MIRACLES 1X02: THE FRIENDLY SKIES ORIGINAL AIR DATE ON ABC: 02/03/2003 TRANSCRIBED FROM ABC Teleplay by: DAVID GREENWALT & RICHARD HATEM Story by: CHRIS BRANCATO & ALBERT J. SALKE Directed by: JESUS S. TREVINO Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. RATING: TV-14 ========================== DISCLAIMER: ========================== "MIRACLES" and other related entities are owned, (TM) and (c) by David Greenwalt Productions, Spyglass Entertainment, and Touchstone Television, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.webphilia.com/~anthology/wnp.html For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: For 64 seconds, an airlines disappears mid-flight. When it reappears, everyone on board is changed. The Sodalitas Quaerito Team is called in to investigate why. ========================== MIRACLES 1X02: THE FRIENDLY SKIES ========================== NARRATOR: Previously on "Miracles"... [Scenes from 1X01: The Ferguson Syndrome] (Close up of the headstone for SISTER AGNES FULTON / BORN 1834 / DIED 1861.) (Cut to: The wood from the bottom of the coffin breaks. The coffin falls into the worker. The body of SISTER AGNES FULTON falls out of the coffin, eyes wide open and perfectly preserved.) OFFICER: (v.o.) Father's got some guy who's supposed to check for miracles. (Cut to: The needle closing in on SISTER AGNES FULTON'S eye.) (Cut to: PAUL CALLAN introduces himself to the OFFICER.) PAUL CALLAN: Pleased to meet you. I'm the guy. (Cut to: PAUL CALLAN is at the cemetery kneeling down to look at the soil.) PAUL CALLAN: (v.o.) I'm afraid there's no miracle here. (Cut to: Camera flash as a picture of SISTER AGNES FULTON'S hand is being taken.) (Cut to: PAUL CALLAN at the restaurant talking with FATHER "POPPI" CALERO.) PAUL CALLAN: I show up, deliver the bad news, and move on. FATHER "POPPI" CALERO: What's the point of faith if it's never tested? (Cut to: PAUL CALLAN is on the bus. He looks out the window and sees on the red water tower a message painted in white: "GOD IS COMING.") FATHER "POPPI" CALERO: (v.o.) There's a case in Cottonwood. This one looks like the real thing. (Cut to: PAUL CALLAN driving out to Cottonwood.) PAUL CALLAN: (v.o.) What did Tommy do? (Cut to: KATE ARMSTRONG removes her glasses to show PAUL her eyes, white with no pupils.) KATE ARMSTRONG: He said he hoped I'd get better soon. The next morning, I could see. OLIVIA FERGUSON: (v.o.) He heals people. (Cut to: TOMMY FERGUSON carrying the baby.) (Cut to: OLIVIA FERGUSON.) OLIVIA FERGUSON: You have no idea what this takes out of him. (Cut to: TOMMY FERGUSON'S nose bleeds. A drop falls on his shirt.) OLIVIA FERGUSON: (v.o.) For God's sake, it's killing him! (Cut to: PAUL CALLAN'S SUV gets hit head on by the train. The SUV gets pushed a distance then it falls off the tracks and overturns.) PAUL CALLAN: (v.o.) He healed people. I saw it. He died healing me. (Cut to: Cut and bleeding, PAUL CALLAN looks up at his blood on the window. The longer he looks at it the clearer the message is: GOD IS NOW HERE.) (Cut to: PAUL CALLAN in the restaurant.) PAUL CALLAN: Why would God do that? (ALVA KEEL hits the table. PAUL CALLAN jumps at the sound.) ALVA KEEL: (whispers) Who said it was God? (Cut to: On the rainy night, behind TOMMY FERGUSON is ALVA KEEL kneeling to look inside the car at PAUL CALLAN.) ALVA KEEL: I've seen what you've seen. (ALVA KEEL puts a business card on the table for: SODALITAS QUAERITO / 365 MIDLOTHIAN LANE / NO. 29.) ALVA KEEL: Call me. (Cut to: PAUL CALLAN walking through the alleyway entrance.) ALVA KEEL: (v.o.) We may be able to help you. (Cut to: ) PAUL CALLAN: I'm Paul Callan. EVELYN "EVIE" SANTOS: Come in. (PAUL CALLAN walks in.) FADE TO BLACK. END OF "PREVIOUSLY ON" FADE IN. CUE: CHOIR SINGING IN LATIN [EXT. CITY SKYLINE (STOCK) - EVENING] [EXT. AIRPLANE IN SKY (STOCK)] SCENE #01: [INT. AIRPLANE] (PHIL, the FLIGHT ATTENDANT, pushes the curtain aside and starts walking down the aisle to collect the trash from the passengers. Overhead, another FLIGHT ATTENDANT gives instructions.) FLIGHT ATTENDANT: (overhead) In just a few moments, we'll begin our descent into Boston. At that time, The Captain will turn on the "fasten seat belts" sign, and we'll ask all passengers to return their seats and tray tables to an upright position. (As the MAN throws his rubbish away, he accidentally jars the woman next to him as she reads a magazine.) MAN: (with headset on) Oh. Sorry. WOMAN: Oh, no problem. (PHIL continues down the aisle.) JOYCE: We're gonna land. Thank god for that, huh? I hate flying. MAN: So you've mentioned. Repeatedly. (JOYCE turns to look at KAREN LONGVIEW sitting in the seat next to her.) JOYCE: I'll be right back. (She stands up and leaves her seat to go to the lavatory.) (PHIL, the FLIGHT ATTENDANT, continues up the aisle checking the passengers along the way.) WOMAN: (o.s.) I'm still waiting on that third pillow. PHIL (FLIGHT ATTENDANT): I'm sorry, ma'am, the flight is full. All the pillows are out. (JOYCE opens the lavatory and walks inside.) MAN: (o.s.) The seat won't go. PHIL (FLIGHT ATTENDANT): (o.s.) Uh ...Press that button right there. (The MAN who sat next to JOYCE tugs on PHIL'S sleeve to get his attention.) MAN (NEXT TO JOYCE) : I need a drink. PHIL (FLIGHT ATTENDANT): (mutters under his breath) So do I. MAN: Excuse me? PHIL (FLIGHT ATTENDANT): (turns around) I'm sorry, the drink service is over. We'll be landing shortly. (PHIL continues up the aisle. He sees something on the floor and kneels to pick it up. It's a small plastic dinosaur figure. He puts it on the little girl's lowered tray. DEANNA THOMPSON looks up from her book, "The Book of Life".) DEANNA THOMPSON: Oh, thanks. PHIL (FLIGHT ATTENDANT): (startled) What did you say? DEANNA THOMPSON: Uh ... thanks? (He sighs and kneels next to her.) PHIL (FLIGHT ATTENDANT): I may cry. You're very welcome, young lady. Well, he's kind of cute. What's his name? DEANNA THOMPSON: Uh, he's not cute. He's a one-ton,20-foot-long predator from the mid-cretaceous period -- order saurischia, suborder the ropoda. (He looks at her book.) PHIL (FLIGHT ATTENDANT): Is that what you're gonna be when you grow up? DEANNA THOMPSON: Yep -- a paleontologist. And after that, a botanist. My mom says I can be anything. You're lucky. PHIL (FLIGHT ATTENDANT): Why? DEANNA THOMPSON: You get to fly everywhere for free. MAN: (o.s.) Excuse me --paying customer over here. Can I get a little service, pal? DEANNA THOMPSON: But I guess the people aren't very nice. (PHIL looks at her, gets up and leaves. DEANNA THOMPSON goes back to reading her book.) CUT TO: SCENE #02: [INT. LOGAN AIRPORT -- BOSTON TOWER -- DAY] (Inside, the air traffic controllers are busy guiding air traffic. The various monitors beep.) AIR TRAFFIC CONTROLLER: Flight 134, this is Boston Tower, radar contact. (The beeping continues.) AIR