STIGMATA Transcription by Barry Shanley Jr. Based upon the screenplay by Tom Lazarus and Rick Ramage An MGM release FADE IN: EXT.BELO QUINTO -- NIGHT SET IN: BELO QUINTO -- SOUTHEAST BRAZIL The sun is setting low over the long, curving river beside the church in Belo Quinto. Nearby, in the dark, we see an old Priest kneeling, transcribing some hidden document. He whispers the words in hushed tones as he transcribes them. Call him FATHER PABLO ALAMEIDA. He gently takes a break and prays with his rosary, and presses it against his forehead, closing his eyes. We see his wrists are bandaged.... As his prayers echo, distorted, we... DISSOLVE TO: EXT. CHURCH -- BELO QUINTO -- DAY A large mob of devout religious natives, some carrying crucifixes, some crying. As we move into the crowd we see numerous people carrying a HUGE, LIFELIKE SIZE of the crucifixion. They chant eerily. We move swiftly through the crowd until we pick up pace with FATHER ANDREW KIERNAN, late thirties, dark, attractive, as he moves in and around the mob in a light windbreaker and a hand-held camera. He furrows his brow... We see deformed, invalids move through the crowd praying to Jesus, some beckoning, kneeling, almost delirious. We RISE into the air as Father Kiernan makes his way into the church..... INT. CHURCH -- DAY Kiernan walks in and sees another large mass, not quite as large, gathered around a COFFIN in the middle of the church. He moves through the crowd up to a young priest. They speak in hushed tones, in Spanish. PRIEST (Subtitled) Are you the investigator? KIERNAN (Subtitled) Yes. PRIEST (Subtitled; sighing) Thank God you've come. KIERNAN (Subtitled; looking around) Who's in charge? PRIEST (Subtitled) Father Alameida was... He motions to the casket...... SWIFT PAN over the casket of the eerie-looking, deceased corpse of FATHER ALAMEIDA. We recognize him from opening shots, his eyes closed, his bandaged arms crossed over his chest. He is holding a black and white photo, his Bible, and his ROSARY. WWHOOOOOOSSSSH. As Father Kiernan looks on, all the candles around him begin to THUMP out, a strong wind blowing in. It's immensely religious, all the members of the church knowingly CROSS themselves, chanting under their breaths. Father Kiernan turns and sees the main tourist attraction: Standing only a matter of feet away from the casket of Alameida, a striking white, arms in the air desperately, is the statue of the VIRGIN OF GUADALUPE. Expressionless face, blank, albino eyes, standing before the church like its savior. Only one thing is strange and eerie.....ITS EYES ARE CRYING TEARS OF BLOOD, dripping down the cheeks and dripping onto its dress. Suddenly DOVES SCATTER, feathers flying. Kiernan sets down a recorder. MAN (O.S.) (Subtitled) Look! How much proof do you need? FLASH! Kiernan is holding the camera up, SNAPS a photo. A few mourners cross themselves, mindful of what he is doing, shaking their heads. The young Priest watches in confusion as Father Kiernan moves to the statue and takes out a knife, presses it against the indentations of the statue's base, checking for fraud. It's solid stone. CLOSE UP: A Q-Tip dips into a puddle of the WET BLOOD. He places it in a small container for later examination. The young Priest steps up beside Kiernan. KIERNAN (Subtitled) Has the statue been removed from the church for any reason? PRIEST (Subtitled) No. The people of the village loved Father Alameida. The statue only started crying on the day Father Alameida died -- the day the doves came back. MOURNER (O.S.) (Subtitled) Those tears of the Mother are the blood of Christ. Kiernan turns and looks into the masses. Then turns as a WIND sweeps through the church again, blowing the hood of his windbreaker up against the back of his head. He turns and sees.....MORE CANDLES THUMP OUT AS ONE. WHOOOOSSSH! A flock of DOVES spring up out of nowhere behind the statue of the Virgin, flying in all directions into the air. Kiernan watches in surprise. KIERNAN (Subtitled) I suggest you clear the church. I have to crate the statue up. A beat. PRIEST (Subtitled) Crate it up? KIERNAN (Subtitled) Yes. PRIEST (Subtitled) No, no. Father Alameida would never have allowed it.... Kiernan glances back up at the statue. SNAPS photos. Tears continue to drip down the angelic cheeks of the statue. The corpse of Father Alameida rests in his casket, looking haunted.... ........A young peasant boy races up swiftly and GRASPS the rosary, scoops it into the palm of his little hand and races out.... EXT. MARKETPLACE -- BELO QUINTO -- DAY An American woman in her forties in shopping. The young boy with the rosary comes up behind her, taps her. She turns and smiles. BOY (Subtitled) Ma'am? This is Father Alameida's own rosary. The woman is in awe. She smiles. She likes it. A nearby seller shakes his fist at the boy. MAN (Subtitled) Lady, you really shouldn't buy that. WOMAN (Subtitled) No, I like it. How much? It's a swift exchange. She hands him the money and he throws the rosary into her hands, races off. The seller shakes his fist after the boy... MAN (Subtitled) You shouldn't do that! You're stealing from the dead!! CUT TO: close up of father kiernan in the church staring at something with a haunted look.... FATHER ALAMEIDA rests in his coffin, but something's been shifted. A force. Suddenly the shot is beginning to CLOUD with thick, dilluted BLOOD. It begins to cover the shot and eventually envelopes us as we.... CUT TO: OUR FILM'S TITLE: STIGMATA main titles begin CUT TO: various hyper inserts of skyscrapers to a rapid techno beat --- rapid descent onto an apartment building exit. a woman walks out, blonde, early twenties, FRANKIE paige. She smokes a cigarette. in front of her as she strolls down the street full of pedestrians... with her as she hands over a beer bottle to a thankful bum. she moves on..... with her as she is cutting someone's hair in a salon entitled Othe cut'. She laughs in conversation and turns to see: her friend, donna chadway, african-american, FRANKIE's age, also cutting hair, laughing with her. with FRANKIE now as she is in front of mirror, applying makeup and clothes. hyper inserts on pictures of holy crosses, saints, praying lords, etc. we sweep toward FRANKIE as main titles continue and she leans forward, taking one last look at herself in the mirror. she is beautiful. she steps away from the mirror and we cut to: INT. CLUB -- NIGHT Strobe lights dart back and forth as we approach the wall-to-wall mob of dancers and drinkers. Quick-cut motions as Frankie and Donna move with their friends to a table and, laughing, sit down, smoking cigarettes and chugging down drinks. Frankie's boyfriend, Steve, twenties, buff, leans forward and attempts to speak to Frankie among the CHAOS. STEVEN Frankie, sweetheart. Hey, Frankie, let's get out of here. I got work in the morning. I'm trashed. FRANKIE (Leaning forward) You too tired to go home with me?? STEVEN Hey, I might be tired but I'm not dead. CUT TO: a door opens and the figures of FRANKIE and STEVEN walk into the doorway, sloppy drunk, collapsing against the side of the doorway, laughing all the time. they move into the apartment building... .......into the elevator.... .....FRANKIE rises into shot and slips off her clothes, revealing her bra underneath. she and STEVEN begin to make love. as they make love, hyper insters on the pictures and paintings of holy lords, praying saints, crucifixions, etc. the last credits roll as we move above the now sleeping figures of FRANKIE and STEVEN. she is deep asleep, her eyes and expression angelic, content. main titles end. FADE DOWN FADE IN: INT. FRANKIE'S APARTMENT -- MORNING A thick silence in the air. We see the lone sleeping figure of Frankie. close up: her lips part gently as she slowly begins to stir. we roam through her apartment and then zoom toward her bed as -- --- the phone rings. She is startled awake, then looks around for any sign of Steven: None. Of course. She grabs the phone on the bed table and lies back in bed. FRANKIE Hi mom. MOTHER'S VOICE How do you do that? How did you know it was me?? FRANKIE Of course it's you. You're the most persistant ring I know... MOTHER'S VOICE I just wanted to say hi while I'm near a phone... FRANKIE Where are you anyway? MOTHER'S VOICE Belo Quinto, near Reo. It's beautiful - BBZZZ. A call on the other line. FRANKIE Mom, hang on. I'm getting another call. She reaches over and clicks to the other line. FRANKIE Hello? STEVEN'S VOICE Bout time. Where you been, baby? FRANKIE (Exasperated) Ha ha. I hate it when you do that. You could have at least said good- bye. STEVEN'S VOICE Why? FRANKIE WHY??? (Stunned) Forget it. Look, I got my mom on the other line. Long distance. I'll see you tonight. STEVEN'S VOICE Alright, see ya later. She clicks back over. FRANKIE What? MOTHER'S VOICE Yeah. FRANKIE Hi, I'm back. So how do you like Reo? MOTHER'S VOICE Well, it was great. Did you get my package? FRANKIE Yeah, I got it yesterday. MOTHER'S VOICE What did you think? Did you like it? Did you open it yet? FRANKIE Hang on. I'm gonna switch phones. CUT TO: INT. KITCHEN -- MOMENTS LATER We see the feet of Frankie wearing large sandles as she makes her way, whistling, to the table where the package reading FRANKIE PAIGE sits. She picks it up, speaks into the phone. FRANKIE I'm opening it right now.. She opens it at a table. Is unamused at a few little trinkets. Finally she comes across the rosary. Holds it up and then just as soon, she drops it back onto the table. FRANKIE A necklace...Oh cool. MOTHER'S VOICE Well, actually, it's not a necklace. It's a rosary. FRANKIE Where'd you get it? MOTHER'S VOICE A little village called Belo Quinto. Frankie reaches into her MICROWAVE and removes a heated cup of coffee. FRANKIE I didn't even know you went there.. MOTHER'S VOICE I took a little side trip. What do you think of the presents? Do you love them? I'm so glad I got a chance to talk to you. But I'm going on my cruise and I won't get to talk to you for a month. FRANKIE Have fun. I love you. MOTHER'S VOICE I love you, sweety. CLICK. Frankie hangs up and moves back to the table with the rosary, glances down and sees the minute details of the cross. Christ stretched across with the nails driven through the palms and feet. She lifts the cup of coffee to her lips and then backs away. Whoa. She begins to gag. She covers her mouth, as if sickened by a stench. She sets down the cup and races out of the room -- EXT. COFFEE JOINT -- DAY Frankie moves up to the outside bar with Donna. DONNA (Ordering)Can I get two Lottais. Low fat. FRANKIE No. Just one, you know, I'm ok. DONNA Let me get a bacon and egg sandwich too. To go. The waiter nods and moves off. Donna turns to Frankie. DONNA What's up? You're not eating today? FRANKIE I threw up this morning at the smell of tea. DONNA (A beat) You late? FRANKIE Like a week. DONNA A week? FRANKIE I don't know. A few days. I felt weird. DONNA You're so dramatic. I think you're just psyching yourself out. FRANKIE No, I felt like my heart wanted to go live in my stomach..... She looks at Donna with a wide smile. They laugh. FRANKIE No, really, what if I'm bringing a person into this world? DONNA OWhat if'?? You got options. Donna bites into a bagel at a side basket and the waiter brings up her lattai. They continue to jive each other as they leave. FRANKIE You know what? I don't wanna talk about it. It's making me cranky. Let's get our asses to work cause we are late. DONNA You're always late. There's nothing new. EXT. ROME -- THE VATICAN -- DAY A wide PAN over the striking image of the Vatican. EXT. ROME -- STREET -- DAY Father Kiernan moves down the street. Nearby a FLOCK of BIRDS spread in a million directions. He moves on.... ......passes THREE PROSTITUTES, who notice him and approach him, flashing some thigh and ass. PROSTITUTE (Subtitled) Have some fun! Ciao, Bello. Are you looking for a good time? KIERNAN (Subtitled) That's very kind of you. But no, thank you. PROSTITUTE (Subtitled; in Spanish) Come on! Be a man! Father Kiernan pauses and turns around to them, bares his Priest collar. The prostitutes HOWL with laughter. PROSTITUTE (Subtitled) No problem! We'll give you the Vatican discount! He smiles widely and moves on.... .......INTO the traffic in front of the VATICAN. SET IN: VATICAN CITY CUT TO: INT. CARDINAL HOUSEMAN'S CHAMBERS -- DAY Dull light, thick carpets. A dim environment. Father Kiernan emerges into the room, walkes up to the desk of CARDINAL HOUSEMAN, who sits behind it. Late fifties, eyes piercing, graying hair. A bold CROSS necklace hangs from his neck. A devout Catholic. CARDINAL HOUSEMAN Father Kiernan! Welcome back. Kiernan smiles and sits down in front of Cardinal Houseman's desk. Father Dario stands nearby, watching everything in silence. Cardinal