.

ext. lecture hall - inside walls - nIGHT

Outside the hall, yet inside its surrounding walls stand several RUSSIAN MOBSTERS dressed in designer suits.  These men cover all entrances, and four of them stand by the front.  They all carry well concealed heavy weapons.  Standing next to a small, stone sundial is the apparent Mob Leader - the same man we saw following Vincent at the bookstore.  Spotting the Agent outside the walls, he whispers something into one of his men's ears.  They both laugh, and the Mob Leader waves to Doyle.

i/E doyle's cAR -nIGHT

young agent

(re: wave from mob)

Wouldn't you just love to wipe that smile off his --

Doyle

Don't worry about them.  Just keep your eye on the assignment.

ext. snowy park - nIGHT

Vincent is making his way across the park, and towards the lecture hall.  His demeanor is very casual, appearing as if he has no idea what is waiting for him.

ext. lecture hall - outside walls - nIGHT

One of the agents spots him.

agent

We have him approaching through the park. All eyes open.

Another agent spots him and speaks into his headset.

i/e doyle's cAR - nIGHT

Doyle and the Young Agent listen to the other agents report.  They look to the park, trying to find him amongst the heavy flow of people. 

Doyle

(into walkie-talkie)

Wait until he crosses the street.

Finally they spot him at the cross walk.  The "walk" light flashes and he begins making his way toward the lecture hall. 

Across the street, two of the disguised agents begin to follow him.

dOYLE

Okay, on my...

ext. leCTURE HALL - OUTSIdE WALLS - nIGHT

Suddenly, a car comes out of nowhere, screeching before Vincent.  Swinging open its doors, a bunch of Russian mobsters pour out and start swarming around him.  Backing away, Vincent immediately spins around and flees.  Seeing the American agents behind him, he hesitates.

VINCENT

What the...

i/E doyle's cAR - nIGHt

dOYLE

Fuck!

Doyle barks into his radio, instructing the other agents.

dOYLE

Go!  Go!  Go! --

Turning to the Young Agent, he guns his car into reverse.

DOYLE

Never trust a Russian.

Cranking into gear, the car speeds forward.

ext. lECTURE HALL - inSIdE WALLS - nIGHT

The Mob Leader laughs as Doyle speeds by.

ext. MOSCOW streets - nIGHT

Vincent is fleeing from several agents, and mobsters.  He darts through speeding cars in traffic, runs against the flow of hundred