TRAFFIC CONTROLLER: We have you in sight. Cleared to land runway 29er. Wind 3-1-0 at 1-0. (On his monitor, the image of Flight 134 is on screen in green.) CUT TO: SCENE #03: [INT. FLIGHT 134 -- DAY] (PHIL takes his seat and sighs. He puts on his seatbelt and closes his eyes for a moment.) CAPTAIN: (o.s.) This is the Captain. We'll be on the ground momentarily. Flight attendants, please take your seats for landing. (Cut to: KAREN LONGVIEW sits in her seat sleeping, her eyes closed.) (Cut to: Various passengers. The man who sat next to JOYCE. The man with the headset on, the woman sitting next to him reading the magazine.) (Cut to: In the lavatory, water splashes. JOYCE is still inside. She puts water on her face and tries to calm her nerves.) JOYCE: Please don't crash. Please don't crash. (Cut to: DEANNA THOMPSON looks outside the airplane window.) DEANNA THOMPSON: What's that? CUT TO: SCENE #04: [INT. LOGAN AIRPORT -- BOSTON TOWER -- DAY] (On the monitor, the AIR TRAFFIC CONTROLLER monitors Flight 134 in green. The monitor beeps.) AIR TRAFFIC CONTROLLER: 134, you'll be on the ground in ... (The AIR TRAFFIC CONTROLLER looks out the window as he should be able to see the plane. He watches as the plane disappears into a rift in the sky. The monitor alarm blares.) AIR TRAFFIC CONTROLLER: Flight 134,this is Boston Tower. Do you read me? Over. (He looks back down at the monitor and Flight 134 is now off of the monitor, its stats in red. He looks back outside the window.) AIR TRAFFIC CONTROLLER: Flight 134, where are you? I just saw them. (He takes off his earphones and stands up. He takes a few steps toward the window. He turns around.) AIR TRAFFIC CONTROLLER: (stunned) W-where'd they go? FADE TO BLACK END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) SCENE #05: [INT. LOGAN AIRPORT -- BOSTON TOWER -- DAY] (The AIR TRAFFIC CONTROLLER tries to explain to his Supervisor what happened. Monitor alarms blare in the background.) AIR TRAFFIC CONTROLLER: I had them on radar and I had a visual, and I'm telling you, they just disappeared. (Outside the tower window, the plane reappears through the rift.) MAN: (o.s.) I see them! MAN: (o.s.) Look! They're back! MAN: (o.s.) What was that?! (The AIR TRAFFIC CONTROLLER turns around and instructs the others. He puts the radio to his ear.) AIR TRAFFIC CONTROLLER: Uh ... clear the runway. They're back on radar. (to the radio) Flight 134, do you read me? (He listens through the radio static.) PILOT: (from radio) My god ... it was beautiful. CUT TO: [EXT. SODALITAS QUAERITO BUILDING - DAY] SCENE #06: [INT. SODALITAS QUAERITO - OFFICE -- DAY] (PAUL CALLAN pushes the door to #29 open. He walks in. EVELYN SANTOS sits at the desk inside.) EVELYN "EVIE" SANTOS: Hi, Paul. PAUL CALLAN: Hey. EVELYN "EVIE" SANTOS: Good to see you. PAUL CALLAN: You too. EVELYN "EVIE" SANTOS: We'll need to photocopy two forms of I.D. A driver's license and social security card should be fine. PAUL CALLAN: Um, before I sign anything, I need to talk to Mr. Keel. (ALVA KEELS walks out of his office.) ALVA KEEL: Paul ... what if we take a walk? CUT TO: SCENE #07: [EXT. PARK PLAYGROUND -- DAY] (Children play in the playground behind them.) PAUL CALLAN: Why were you following me? ALVA KEEL: You're a good investigator -- something which I desperately need in light of the coming darkness. I also believe that your former employer did not fully appreciate your rather unique gifts. PAUL CALLAN: "Gifts"? (chuckles) Like seeing "God is now here" written in my own blood. ALVA KEEL: Yes. You do play a significant role in all of this, Paul. PAUL CALLAN: All of what? The large event you spoke of? I don't believe in the end of the world, Keel. ALVA KEEL: It's not exactly a comforting thought. In fact, it's probably better if you don't. PAUL CALLAN: What do I have to do with all of this? ALVA KEEL: Isn't that what you came here to find out? Why are you here, Paul? (Quick flashback to: Scene from 1X01: The Ferguson Syndrome. TOMMY is lying down in bed with the monitors hooked up around him. End of flashback. Resume to present.) PAUL CALLAN: (low voice) I think this was a bad idea. (shakes his head) I'm sorry. (Steps away from ALVA KEEL to leave. ALVA KEEL follows.) ALVA KEEL: Tommy's dead. I don't know why he died and you lived. I don't know why it had to happen that way, but it did. Now, something is coming, Paul. The signs are everywhere -- famine, fires, floods ... a startling rise in everything from U.F.O. Sightings to miraculous visitations to so-called "simple" crimes of passion nothing is simple anymore. (ALVA KEEL'S cell phone rings. He answers it.) ALVA KEEL: (to phone) Yes? (pause) I'm on my way. (he hangs up) (to PAUL) Something very strange just occurred at Logan airport. Are you coming? (Camera holds on PAUL CALLAN.) CUT TO: SCENE #08: [INT. CAR -- DAY] (ALVA KEELS fills them in on the case as they drive to Logan's Airport.) ALVA KEEL: His name is Charles Jergensen. He's a senior officer in the NSA -- the youngest ever, if I'm not mistaken. EVELYN "EVIE" SANTOS: How do you know him? ALVA KEEL: We were at Cambridge together. He was a Yank -- bright, a long way from home. I tried to educate him in the British ways. EVELYN "EVIE" SANTOS: And how'd that go? ALVA KEEL: Not entirely well. EVELYN "EVIE" SANTOS: You don't like him? ALVA KEEL: No, I don't. But I respect him. He's very dedicated. And once upon a time, we shared similar interests. EVELYN "EVIE" SANTOS: So what happened? ALVA KEEL: He wanted to change the world. PAUL CALLAN: And you didn't? ALVA KEEL: No, as a matter of fact, I did not. PAUL CALLAN: That's quite a philosophy. (EVELYN turns around to look at PAUL.) CUT TO: SCENE #09: [EXT. LOGAN'S AIRPORT - DAY] (The SODALITAS car stops in front of the security gate.) EVELYN SANTOS: This is big. They've got half the army out here. SECURITY GUARD: Can I see your ID's please. (They show the SECURITY GUARD their ID's. The GUARD opens the gate and lets them through.) CUT TO: SCENE #10: [INT. LOGAN'S AIRPORT -- DAY] (Just outside the large windows, the Sodalitas Quaerito Team meets up with some officials. Inside, a SPOKESWOMAN talks with the relatives of the passengers being held.) SPOKESWOMAN: (o.s.) Flight 134 landed as scheduled at 2:26 P.M. Just prior to landing, there was a small in one of the lavatories -- a small fire. However, Federal regulations demand that the cause be thoroughly investigated. I'm sure we all understand how important safety is in the current climate. (The Sodalitas Quaerito Team walks into the facility. They follow the officials as they lead them off to another section of the facility. The SPOKESWOMAN continues to speak with the relatives. PAUL CALLAN looks around as he follows the rest of the team.) SPOKESWOMAN: As soon as the authorities complete their investigation, the passengers will be