MIRACLES 1X05: THE BONE SCATTERER ORIGINAL AIR DATE ON ABC: 03/10/2003 TRANSCRIBED FROM ABC Written by: DAVID GRAZIANO Directed by: TERRENCE O'HARA Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive without permission. RATING: TV-14-V ========================== 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 Contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: Sodalitas Quaerito travels to Red Deer, Michigan, after getting a call for help from a teenager whose nightmares of killing people appear to come true. ========================== MIRACLES 1X05: THE BONE SCATTERER ========================== FADE IN. NARRATOR: Previously on "Miracles "... [Scene from 1X01: The Ferguson Syndrome.] (Camera focuses on the business card, SODALITAS QUAERITO / 365 Midlothian Lane / No. 29.) (Cut to: An eerie face flashes in the darkness. PAUL wakes up with a start.) CUT TO: [Scene from unknown episode (probably 1X02: The Friendly Skies).] (ALVA KEEL speaks earnestly with PAUL CALLAN. They're standing outside in a park. There are children playing in the background behind them.) ALVA KEEL: But we look into the other side at events that cannot be understood. CUT TO: [Scene from 1X01: The Ferguson Syndrome] (At night, PAUL CALLAN'S SUV swerves to avoid hitting the FERGUSON'S car. He crashes through the crossing guard rail and onto the train tracks where the oncoming train smashes into him.) (Cut to: TOMMY FERGUSON tosses the baseball back at PAUL CALLAN.) TOMMY FERGUSON: You don't have parents? (PAUL catches the baseball.) PAUL CALLAN: Everyone's got parents. I just never knew mine. CUT TO: [Scene from 1X03: The Patient] (PAUL leans against the hospital hallway wall and watches as SHERWOOD NICHOLLS is wheeled past him in his chair.) PAUL CALLAN: (v.o.) I'd like to try and help these people. [Scene from 1X01: The Ferguson Syndrome.] (Cut to: FATHER "POPPI" CALERO talking with PAUL in the diner.) FATHER "POPPI" CALERO: What's the point of faith if it's never tested? [Scene from 1X03: The Patient.] PAUL CALLAN: Shouldn't we be more discreet? Not everyone knows how to handle all this darkness. (Camera moves from PAUL, to KEEL to EVIE.) CUT TO: [Scene from 1X04: Little Miss Lost.] (AMELIA WYE, pale and blue, sits in the train holding on to her green balloon. The train passes by PAUL. She's on the train and looks outside the window directly at PAUL. PAUL watches her.) (Cut to: The bus explodes.) FADE OUT END OF "PREVIOUSLY ON" FADE IN. [EXT. SODALITAS QUAERITO BUILDING - NIGHT] ALVA KEEL: (v.o.) Checkmate. And with that move, ... SCENE #01: [INT. SODALITAS QUAERITO - NIGHT] (PAUL and KEEL sit at the table with a chessboard between them.) ALVA KEEL: ... Sara Hume, a medium with virtually no knowledge at all of the game of chess, soundly thrashed the world champion, Nikolai Stovankovich. How would you explain it, Paul? PAUL CALLAN: (smiles) Oh, come on, Keel --fraud. ALVA KEEL: Aaah. PAUL CALLAN: (simply) She wears an earpiece, and an accomplice feeds her the moves, or she bribes Stovankovich to throw the match. It's a publicity stunt. ALVA KEEL: Oh, ye of little faith. (The phone rings. EVIE picks it up.) EVIE SANTOS: (to phone) Sodalitas Quaerito. (pause) (KEEL looks up from the chessboard. EVIE'S brows twitch.) EVIE SANTOS: (to phone) S.Q. ... ? (The phone clicks and there's a dial tone as someone hangs up.) EVIE SANTOS: (irritated) Someone keeps calling and hanging up. (PAUL looks at KEEL.) PAUL CALLAN: (gasps facetiously) Maybe it's a dead chess master. (KEEL looks back at PAUL and returns the gasp. The two men set up the chessboard for the next game. The telephone rings again. EVIE answers it. This time, she puts it on speakerphone.) EVIE SANTOS: (to phone) This is Sodalitas Quaerito. How may we help you? ALTERED VOICE: (from phone) Hello? It's me. (Intrigued, PAUL stops setting up the chessboard and turns around to look at EVIE.) EVIE SANTOS: (to phone) Me? ALTERED VOICE: I'm sorry. Um ... what is it you guys, uh, do, exactly? EVIE SANTOS: We investigate and catalog various phenomena. ALTERED VOICE: Like really weird things, right? (KEEL continues to set up the chessboard. PAUL turns back to the chessboard.) EVIE SANTOS: Yes -- preternatural, supernormal and ... INTERCUT WITH: (Camera close up of someone holding the voice distorter over the phone.) EVIE SANTOS: (over phone) ... sometimes miraculous things ... EVIE SANTOS: (to phone) ... things most people can't see. TEENAGED BOY: (over phone) Or don't want to. I keep having these dreams, and they keep coming true. (PAUL turns around again to listen to the conversation EVIE'S having over the phone.) EVIE SANTOS: What sort of dreams? TEENAGED BOY: I dream I'm ... obliterating people. And when I wake up ... they're dead ... for real. EVIE SANTOS: Who's dead? TEENAGED BOY: Mr. Bass, Miss Jensen. (EVIE looks over at KEEL and PAUL. PAUL signals for EVIE to ask where the boy lives. KEEL has a thoughtful look on his face as if something rings a bell with him.) TEENAGED BOY: The cops can't stop me, so I figure maybe you guys could. EVIE SANTOS: Where do you live? TEENAGED BOY: (sniffles) Uh, Red Deer. Middle of nothing and nowhere. (PAUL stands up and walks toward the phone. KEEL stands up and heads for the filing cabinets.) TEENAGED BOY: I can't keep doing this. I have to kill myself. PAUL CALLAN: No, you don't want to do that. TEENAGED BOY: (alarmed) Who's that? PAUL CALLAN: I'm Paul. I work with Evelyn, the woman you've been speaking to. What's your name? (The person on the other end of the phone doesn't respond.) (KEEL walks toward them holding up a tabloid article in one hand and a file folder in the other.) PAUL CALLAN: (into the silence) We can help you. (The person hangs up the phone.) (KEEL puts the article down on the table. EVIE and PAUL walk over to check it out.) ALVA KEEL: Look at this. (The article is from "The Global Sun". There's a drawing of a Bigfoot with the caption: "Bigfoot Kills Again!".) PAUL CALLAN: Bigfoot? EVIE SANTOS: (reading) Red Deer, Michigan, home of numerous Bigfoot sightings, is reeling from two gruesome murders in the last month. The victims, Wendell Bass and Denise Jensen, were brutally mauled. According to local Angle Ornate Fleichman, 'only one thing could have done this, and it ain't human.' ALVA KEEL: Well? PAUL CALLAN: (cynical) "Well", what? You think Bigfoot is calling us? (KEEL turns away, a little disappointed that PAUL doesn't see the connection.) EVIE SANTOS: No, but the caller did know the victims. PAUL CALLAN: He knew their names, which he could have gotten from the same tabloid that gives us (reading out loud) "Baby born with two heads bites off nose to spite face." ALVA KEEL: (quietly) Someone ... or something is killing people in Red Deer, Michigan, and someone has just confessed to having predictive dreams about those killings. Now ... doesn't that interest you, Paul? (KEEL turns to look at PAUL. PAUL takes a deep breath, finally seeing what they're going to be investigating.) CUT TO: [EXT. RED DEER, MICHIGAN - NIGHT] (The sign just outside of town reads: "Welcome to RED DEER / POP. 14,293.") [EXT. CHURCH OF THE SACRED CROSS - NIGHT] (The sign just outside the church reads: "RED DEER CHURCH OF THE SACRED CROSS / SERVICES 9:00 AM SUNDAY / REV J GRAFNULLER / (disabled access symbol) / INFO 555-1277.") SCENE #02: [INT. CHURCH OF THE SACRED CROSS -- NIGHT] (Inside the small church, the local minister stands at the podium in the front and practices his sermon.) MINISTER: And now abideth Faith, Hope and Charity -- these three. But the greatest of these is Charity. (He pauses.) MINISTER: (mumbles) Sure to take a pause there. (The MINISTER stops and looks up when he hears something quietly rattling inside the church. He listens for a moment and continues when he doesn't hear any more sounds.) MINISTER: So ... what is charity? It is love, pure and