Houseman opens a file to reveal BLACK AND WHITE PHOTOS OF THE BLEEDING STATUE OF GUADALUPE. CARDINAL HOUSEMAN These are interesting. What's the trick? KIERNAN To be honest, I don't know. CARDINAL HOUSEMAN They probably made a fortune out of this. And what...is this? He holds up a photo of the statue. The colors are different, almost reversed. KIERNAN Those are infra-red photographs of tears. The statue is stone, therefore room temperature. And the tears show up as white because, well, because they're warm.... CARDINAL HOUSEMAN (Dismissively) Warm tears... KIERNAN Yes. Uh, my lab reports and analysis confirm that the tears from the statue are not only warm but, human. Cardinal Houseman glances up at him. KIERNAN I know what you're thinking. But with all due respect Daniel, this isn't a fake. It's a free-standing mass of solid stone, and there is no scientific explanation. CARDINAL HOUSEMAN Andrew, it's my understanding you were sent to Brazil to investigate the appearance of a virgin Mary on the side of a building. KIERNAN Yes, well, while I was in San Paelo I heard of this statue so I decided to go and investigate.. CARDINAL HOUSEMAN And...? KIERNAN And what? CARDINAL HOUSEMAN The face of the Virgin Mary on the building? KIERNAN It's an oxidation stain. Caused by rain water running down untreated side walls. Causes an optical illusion of a veiled woman... CARDINAL HOUSEMAN Good. We'll consider the matter closed then. Father Dario has your next assignment. KIERNAN I was hoping you'd send me back to, uh....to Belo Quinto. CARDINAL HOUSEMAN Why? KIERNAN Because I need to do some more tests on the statue. CARDINAL HOUSEMAN (A beat) You're telling me you left the statue in Belo Quinto? KIERNAN Yes. I was going to bring it back, obviously, but when I saw the effect it had on the people, it's amazing. It's almost like it's become a cornerstone of their faith. CARDINAL HOUSEMAN (Exasperated) Andrew, cornerstone of their faith is the Church. Not a crying statue. When you're in the field you're a representative of the Catholic church. And the congregation of the Causes of the Saints. KIERNAN Yes, I'm very well aware of that. But I'm also a scientist and I observe the facts. And the facts are that this statue has tears of blood. Cardinal Houseman rises and paces around the room. CARDINAL HOUSEMAN In that case, you know the policy. The statue is brought back to the Vatican and we conduct expert tests. Geologists, engineers, medical examiners. We've examined 50 to 60 crying statues in the last twelve months. Not a single one of them has turned out... KIERNAN Yes, I'm very well aware of that. But I just wanted you to know that in my OPINION, I THINK, that this is different. Cardinal Houseman moves to a huge map on the wall and stares with his hands behind his back. CARDINAL HOUSEMAN I'm not going to allow you to go back to Brazil. We'll get a geologist down there and if he sees fit we'll get the statue sent back for further tests. Brother Dario, get me all the information you can on this church in Belo Quinto, would you? Thank you, Andrew. KIERNAN Thank you. Seated, Father Kiernan looks unwillingly defeated. He rises and leaves in a funk. DARIO I have never seen him this way before. Cardinal Houseman moves to the desk and sits down. CARDINAL HOUSEMAN Andrew's problem is he can't decide whether he's a scientist or a priest. EXT. CITY STREET -- PENNSYLVANIA -- NIGHT Donna's car zooms to the side of the street, in front of the apartment. DONNA'S VOICE Frankie, come on. You are gonna drive yourself crazy. If you're worried about being pregnant why don't we go to the store right now and get a test. FRANKIE'S VOICE No. Let's give it a couple days. The car stops and Frankie steps out. DONNA'S VOICE Are you sure? FRANKIE Stop mothering me. Yes. I'm fine. DONNA'S VOICE Alright girlfriend. I'll call you later. FRANKIE Ok. Bye. Drive safe... She SLAMS the door and Donna drives off. ABOVE and DESCENDING on Frankie as she walks into her apartment building.... INT. FRANKIE'S APARTMENT -- BATHROOM -- NIGHT She is in the bathtub, candles all around. She stares off, deep in troubled thought. She reaches over and grabs an apple. BITES into it and sets it back down. Stares off. She dozes and lets herself sink down into the calm, soothing water. Her face slowly sinks.... .......Her image BLURS and splits in TWO, the water slightly trembling with a force... A PAN underwater of her BODY..... CLOSE UP: HER BELLY BUTTON as her hand appears and gently touches it... DONNA (V.O.) Late? FRANKIE (V.O.) Like a week. DONNA (V.O.) You're always late. There's nothing new. CLOSE UP: Her face as her hair drifts out around her and she is relaxed.... FRANKIE (V.O.) What if I'm bringing a person into this world? DONNA (V.O.) Frankie, you got options. She sinks down into the water.... ......WWHHOOOSSSHH!!! A powerful noise makes her JOLT out of the water with a start: a dove flies across the small bathroom, gracefully landing above her, looking down at her.... Frankie sits up in the tub, confused and startled. She continues to stare at the dove, who stares back and then FLITTERS off.....A single feather falls into the water in front of Frankie. She furrows her brow and picks it up, examines it.... BANG! A stronger and more malevolent force KNOCKS her back into the water with a throttled YELP! BLURRED, FRANTIC images of Frankie struggling -- --- her foot SMASHES into the faucet of the tub, sending it SMASHING to the floor, water SPRAYING out of the open tube. Frankie continues to flail against the unseen force... image of a nail being driven through a wrist CA-CHANG! Frankie winces, SCREAMS! another image of the nail being driven through another wrist with a metallic ca-chank! Frankie winces again, her screams muffled by the water. We notice drops of BLOOD spill out and cloud into the water. image of a nail being driven deeper into flesh -- CA-CHANK! CHANK! Finally Frankie sits up in the tub, her wrists held out in front of her: A gash in each wrist, bloodied. Gore drips down her arms. She is too horrified even to scream. smash cut to: EXT. CITY STREET -- NIGHT As the ambulance drives wildly through the drizzle and traffic -- INT. HOSPITAL -- NIGHT Frankie is wheeled in on a gurney by a mob of doctors, frantically racing to an ER room. Frankie is lying on the gurney, blood covering her clothes. Her eyes stare unflinching above her, she's numb to everything. In shock. We hear Donna trying to get in to see Frankie. A doctor restrains her. DONNA'S VOICE Somebody needs to tell me what's going on. Frankie, can you hear me? I'm right here with you. I don't understand why there's so much blood... The doctors try frantically to PUMP some life into Frankie. Her vital signs are wild, THUMP-THUMPING to different degrees. Suddenly Frankie Paige sits BOLT UPRIGHT and lets out a WAILED SCREAM that echoes through the ER room. DONNA turns. Doctors and nurses turn. Frankie stops and then goes limp again, FALLS back down onto the support of the gurney. NURSE ....blood pressure are back to normal... Frankie's vital signs are calm. She blinks, as if something has passed; left her. She sits up, startled, hand out in defense. Dr. Reston, thirties, pretty, consoles her. FRANKIE Who are you? RESTON I'm Dr. Reston. Do you know what your name is? FRANKIE (Looking around) What happened? RESTON You're in the emergency room. You were found unconscious in your apartment. Do you remember anything? Dr. Reston reaches forward and takes the bandage off of one of Frankie's wrists. Blood FLOWS out way too easily, gushing all over everything. Frankie just stares curiously. RESTON Oh Jesus. (Calling) Can I get some help over here? We have a very deep laceration here! Oh my God, it's gone right through. Frankie just watches her blood flow out. Nearby, Donna is restrained by a doctor. DOCTOR You can't go in there. DONNA Please, Doctor. I just want to know what's...going on...with her... DOCTOR Please have a seat. Thank you. CUT TO: INT. ER ROOM -- LATER Frankie's wrists are bandaged and she is sitting up in bed. Dr. Reston is sitting beside her, deeply engrossed in studying the wounds. RESTON These are puncture wounds, Frankie. Caused by the entry of a sharp object. Are you in any pain? FRANKIE No. That's weird, isn't it? RESTON (re the wound) Wow, will you look at that? It only bleeds when I touch it. FRANKIE Then maybe you should not touch it. RESTON (Astounded) These wounds are identical; same size, same shape. She missed the main artery by less than a centimeter. FRANKIE You keep saying Oshe', but I didn't do this. Dr. Reston smiles and says cheerily, almost as if to a mental patient, RESTON What's happening in your life, Frankie? You have a lot of stress at work? FRANKIE (Rye) I cut hair. RESTON Any trouble with a significant other? FRANKIE Ye-es. RESTON And that is? FRANKIE (A beat) I'm not very significant. Look, how long is this gonna take? I wanna go home. RESTON Oh, I think you should stay here for at least twenty four hours. We need to get a handle on this. FRANKIE (Sharp) There's nothing to get a handle on. RESTON Frankie, I'm not gonna kid you. With wounds like this it's pretty obvious that they were self-inflicted. A stunned beat. Frankie looks at her. FRANKIE You think I did this?? Dr. Reston gives her a look. Yes. FRANKIE It would never happen. I love being me. Ask anyone. INT. FRANKIE'S APARTMENT -- BATHROOM -- NIGHT It's a mess. Objects toppled over, the floor flooded with bloodied water. We move to the tub that is now FILLED TO THE BRIM with water. Frankie watches helplessly, tears coming to her eyes. DONNA'S VOICE Frankie, turn the light off, honey, and come to bed. Frankie turns to DONNA who is in the bedroom. Frankie stands in the open doorway. Finally she turns off the light and moves to the bedroom. in the bedroom Frankie curls under the covers, next to DONNA. They lie in silence. DONNA Do you smell flowers in here or something? FRANKIE No. DONNA Like Jasmine or Hyacinth or something.... FRANKIE (Shaking her head) I don't smell anything.... A beat. They lie in silence. Donna looks at her, concerned. DONNA Mmmm, do you need anything? FRANKIE No. DONNA Good-night. Frankie rolls over on her side. FRANKIE Good-night. WATER continues to drip down onto the table beside the bed. Drip. Drip. Splashes in a tiny puddle. Suddenly one of the drops REVERSES in a swift, blink-of-the-eye moment. Frankie doesn't notice. CUT TO: EXT. ROME -- THE VATICAN -- SUNSET A striking building against the gold setting sun... INT. VATICAN -- OFFICES -- SUNSET A guard looks up from his desk as the door opens and Father Kiernan steps in. They nod in greeting. KIERNAN (Subtitled) Hello. I'm here to see Brother Delmonico. GUARD (Subtitled) You've got to sign in. KIERNAN (Subtitled) I'll only be five minutes. GUARD (Subtitled) Everyone has to sign in. Kiernan signs the book on the desk and moves on... .....into the main offices full of desks, lamps, books. A large wooden staircase behind the floor full of desks, leading to another level. Kiernan walks up to a nearby desk and greets the elderly priest who is sitting before a volume of pages. Call him BROTHER DELMONICO, late sixties, graying, naturally friendly. BROTHER DELMONICO (Heavy accent) Welcome back, Andrew. He stands, shaking Kiernan's hand. CUT TO: close up: wine being poured into a wine glass BROTHER DELMONICO'S VOICE God is good... BACK TO SCENE Brother Delmonico is seated and Father Kiernan moves around to the side of the desk as they speak. BROTHER DELMONICO So how was Belo Quinto? KIERNAN How do you know about Belo Quinto? I was sent to San Pailo... BROTHER DELMONICO (Smiling) God lives here, remember. We know everything. Kiernan chuckles. KIERNAN Yes, I forgot. BROTHER DELMONICO How are you doing, Andrew? Kiernan shakes his head, closes his eyes. KIERNAN I don't know, I don't know......I travel around the world investigating miracles, and then I disprove them. The real miracle is that anyone believes anything. I don't know what I'm doing, to tell you the truth. BROTHER DELMONICO None of us know what we are doing. Kiernan's eyes drift down to the volume of pages before Brother Delmonico. He is curious. KIERNAN So what are you working on? BROTHER DELMONICO I've no idea. KIERNAN How can you translate something if you've no idea? He closes the book as Kiernan strolls around the desk. BROTHER DELMONICO I'm a linguist, Andrew. I translate words, not their relevance. But this one is a second century gospel. KIERNAN How many is that you're up to? BROTHER DELMONICO I helped translate about fifteen. That only leaves twenty still to go. KIERNAN So there are what, thirty-five gospels? BROTHER DELMONICO Everyone had a different experience of Jesus. So they all wrote different stories. See, all the