released. MARK LONGVIEW: My wife has severe medical problems. SPOKESWOMAN: We realize this is very trying for everyone. CUT TO: SCENE #11: [INT. AIRPORT] (On the table is a body marked (13B) covered with a sheet.) CHARLES JERGENSEN: (on phone) Yes, sir, we're locked down and will remain so until we get to the bottom of this. (pause) It isn't terrorists. (pause) It's nothing we've ever seen before. (He walks over to a computer with information about PAUL CALLAN on screen. He hits a couple of keys and a print out comes out of the printer next to the monitor.) We're doing all that. We're bringing in some people to explore the possible, uh ... paranormal ramifications. (CHARLES JERGENSEN picks up the dossiers. The SODALITAS Team walks into the room.) CHARLES JERGENSEN: What in the hell took you so long? ALVA KEEL: Pleasure to see you, too, Charlie. CHARLES JERGENSEN: Paul Callan, Evelyn Santos ... (to the man in the room) Make them some badges. (CHARLES JERGENSEN looks down at the dossiers in his hands.) CHARLES JERGENSEN: Neither of you have ever been convicted of a federal crime? (A camera flashes in PAUL CALLAN'S face.) CHARLES JERGENSEN: Consider yourselves sworn in. This investigation is closed- door. Discussing it with anyone off premises will be considered an act of treason. ALVA KEEL: Now that you have us sufficiently terrified, care to tell us what's going on? CHARLES JERGENSEN: Eastern Commuter Flight 134 was schedule to land at 2:26 this afternoon when the control tower lost radar and visual contact. ALVA KEEL: It disappeared? CHARLES JERGENSEN: For exactly 64 seconds. EVELYN "EVIE" SANTOS: Okay. CHARLES JERGENSEN: It then reappeared in the exact same location and landed safely. PAUL CALLAN: What happened to the passengers? CHARLES JERGENSEN: We're interviewing the ones who are coherent, but everyone's got a different story. We've got two hours max to get in front of this thing before the media starts peeling our skin. (PAUL CALLAN looks at the sheet.) ALVA KEEL: So ... What do you want from us? CHARLES JERGENSEN: Answers. You guys investigate strange occurrences. We, something very strange happened to these people. We got to get as much information out of them as possible. (PAUL CALLAN looks at the sheet.) PAUL CALLAN: What's under the sheet? (CHARLES JERGENSEN sighs. They walk over to the body under the sheet. He lifts the sheet off so that they can see the burnt passenger underneath.) (EVELYN gasps.) CHARLES JERGENSEN: Passenger 13-B ... burned to death in the airplane lavatory, where there was no other evidence of a fire. We need to know how the hell all this happened. And we need to know it now. (He covers the body up again.) CHARLES JERGENSEN: Let's go. (He turns to leave the room.) CUT TO: SCENE #12: [INT. AIRPORT - DAY -- CONTINUOUS] (They stop in front of a security gate with a metal detector. The men empty their pockets and walk through the gate.) CHARLES JERGENSEN: No cameras, notes, or personal recording devices are allowed in or out of the site. (EVELYN removes her bag and walks through the metal detector. It beeps. She takes a step back and pulls out a MEDICAL EXCEPTION card from her pocket. The card reads: [Date: 1/14/98 Patient Name: Santos, Evelyn "Bullet lodged in anterior lobe of brain." ... Mitchelson ... M1451-314 ] EVELYN SANTOS: I, uh, I have a .38-caliber bullet lodged in the anterior lobe of my brain. It was declared inoperable by Dr. Mitchelson at Brigham and Women's Hospital January 14, 1998. (PAUL CALLAN watches.) CHARLES JERGENSEN: You're a police officer? EVELYN SANTOS: Former. GUARD: She's clean. CHARLES JERGENSEN: Okay, let's go. (EVELYN walks through the metal detector again. It beeps again. PAUL CALLAN walks through the metal detector.) CUT TO: SCENE #13: [INT. AIRPORT - HANGAR - DAY -- CONTINUOUS] (The group enters the hangar.) CHARLES JERGENSEN: As you can see, we're shorthanded. If you need to use the restroom, see the guards at the door. This is triage. We make sure they're medically fit, and then we debrief them. You may take notes, but you cannot leave the premises with them or anything else. (Off to the side, one of the passengers starts to get rough with the guards. A guard hands CHARLES JERGENSEN their badges. He hands them out.) CHARLES JERGENSEN: Make sure you, uh...wear your badges at all times. (PAUL watches as the guards take the passenger away. Another man in a suit joins them.) CHARLES JERGENSEN: This is Michael Garcia of the NTSB. He'll get you started on your interviews. Thanks, Mike. (to ALVA KEEL) There's something I want you to see. (CHARLES JERGENSEN and ALVA KEEL walk away. MICHAEL GARCIA leads EVELYN and PAUL to the individual passenger booths.) MICHAEL GARCIA: We're trying to establish what exactly happened the moment the plane ... PAUL CALLAN: ... disappeared? MICHAEL GARCIA: "Encountered difficulty". PAUL CALLAN: How are the passengers? MICHAEL GARCIA: Let me show you. (He pulls aside the curtain to one passenger booth where a man and a woman are sitting on the table close to one other. They gaze into each other's eyes.) MICHAEL GARCIA: I don't believe these two even knew each other before the plane took off. (Quick flashback to: On the plane, the man is the man with the headset. The woman is the woman who sits next to him reading a magazine. End of flashback. Resume to present.) (In the booth, the man and the woman kiss each other.) (Cut to: Another passenger in another booth.) MAN (who sat next to JOYCE): Complete and utter silence. And for the first time in my life, I felt like I finally belonged. (Quick flashback to: On the plane, the man is the man who sat next to JOYCE. He sits there as she excuses herself and stands to go to the lavatory. End of flashback. Resume to present.) MAN: And then ... there he was. INTERVIEWER (MAN): Who? MAN: Well ... Satan. (Cut to: A woman in another booth is interviewed.) WOMAN: There were bright lights ... and a loud noise. INTERVIEWER (WOMAN): Like an explosion? WOMAN: Singing. Thousands of voices. It was beautiful. CUT TO: SCENE #14: [INT. HANGAR - KAREN LONGVIEW'S BOOTH - DAY -- CONTINUOUS] (PAUL CALLAN walks into KAREN LONGVIEW'S booth. He closes the curtain behind him. KAREN LONGVIEW walks up to him with wonder and exuberance.) KAREN LONGVIEW: The most wonderful thing has happened. (Quick flashback to: On the plane, KAREN LONGVIEW sits in a window seat next to JOYCE. She is not moving, nor is she talking with anyone. She just sits there. End of flashback. Resume to present.) KAREN LONGVIEW: I have to talk to my husband. He has to know. He has to know. PAUL CALLAN: Would you like to sit down? (KAREN LONGVIEW looks at PAUL and smiles.) KAREN LONGVIEW: (shakes her head) No. (PAUL looks up at her.) KAREN LONGVIEW: A-am I dreaming? PAUL CALLAN: I don't think so. (She walks in a small circle, laughing joyfully.) KAREN