simple. (He likes the sound of that. He mumbles to himself and picks up a pencil) MINISTER: Good. That's pretty good. (The door at the back of the sanctuary bursts opens with a loud bang. The MINISTER looks up. There's no one there.) MINISTER: Hello? (Coming from somewhere, we hear a low growl. The MINISTER leaves the podium and slowly walks toward the back of the church in the direction of the open door.) MINISTER: Is someone there? (He gets closer to the door and is now standing in the middle of the church.) MINISTER: Hello? (The rattling noise continues. The MINISTER turns around as something passes by him. He immediately starts praying.) MINISTER: Ye, though I walk through the valley -- (But it's not enough. Something grabs the MINISTER and tosses him like a rag doll to the front of the church. He falls to the floor.) (He looks down and touches his injuries which are really bleeding. He looks up with fright.) CUT TO: [EXT. CHURCH OF THE SACRED CROSS -- NIGHT] (The camera slowly pulls away from the church, echoes of the MINISTER'S screams coming from inside. The light in the church window goes out.) FADE TO BLACK. END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [EXT. RED DEER, MICHIGAN - DAY] (The Sodalitas Quaerito car travels down the road and enters Red Deer, Michigan passing the two signs on its way.) SCENE #03: [INT. CAR -- DAY] (PAUL CALLAN drives KEEL and EVIE as they enter RED DEER. EVIE'S finishing up her conversation on the phone.) EVIE SANTOS: (to phone) Thank you. (She hangs up.) There was another murder last night -- local minister in his own church. Same M.O. As the others. PAUL CALLAN: (looks at the rear view mirror) That makes three now? EVIE SANTOS: Yes. Wendell Bass was a local scoutmaster and owner of the sporting goods. And second was Denise Jensen, the high-school nurse. The Sheriff's at the high school now. ALVA KEEL: Let's start with them -- present our credentials, try not to ruffle any local feathers. PAUL CALLAN: What credentials? (KEEL glances at PAUL, deliberately ignoring his question and not saying anything.) EVIE SANTOS: (adds) High school is east of main on Grandville. PAUL CALLAN: (to KEEL) No, seriously. We don't have credentials. (KEEL still doesn't say anything. He looks at PAUL with a slight smile on his face.) CUT TO: SCENE #04: [INT. RED DEER HIGH SCHOOL - GYM -- DAY] (KEEL, EVIE and PAUL walk into the gym where the wrestling team practices. Loud rock music blares amidst the noise.) COACH: Now, don't let him hook your leg! (KEEL and EVIE head for the SHERIFF who is standing at the far side of the gym watching the kids. PAUL lingers and looks around at the kids inside the gym.) (His eyes make contact with a particularly scrawny boy out on the mat wrestling with a larger boy, JAY PEARSON. The boy on the mat turns his head and sees PAUL. For a second, he seems to recognize PAUL. JAY PEARSON uses the distraction and tosses the smaller boy to the mat. He slams his hand on the mat as a referee would do and counts to three loudly. He gets up and off the smaller boy in triumph.) JAY PEARSON: Whoo! Whoo! (The coach blows his whistle. The smaller boy remains on the mat, exhausted.) COACH: All right, ladies! Let's hit the showers. Good job! (Across the gym, KEEL and EVIE reach SHERIFF ED PRESCOTT. KEEL hands the SHERIFF his card which reads: SODALITAS QUAERITO / 29 Midlothian Lane.) ALVA KEEL: Sheriff, I'm Alva Keel. SHERIFF ED PRESCOTT: (reading, or trying to) Soda ... what's this? ALVA KEEL: Sodalitas Quaerito. SHERIFF ED PRESCOTT: Which is? ALVA KEEL: We investigate ... unusual occurrences. (PAUL heads for the others.) SHERIFF ED PRESCOTT: Oh -- Bigfoot Hunters. Folks, I don't mean to be rude, but I kinda got a lot on my plate right now. EVIE SANTOS: (nods in agreement) We understand, Sheriff. It's smart what you're doing here today -- coming to practice, showing the community life goes on. (The SHERIFF looks at EVIE and immediately