gospels, they are, interpretations. Memories, dreams, reflections. KIERNAN And there's no one gospel in Jesus' actual words? BROTHER DELMONICO We are all blind men in a cave. Looking for a candle that was lit two thousand years ago. KIERNAN So what's in the text? BROTHER DELMONICO I was only given every third page. KIERNAN Why? BROTHER DELMONICO The most sensitive documents are always divided into threes among us. One third to the Dominicans, one third to the Fransiscans, and one third to us Jesuits. The truth of any document is only known to...a very powerful few. KIERNAN That's typical of this place, isn't it? BROTHER DELMONICO We live in a highly competitive world, Andrew. The church is no exception. Thoughtful, Kiernan moves to a nearby door which is blocked off and locked tight with a HEAVY METAL LOCK. Kiernan reaches up and holds it, then lets it go, BANGING against the metal. It CLANGS and ECHOES through the vast rooms. Nearby, the guard looks up. At the locked door, Kiernan stares off. Behind him, Brother Delmonico watches. KIERNAN Nothing ever gets out of here, does it? Unless, of course, they wanted to. CUT TO: EXT. CITY STREET -- PENNSYLVANIA -- DAY Walking among the mob of pedestrians with an umbrella to shield herself from the heavy rain, Frankie Paige is deep in thought with a furrowed brow. Her hand goes to her forehead and she wipes some loose hair out of her face as she continues on.... RESTON (V.O.) These wounds are identical, same size, same shape. She missed the main artery by less than a centimeter.. FRANKIE (V.O.) You think I did this....? INT. THE CUT -- DAY The barber shop where Frankie and Donna cut hair, give people earrings and nipple piercings. Nearby another young woman named JENNIFER, 20s, long locks of blonde hair and nippled ears, lips, nose, sits filing someone's nails. In the b.g. Bjork's OAll Is Full of Love' remix is on. DONNA So, Jenn, tell us about your date. JENNIFER It was with a tax lawyer. The door opens with a CHIME and they all look up to see Frankie walk in. DONNA Hey, Frankie! JENNIFER Hey Frankie. FRANKIE Hey guys. DONNA How you feeling? FRANKIE Fine. She smiles and walks to her section of the room. Donna approaches her. DONNA Really ok? Or just ok? FRANKIE I'm fine. So how's my day lookin'? DONNA (r.e. a woman nearby) I started your first client. And you're booked solid until seven. FRANKIE Thanks. They share a smile. Donna goes back to her work. FRANKIE (To woman) Wanna come over here? Ok, well, go back to Jen and dish the dirt. Frankie gathers her things. She begins to cut the woman's hair. Jennifer continues talking about her date from last night. Frankie isn't paying attention.... She is distracted by a noise. Looks up. Stops cutting hair. Sees nothing and reluctantly continues cutting hair.... Again she hears something and abruplty STOPS, stepping away and looking out the window. Turns to Donna, who frowns at her. You ok? She nods. But she's not. Something is bothering her. Finally she walks to the window and looks out. Sees it: Standing on the curb across the busy street, cloaked in a bright blue raincoat, a woman is staring at Frankie, and she is holding a wrapped up baby in her outstretched hands. At the window, looking out, Frankie frowns.... OUTSIDE, the woman continues to stare at Frankie. TEARS roll down her cheeks quickly. CUT TO: flashback of FRANKIE's belly button as she touches it CUT BACK TO: EXT. STREET -- DAY The woman holds the baby out toward the blurring rush of traffic -- AT THE CUT, Frankie sees what she is going to do. SCREAMS. The woman holds the baby, and drops it. AT THE WINDOW, Frankie's scream is muffled by the glass. She POUNDS against the glass, SCREAMING. We see the baby DROP onto the concrete in between the chaos of traffic! The door to THE CUT opens and Frankie RACES out, screaming, charging into traffic. FRANKIE Shit.... Horns blare as cars SCREECH to a stop and just avoid hitting her. She races across the street to the woman whose face is covered by the bright blue hood of the raincoat. At THE CUT, Donna races out after Frankie, completely confused. Frankie approaches the side of the road where the baby was dropped and searches frantically. NO BABY. She does find the red blanket it was wrapped up in. Picks it up, sobbing, hopeless. The woman stands on the curb, expressionless, unmoving. People walking by seem to only notice Frankie and they stare. FRANKIE (To nobody in particular) Stop! There's a baby!!! There's a baby! Donna rushes up behind her and grabs her into an embrace. Frankie sobs into her arms. DONNA Frankie! What are you doing? FRANKIE There was a lady. She dropped her baby....I saw her. She dropped the baby...I swear! I swear. DONNA No. There's no lady and there's no baby... Frankie helplessly collapses into Donna's arms again and SOBS. As pedestrians continue to stare, Donna helps her sobbing friend back inside THE CUT. CUT TO: EXT. SUBWAY TRACKS -- NIGHT The huge piece of machinery ROARS by.... INT. SUBWAY TRAIN -- NIGHT We see Frankie seated nervously, Donna beside her. Frankie bites her lip. Donna glances at her. DONNA You alright? Frankie forces a nod. DONNA We'll be home in a minute.... Donna sits back in silence. A long moment passes. Frankie leans forward and scans the surrounding subway box. A few pedestrians sit around her. Two nuns and a priest sit nearby, engaged in a conversation. Frankie thinks a beat, then sits back. Silent. We can hear the sounds of the subway on the tracks outside. Donna glances at Frankie, who looks back. They look off. Frankie leans forward again and this time focuses on the priest sitting a few people down from her, talking with the nuns. We cannot hear what he is saying. A beat. Frankie thinks. Abruptly she STANDS and walks over to the priest... DONNA'S VOICE (Worried) Frankie?? Frankie ignores Donna and approaches the priest. FRANKIE Hey you. The priest looks up. PRIEST Are you speaking to me? FRANKIE Are you Andrew Kiernan? PRIEST Andrew Kiernan? No. My name's Father Derning. May I help you? A beat. She gives him a rude look. FRANKIE No one can help me now. I'm fucked. With that she turns swiftly to the nuns seated across from Father Derning. Reaches forward and GRABS a SILVER CROSS NECKLACE off of one of the nuns and THROWS it down the aisle, letting it skitter to the grimey floor of the train. All chaos breaks loose. The lights FLICKER on and off in a blur of confusion and NOISE as the subway JERKS to the right and left, sending people SCATTERING to the floor in fright. Frankie SLIDES down the middle of the train, reaching out for anything to stop her. She grabs a nearby rail and tries to get to her feet. The train LURCHES to the right and left again, sending people all around again. Frankie quickly reaches out with her other hand to the railing across from the other one, now she is stretched across the train, holding on desperately -- LASHING MARKS echoe through the air. Frankie SHRIEKS. image of whip marks across flesh; FRANKIE's back Frankie SCREAMS and sobs. MORE LASHING MARKS sound through the air and she winces, loses her handle on one of the railings and grunts, faltering.... image of more whip marks across flesh as more whipping sounds break out. one after another. Frankie is sobbing desperately from pain. Something is badly damaging her back.... MORE lashing sounds....Her eyes roll back in her head... image of the subway train racing through the track BACK to Frankie, in the subway train.....She has lost the energy to sob now. She can only let out a moan.... more lashing marks sound out She drops to the floor in a heap of blood and pain. Sobs desperately, reaching for something to grab onto in the middle of the chaos. Finally the train slows and it's over. People get to their feet, but Frankie remains in the middle of the train, on the floor, reaching out aimlessly for something or someone to help her. Donna races to Frankie, not believing her eyes: Frankie's back is covered in blood and whip marks. DONNA Somebody help! Nearby, FATHER DERNING watches, wide-eyed. CUT TO: INT. HOSPITAL -- DAY Frankie on her stomach on a bed, the whip marks plainly visible, angry across her back. They are being tended to by a doctor. Frankie winces as the doctor places stitches into the cuts. Tears roll down her cheeks. DISSOLVE TO: INT. HOSPITAL ROOM -- LATER A Doctor is talking to Frankie, who lies in a hospital bed. Donna sits to the side. DOCTOR Frankie Paige? We're gonna schedule some more tests for this afternoon. FRANKIE Did you run a pregnancy test? DOCTOR Uh...(consults notes) Yes. FRANKIE ...Am I pregnant? DOCTOR No. FRANKIE Was I? DOCTOR I don't know. INT. ROOM -- DAY Frankie sitting upright as a device slides closer to her pupil and a thin tube BLOWS AIR into her eye. CLAMP! She backs up and flinches. CUT TO: INT. GLASSED-IN ROOM -- DAY Frankie with headphones on. A hearing test. We hear a high-pitch whining noise. So does she. She presses a button in response. Finally she turns to the glass, taking off the headphones. Taps on the glass. Points to her ear. Her hearing's fine. CUT TO: INT. CHURCH -- NIGHT With Father Kiernan now as he gives communion, holding out the hosts for people to drink. KIERNAN He said, OTake this, all of you, and drink from it. For this is the cup of my blood...' He moves down a row of kneeled people.. CUT TO: INT. ROOM Pressed against a wall, Frankie grimaces and turns away as a nurse takes her blood through a NEEDLE injected in her arm... CUT TO: INT. CHURCH Father Andrew giving communion... CUT TO: INT. HOSPITAL ROOM Frankie being rolled into the tunnel-like Magnetic Resonance Imager. She clamps her eyes shut nervously. RATATTATTATT. close up: brain scan of FRANKIE A Doctor holds it up to the light. INT. HOSPITAL ROOM -- LATER DAY Frankie sitting up in bed. She is speaking to the same doctor from before. FRANKIE Well, am I psychotic or dying, or both? DOCTOR (Smiling) Well, none of the above. Actually, I think that you're quite rational. And despite the wounds you've suffered you're in very good health. There is another possibility that is of concern..Epilepsy. A shocked beat. FRANKIE Epilepsy? DOCTOR We've run some preliminary tests. All things considered, I think it might explain a lot. FRANKIE But that's impossible. How can you just wake up one day and have that? DOCTOR Well, you can't. You've described blood trauma to the head. Disturbing hallucinations. You're hearing voices. These could all indicate epilepsy. FRANKIE So what do we do now? DOCTOR We're going to insert some electrodes into the upper neo cortex... FRANKIE Wait a minute, wait....You want to put wires inside my head? DOCTOR Frankie, we're going to do whatever we can to find out what causes this. You hang in there. He leaves. Frankie sits in shock. She goes to lie down on her back -- winces at the pain -- and rolls over to the side. She's a mess. DISSOLVE TO: INT. HOSPITAL -- ENTRANCE/EXIT -- EVENING Donna escorts a weak Frankie to the door. DONNA Epilepsy? They don't know what they're talking about, Frankie. I think you should get a second opinion. voice Ms. Paige? They turn to see FATHER DERNING. He smiles warmly. FATHER DERNING I'm Father Derning. You spoke to me on the train. FRANKIE Oh. Yeah? FATHER DERNING I'd like to talk to you about what happened. DONNA Why? FATHER DERNING (To Frankie) Do you know what the Stigmata are? DONNA Father, I gotta get Frankie home. Thanks. FATHER DERNING I understand how you feel. But please call me if you change your mind. He holds out a card to Frankie, who takes it and looks him in the eyes. Nods, sincere. FRANKIE Ok. Donna and Frankie leave. Father Derning sighs. EXT. ROME -- VATICAN -- DAY ABOVE Father Kiernan as he makes his way to the building, and goes inside... CARDINAL HOUSEMAN (V.O.) Ah, Andrew, come in. INT. VATICAN -- CARDINAL HOUSEMAN'S CHAMBERS -- DAY Father Kiernan walks in and we see Cardinal Houseman and Father Dario. Father Dario is watching a tape. CARDINAL HOUSEMAN I think we've found your next assignment. KIERNAN I was hoping you'd changed your mind about sending me to Belo Quinto. FATHER DARIO We have no record of a church in Bell Cinto.... A beat. Kiernan stops and looks at him. KIERNAN What? That's impossible. There must be some mistake. FATHER DARIO No mistake, Father. I've checked into it myself. If there is a church in Belo Quinto, it is not one of ours. Cardinal Houseman moves over to them. CARDINAL HOUSEMAN We have no record of a priest assigned to that village, either. (re the television) This was sent to us from Father Derning in Pittsburgh. From the train security camera. Kiernan moves to the television, squints. KIERNAN What, uh, what are we supposed to be looking for? CARDINAL HOUSEMAN Watch. on the video screen we see the image of the LURCHING subway and in the