LONGVIEW: I-I-I have to see my husband. I-I mean, he has to see me. PAUL CALLAN: Why? KAREN LONGVIEW: I have severe frontal and parietal lobe damage -- at least, I did when I got on that plane. PAUL CALLAN: You have a brain injury? KAREN LONGVIEW: Oh, I have a whopper of a brain injury - a kinetic mutism. Do you know what that means? I can't move, walk, stand, or speak. (PAUL looks at her and blinks. KAREN LONGVIEW continues to twirl in a little circle where she stands, her joy and amazement evident.) CUT TO: SCENE #15: [INT. HANGAR - DEANNA THOMPSON'S BOOTH - DAY -- CONTINUOUS] (EVELYN SANTOS walks into DEANNA THOMPSON'S booth. She closes the curtain behind her. She puts her bag down and takes a seat.) EVELYN "EVIE" SANTOS: Hi. My name's Evelyn. What's yours? DEANNA THOMPSON: (sadly) Deanna Thompson. EVELYN "EVIE" SANTOS: Can you tell me what happened on the airplane? DEANNA THOMPSON: I-I saw ... (Quick flashback to: DEANNA THOMPSON on the plane looking out the window. End of flashback. Resume to present.) EVELYN "EVIE" SANTOS: What did you see? DEANNA THOMPSON: The rest of my life. EVELYN "EVIE" SANTOS: You mean ... DEANNA THOMPSON: Oh, yeah. CUT TO: SCENE #16 [INT. HANGAR - BACKROOM - DAY -- CONTINUOUS] (CHARLES JERGENSEN leads ALVA KEEL into another secure room.) CHARLES JERGENSEN: The people down there have some problems. This one, we're worried about. He was the flight attendant. (Inside the room in a straightjacket, sitting in a chair and hooked up to a brain monitor is PHIL, the FLIGHT ATTENDANT. He speaks in tongues, quickly and in a steady stream.) (Quick flashback to: On the plane, PHIL sits down. Flash to: PHIL looking around. End of flashback. Resume to present.) (Camera holds on PHIL speaking in tongues.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #17: [INT. HANGAR - BACKROOM -- DAY] (CHARLES JERGENSEN looks down at the burnt body on the table in front of him.) CHARLES JERGENSEN: So, any idea what in god's name happened here? CORONER: That's what we're about to find out. (The CORONER starts the saw.) CUT TO: SCENE #18: [INT. AIRPORT - TERMINAL -- DAY] (MARK LONGVIEW gets a cup of coffee. In the background, the television set is on and the reporter speaks about the current situation.) REPORTER: (on television) Emotions are running high outside terminal 16 at Logan airport this afternoon as families continue to wait for word on their loved ones from eastern commuter flight 134. Government sources cited possible terrorist activity as the cause ... MARK LONGVIEW: Excuse me, miss ... (MARK puts his coffee cup down and rushes over to the SPOKESWOMAN.) ... my wife is profoundly disabled. She is in a wheelchair, she is traveling with her nurse. I need to know she's all right. SPOKESWOMAN: We're doing everything we can, Mr. Longridge. (She walks away.) MARK LONGVIEW: (calls out) Longview! CUT TO: SCENE #19: [INT. HANGAR - COUPLE'S BOOTH -- DAY] (The WOMAN sits in the MAN'S lap. They laugh.) WOMAN: Yes, yes, because it's pinecones. BOTH: And pineapples. (They both laugh.) CUT TO: SCENE #20: [INT. HANGAR - BACKROOM -- DAY] (PHIL continues to speak in tongues at a rapid pace. One of the government observers speaks in a small microcassette tape recorder. He also operates the Video camera.) VIDEO TECH: (to tape recorder) 1600 hours, 49 minutes. Subject's E.E.G. displaying elevated alpha waves. (PHIL continues to speak in tongues.) ALVA KEEL: (to the VIDEO TECH) You're using two cameras? VIDEO TECH: Yeah -- in case one malfunctions. ALVA KEEL: Ah. Subject's blood pressure is still 180 over 70. (ALVA KEEL grabs the tape recorder out of the VIDEO TECH'S hands and walks toward PHIL.) VIDEO TECH: Hey! Hey! ALVA KEEL: Shh. (He tapes a small portion of what PHIL says. He slows it down and plays it back. CHARLES JERGENSEN watches KEEL.) CHARLES JERGENSEN: Do you know the language? ALVA KEEL: I believe he's speaking Aramaic. CHARLES JERGENSEN: Like Jesus? ALVA KEEL: Not with what he's saying. (KEEL grabs a notebook.) CHARLES JERGENSEN: That language has been dead for 2,000 years. You can understand it? ALVA KEEL: A little. CUT TO: SCENE #21: [INT. HANGAR - DEANNA'S BOOTH -- DAY] DEANNA THOMPSON: I get married at 22 ... to Glen Thompson. He didn't do too well in school. But his uncle's with the county. And he gets Glen a job. (She sighs.) DEANNA THOMPSON: Flagman on the highway crew. We save up all year for a trip to the grand canyon. Ethan and Ally are carsick the whole time. EVELYN SANTOS: Ethan and Ally? DEANNA THOMPSON: Our two kids. I know I'm supposed to love them ... but they're really difficult. CUT TO: SCENE #22: [INT. HANGAR - KAREN LONGVIEW'S BOOTH -- DAY] (KAREN is standing and talking to PAUL.) KAREN LONGVIEW: We were on our honeymoon. And I'd been on the ski team in college, and Mark - well ... first, he says that we can't afford anything fancy -- maybe two days in Tijuana. And then he takes me to the Swiss Alps. Oh, it was heaven. And I'm showing off a little bit. Okay, a lot. And I'm doing all the black diamonds and jumps, and I lost it. I hit the lift tower. (PAUL sighs at the implication. KAREN finally sits down.) KAREN LONGVIEW: That was twenty-one years ago. Mark never blinked. He's taken care of me all these years. I can't -- I mean, couldn't do anything for myself. That's why I have to see him and tell him. PAUL CALLAN: What do you want to tell him? KAREN LONGVIEW: That I know. Every time he touches my face or he brushes my hair or he bathes me, I know how much he loves me. (She sniffles.) KAREN LONGVIEW: He's such a good man. And all these years, I've never been able to tell him. I know, but I can't tell him I know. I can't tell him how much I love him. (She cries and laughs. PAUL takes out a handkerchief and gives it to KAREN. She laughs.) KAREN LONGVIEW: This is really silly. I'm really happy. I can't wait to see him and tell him. PAUL CALLAN: (quietly) You will. KAREN LONGVIEW: Mmm ... and Joyce -- where's Joyce? PAUL CALLAN: Who's Joyce? KAREN LONGVIEW: My nurse. She was on the plane with me. (Quick flashback to: On the airplane, JOYCE sits next to KAREN LONGVIEW. End of flashback. Resume to present.) KAREN LONGVIEW: Poor thing -- she hates flying. She's always afraid that the plane is gonna crash and we're all gonna burn to death. (KAREN laughs. Something about what KAREN says makes PAUL sit up and think.) (Quick flashback to: The burned body on the sheet. End of flashback.) (PAUL looks up at the seat number on the sheet wall of KAREN LONGVIEW'S booth. It reads: 13-A. PAUL makes the connection.) PAUL CALLAN: Karen, could you excuse me for a moment? KAREN LONGVIEW: Of course. (PAUL stands up.) KAREN LONGVIEW: I'll be right here. (looks down at her feet) And doing that. (She taps her feet.) (Cut to: The monitor is pointed down at KAREN'S feet as she playfully taps her feet on the ground.) CUT