picks up her keen sense of understanding.) SHERIFF ED PRESCOTT: You a cop? EVIE SANTOS: I was. Four years with District Eight, South Boston. I'm with these guys now. They're all right. (She turns to look at KEEL and PAUL. The SHERIFF nods his head.) SHERIFF ED PRESCOTT: Well, it's been a rough couple weeks around here. Should have seen that church this morning. EVIE SANTOS: Guess there's no "small towns" anymore. SHERIFF ED PRESCOTT: No, there aren't. EVIE SANTOS: The three victims have anything in common? SHERIFF ED PRESCOTT: Just they were all local ... and good people. EVIE SANTOS: Well, we'll stay out of your hair. (The SHERIFF sighs.) SHERIFF ED PRESCOTT: (confesses) I'm glad you're here. Maybe it'll do some good. (The SHERIFF walks away. EVIE turns and looks at KEEL. KEEL turns to look at PAUL.) ALVA KEEL: Who says we don't have "credentials"? ... hmm? (KEEL smiles smugly. PAUL chuckles appreciatively. EVIE stands there and watches the two men.) CUT TO: SCENE #05: [EXT. RED DEER HIGH SCHOOL -- DAY] (PAUL, EVIE and KEEL walk back to the car. EVIE sees a folded piece of paper on the windshield under the wiper.) EVIE SANTOS: What's that? (PAUL reaches for the paper and reads it.) PAUL CALLAN: "It's me --the one who called. I can't believe you guys actually showed. I have to go to the library downtown. I'll be there for an hour." ALVA KEEL: (nods) It's a start. EVIE SANTOS: You can drop me at the morgue on the way. I want to get a look at the latest victim. CUT TO: SCENE #06: [INT. LIBRARY -- DAY] LEGEND: RED DEER LIBRARY (PAUL and KEEL walk into the library and start looking around for the person they're to meet.) (They both see a high school boy wearing an athletic "letter" jacket sitting on a table talking with a girl.) HIGH SCHOOL BOY: (to GIRL) No, come on. My parents are out of town this weekend. ALVA KEEL: That one saw us in the gymnasium. PAUL CALLAN: (dismisses it) Typically it's not the aggressive ones. They have an outlet. (Near the book shelves, KEEL sees TRAVIS PRESCOTT standing with a book in his hand. He looks up and sees them.) ALVA KEEL: (agrees) It's the quiet ones. (TRAVIS PRESCOTT puts the book aside and moves to the back of the library indicating that they should follow him. KEEL and PAUL quietly make their way toward TRAVIS.) (TRAVIS sits down at the table.) PAUL CALLAN: Hi. I'm Paul. This is, uh, this is Alva. TRAVIS PRESCOTT: (quietly) Travis. PAUL CALLAN: So, you've been having some dreams, huh? TRAVIS PRESCOTT: Yeah. PAUL CALLAN: When did they start? (PAUL sits down in the chair across from TRAVIS. He notices that TRAVIS fiddles with his pen.) TRAVIS PRESCOTT: A few days after my thirteenth birthday. They weren't always about me killing people, though. ALVA KEEL: Did you know the victims? TRAVIS PRESCOTT: Yeah ... all three. (PAUL turns to look at KEEL.) ALVA KEEL: Do you ever wake up with bite marks on your tongue? TRAVIS PRESCOTT: No. PAUL CALLAN: Travis, is it hard for you to feel things? TRAVIS PRESCOTT: No, it's, uh ... actually hard not to. PAUL CALLAN: You on any medication? TRAVIS PRESCOTT: Yeah, ritalin. I'm supposed to be h-hyperactive. What am I gonna do? I mean, I can't go to sleep, but I can't not sleep forever. PAUL CALLAN: Did you sleep last night? TRAVIS PRESCOTT: I tried not to. I even poked myself with pins. (TRAVIS rolls up his jacket's sleeve to show them the marks on his right forearm. KEEL leans in to look at the marks. PAUL looks up at KEEL.) TRAVIS PRESCOTT: But I was so tired. (TRAVIS looks at PAUL.) TRAVIS PRESCOTT: I did it. I know I did it. PAUL CALLAN: Travis, listen to me. These are brutal and violent acts. If you were doing them, don't you think you'd have a little more than pinpricks on your arm? TRAVIS PRESCOTT: But I see it. How can you explain that? PAUL CALLAN: I can't -- not yet. We're gonna look into it. We'll help you, okay? (TRAVIS sniffles and looks out the window. He sees the SHERIFF'S car pull