middle of the shot, the outstretched figure of FRANKIE. We see her bandaged wrists. BACK TO SCENE Kiernan watches with a furrowed brow. KIERNAN Stop. Dario hits PAUSE. The image freezes. FATHER DARIO Obviously it is some sort of attack. Maybe posession? Cardinal Houseman and Kiernan move closer to the image. KIERNAN (Indicating) The wrists are bandaged. Cardinal Houseman moves to his desk and sits down. Kiernan follows, standing in front of him. CARDINAL HOUSEMAN According to Father Derning, she was whipped repeatedly by an unseen force. KIERNAN How important is this, really, Daniel? CARDINAL HOUSEMAN We don't know yet. KIERNAN Then why are you sending me? CARDINAL HOUSEMAN Because of this clipping from the Pittsburgh Globe. Cardinal Houseman slides over a copy of a newspaper article. Kiernan picks it up and reads. The bold headline reads: FREAK SUBWAY ATTACK. KIERNAN Well, the publicity is unfortunate, but I'm sure by the time I get there it will be completely blown over. CARDINAL HOUSEMAN We're investigating this one. EXT. CITY STREET -- DAY We're behind a hooded figure as they make their way away from us through the crowd of pedestrians. Another rainy day. We know this hooded figure is FRANKIE. INT. THE CUT -- DAY Donna and Jennifer look up in pleasant surprise as Frankie walks in, a CHIME echoing off. DONNA Hey! Frankie! JENNIFER Hi Frankie! CUSTOMER Hi Frankie. CUSTOMER Hi Frankie. Frankie stops and hangs up her coat. Smiles widely. FRANKIE Hey! I feel like I should do a monologue or somethin'. Donna laughs and returns to her work. Frankie walks over to her section of the salon and turns to a woman sitting nearby. FRANKIE Hey Sheryl. Come on over here and have a seat. I'll just be a second. CUSTOMER I think I'm just gonna wait for Donna. A beat. Frankie looks at Donna. Their eyes meet. Donna gives her a OSorry' look. Frankie nods, a little hurt. FRANKIE Ok. She turns and walks into the back room. Jennifer looks up at Donna. JENNIFER (Hushed) Is she alright? DONNA (Hushed) I don't know. JENNIFER (Hushed) She doesn't look too good.... in the back Frankie is tenderly massaging her head. She hears the whispers. DONNA'S VOICE (Hushed) She might have epilepsy... JENNIFER'S VOICE (Hushed) Epilepsy? She has had enough. As she walks back to the salon.... FRANKIE Hey would you guys stop whispering like this was..... in the salon She moves into the room... FRANKIE ....a goddamned Church! A CHIME as the door opens. They look up: FATHER KIERNAN stands there, looking right at Frankie. The whole place pauses awkwardly. Frankie can't help but smile. She looks at the priest. FRANKIE Do you have an appointment? KIERNAN No...I don't. FRANKIE Well, would you like a haircut, or a manicure, or maybe you'd like to have your nipple pierced? KIERNAN (Smiling) Or maybe if we just start with a trim, could go from there? Frankie smiles and takes his coat, hangs it up. FRANKIE Have a seat. He follows her to the chair and sits down. She grabs a cover and drapes it over him. FRANKIE Alright, I'm gonna put this cape on so you don't get your scratchy neck... She covers his neck. KIERNAN Oh, thank you. FRANKIE So where are you from? KIERNAN I live in Rome, Actually. FRANKIE Oh, cool. KIERNAN And you? FRANKIE I'm from Naples. KIERNAN Ahh. Naples....(names someplace in rapid Spanish) FRANKIE (Correcting) Naples, Florida. KIERNAN Ah. FRANKIE I moved here to go to school. KIERNAN Which school? Nearby, Jennifer watches with a smile... Frankie reaches with her left arm and points to the certificate above the mirror. When she does, Kiernan notices her thick BANDAGES. FRANKIE Claudia's University of Cosmotology. See, I'm acredited. KIERNAN Oh. OCool'. She continues to trim his hair. Nearby, Donna and Jennifer watch the amusin exchange between Frankie and Father Kiernan. JENNIFER Am I going crazy, or is Frankie hitting on a priest? Frankie trims his hair. FRANKIE What do I call you? I feel kind of weird calling a guy I could date OFather'.... An awkward beat. Kiernan looks up. FRANKIE I mean.....I couldn't date you, but, you know... KIERNAN No, you just made my day, actually. Thank you. You can call me Andrew. Andrew Kiernan. That's my name. A beat. Frankie stops trimming his hair. Stares at him in the mirror. Turns to Donna. FRANKIE (Under her breath) Donna.... DONNA (Mouthing it) I heard. Donna watches with equal shock. A beat. Frankie turns to him. FRANKIE I know this is gonna sound kinda strange, but....I've sort of been expecting you. CUT TO: INT. DINER -- DAY Drizzle splatters against the exterior of the window next to the booth where Frankie and Father Kiernan are seated. FRANKIE So, you live in Rome? KIERNAN Yes, but I travel a great deal, so I'm rarely there. (To waitress) Thank you. A waitress has come up. Pours Kiernan some coffee. Turns to Frankie. waitress Coffee, honey? FRANKIE No thanks. Waitress walks off. Kiernan and Frankie discuss. FRANKIE So, what brings you to Pennsylvania? KIERNAN Well, Father Derning asked us to come and speak to you, Ms. Paige. FRANKIE OUs'? What's us, I thought you were a priest? andrew I am a priest, but I'm also an investigator. I work for a division of the Vatican called the Congregation of the Causes of the Saints. He reveals a small tape recorder and sets it on the table between them. CLICKS RECORD. KIERNAN Do you mind if I switch this on? FRANKIE No, go ahead. KIERNAN What's your full name? FRANKIE (Leaning forward) Frankie Paige. KIERNAN Ok......Your age? FRANKIE Twenty-three. KIERNAN Ok, which church do you attend? FRANKIE I don't attend church. A beat. He looks up at her. KIERNAN You ARE Catholic? FRANKIE No. I don't go to church because I don't believe in God.... A beat. Kiernan nods. KIERNAN Well, that's really it for me. That's all I need to know, Ms. Paige. He begins to pack up. Takes the recorder away. Frankie's confused. FRANKIE That's it? KIERNAN Afraid so. See, stigmatics are deeply religious people. FRANKIE And there's no exceptions? KIERNAN No. FRANKIE Well why do they get stigmata? KIERNAN When Christ died on the cross, he died with five wounds. (Holds out photo of crucifixion) His back was scorched by whips. There were gashes on his forehead from the crown of thorns. There were nails driven through his hands and feet. Finally, a spear, driven through his side. Frankie listens, and we move to her hands and wrists, which she keeps hidden below the table, mindful of as he describes the wounds that she herself possess. KIERNAN Throughout history, only deeply devoted people have been....afflicted of these wounds. FRANKIE Why? KIERNAN There really is no satisfactory scientific explanation. All stigmatics are haunted by such intense spiritual pain. In some ways it effects them physically. They're assaulted by their own visions of evil. And they manifest this battle in their bodies. The church regards it as a gift. A gift from God. FRANKIE A gift? (Laughs) Can I give it back? Kiernan barely smiles. Frankie grows serious. Looks down at her wounds. FRANKIE (Softly) Listen, Father, could I show you these and...you tell me what you think? KIERNAN Yes. Yes, of course. She holds out her bandaged wrists to him. Gently he reaches over and lifts up the bandages one by one, looking at the blood underneath and the stitched wounds. Finally he sighs and looks away. Frankie now turns her wrists OVER to reveal yet another set of blood stains. The wound goes through the wrist bone. He turns back to her: sees it. He is absolutely stunned. A beat. He reaches over again and gently lifts up the bandages. Sees the blood and stitched wounds. He is speechless. He looks up to Frankie, who stares back with pleading eyes. They are interrupted by the Waitress who comes back with another pot of coffee. waitress Coffee honey? Frankie sighs and looks off. The waitress leaves and they are left alone. Father Kiernan is still stunned. FRANKIE Well, what do you think? KIERNAN Doesn't really matter what I think, Ms. Paige. FRANKIE What's that mean? KIERNAN It means officially this is not a case for the church. To say that a self-confessed Athiest exhibits the wounds of Christ is a contradiction of terms. FRANKIE Look, you know what...here.. Exasperated, Frankie reaches into her purse and throws a crumpled piece of paper across the table to him. FRANKIE Read that. Kiernan does. FRANKIE I found that on my kitchen table the other morning. Now I don't know what that says. But that handwriting is mine. KIERNAN It's Italian. It says OSplit a piece of wood and I am there. Lift a stone and you will find me.' He looks up at her and smiles. KIERNAN It's beautiful. She takes the paper and crumples it angrily. FRANKIE This isn't beautiful. This is a warning! It means that no matter what I do, no matter where I go, I can't escape this! KIERNAN Ms. Paige, I would really like to help you -- FRANKIE (Standing up) You know what? This is not going anywhere. You don't know what this is. You can't give me any kind of answer. Coffee's on me. She throws some crumpled bills onto the table and rushes out. Kiernan sits, sighing. A few moments later he looks out the window and sees FRANKIE walking down the street in the downpour, and she turns and looks back at him with a glare. INT. FRANKIE'S APARTMENT -- NIGHT DRIP. DRIP. Water plops out of the ceiling into numerous bowls that are filled to the brim with rainwater. Sitting among masses of lit candles and books, Frankie leafs through books labeled: EPILEPSY, THE STUDY OF STIGMATA, ETC. We see numerous pictures of Christ with the crown of thorns, whip marks, nails through his palms and feet. KIERNAN (V.O.) There really is no satisfactory scientific explanation. Stigmatics are deeply religious people. DOCTOR (V.O.) We're going to do whatever we can to find out what causes this..But all things considered, I think it might explain a lot. Frankie continues to flip through books with painful, haunting photos. A tear rolls down her cheek. KIERNAN (V.O.) Throughout history only people who believe in God have been afflicted. The nearer they come to God, the more open they are to the torment of their demons. The church regards it as a gift. A gift from God. We see on one page the definition of stigmata. She quickly turns the page. She stops and slams a book shut. CUT TO: INT. CLUB -- NIGHT Frantic strobe lights again POUND to an equally POUNDING beat. Dancers on the stage lead the show as mobs of people dance with abandon and get hammered at the bar. Donna, Jennifer and another friend CLINK! in a toast. JENNIFER/DONNA Here's to Friday night! Donna looks up as she sees FRANKIE walk in among the crowd and go to a table, alone. JENNIFER Frankie! Jennifer turns to Donna. DONNA Don't worry about it. Just order another drink. I'll be right back. I'll go check it out. Donna moves to the table that Frankie is standing by nervously, smoking a cigarette. She smiles. DONNA Hey girlfriend... FRANKIE Hey! DONNA What's up? Thought you were staying home to get some rest? FRANKIE Have you seen Steven? They sit down among the loudness and CHAOTIC STROBE LIGHTS. DONNA Man, forget about Steven. What's up with that Priest? FRANKIE Believe me, he's all business. (Ordering) Hey, could we get two doubles? A waiter pours them a couple rounds of drinks. FRANKIE You know what's scarier than not believing in God? A beat. Donna just watches her. FRANKIE Believing in him. I mean, really believing in him. It's a fucking terrifying thought. DONNA It's Friday night. I think you're taking things a little too seriously. FRANKIE Cause if there is a God, he hates me. He's ruining my life. DONNA Come on, Frankie. It's gonne be alright, man, relax... FRANKIE (Suddenly sharp) You don't get it do you? Donna stares. FRANKIE I have fucking holes through my wrists! I have slashes across my back!! Donna continues to stare. FRANKIE If it isn't God doing this to me, than who is!? DONNA (A beat) I think you're losing it, man. Frankie sets her drink down and stands, walking away. DONNA where are you going? CA-CHANK! A piercing, blinding pain in Frankie's forehead. Her hands go desperately to her face and she covers her eyes, FALTERING. DONNA (O.S.) FRANKIE!!! A couple bloodied gashes rip open on her forehead! Stunned, she stands and presses a finger against the wetness. Looks at it: BLOOD. CA-CHANK! HYPER INSERT AN IMAGE OF THORNS POKING INTO FLESH Frankie screams and DROPS to the floor. Donna stands in shock. DONNA FRANKIE!! Frankie...! ca-chank ca-chank! IMAGE OF THORNS INTO FLESH -- WE SEE FRANKIE'S HEAD WEARING A CROWN OF THORNS, REACHING OUT DESPERATELY TOWARDS US BACK TO SCENE Frankie is on the floor, not wearing a crown of thorns, but feeling its pain. Blood seeps down her forehead as she SCREAMS and SHRIEKS in pain, stumbles out of the club as onlookers either make fun or just stare in horror. DONNA DON'T