TO: SCENE #23: [INT. HANGAR - BACKROOM -- DAY] (The CORONER continues to work on the burned body. Machinery hums, liquid drips. The CORONER takes out the heart and weighs it.) CORONER: Heart weight -- 6.2 ounces. (PAUL CALLAN walks up to the plastic sheet separating the CORONER from the rest of the room. He looks inside and sees the passenger seat number: 13-B. He knows who that is.) (The SECURITY GUARD immediately appears beside PAUL.) GUARD: You can't be here. Move or I'll move you. (PAUL doesn't move. The SECURITY GUARD grabs PAUL and moves him away from the room.) CUT TO: SCENE #24: [INT. HANGAR - DEANNA'S BOOTH -- DAY] DEANNA THOMPSON: I try to go back to school, but Glen gets laid off. So I get a second job, working at the florist's. I always liked plants. And then, on my 39th birthday, my father dies of lung cancer. EVELYN "EVIE" SANTOS: Why don't I go get us some water? (EVELYN puts her things down and stands up to leave the room. Near the door, she pauses and looks back. She exits the room.) CUT TO: SCENE #25: [INT. HANGAR - BACKROOM -- DAY] (In the main room, PHIL is still tied in a straight jacket and speaking in tongues quickly. A translator works on translating the speech into text on a laptop computer. ALVA KEEL looks over his shoulder.) ALVA KEEL: (correcting) I believe that word is "toad." [Typing: All Matter is held in place by mod ... ... sand, every toad, every man. ... But if this frequency is disrupted, ... ] (ALVA KEEL walks toward PHIL who has stopped talking in tongues and leans down to look at him.) ALVA KEEL: How you doin', Phil? (PHIL answers him. He still speaks in tongues, but now at a normal rate of speech and not as quickly as before.) ALVA KEEL: (to the video tech) I think we could let him out of the jacket now. (The VIDEO TECH looks at CHARLES JERGENSEN who nods his approval. The VIDEO TECH releases PHIL from the straight jacket.) ALVA KEEL: It's all right. (PHIL starts to mutter in tongues again. When he takes off the jacket, KEEL notices that PHIL has on a medic bracelet for "EPILEPSY". This has him thinking. ALVA KEEL turns around to look at CHARLES JERGENSEN who reading the translation on the laptop computer.) [Reading: ... if this frequency is disrupted, matter disperses. ... just temporary cohesion, an illusion of solidity. ... this illusory cohesion can be altered by changing relative velocity ... ... some experiments, the host metal has been transmuted into ... elements. Plowshares into swords, vaporization, depravity, death. CHARLES JERGENSEN: "Modulating frequencies, temporary cohesion." What's it all mean, Alva? ALVA KEEL: I think he's using aramaic, which is one of the world's oldest languages, to express certain ... theoretical projections of modern physics. CHARLES JERGENSEN: Like what? [Close up of typing: same page as above.] ALVA KEEL: Cold fusion ... perpetual motion ... (pauses) ... et cetera. (CHARLES JERGENSEN looks at KEEL.) CHARLES JERGENSEN: What happened up there? CUT TO: SCENE #26: [INT. AIRPORT - PRIVATE ROOM -- DAY] (KEEL, PAUL and EVELYN walk into a room.) ALVA KEEL: We've got to make this quick. In about two minutes, they'll start looking for me. (They close the door.) ALVA KEEL: I have a theory about what happened. I think each of those passengers brought their own individual experience to the phenomenon that they encountered. PAUL CALLAN: Which explains why they each experienced something different. EVELYN "EVIE" SANTOS: I think you're right. Deanna was talking to the flight attendant just before it happened, and he asked her what she wanted to be when she grew up. ALVA KEEL: She was thinking about her future, and she saw it. PAUL CALLAN: I think it goes further than that. Karen's nurse was terrified she would crash and burn to death. I'll give you one guess who we saw on that gurney. EVELYN "EVIE" SANTOS: Hold on -- she thought about crashing and burning so vividly that it actually happened? ALVA KEEL: Yes. I think that for one minute and four seconds, those people were in a higher realm -- a realm where consciousness determines reality. PAUL CALLAN: What do you think is what you are. Karen told me she was dreaming what she always dreams -- that she can walk and talk to her husband. (KEEL thinks about it.) EVELYN "EVIE" SANTOS: So, this flight attendant who's speaking in tongues - What was on his mind when it happened? ALVA KEEL: Ancient mathematicians used to speak in metaphor when their concepts got too unwieldy. And I hope I'm the only one seeing this right now, but I believe he's discovered a cutting-edge physics -- one that our military leaders would dearly like to get their hands on. PAUL CALLAN: I'm guessing it's not the cure for cancer. ALVA KEEL: No, it's not. It's a methodology -- and it seems sound to me -- for disassembling reality as we know it. EVELYN "EVIE" SANTOS: Disassembling Reality? What are you saying? ALVA KEEL: I'm saying that flight attendant knows how to destroy the world. (KEEL looks at PAUL. Camera holds on PAUL.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #27: [INT. AIRPORT - PRIVATE ROOM -- DAY] (Camera opens on PAUL CALLAN.) PAUL CALLAN: He knows how to destroy the world? What are you talking about? ALVA KEEL: It's not what I'm talking about. It's what he's talking about. Our friend is conducting a lecture series on the Physics of Destruction. (pauses) Imagine a cr ... PAUL CALLAN: Shh. (KEEL quiets as indistinct voices are heard just outside the door. They stop and leave. He continues.) ALVA KEEL: ... Imagine a cross between Oppenheimer and Stalin. EVELYN "EVIE" SANTOS: Imagine the government getting their hands on that technology. PAUL CALLAN: We have to stop that from happening. ALVA KEEL: I know. I just wish I knew how. EVELYN "EVIE" SANTOS: You don't think your NSA friend has picked up on this? ALVA KEEL: Aramaic is a difficult language. I don't think the translators are seeing what I'm seeing yet. (beat) Oh, there's one more thing. (He looks at PAUL.) PAUL CALLAN: What? ALVA KEEL: At one point, Phil used the phrase "The Dark is its own thing." Does this mean anything to you, Paul? (PAUL CALLAN nods slightly as he remembers.) (Quick flashback to: Scene from 1X01: The Ferguson Syndrome. TOMMY FERGUSON is in bed playing with a faceless action figure.) TOMMY FERGUSON: I think The Dark is its own thing, too. (End of flashback. Resume to present.) PAUL CALLAN: Why? ALVA KEEL: Because the next thing he said was, "Tell Paul." (The door opens with a bang. CHARLES JERGENSEN stands angrily in the doorway.) CHARLES JERGENSEN: What the hell is this? ALVA KEEL: It's a brainstorming session. No luck yet. CHARLES JERGENSEN: First thing -- no secret meetings. Second thing -- you need to get back upstairs. ALVA KEEL: Why? What's wrong? CHARLES JERGENSEN: Phil just started to speak English. (Everyone leaves the room.) CUT TO: SCENE #28: [INT. HANGAR - DEANNA'S BOOTH -- DAY] (DEANNA puts the empty plastic cup down on the table. She sighs.) DEANNA THOMPSON: Oh, god. I needed that. Can I bum a cigarette? EVELYN "EVIE" SANTOS: No. DEANNA THOMPSON: You don't smoke? EVELYN "EVIE" SANTOS: You're eleven. DEANNA THOMPSON: Right. EVELYN "EVIE" SANTOS: A-and besides, think about what happened to your dad. (DEANNA doesn't say anything.) He died of lung cancer on your 39th birthday? (She's quiet for a moment, trying to remember.) DEANNA THOMPSON: Oh, yeah. I forgot. (Camera holds on EVELYN as she watches DEANNA with concern.) CUT TO: SCENE #29: [INT. TERMINAL -- DAY] (The relatives of the passengers continue to wait. MARK LONGVIEW paces the floor.) CUT TO: SCENE #30: [INT. HANGAR - KAREN'S BOOTH -- DAY] (KAREN sighs.) KAREN LONGVIEW: My god. This is torture. When are they gonna let us out of here? PAUL CALLAN: Soon, I hope. KAREN LONGVIEW: God, I just want to ... run or do something. Go hiking, shopping ... or walk into a restaurant alone, order some food that I can eat all by myself. Hell, I even want to go skiing. How crazy is that? PAUL CALLAN: That's not crazy at all. (KAREN rubs her temple.) What's wrong? KAREN LONGVIEW: A headache. PAUL CALLAN: So ... what's first on the list when you get home? KAREN LONGVIEW: First? (smiles) That's between Mark and me. Second ... the ocean. Do you know how long it's been since I went swimming in the ocean? (PAUL CALLAN watches with concern as KAREN'S hand shakes and twitches.) (KAREN leans her head back, smiles and inhales deeply as she imagines the ocean.) KAREN LONGVIEW: Mmm ... CUT TO: SCENE #31: [INT. HANGAR - BACKROOM -- DAY] (A couple of the government scientists stand in front of a whiteboard filled with mathematical equations. Behind them, PHIL lectures in english.) PHIL: The vibrational modes are all integral of course, and the higher-order dimensions are curled so tightly, they cannot be observed. All matter is held in place by these vibrating string like entities. CHARLES JERGENSEN: Hold a second. What exactly do you mean by "entities"? PHIL: Frequencies. All matter is held in place by them. If you disrupt the frequencies, the matter disperses. It's like - (He pauses.) ... it's like that toy ... you know? With the picture of the bald guy in that plastic frame and all those little metal shavings? And you use the magnet pen to bring up the shavings and give him a beard, mustache, hair, and stuff? (He pauses again.) All matter in the universe is thus given a temporary cohesion, but it is - (He stops and thinks for a long pause. And finally, ) ... illusory. (CHARLES JERGENSEN turns to ALVA KEEL.) CHARLES JERGENSEN: What just happened to him? PAUL CALLAN: (o.s.) Keel! (They turn around to see PAUL in the doorway being restrained by a SECURITY GUARD. PAUL struggles to get past him.) PAUL CALLAN: I want to talk to him now. Keel! ALVA KEEL: What's wrong? CHARLES JERGENSEN: (to the GUARD) It's okay, it's okay. (The GUARD lets PAUL pass.) PAUL CALLAN: We've got to let Karen Longview out of here. It's wearing off or ... reversing. Whatever happ -- she's getting sick again. (ALVA KEEL looks back at PHIL who is muttering about some kind of toy and struggling to remember.) PHIL: ... With the picture of the bald guy in that plastic frame ... ALVA KEEL: (quietly) They're losing it. CHARLES JERGENSEN: (to ALVA KEEL) Which means, you don't have much time. PAUL CALLAN: Karen needs to see her husband now. CHARLES JERGENSEN: That's impossible. PAUL CALLAN: (to KEEL) Please explain to your friend that Karen Longview isn't harboring any state secrets. (to JERGENSEN) You've got no excuse to keep her here. She wants to talk to her husband while she still can. CHARLES JERGENSEN: Give me five minutes. Alva, you get back in there. PAUL CALLAN: (to KEEL) Thanks for all your help. CUT TO: SCENE #32: [INT. HANGAR - AISLE OUTSIDE THE BOOTHS -- DAY] (PAUL looks inside 13-A's booth. He sees KAREN LONGVIEW sitting down on the chair. EVELYN walks out of a nearby booth) EVELYN "EVIE" SANTOS: Hey. Try not to let it get to you. (PAUL scoffs. They sit down on a bench.) PAUL CALLAN: I don't see what the problem is. If they don't want to let her out, fine. Then at least bring him in. EVELYN "EVIE" SANTOS: I wasn't talking about that. I mean ... everything. (She sighs.) EVELYN "EVIE" SANTOS: I felt the same when I first joined up with Alva. PAUL CALLAN: I don't know what I'm supposed to make of all of it. I mean ... a week from now, not one of these people is gonna remember what happened in this hangar, but ... you and me, we are, and ... sometimes I wish -- EVELYN "EVIE" SANTOS: You wish you could forget? (JERGENSEN walks up to them.) CHARLES JERGENSEN: No one leaves. (PAUL doesn't say anything. He turns to EVELYN.) PAUL CALLAN: Thanks. (PAUL stands up and leaves.) CUT TO: SCENE #33: [INT. HANGAR - KAREN'S BOOTH - DAY -CONTINUOUS] (PAUL walks back into the booth.) PAUL CALLAN: How are you feeling? KAREN LONGVIEW: Tired. Not good. My ... my head hurts. PAUL CALLAN: Karen ... whatever it was that happened on that plane ... it's stopping. I'm not sure why, and I don't know how fast, but -- KAREN LONGVIEW: I have to see Mark. PAUL CALLAN: You can't. I already asked. They're not gonna let anyone ... leave until it's over. KAREN: Until everyone's forgotten. As if it had never happened at all? CUT TO: SCENE #34: [INT. HANGAR -- DAY] (KAREN LONGVIEW and PAUL CALLAN walk outside the booth and toward the plane.) KAREN LONGVIEW: (loudly) I want to show you where it happened while I still can. (They pass MICHAEL GARCIA talking with an NTSB official.) MICHAEL GARCIA: Aging paint? Deoxygenated water in the lavatories? No tungsten in the light bulbs? How am I gonna put this in a report? (They walk near the door, but still a distance away. KAREN points to the plane as she explains something to PAUL.) KAREN LONGVIEW: (loudly) A big flash of, uh, blue-and-yellow light r-right above the wing. (The GUARD walks toward them.) PAUL CALLAN: (to the GUARD) Get Garcia over here. He should hear this. (The GUARD walks over to MICHAEL GARCIA and taps him on the shoulder. MICHAEL GARCIA turns around to look at the GUARD to points back to where PAUL CALLAN and KAREN LONGVIEW were standing. All they see is the back door to the hangar close.) MAN: (o.s.) Hold it! CUT TO: SCENE #35: [EXT. AIRPORT HANGAR -- NIGHT] (An airplane slowly crosses the runway. PAUL and KAREN run across the runway making their way to the terminal where KAREN'S husband, MARK is. KAREN lips across the runway.) [INT. TERMINAL - NIGHT - CONTINUOUS] (MARK sits in the center of the room, waiting and not speaking with anyone.) (Cut to: Outside, PAUL and KAREN reach the window to the terminal. PAUL tries to get the door open. KAREN looks through the window and sees her husband.) KAREN LONGVIEW: (screaming) There he is! Mark! Mark!! (She hits the window trying to get his attention.) (Cut to: Inside the terminal, MARK continues to sit and stare at nothing. He can't hear them trying to get his attention. The light from the terminal reflects off of the darkened glass making it impossible for him to see them outside.) (Cut to: Outside, a vehicle carrying armed military GUARDS arrive at the window.) KAREN: Mark! KAREN: Mark!! KAREN/PAUL: Mark! Mark! Mark!! (A GUARD pulls PAUL away from the window.) (KAREN continues to pound on the window. She sees MARK raise his head and look toward her.) (Inside, MARK looks at the window and sees nothing by the light's reflection.) (Outside, the GUARDS pull KAREN screaming from the window.) KAREN: Please, Mark! Ma-a-a-a-rk!! KAREN: Mark! Mark! (Inside, MARK turns to look at the window again. He stands up.) (Outside, the military vehicle drives away.) KAREN: Mark! (Inside, MARK reaches the window and stands close enough to look outside, his hand blocking the lights from inside. KAREN'S handprints are on the window glass. MARK sees the handprints. Unable to make anything of them, he turns and walks away.) CUT TO: SCENE #36: [INT. HANGAR - BACKROOM -- NIGHT] (The CORONER has his back turned to the body. A masked man walks into the room and looks at the burned body on the table.) MAN: Doctor? MAN: Doctor, look at this. (The CORONER turns around and watches as the burned hand and arm slowly restores itself back into unburned flesh. The CORONER pulls off his mask amazed at the sight.) CORONER: This is interesting. FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #37: [TELEVISION REPORT] REPORTER: (television) The government has now ruled out suspected terrorist activity in the investigation of flight 134. However, sources do confirm that a fire in one of the lavatories resulted in the tragic death of one passenger, whose name is being withheld pending notification of next of kin. CUT TO: SCENE #38: [INT. HANGAR - BACKROOM -- NIGHT] (The CORONER reports to CHARLES JERGENSEN.) CHARLES: Wait a second -- are you saying she'd be alive right now if it wasn't for the autopsy? CORONER: There's no way we can know that for sure. CHARLES JERGENSEN: [ Sighs ] Still ... we informed the media that we have only one victim, who was killed in a fire. ALVA KEEL: And yet, we now have an almost perfectly restored body. Difficult to explain. CHARLES JERGENSEN: Burn her. (KEEL watches JERGENSEN carefully as he leaves the room.) CUT TO: SCENE #39: [INT. HANGAR - BACKROOM -- NIGHT] (PAUL'S handcuffs are removed.) PAUL CALLAN: They're letting me go? (The men leave the room.) ALVA KEEL: Yes. I convinced Charlie that sending you to jail for five years would result in unwanted publicity. PAUL CALLAN: How's Karen? ALVA KEEL: She's not well. That wasn't the most thought-out plan, was it? PAUL CALLAN: I had to do something. ALVA KEEL: We were brought here to observe -- nothing more. PAUL CALLAN: You sound just like your friend. (PAUL CALLAN walks past KEEL and out of the room.) CUT TO: SCENE #40: [INT. HANGAR] (The people slowly leave their booths. KAREN LONGVIEW sits unresponsive in her wheelchair.) (The WOMAN who was reading the magazine on the plane pulls her luggage behind her.) (The MAN who was sitting next to her puts on his jacket and hurriedly leaves the booth. He bumps into the WOMAN on his way out.) WOMAN: Oh! I'm sorry. MAN: No problem. (Without another glance at the WOMAN, the MAN rushes off.) (DEANNA runs down the aisle carrying her bag.) (The camera lingers on KAREN LONGVIEW as she sits unresponsive in her wheelchair.) (PAUL CALLAN walks up to KAREN and kneels down in front of her. He takes her hand in both of his and bows his head for a moment. EVELYN walks up to them and doesn't say anything.) (PAUL looks up at EVELYN and doesn't say anything, regret written all over his face. EVELYN looks at PAUL and turns her head slightly to the side. She's looking at something. PAUL turns to look and sees the video camera a distance away from them.) CUT TO: SCENE #41: [INT. HANGAR -- NIGHT] (PHIL talks with ALVA KEEL.) PHIL: What's gonna happen to me? ALVA KEEL: They will take you somewhere ... try to find out what it is you know. PHIL: But I don't know anything. ALVA KEEL: You did ... even if you don't remember. And they will proceed on the assumption that it's still in there somewhere. (KEEL sighs.) ALVA KEEL: I'm sorry. PHIL: Wait. C-can't you do something? (KEEL kneels down in front of PHIL.) ALVA KEEL: Do you remember the last thing you were thinking before it happened? PHIL: The passengers were running me ragged ... being rude ... making me feel like crap. I started talking to this little girl. (Quick flashback to: DEANNA. End of flashback.) PHIL: She had a dinosaur book. I asked her what she was gonna be when she grew up, and she said she was gonna be a paleontologist and a botanist. "When I grow up, my mom said I can be anything." (Quick flashback to: DEANNA talking with PHIL over her book. End of flashback. Resume to present.) PHIL: And I remember my mom saying that to me. "Phil, when you grow up ... you're gonna do big things. You'll be important. You're gonna change the world." (Camera holds on KEEL as he ponders that thought. Behind him, the door opens. CHARLES JERGENSEN and a couple of armed guards enter.) CHARLES JERGENSEN: Time to go. CUT TO: SCENE #42: [INT. MAIN HANGAR -- NIGHT] (CHARLES JERGENSEN walks away. ALVA KEEL walks slightly behind him.) ALVA KEEL: Why don't you let this one go? Hmm? CHARLES JERGENSEN: Haven't I done you enough favors for one night? ALVA KEEL: Look ... he doesn't know anything. It's gone. You're never gonna find what you're looking for. CHARLES JERGENSEN: It's late, I'm tired, and frankly, I've had enough of you and your friends, Alva, so good night. (JERGENSEN sighs.) (PAUL and EVELYN turn the corner and watch JERGENSEN with KEEL.) ALVA KEEL: Charlie ... CHARLES JERGENSEN: (sighs) What? ALVA KEEL: Um ... may I at least say goodbye? (JERGENSEN scoffs. He sighs and signals the guards to wait.) CHARLES JERGENSEN: Make it quick. (KEEL walks in front of PHIL.) ALVA KEEL: (spoken) Nshe ... (shouted) mhaymanuta!! (KEEL grabs PHIL'S head with both hands as if he's performing an exorcism and lets him go. The GUARDS pull KEEL away from PHIL.) (KEEL holds his hands up in surrender as the GUARDS push him away.) CHARLES JERGENSEN: (to the GUARDS) Hold it, hold it, hold it. Get him out of here. (The GUARDS take PHIL away.) CHARLES JERGENSEN: (to KEEL) What the hell was that? ALVA KEEL: (simply) Traditional Aramaic farewell. Good night, Charlie. (JERGENSEN nods and leaves.) (PAUL and EVELYN walk up to KEEL. KEEL sighs and looks at his watch.) CUT TO: SCENE #43: [INT. HANGAR - SECURITY GATE -- NIGHT] (KEEL walks through the metal detector and picks up his stuff on the other side.) (EVELYN walks