JUST FUCKING STAND THERE! SOMEBODY CALL AN AMBULANCE! She rushes out of the club after Frankie. Nearby, Steven is at the bar, looks behind him. STEVEN Damn.. EXT. CLUB -- NIGHT The door opens and a bleeding Frankie races out into the rain, into crowds of people and pushes her way out INTO THE STREET -- It's all a blur of traffic and HORNS BLARING as she races out into the maze of cars, dodging some and CRYING OUT! Blood oozes down her head. Donna races out, looking around frantically. IN THE STREET Frankie HOPS up onto the hood of a car, then slides off the other side, racing through the street in a daze of pain. She stands still and whips her head back and forth, her face covered in wet blood and rain. Her hair matted against her head. She groans and sobs. Donna finally gathers the nerve to race out into the street and searches around. HORNS continue to blare. Donna looks around: Frankie is nowhere to be found. EXT. FRANKIE'S APARTMENT COMPLEX -- NIGHT Father Kiernan moves to the door and BUZZES the name PAIGE. Waits. No answer. Something catches his eye. He looks up -- Frankie is moving down the street toward him. She stops when she sees him. He notices the blood dripping down her face. Frowns. KIERNAN Ms. Paige?? She gasps and cries, her hand goes to her head and she immediately turns and races down the street, away from him. He quickly follows -- KIERNAN Ms. Paige!! EXT. BACK ALLEY -- NIGHT Kiernan races through the grime and muck of a back alley, following Frankie, who is nowhere to be found. He finally reaches the clearing in the alley and stops, looking all around. KIERNAN Ms. Paige? MS. PAIGE!! Nearby, we see the trembling Frankie hiding behind a flight of metal stairs, her face covered in wet gore, shivering against the cold. With Kiernan, looking around. His voice echoes. Nearby, a flock of BIRDS scatter out of nowhere into a million different directions. WWWHOOOOOSSH! A pipe BURSTS nearby and sends clouds of SMOKE shooting out into the air. Father Kiernan is startled. A wind starts and blows newspapers and various garbage EVERYWHERE, all around Father Kiernan. He looks up as nearby a window SHATTERS and glass SHOOTS into a million pieces. He dodges it and moves deeper into the alley -- Frankie stands and races away. Kiernan continues looking around... close on a glass bottle as it is smashed -- Nearby Donna stops, turns. Kierna stops when he sees her. Frankie is only yards away, sitting hunched on the hood of a car, digging into the metal. Father Kiernan furrows his brow and moves closer to see what she is doing. ABOVE Frankie now, we see what she is doing: With a chunk of a broken bottle, she is writing a message into the metal. It's in foreign letters. We hear the scrape of metal against metal. We also hear Frankie's voice, speaking what she is writing. But it's in ANOTHER LANGUAGE. We do not understand her. Among the wind and rain, Kiernan moves closer. Cautious. KIERNAN Ms. Paige? Silence. She stops and looks at him. Stands on the hood and we realize her eyes are a striking ORANGE, her expression changed, almost demonic. It looks like a standoff. They stare at each other, neither saying a word. Finally, Frankie returns to her work, digging into the metal of the car. WWHOOOOSSH! A pipe bursts again and more SMOKE is sent out into the air. Kiernan moves closer, holds out a hand. We see the tape recorder from earlier: He presses RECORD. KIERNAN Ms. Paige.....? She stands and SCREAMS angrily, pointing at him sharply with the broken bottle, furious -- FRANKIE Aalla shatteeen man beesha!! He stares at her, stunned. FRANKIE Aalla shatteeen man beesha!! She sighs heavily, exhausted. DONNA Frankie!!??? Kiernan turns and we see Donna rushing up to them, also exhausted. Standing on the car, Frankie DROPS the broken bottle and collapses onto the hood of the car, sobbing. Kiernan and Donna move to her, and help her off the car, escorting her away. Donna is overcome with concern, as is Father Kiernan. DISSOLVE TO: EXT. CHURCH -- NIGHT We see the CROSS at the top of the building, standing out against the night sky. We PAN DOWN to see the entrance, and Father Kiernan approaching the concrete flight of steps, carrying an unconscious Frankie... INT. CHURCH -- FATHER DERNING'S ROOM -- NIGHT Father Derning stands to the side as Kiernan adjusts Frankie under the covers, getting her comfortable. She stirs. Wakens. KIERNAN Welcome back. FRANKIE Where am I? KIERNAN You're in Father Derning's church. Donna walks in and goes over to Frankie, sitting down beside her. DONNA Hey... KIERNAN (Aside to Donna) I think she should get some rest. Kiernan leaves with Father Derning. Alone, Donna reaches over and softly strokes Frankie's hair out of her face. She smiles gently. We see the red scars across Frankie's forehead, now cleaned up. Frankie looks up at Donna, half asleep. DONNA (Softly) You alright? You look like shit. She smiles. FRANKIE Smells like...flowers. DONNA You got some stuff all in your hair... She reaches over and picks out some scraps of something, smiling at a now sleeping Frankie. CUT TO: INT. CHURCH -- FATHER DERNING'S QUARTERS -- NIGHT Father Kiernan plays back the recording from earlier: FRANKIE'S VOICE Aalla shatteeen man beesha!! He clicks REWIND and picks up the phone. DIALS. Waits. INT. ROME -- VATICAN OFFICES -- NIGHT Brother Delmonico is alone in the darkened offices. His figure illuminated by the lone lamp on his desk. The phone rings. He picks it up. BROTHER DELMONICO Pronto. INTERCUT KIERNAN Johnny? Como esta. BROTHER DELMONICO Andrew, how are you? KIERNAN Johnny, listen, could you help me with a translation? BROTHER DELMONICO Do you have it there? KIERNAN Y-yes, I have it here. BROTHER DELMONICO Play it to me. KIERNAN I'll play it for you now. He clicks PLAY and holds the recorder up to the phone: FRANKIE'S VOICE Aalla shatteeen man beesha!! Brother Delmonico listens intently. Thinks. KIERNAN What is it? Is it gibberish? BROTHER DELMONICO No, no. It's not gibberish at all. Andrew, who's speaking these words? CUT TO: INT. CHURCH -- MORNING With Frankie as she walks into the church, wrapped in a huge blanket. She moves down the aisle, toward a huge CRUCIFIX at the head of the altar. She stares up at the crucifix: We see a lifelike replica of JESUS, nailed to the cross. NAILS through his PALMS and FEET. Blood drips down his forehead from the crown of thorns. Observing it, Frankie frowns. Father Kiernan walks into the church, moves to her. KIERNAN Good morning, Ms. Paige. You're up early. FRANKIE Hey, I think you made a mistake. KIERNAN What do you mean? FRANKIE I can't have stigmata. Jesus was crucified through the palms of his hand, not his wrists. Look at my wounds, they're through the wrists. So, you're wrong. KIERNAN Actually, scientists have discovered that in Roman times people were crucified through the wrists, not the palms. There's no way the hands could have supported the weight of the body. So they did crucify them through the wrists. Frankie's fascinated. FRANKIE Wait, wait. You're telling me that every painting, every statue of Christ, and every single crucifix in the whole world is wrong? KIERNAN (Shaking his head) No. Just....inacurate. They are all impressions of the truth. Icons are meant to be inspirational. Frankie moves away, toward the exit of the church. Kiernan stops her. KIERNAN Ms. Paige, there's something else you should know. The words you keep repeating that you thought were nonsense. Well it's not. She stops and watches him. Waits for what's to come. KIERNAN It's actually a very specific language. FRANKIE What? KIERNAN It's a form of Aramaic that hasn't been used for 1900 years. It's a dialect that was used in Galalei around the time of Jesus. Frankie looks at him. Shit. EXT. APARTMENT COMPLEX -- ROOF -- NIGHT A quiet night. We find Frankie sitting in solitude on the roof, her legs dangling over the side, her hands cradling her face. She is contemplating something. Her hair blows around her as she looks down at the traffic below. She takes out a small crumpled piece of paper and rereads it. FRANKIE (VO) Split a piece of wood and I am there. Lift a stone and you will find me. She looks off and thinks. Places the paper back inside a pocket and then slowly gets to her feet. Hops across the edge of the roof, and then disappears out of shot.... CUT TO: INT. ROOM Andrew Kiernan sits, deep in pensive thought. INT. THE CUT -- MORNING Donna dials a number on the phone. Waits. Looks concerned. Jennifer comes up, concern in her eyes as well. JENNIFER Did you get through? DONNA No. Her machine didn't even pick up. Jennifer nods and walks off. Donna sighs, concerned. EXT. FRANKIE'S APARTMENT COMPLEX -- MORNING Father Kiernan moves to the buzzer and hits the nameplate PAIGE. He waits. Nothing. The door to the apartment complex opens and a young woman steps out. He slides inside.... INT. FRANKIE'S APARTMENT -- MORNING A knock at the door. KNOCK KNOCK. Silence. The door opens and Father Kiernan enters. Looks around for any sign of Frankie. She's nowhere. KIERNAN Ms. Paige??? He walks through the apartment and into the bedroom/living room..... in the bedroom/living room he looks and sees Frankie standing by a far wall, her back to him. She is writing in deep concentration on a large, striking blue wall. Black lettering all across the wall. We recognize it from when Frankie was grinding the same letters into the hood of the car. Kiernan moves into the center of the room, watching Frankie. KIERNAN Ms. Paige??? She doesn't acknowledge him, but keeps writing. Working like a woman possessed..... KIERNAN Frankie? Frankie? Kiernan takes out his hand-held camera and holds it up to the sight. FLASH! He snaps a picture. At the wall, Frankie flinches, pauses, then resumes writing. FLASH! FLASH! This obviously disturbs Frankie. She pauses and turns halfway to Kiernan, but then turns back to her mission. We notice something is different about her. Her hair is frizzled, her face a sickly pale. Her skin on her hands and face are WRINKLED, like an old woman. Her eyes rolled back into her head. A gutteral groan rolls out of her mouth as she scribbles the foreign words. Moving closer, Kiernan holds the camera up and FLASHES! another photo. Lowers the camera and watches Frankie with the same haunted look he watched the corpse of FATHER ALAMEIDA.... KIERNAN Who are you? A long beat. Frankie struggles to turn around and look at him. We notice for the first time the full effect of Frankie's state. Her eyes are in the back of her head, her entire face pale and wrinkled, her lips cracked. FRANKIE/ALAMEIDA'S VOICE (Subtitled) The messenger is not important. We are shocked. The voice is not Frankie's. It is a deep, heavily- accented man's voice. Father Alameida's.... With that she turns back to her writing, scribbling the letters over and over. Kiernan moves to her and FLASHES more pictures. She flinches after each FLASH, but resumes writing. FLASH! FLASH! FLASH! She stops, drops the marker and swiftly turns on her heels, stares across the room at a spooked Father Kiernan. Her eyes rolled in the back of her head. Her head bobbing weakly, a gutteral groan coming out of her mouth.... ......She slowly begins to walk toward Father Kiernan. As she does so, we notice she has a LIMP, as if it's an effort to move her legs. She is also HUNCHED over, grunting with each painful step. Father Kiernan doesn't flinch as she moves toward him, and then past him..... .......over to her bed where she drops down onto the covers and sprawls out..... Kiernan watches as water DRIP DRIPS down from the ceiling onto her face, cleansing her wounds. Her hands go to her face as the water drips down her fragile skin, over her wounds.... ......and she is back to normal vitality. She gasps, her own voice coming out of her now. Kiernan watches as she opens her eyes. FRANKIE I feel like my heart is breaking. Why am I so sad?? She sobs desperately. Then slowly she sits up, looks around. FRANKIE It smells like flowers in here....like Jasmine or rose or something....Can you smell that? KIERNAN Yes I can. She stands and walks to the center of the room. Looks up and sees the wall full of writing. She is puzzled. FRANKIE Who wrote that? KIERNAN You did. FRANKIE I wrote that? KIERNAN Yes. They both stand and gaze at the wall. Frankie is truly puzzled. She doesn't remember any of it. EXT. ROME -- VATICAN -- DAY We move over religious statues and we find Cardinal Houseman and Father Dario walking along a cement path in the background. CARDINAL HOUSEMAN Have you heard from Father Andrew? DARIO No, your Eminence. CARDINAL HOUSEMAN What are these? DARIO These are newspaper clippings from our office in New York. The first one is from Pennsylvania. The others are from New York and Washington. CARDINAL HOUSEMAN These are even more damaging. This one mentions the stigmata. He doesn't seem to be confusing the situation. DARIO Shall I call him home? CARDINAL HOUSEMAN Have him conclude his investigation immediately. Present his report to me in New York at the end of next week. Dario nods and walks off. Cardinal Houseman shakes some hands. INT. FRANKIE'S APARTMENT -- DAY Frankie sits by the window, in awe as a couple doves fly onto her hand and eat out of her palm. Nearby, Kiernan has his camera set up on a tripod, FLASHING photo after photo of the writing on the blue wall. He pauses and turns to her. KIERNAN Frankie, would you please come over here and have a look at this? She doesn't answer. She stares at the doves, captivated by their essence. FLASH! FLASH! KIERNAN I just can't believe that none of this means anything to you...Frankie? Frankie. Frankie. Can you please...can you please look at this? FLASH! FLASH! The noise and FLASH bother the doves and they flitter away, leaving an annoyed Frankie. She sighs and turns to Kiernan, glaring at him. KIERNAN Sometimes subjects contain fragments or images that can be transmitted subconsciously - Frankie moves to her bed and picks up a coat. FRANKIE This subject doesn't contain Ofragments of images'. You don't get it, do you Father Kiernan? I don't know what the hell that means! She thrusts her hands toward the blue wall. FRANKIE (r.e. the bandaged wrists) I don't know what the hell this means. I just want my life back, OK!? She storms out. Kiernan sighs. CUT TO: EXT. CITY STREET -- DAY With Frankie as she strolls down the sidewalk among masses of people. She walks to the side and gives a coin to a homeless man, who thanks her. She moves on.... .......Walking not far behind her is Father Kiernan. He tries to catch up. EXT. FLOWER SHOP -- DAY A wide variety of flowers arranged in rows. Frankie moves around them, a few in her hand. She leans forward and smells the pollen, closes her eyes in pleasure. Kiernan is there behind her, apologetic. KIERNAN Ms. Paige, I'm sorry... FRANKIE (Smiling) Don't OMs. Paige' me just because you messed up. I'm not gonna let you off the hook. She holds up a flower for him to smell. He does. Smiles. KIERNAN Ok. But I...I AM sorry. FRANKIE You know, for a priest you're pretty relentless. He nods. KIERNAN Yeah, I guess I stopped being a priest and slipped back into being a scientist. It's a habit. FRANKIE Hey, what kind of a scientist is a priest, anyway? KIERNAN You don't want to know... She smiles. FRANKIE Oh, yes I do. CUT TO: EXT. FLOWER SHOP -- TABLE -- DAY Frankie sits across from Kiernan. They're in mid-conversation. FRANKIE (Laughing) You were an organic chemist?? Ok, did you walk around with those glasses with the scotch tape around the sides and pocket protectors? KIERNAN I did, actually. (Laughs) Anyway, one day I just decided I was gonna become a priest. FRANKIE Well, why? KIERNAN The holes. FRANKIE The holes? Frankie listens as she unwraps a fresh pack of cigarettes and lights one up. KIERNAN The holes in the theories. FRANKIE What theories? KIERNAN The world is six billion years old, right? There's been life on this planet for three billion years, but for three billion years before that there was nothing. No life. Just a bunch of elements swirling around. Frankie watches him. KIERNAN And then one day, for no apparent reason whatsoever, all these elements came together in perfect harmony. And there was suddenly LIFE. Living things. Like lilac and...hedgehogs.. FRANKIE Beer, and cheesecake. KIERNAN (Smiling) Beer and cheesecake. Did you know that monks invented alcohol? FRANKIE Yeah, everybody knows that. (Laughs) KIERNAN You knew that? Well, anyways, to get back to the holes, there really...there really isn't any explanation. And I figured that there was something more than, well, more important than organic chemistry going on. And I figured that it was God. And that God was responsible for all this life. FRANKIE I really can't get a line on you. KIERNAN Why not? FRANKIE First of all, I can't understand a man who's never, you know... KIERNAN Never made love to a woman? She nods. He can't help but smile. KIERNAN Well this may come as a great surprise to you, but, I wasn't born a priest. FRANKIE But you didn't like it? KIERNAN What's not to like? FRANKIE But you don't miss it? KIERNAN Of course I miss it. I mean I'm human. I struggle with it. But I've made a choice. Basically, what I've done is I've exchanged one set of complications for another... A beat. Frankie understands what he means and smiles. They continue to carry on the conversation as we watch them. Kiernan smiles at something said, and Frankie reaches over and grabs his ear playfully. An intimate moment, almost. They are becoming close. Frankie smiles -- hyper insert image of a nail being driven through a foot -- CA-CHANK! Frankie SHRIEKS and falters out of her chair at the pain, falling to the floor. People look up -- ca-chank! chank! Another image of a nail being driven through a foot. Frankie grasps onto the side of the table to try and get up, but the pain is immense. Blood seeps through both socks on her feet. It spews to the ground. Kiernan stands and rushes to help her -- She stumbles up and over to a patch of flowers when suddenly -- she relives all the wounds: image of nail being driven through a wrist, another wrist. image of slash marks across her back. image of crown of thorns in her head -- Frankie FALLS back into the patch of flowers, eyes going in the back of her head, numb with blinding pain. ca-chank! chank! Blood spews around her, and a weak groan rises out of her mouth. Kiernan rushes to her as people continue to stare on. CUT TO: INT. FRANKIE'S APARTMENT -- NIGHT She lies on her bed, watching in pain as Kiernan dabs a wet cloth on her feet, which are soaked with blood. We see visible wounds on her feet, round and deep. FRANKIE So this is the fourth? KIERNAN What do you mean? FRANKIE When I met you, didn't you say there were five wounds? Well this is the fourth. What's the fifth? KIERNAN A spear. FRANKIE ....The one that killed him. KIERNAN Don't worry, Frankie. No stigmatic has ever received the full five wounds. FRANKIE (As he dabs at her feet) Have you ever met another person who had stigmata? KIERNAN I did make a pilgrimage to a small village in the mountains of Southern Italy. There I met a priest called Padre Pio. He first received the wounds when he was 23 years of age. The same age as St. Francis of Assisi. FRANKIE Who was St. Francis of Assisi? KIERNAN St. Francis was the first person to receive the stigmata. In the 13th century. He was a wild young man who suddenly changed his ways after he had a vision of being crucified alongside Christ. When he woke up, his hands and feet were...were bleeding. FRANKIE This priest, were his wounds as bad as mine? KIERNAN Padre Pio? Sometimes he lost a pint of blood a day. And he suffered terrible demonic attacks. FRANKIE A priest? KIERNAN All stigmatics suffer the most intense spiritual conflicts. FRANKIE Well, what happened to him? How many wounds did he receive? A long beat. Kiernan sighs. KIERNAN He....lived to old age. FRANKIE How many wounds did he receive? Another long beat. He looks up at her. KIERNAN Two. Frankie looks at him closely. FRANKIE I'm dying aren't I? This thing is killing me. He doesn't know what to say. She turns away and attempts to sleep. Kiernan stands and moves to a side table. We see a few film rolls. He picks up his camera.. CUT TO: INT. CHURCH -- FATHER DERNING'S QUARTERS -- NIGHT Father Derning stands beside Kiernan as he wires over photos of the wall in Frankie's room through the computer. He is speaking on the phone. KIERNAN (INTO PHONE) Here's a closer shot. My guess is it's probably Aramaic... CUT TO: INT. ROME -- VATICAN OFFICES -- NIGHT Brother Delmonico at his desk. He watches his computer screen as a photo of the blue wall SCANS down onto his screen. He traces with his finger reading it, translating it. BROTHER DELMONICO I'm looking at it. KIERNAN'S VOICE Is there....is there a problem? Brother Delmonico turns nervously as a Priest walks across the upper level, pauses and looks at Delmonico, then moves on. Brother Delmonico turns back to the screen and to Father Kiernan. BROTHER DELMONICO Yes. Don't send me any more of these pictures. How many did you send? INTERCUT Kiernan on the phone. KIERNAN Six. Why? BROTHER DELMONICO The problem is what it says. KIERNAN Well what does it say? BROTHER KIERNAN (Tracing a finger on screen) It says OThe kingdom of God is inside you and all about you..' INT. CHURCH -- FATHER DERNING'S QUARTERS -- NIGHT Father Kiernan on the phone. BROTHER DELMONICO'S VOICE Andrew, forget you saw this. Drop it immediately. Don't send me any more. KIERNAN Johnny? What is the problem? INTERCUT Brother Delmonico. BROTHER DELMONICO Do you remember the gospel He turns as a GUARD walks in to the room, watches him. KIERNAN'S VOICE Johnny? The Guard leaves. Delmonico turns and talks quietly into the phone. BROTHER DELMONICO Do you remember the Gospel Commission? It was closed down suddenly by your friend Cardinal Houseman. INTERCUT Kiernan sighs. KIERNAN Yes. A few years ago, yes. BROTHER DELMONICO We discovered a document that looked like it was a completely new gospel. KIERNAN Well what's the significance of that? BROTHER DELMONICO I was one of the three translators of the gospel. It was written entirely in Aramaic...the language of Jesus and his disciples. It may be Jesus' actual words... He turns and sees Father Dario at the top of the stairs, studying Delmonico with suspicion. KIERNAN'S VOICE What is it? Brother Delmonico clicks the photo off the screen and changes his demeanor. BROTHER DELMONICO Pronto.....(speaks in Italian) KIERNAN Johnny?? Brother Delmonico clicks some buttons, getting rid of the information... KIERNAN'S VOICE Johnny, what's going on? Are you there? Johnny? Brother Delmonico hangs up on Kiernan and clicks out of the files. Stands and leaves. He walks up the stairs, passes Father Dario and nods, walking quickly past. Dario stares after him and then looks down at Brother Delmonico's glowing monitor. Moves to it.. .....He clicks a few buttons and suddenly the PHOTO OF FRANKIE'S WALL comes up again. Dario's finger presses PRINT. The paper slides out of the laserjet printer. He picks it up and walks off... CUT TO: INT. FATHER DERNING'S QUARTERS -- NIGHT Father Derning moves to Kiernan, shows him a picture of the wall. FATHER DERNING What is this? Is that a painting? ON THE PHOTO we see what looks like a picture frame to the side of the wall. An elderly man's face visible. KIERNAN No. It's a mirror. FATHER DERNING Well, who else was in the room? KIERNAN I don't know. FATHER DERNING I thought you said it was just you two. KIERNAN (Checking photo) 16-A. Do you have the negatives? He searches for the negatives and finds them, holds them up to the light. We ZOOM UP TO THEM and see the same thing; an elderly man's face reflected in the mirror. We recognize it as Father Alameida's face. FATHER DERNING Who is that? KIERNAN (Rushing out) I'll be back as soon as I can. ON the photo.... INT. VATICAN -- STAIRWAY -- NIGHT Cardinal Houseman is making his way down a long flight of stairs. Father Dario rushes up beside him, a folder in hand. DARIO Cardinal Houseman.. CARDINAL HOUSEMAN (Stopping) I'm late for a meeting with the curator. DARIO At your discretion. But I think this might be of interest. He hands a copy of the photo of Frankie's wall to Cardinal Houseman, who looks it over. CARDINAL HOUSEMAN Where did you get this? DARIO It was E-mailed to Father Delmonico. CARDINAL HOUSEMAN By who? DARIO Father Kiernan in Pittsburgh. CARDINAL Do you know what it means? DARIO No. Is it important? Cardinal Houseman doesn't answer. He rushes back to the top of the stairs. CARDINAL HOUSEMAN Will you tell the meeting I'll be with them in a few minutes... CUT TO: EXT. NEW YORK CITY APARTMENTS -- NIGHT The buildings are dark against the blue sky. SET IN: NEW YORK CITY CUT TO: INT. MARION PETROCELLI'S APARTMENT -- BEDROOM -- NIGHT RRRRRIIING! The sleeping Marion Petrocelli stirs and wakes up. Reaches for the phone. He is in his late fifties, long, white beard and graying hair. A gentle, religious man with a thick accent. PETROCELLI (INTO PHONE) (Subtitled) What is it? BROTHER DELMONICO'S VOICE (Subtitled) Don't hang up. Don't hang up. PETROCELLI (Subtitled) Who is this? BROTHER DELMONICO'S VOICE (Subtitled) An old friend. PETROCELLI (Subtitled) Delmonico. What's happened? BROTHER DELMONICO'S VOICE (Subtitled) The missing Jesus gospel. It's turned up. PETROCELLI (Subtitled) That's impossible. BROTHER DELMONICO'S VOICE (Subtitled) Alameida. PETROCELLI (Subtitled) Alameida? BROTHER DELMONICO'S VOICE (Subtitled) In the United