through the metal detector. It beeps. She reaches into her pocket and pulls out her medical card. She shows it to the SECURITY GUARD.) SECURITY GUARD: (looks at the card) It's the bullet lady. Go on. (EVELYN picks up her things and leaves.) (PAUL walks through the metal detector. It beeps. SECURITY GUARD: Empty your pockets. (PAUL pulls out his keys.) PAUL CALLAN: Must have been the keys. (They pat him down anyway and find a video tape cassette in his pocket. The SECURITY GUARD pulls it out.) PAUL CALLAN: That's it, okay? SECURITY GUARD: You got some sort of problem? (He pushes PAUL CALLAN toward his friends. They leave.) CUT TO: SCENE #44: [INT. TERMINAL -- NIGHT] REPORTER: (on television) A frightening day of questions for the friends and relatives of flight 134 has ended in mostly happy reunions. DEANNA: (o.s.) Mommy! Daddy! REPORTER: (on tv) ... Families waited for information ... (DEANNA runs through the terminal to her parents.) DEANNA: Mommy! Daddy! Mommy! Daddy! DEANNA'S MOM: Oh, I missed you so much! (The man with the headset is met up by his wife and two sons.) MAN'S WIFE: What in God's name took you so long? MAN (with the headset): What was I supposed to do? They wouldn't let me leave. (The WOMAN who read the magazine walks past him without a second look from either one of them.) (MARK LONGVIEW kisses the top of his wife's head and pushes her wheelchair through the terminal. PAUL watches them leave.) (Camera holds on PAUL for a moment.) CUT TO: SCENE #45: [EXT. RUNWAY -- NIGHT] (KEEL, PAUL and EVELYN make their way back to their car through the runway.) PAUL CALLAN: So, it didn't look like you were exactly observing back there. EVELYN "EVIE" SANTOS: Yeah, what was that about? ALVA KEEL: Ancient Shamans believed that, uh, a sudden shock coupled with the correct mnemonic prompt could erase a person's short-term memory. PAUL CALLAN: I hope it worked. EVELYN "EVIE" SANTOS: So he really did want to destroy the world? ALVA KEEL: Well, I think he wanted what most people want -- to be important. (KEEL looks off in the distance and sees the armed military GUARDS put PHIL in the back of their vehicle.) EVELYN "EVIE" SANTOS: I guess he got his wish. (KEEL walks off. EVELYN stops. She reaches into her pocket and takes out a video cassette tape. She gives it to PAUL.) PAUL CALLAN: Thank you. CUT TO: SCENE #46: [INT. LONGVIEW RESIDENCE -- DAY] (MARK LONGVIEW cuts tomatoes in his kitchen. KAREN is in her wheelchair facing the garden outside, the sun warming her face.) (There's a knock on the front door. MARK answers it. He opens the door and sees PAUL CALLAN standing there.) MARK LONGVIEW: Can I help you? PAUL CALLAN: Uh, you don't know me. My name is Paul Callan. I was with your wife yesterday. MARK LONGVIEW: On the flight? PAUL CALLAN: No, later. (beat) Karen is ... (he sighs) she's a terrific person. Anyway, this is ... (PAUL gives MARK the tape.) Well, it's something I thought you should see. Please, don't ever tell anyone you have it. (PAUL leaves.) (MARK closes the door.) (Cut to: MARK puts the tape in the player and turns it on.) KAREN LONGVIEW: (on video) He's taken care of me this whole time. I can't -- I couldn't do anything for myself. That's why I have to see him and tell him. PAUL CALLAN: (on video) (o.s.) What do you want to tell him? KAREN LONGVIEW: (on video) That I know. Every time he touches my face or brushes my hair or bathes me ... I know just how much he loves me. He's such a good man. (MARK smiles.) And I've never been able to tell him all these years. I know, but I can't tell him I know. I-I can't tell him how much I love him. (MARK turns to KAREN and brushes the hair away from her face. He puts his hand against her cheek.) KAREN LONGVIEW: (on video) (she laughs and cries) This is silly. I'm really happy. (She laughs.) KAREN LONGVIEW: (on video) I can't wait to see him and tell him. PAUL CALLAN: (on video) (o.s.) You will. You will. FADE TO BLACK. ========================== THE END ========================== [Captions by Vitac -- www.Vitac.Com captions paid for by ABC, Inc. and Touchstone Television] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. ========================== TITLE/OPENING CREDITS ========================== MIRACLES 1X02: THE FRIENDLY SKIES ORIGINAL AIR DATE ON ABC: 02/03/2003 TRANSCRIBED FROM ABC Starring: SKEET ULRICH as Paul Callan ANGUS MACFADYEN as Alva Keel MARISA RAMIREZ as Evelyn "Evie" Santos Created by: MICHAEL PETRONI and RICHARD HATEM Guest Starring ANN CUSAK as Karen Longview ASHLEY EDNER as Deanna Thompson CHRISTOPHER COUSINS as Charles Jergensen EAMONN ROCHE as Lionel STEPHANIE ERB as Lisa LILY KNIGHT as Joyce WILLIAM O'LEARY as Alan TODD WARING as Phil Co-Producer: NEAL ISRAEL Co-Producer: ANDREW DEANE Producer: CHRISTIAN TAYLOR Produced by: DENNIS STUART MURPHY Supervising Producers: CHRIS LEVINSON Supervising Producers: ZACK ESTRIN Co-Executive Producer: RICHARD HATEM Co-Executive Producer: STUART BIRNBAUM Executive Producer: ROGER BIRNBAUM Executive Producer: GARY BARBER Executive Producer: DAVID GREENWALT Teleplay by: DAVID GREENWALT & RICHARD HATEM Story by: CHRIS BRANCATO & ALBERT J. SALKE Directed by: JESUS S. TREVINO ========================== END CREDITS ========================== David Greenwalt Productions Spyglass Entertainment Touchstone Television Co-Producer: BILLY REDNER Co-Producer: MEGAN WALPERT Executive Story Editor: DAVID GRAZIONA Co-Starring JEFF ALLIN as Mark Longview GARY CERVANTES as Michael Garcia STEVEN DENNIS as Air Traffic Controller RAY FEGAN as Hangar Guard DAVID ALAN GRAF as Dr. Price CAREY SCOTT as Video Tech GINA ST. JOHN as Felicia Phelps? J. KAREN THOMAS as Airline Rep. (Spokeswoman) Director of Photography: ERNEST HOLZMAN, A.S.C. Production Designer: LAWRENCE BENETTI Edited by: STAN SOLFOS, A.C.E. Unit Production Manager: TONY BROWN First Assistant Director: CRAIG PINCKES Second Assistant Director: WARREN TURNER Music by: ROBERT J. KRAL Casting by: JUNIE LOWRY-JOHNSON, C.S.A. Casting by: RON SURMA Costume Designer: KATHRYN MORRISON Costume Supervisor: TINA FICARO Make-up Artist: TERESA AUSTIN Hair Stylist: COLLEEN LOBOFF Set Decorator: LINDA SUTTON-DOLL, S.D.S.A Property Master: ALAN J. SIMS Script Supervisor: IRA HURVITZ Production Coordinator: LYNNE WHITE Stunt Coordinator: SPIRO ROZALOS Special Effects Supervisor: KELLY KERBY Transportation Coordinator: DON HENLEY Construction Coordinator: J. JERGENSEN Production Associate: ELISABETH JAMES Production Sound Mixer: JACQUES NASCO Music Supervisor: JOHN KING Music Editor: TIM ISLE Sound Effects Editor: JOHN M. CHALFONT Post-Production Supervisor: DAN McDONALD Assistant Editor: CLARINDA WONG-IRELAND Re-Recording Mixers: TIM PHILBEN Re-Recording Mixers: ALAN DECKER (c) 2003 Touchstone Television All Rights Reserved. Dated:03/27/2003~lky http://www.webphilia.com/~anthology/wnp.html