States. Pittsburgh. PETROCELLI Send me something. BROTHER DELMONICO'S VOICE No, no. I can't. Houseman will kill me. CLICK. Brother Delmonico hangs up. A beat. Petrocelli looks off, stunned. Hangs up the phone.... .....He moves to a desk and grabs a framed photo of HIM, BROTHER DELMONICO and FATHER ALAMEIDA. We recognize this photo from the beginning, in Father Alameida's hands in his casket. Petrocelli quickly places it in a drawer and closes the drawer.... CUT TO: INT. VATICAN -- DARK HALLWAY -- NIGHT The hurried figure of Brother Delmonico moves past a priest and bows, then walks into the light doorway of another room, moves swiftly on. EXT. FRANKIE'S APARTMENT COMPLEX -- NIGHT Kiernan walks up. Hits the buzzer. FRANKIE (V.O.) Hey come in. The door's open. He walks in. INT. FRANKIE'S APARTMENT -- NIGHT .....He steps into her apartment. KIERNAN Frankie? FRANKIE'S VOICE Hey. I'm in here. She walks into the room and right past him, smiles. FRANKIE How you doing? Want a beer? He stares after her. KIERNAN Sure. FRANKIE reaches into refrigerator and grabs a beer -- Turns and hands it to him. He thanks her. FRANKIE (Holding out wrists) Check this out. It looks like they're getting better. He reaches out and lifts up the bandages. Looks at the stitches which seem to be smaller. The wound is almost completely inconspicuous. He nods, smiling. KIERNAN That's great. Really good. You'll be able to get those stitches out soon. That's great. Let me see your forehead. He gently pushes the hair out of Frankie's forehead, examines the scars. KIERNAN Does this...does this hurt? FRANKIE (Unfocused) It's good.... His hand slides down her cheek and her lips catch it, kissing his palm. An intimate, forward gesture. He looks at her. She looks at him. He steps away... Together they walk into the bedroom/living room, and Kiernan is stunned at what he sees: Frankie has covered the blue wall at the far end of the room in red paint, smeared all across the message. KIERNAN Why did you paint over the wall? FRANKIE Well, I got bored and I got sick of looking at that thing... Her hand slides into his. They move closer, their lips meet in a kiss. Finally he pushes away and turns, going to the window. FRANKIE I really wish you weren't wearing that uniform right now... KIERNAN It's got nothing to do with the uniform, believe me. She sits and looks at him. FRANKIE Well what is it, your vow? You took a vow to be dead from the neck down? He gives her a look and shakes his head. FRANKIE (Standing, walking over to him) Come on. I see the way you look at me. You know the way that I feel about you....Come on. I'm not blind. It's ok. She walks to him, touches him. He grabs her arms and forces her back away from him. KIERNAN No. She's pissed. FRANKIE Why? Because I painted the wall out, is that it? So now I'm no use to you, right? Is that it?? In a swift, blink-of-the-eye movement, she SHOVES him to the floor -- FRANKIE/ALAMEIDA'S VOICE Answer me! Kiernan falls to the floor, stunned. Frankie walks over to him and picks him up with abnormal strength. FRANKIE/ALAMEIDA'S VOICE You are so proud of your holy abstinance--! She hurls him across the room, sending him slamming into cabinets, knocking objects over, sending them toppling to the floor -- FRANKIE/ALAMEIDA'S VOICE Like touching a woman would kill you! Women are joining the... Now a swift WIND blows through the room, throwing papers and furniture and other objects SLIDING and FLYING around. Frankie's hair billows around her face as she continues to assault Kiernan. FRANKIE/ALAMEIDA'S VOICE So that's why you became a priest... Kneels over, picks him up, HURLS him into a mirror, sending GLASS shattering into a million pieces. He slides to the wall, she kneels and grabs him -- FRANKIE/ALAMEIDA'S VOICE It has nothing to do with your convenient little stories!! She throws him across the room. Everything is blowing about in the almost supernatural wind. She goes to him and picks him up. FRANKIE/ALAMEIDA'S VOICE You're so proud of your CHURCH! Of virgins... --- and hurls him into the nearby bathroom -- in the bathroom Kiernan falls to the floor beside the bathtub, looks up as Frankie stalks in and kneels down in front of him. Stares at him, her eyes the fierce orange as they were before that night in the alley. Again, she just stares at him. He stares back. Eerie. She grabs him by the collar and HOISTS him through the glass of the shower, sending shards of glass EVERYWHERE. Kiernan sits up, blood dripping down his nose. close up: a drawer as FRANKIE opens it and grabs a sharp knife -- Kiernan is kneeling against a wall, trying to stand. She walks over to him and levels the knife under his chin. Looks at him with the gleam of the devil in her eyes. FRANKIE/ALAMEIDA'S VOICE How's your faith these days, Father? He stares at her.... FRANKIE/ALAMEIDA'S VOICE How's your faith these days!? He continues to stare. FRANKIE/ALAMEIDA'S VOICE This is what you fucking call God!? Kiernan watches in horror as the possessed Frankie DIGS the knife into her wrist wound, sending fresh blood spilling out of it, soaking the tissue, dripping down her arm. He turns away, ill at the sight. FRANKIE/ALAMEIDA'S VOICE Blood of Christ! He can't watch as she SLITS the skin of her lower arm, creating new wounds, more blood spilling down her arm, dripping onto the floor. SCREAMS echoe out of her, she sobs and turns away, DIGGING into both wrists, the blood spewing out. Her blouse is soaked with gore. She drops, exhausted, onto her bed in front of Kiernan, and for a silent moment she lies still. Suddenly the bed SLIDES out from under her, moved by an unseen force..... Kiernan stands, not able to take his eyes off the spectacle. Stunned..... Frankie remains lying down, levitated in the air... WWHOOOSH! She rises further into the air, her arms outstretched at her sides, the blood dripping down her arm.... She is THROWN forward and hangs in the air, her arms up at her sides. She is being crucified in the air, her head hung, hair blowing all around her... Kiernan cautiously moves forward..... Her head rises and she looks at him. Blood pours out of her eyes, tears of blood... hyper insert image of the tears of blood dripping down the angelic face of the virgin of guadalupe BACK TO SCENE Frankie's tears of blood drip down her cheeks, and she gazes at Kiernan, suspended in the air, arms at her sides. Finally Kiernan moves to her and gently takes her in his arms, lowers her to the ground. As she lies there, unmoving, her face blood- streaked, he checks her pulse. INT. MARION PETROCELLI'S APARTMENT -- NIGHT CLOSE UP: A fax being sent through. We recognize the photo of Frankie's wall, with the mysterious handwriting. A hand picks up the paper -- Now we see the hand belongs to a worried Marion Petrocelli. He looks at the fax, studies it, then walks off... CUT TO: INT. FRANKIE'S APARTMENT -- NIGHT We see Frankie is asleep on her bed, enveloped in her covers. Kiernan stands over her. He has tried the best he can to put objects back the way they were. Rows of candles are set up beside the bed. We hear the constant DRIP DRIPPING of water from the ceiling. Outside it rains. Kiernan sits down in front of Frankie's bed and reveals the ROSARY Frankie's mom sent her -- Father Alameida's rosary. He closes his eyes and, pressing it to his lips, prays. Lying on the bed, Frankie's eyes open and she watches him a beat. FRANKIE I've never seen you pray before. KIERNAN I haven't prayed for a very long time. FRANKIE (Reaching out; softly) Come here. A beat. He hesitates. FRANKIE It's ok. Come on. She reaches out to him and he stands, walks over to the bed and lies down next to her. She rolls over to face him. They lie in the bed looking into each other's eyes. He gently strokes the hair out of her eyes. Her face is still streaked in dry blood. From her eyes, forehead.....She looks at him with sad eyes. A long moment passes between them. It's sweet. CUT TO: EXT. FRANKIE'S APARTMENT COMPLEX -- NIGHT As the rain continues to pour, someone steps out of a car, followed by another man, and another. As they step into some light we recognize: CARDINAL HOUSEMAN, FATHER DARIO, & FATHER DERNING. They walk into the apartment building.... INT. FRANKIE'S APARTMENT -- NIGHT In the bed, Frankie and Kiernan are deep asleep, hand in hand. INT. HALLWAY OUTSIDE FRANKIE'S APARTMENT -- NIGHT The three priests stand there, Father Derning knocking on the door. Nobody answers. CARDINAL HOUSEMAN Go in. Father Derning hesitates, then KICKS the door in -- INT. FRANKIE'S APARTMENT -- NIGHT The three men walk in..... in the bedroom/living room Kiernan hears the sound of multiple footsteps. Sits up and sees CARDINAL HOUSEMAN walk into the room, followed by Father Dario and Father Derning. Cardinal Houseman just looks at him. The situation seems uncomfortable, him lying in the bed next to Frankie. KIERNAN Daniel... CARDINAL HOUSEMAN We've come to help. Kiernan remains sitting up. CARDINAL HOUSEMAN (To Father Dario) Take her to the Arch D. straight away. Cardinal Houseman and Father Dario look up and see the large blue wall, smeared with red paint, distorting the message, rendering it illegible. Father Dario has a copy of the wall with the message, holds it up to Cardinal Houseman for comparison. Cardinal Houseman frowns in concern. Turns to Father Derning. CUT TO: EXT. CHURCH -- NIGHT Rainy. A car pulls up to the entrance. INT. CHURCH -- BEDROOM -- NIGHT Frankie is lying down under thick blankets, surrounded by two NUNS who finish tidying. Father Kiernan sits down beside Frankie, and when she dozes off, he turns to the nuns. KIERNAN I'll be downstairs if you need me, Sisters. The sisters nod and he leaves. Frankie remains asleep. INT. CHURCH -- OFFICE -- NIGHT Cardinal Houseman slides a photo of the wall toward a seated Father Kiernan. He looks at Kiernan. CARDINAL HOUSEMAN Where did you get this from? What does it mean? KIERNAN The girl wrote it. I don't know what it means. Neither does she. CARDINAL HOUSEMAN Why was it painted over? What language is it in? KIERNAN It's Aramaic. CARDINAL HOUSEMAN How do you know that? KIERNAN That's....completely irrelevent- CARDINAL HOUSEMAN What I don't understand is, why you would send this to anyone other than me? What are you hiding from me? KIERNAN (Sighing)Look, all I know is, the girl is fighting for her life. If she receives another wound she is going to die unless we help her. CARDINAL HOUSEMAN I'm taking over this case. Go back to Father Derning's, get some rest- KIERNAN (Firm) I'm not leaving her alone! CARDINAL HOUSEMAN You're not leaving her alone. You're leaving her in the care of the Sisters.. Kiernan has had it. KIERNAN Look. You sent me here. I didn't want to come. You told me to deal with her. That's what I'm doing! He stands and storms out of the room, Cardinal Houseman following. KIERNAN She's in no condition to take on you or the church... CARDINAL HOUSEMAN This is not about a girl taking on me, or taking on the church -- INT. CHURCH -- OFFICES -- NIGHT They move through the desks up to the staircase. KIERNAN Why are you so concerned about those photographs? Why is that more important than a girl bleeding to death? CARDINAL HOUSEMAN Andrew, what's happened to you? Where's your loyalty? KIERNAN Don't you lecture me about loyalty, Daniel! CARDINAL HOUSEMAN The only reason you've been tolerated by the Congregation for so long is because you were a good scientist. Because of your objectivity. But you've lost that. The last thing I expected to see when I walked into that girl's apartment was the two of you lying on a bed together -- KIERNAN Oh come on -! CARDINAL HOUSEMAN Look, I know you think you're helping her, but you're not. If anything, she's getting worse. Andrew, you're in no state to help anyone right now. You're exhausted. Look at you. Go to Father Derning's. Get some rest. We'll talk about it tomorrow. A beat. They move further up the stairs. KIERNAN Why are you so concerned about those photographs? CARDINAL HOUSEMAN Father Delmonico showed them to us. He seemed to think they were important. KIERNAN What do they mean? CARDINAL HOUSEMAN We've no idea. But we're working on it. KIERNAN Does it have anything to do with the gospel commission? CARDINAL HOUSEMAN We don't know. Good-night Andrew. He sighs and pauses. Then he steps to the door and leaves. CUT TO: EXT. STREET -- NIGHT We see Father Kiernan's car move PAST camera, under the pouring rain.... EXT. FATHER DERNING'S CHURCH -- NIGHT The bold cross against the night sky. Father Kiernan moves to the entrance and walks inside.... INT. CHURCH -- NIGHT The lonely figure of Father Kiernan sitting in a pew, with his back to us. Suddenly Marion Petrocelli appears in the pew, watching Kiernan. PETROCELLI Andrew Kiernan? KIERNAN I'm Kiernan. PETROCELLI I want to see Alameida? KIERNAN (Sighing) I don't know any Alameida. Petrocelli moves to Kiernan's side and sits down. PETROCELLI Delmonico faxed me this copy of his document. KIERNAN (Looking at the fax) The girl wrote this. I saw her do it. What is this? PETROCELLI It's maybe the most significant Christian relic ever found. KIERNAN Why? PETROCELLI It's an Aramaic scroll from the 1st century, discovered near the cave of the dead sea scrolls outside Jeruselum. Alameida and I concluded that it is a gospel of Jesus Christ. In his own words: Aramaic. There are some from the Vatican who believe that this document could destroy the authority of the modern church. KIERNAN How? PETROCELLI It was Jesus' words to his disciples on the night of his Last Supper. His instructions to them on how to continue his church after his death. KIERNAN Why would that be so threatening? PETROCELLI When we gave our initial conclusion to the gospel commission, Houseman ordered us to stop our work immediately. Alameida refused. He stole the document and disappeared. Houseman excommunicated us in our absense. KIERNAN You have no idea where he is? PETROCELLI He doesn't want to be caught until he finishes the translation. He reveals the photo of himself, Father Pabloe Alameida, and Father Derning. PETROCELLI That's Delmonico, me and Alameida. We were all translating the new gospel together. Kiernan looks at it. Points to Alameida. KIERNAN I've seen this man. Three weeks ago. In Brazil. PETROCELLI Yeah? KIERNAN He's dead. Petrocelli looks at him. PETROCELLI How do you know this? KIERNAN Because I saw him in his coffin in the church in Belo Quinto. I'm sorry. Petrocelli sighs and looks off. Hopeless. PETROCELLI Then it is all over. It's gone forever. KIERNAN Why was your work stopped? What was so threatening about this gospel? Kiernan is confused. Petrocelli stands and walks down the aisle. PETROCELLI Look around, Father. What do you see? KIERNAN I see a church. PETROCELLI (Shrugs) It's a building. The true church of Jesus Christ is so much more. Not in buildings made of wood and stone. I love Jesus. I don't need an institution between him and me. You see, just God. Up at the altar, on the large wall looming in front of the rest of the church, is a gold replica of the cross and Jesus, surrounded by his disciples. Nails through palms, feet. Crown of thorns. Spear through his side. PETROCELLI No priest, no churches. The first words in Jesus' goispel are: "The kingdom of God is inside you. And all around you. Not in buildings made from wood and stone. Split a piece of wood and I am there. Lift a stone... KIERNAN (Picking up) ...And you will find me. PETROCELLI Yes, brother. KIERNAN (r.e. Alameida's photo) Why is Father Alameida wearing gloves? PETROCELLI Alameida was a tormented man. A holy man. A very holy man. He wore the gloves to cover the marks of the stigmata. Petrocelli moves back and sits down beside Kiernan. Runs a hand through his hair. Kiernan stares off. KIERNAN She has the stigmata. That's why...She's just his messenger.... PETROCELLI Houseman will never let this Gospel get out. CUT TO: INT. CHURCH -- ROOM -- NIGHT Cardinal Houseman kneels before a small crucifix, praying. Father Dario prepares holy water in a tiny bowl. INT. CHURCH -- FRANKIE'S ROOM -- NIGHT Frankie is holding Alameida's rosary against her chest as she sleeps. Suddenly hands appear and lift up hers, taking away the rosary. This stirs her and she awakens, sits up. The two nuns surround her, and Cardinal Houseman steps up to the bed with the Bible, followed by Father Dario who holds out the bowl of holy water. Frankie stares around her, confused. CARDINAL HOUSEMAN Lord, do not remember our sins. Or those of our forefathers... FRANKIE Where's Andrew? Cardinal Houseman begins to recite from the Bible. DARIO Do not punish us for our offenses.. CARDINAL HOUSEMAN Lead us not into temptation... We realize they are performing an exorcism on Frankie! She sits up, frightened. Cardinal Houseman continues to recite. EXT. STREET -- NIGHT Kiernan drives past camera, speeding toward the church with determination. INT. CHURCH -- FRANKIE'S ROOM -- NIGHT As Cardinal Houseman recites, Frankie's body begins to convulse as she is held down by the nuns. Groans and grunts escape her lips as she writhes under the covers. CARDINAL HOUSEMAN By the power of Christ I command you, come out of her body now and for always... She writhes and groans... FRANKIE/ALAMEIDA'S VOICE You are blind men! Your eyes are open, but you see nothing! She writhes and thrashes as the nuns attempt to hold her down. Father Dario echoes the recitation as Cardinal Houseman continues. CARDINAL HOUSEMAN Give her heavenly protection-- Frankie SITS UP and stares at the ceiling, SCREAMS, a gale of powerful voices. FRANKIE/ALAMEIDA'S VOICE BEHOLD! Your devil dripping with blood! CUT TO: EXT. STREET -- NIGHT Kiernan SPEEDS around sharp corners and races down the street. INT. CHURCH -- FRANKIE'S ROOM -- NIGHT The exorcism continues. Frankie lashes out and writhes and thrashes. CARDINAL HOUSEMAN Embrace me, my child. I am the church! FRANKIE/ALAMEIDA'S VOICE You are the true enemy of the church, Houseman! Suddenly Cardinal Houseman rushes forward to Frankie. CARDINAL HOUSEMAN OUT! Get out! The nuns quickly do as they are told. Father Dario walks to the door, lingers, watches Cardinal Houseman. CARDINAL HOUSEMAN Get out!! Father Dario races out. CARDINAL HOUSEMAN Save this woman, Lord, and let the enemy have no victory over her! Now alone with Frankie/Alameida, Cardinal Houseman reaches for her and GRABS HER BY THE NECK, and proceeds to suffocate her. Frankie fights for her life, grunting as he squeezes her neck, a wild flare in his eyes. EXT. CHURCH -- NIGHT Kiernan's car races up and he parks it, races inside. INT. CHURCH -- FRANKIE'S ROOM -- NIGHT Cardinal Houseman continues to strangle Frankie... CARDINAL HOUSEMAN You will not destroy my church. She groans for air... INT. CHURCH -- NIGHT He flies through the rooms, up the flight of stairs. KIERNAN Frankie!! Frankie! INT. CHURCH -- HALLWAY -- NIGHT Father Kiernan flies down the hallway, calling out for Frankie. He approaches her door and is stopped by Father Dario. He quickly THROWS Father Dario out of the way and opens the door, racing inside -- INT. FRANKIE'S ROOM -- NIGHT He sees Cardinal Houseman bent over Frankie, strangling her. He races to the bed. KIERNAN What are you doing!? Get away from her! He grabs Cardinal Houseman and throws him off of Frankie, using all the strength he can. He turns to Frankie and makes sure she's alright. She is gasping for air. CARDINAL HOUSEMAN Andrew, get away from her! You don't know what's going on! Now he turns to Cardinal Houseman and grabs him, shoving him out of the room. KIERNAN You lied to me! You tried to silence her. You lied to me --! He throws him out of the room -- INT. HALLWAY OUTSIDE FRANKIE'S ROOM -- NIGHT Father Dario watches helplessly as Kiernan shoves Cardinal Houseman against the wall. KIERNAN You tried to kill her! I know everything. I know why you closed down the gospel commission. I know why you had Petrocelli and Alameida excommunicated. I know all those lies you've been telling for years! There is no way you'll get away with what you did to her! CARDINAL HOUSEMAN I will not let you destroy the church. He throws Cardinal Houseman against another wall. KIERNAN I promise you. You've spent your last days in the Church. Cardinal Houseman is defeated. Kiernan lets him out of his grip and turns back to Frankie's room, walking in. INT. FRANKIE'S ROOM -- NIGHT A bright, raging fire in the firing place. Suddenly it SHOOTS out to blankets in the room and spreads like wildfire, over a statue of the Virgin Mary. In bed, Frankie suddenly sits up, her head leaned back, her mouth open, fresh blood trickling down her face. Kiernan walks into the room cautiously, sees the fire, then looks at Frankie. Pauses. KIERNAN Are you Pablo Alameida? WWHOOOSSH! The blankets around the bed erupt in spots of fire, uniting into one cloud of fierce flames, surrounding the calm figure of Frankie, who now sits staring at Father Kiernan as he moves closer. He reaches out his hand. KIERNAN Give me your wisdom. Let me be your messenger. WWHOOOOSSHH! Fire continues to spread. Now the entire room is engulfed in angry flames. Through the fire, we see Frankie's serene face staring at Father Kiernan. When she speaks her voice echoes. FRANKIE/KIERNAN'S VOICE The messenger believes. The messenger has faith. You have only doubt. Kiernan moves closer to the bed. FRANKIE Jesus said OThe Kingdom of God is inside you. And all around you. Not in mansions of wood and stone. Split a piece of wood and I am there. FIRE FLARES around her... FRANKIE ...Lift a stone, and you will find me. CA-CHANK! Frankie SCREAMS as she feels the pain of nails -- slashing marks break out into the air, blood shooting Frankie falls back onto the bed, groaning from pain. KIERNAN Father Alameida, I call upon you to release this woman. Give her grace and let her not come into the ways of harm. ca-chank! Crown of thorns being beaten into her flesh. Blood pours down her face as she SCREAMS desperately. ca-chank! chank! slash! ca-chank! She relives every wound, wincing and stiffening at the pain on her wrists, feet, back, and forehead. hyper insert father alameida's face, staring at us through the haze of fire, alive. hyper insert image of the weeping statue of the virgin of guadalupe. the tears of blood down her face KIERNAN God bless your soul, Father Alameida. And go in peace. Crying out, Frankie falls back onto the bed. The pain is gone. The fire remains thriving as Kiernan steps up to the bed and gently takes the weak Frankie in his arms, carries her out of bed..... .....As they make their way to the doorway, the flames envelope them but they walk through the brightness, unharmed. Slowly the fire begins to weaken and gradually all pulls back toward the fireplace. We see the flames disappear from the Virgin Mary statue. CUT TO: EXT. CHURCH -- COURTYARD -- SUNRISE Father Kiernan walks into the courtyard and up to a bench, cradling the wrapped-up Frankie, who sleeps in his arms. The morning sun is bright and the breeze soothing over Frankie's face. Kiernan sits down on the bench and watches Frankie. She stirs and her eyes open. She watches him. Looks weak. She groans. KIERNAN Stay with me... She reaches out weakly with her hand and touches his mouth with her fingers lovingly. Leans forward and kisses his lips. He gives in and they share a long kiss. A beat. She pulls away -- --- and out of his arms, walking across the grass. Suddenly a DOVE descends the air and lands on her hand. She stands with the DOVE, gently stroking it. Smiles and turns back to KIERNAN, who remains seated on the bench. He watches and smiles. The dove flies out of Frankie's hand and she watches as it disappears back up into the air... ...We ascend the air with the dove, the figures of Frankie and Kiernan becoming smaller and smaller... DISSOLVE TO: EXT. BELO QUINTO -- CHURCH -- DAY We see the modest, small church. Empty. INT. CHURCH -- DAY We see again the striking statue of the crying Virgin of Guadalupe. The blood remains dripping down her face. We see Father Kiernan move down the aisle toward the altar. The rest of the church is empty besides a cleaning lady. He walks up to the statue and gazes at it. Turns and moves to the floor beside the statue. Kneels down. Reveals a KNIFE and begins to dig at the floor... ....Unearths a loose floorboard, removes it, and we see SCROLLS on PAPYRUS in the earth. He takes them out and unravels them. We see the same lettering on the scrolls as in Frankie's apartment. He also finds the small book Father Alameida wrote the translations in. He opens it, reads it as: FRANKIE (VO) Jesus said, 'The kingdom of God is inside you and all around you.... PETROCELLI (VO) ....Not in mansions made from wood and stone. Split a piece of wood and I am there. Lift a stone and you will fine me....' ZOOM INTO A LIFELIKE REPLICA OF CHRIST ON THE CHRIST, SURROUNDED BY HIS DISCIPLES KIERNAN (VO) These are the hidden sayings that the living Jesus spoke. Whoever discovers the meaning of these sayings will not taste death. CUT TO: EXT. BELO QUINTO -- SUNSET We rise from the poverty-stricken cities of Bell Cinto into the air.....across the red sky....up to the blazing hot sun, and as it burns into us, we... FADE DOWN In 1945 a scroll was discovered in nag hamadi, which is described as "the secret sayings of the living jesus". This scroll, the gospel of st. thomas, has been claimed by scholars around the world to be the closest record we have of the words of the historical jesus. The vatican refuses to recognize this gospel and has described it as heresy. THE END