up the curb. He looks at PAUL and KEEL.) TRAVIS PRESCOTT: I got to go. (TRAVIS rushes out of the library.) (KEEL turns around to look out the window at what TRAVIS was looking at. PAUL stands up and glances out the window also. He turns back to look at the door that TRAVIS just left.) (KEEL leans back against the window ledge. PAUL confers with him.) PAUL CALLAN: (to KEEL) 'Bite marks on his tongue' -- are you thinking complex partial seizures, like he might be doing this and not be consciously aware of it? ALVA KEEL: I was, but, uh ... the dream aspect has me thinking something else. An ancient tribe in this area had a ritual for giving a young man domain over his dream self. It usually involved ... torture and deprivation. PAUL CALLAN: That kid seems to have his share of both. ALVA KEEL: Yes. Pressures which can lead to ... homicidal rage. PAUL CALLAN: You think he's killing these people? (KEEL sighs. He turns around and look out the window at the SHERIFF'S car still parked near the curb. He turns back to rest against the window ledge.) ALVA KEEL: There is such a thing as a bad kid, Paul. Did you see the way he ran when that Sheriff's car pulled up? (PAUL looks out the window and sees TRAVIS run out of the library toward the SHERIFF'S car. He watches as TRAVIS gets into the front seat.) PAUL CALLAN: Keel. (KEEL turns around and sees TRAVIS closing the car door. The car drives off.) PAUL CALLAN: I think the Sheriff might be his father. CUT TO: SCENE #07: [INT. PRESCOTT RESIDENCE - DINING ROOM -- NIGHT] (TRAVIS plays a video game) SHERIFF ED PRESCOTT: Travis, can you turn that off now? Dinner's almost ready, son. Start setting the table, please. (Still in the kitchen, SHERIFF ED PRESCOTT puts out a couple of dishes. TRAVIS turns the game off and gets up off the couch. He grabs the plates and goes to set the table.) (The SHERIFF comes out of the kitchen.) SHERIFF ED PRESCOTT: Oh, today at practice? I kept my part of the bargain, didn't I? I didn't say a word. I let you do it your way. And what was your part of the bargain? TRAVIS PRESCOTT: To try my hardest. SHERIFF ED PRESCOTT: You think you did that? TRAVIS PRESCOTT: Yeah. SHERIFF ED PRESCOTT: Excuse me? TRAVIS PRESCOTT: Y-yes...yes, sir. SHERIFF ED PRESCOTT: You think your best is getting your clock cleaned by the likes of Jay Pearson? TRAVIS PRESCOTT: (quietly) I tried ... really hard. (The SHERIFF puts the dishcloth aside.) SHERIFF ED PRESCOTT: Show me what you did. TRAVIS PRESCOTT: (hesitant) I don't want to, dad. (The SHERIFF motions for TRAVIS to come over.) SHERIFF ED PRESCOTT: (coaxing) No, come on, son. I'll be you. You be Jay. Come on. (Reluctantly, TRAVIS walks over to his father.) SHERIFF ED PRESCOTT: Now, you lost your concentration, and you let him get his hands locked behind your neck which lead you to getting slammed on the mat. So put your arms around my neck. (TRAVIS is still reluctant and hesitant, but he does it anyway. He walks over and puts his hands around his father's neck.) SHERIFF ED PRESCOTT: Okay. (The SHERIFF checks on his son's hold.) SHERIFF ED PRESCOTT: That's it -- good. Now you got a lock? (TRAVIS nods his head slowly.) SHERIFF ED PRESCOTT: Next time someone does that to you, you do this. (The SHERIFF slams his fist backward and into his son's face. TRAVIS falls to the floor in a heap. He covers his face with his hand.) (The SHERIFF stands up and grabs the dishcloth.) SHERIFF ED PRESCOTT: (unsympathetic) I hope you learned something. Clean yourself up. Finish setting the table. (The SHERIFF turns around and goes back into the kitchen.) (Still on the floor, TRAVIS rolls over. His hand covers his right eye and his nose is bleeding. He sputters and coughs and reaches up to wipe his nose.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. SCENE #08: [INT. M.E.'S OFFICE -- NIGHT] LEGEND: RED DEER CORONER'S OFFICE (Three figures walk out into the hallway and approach the door. EVIE leads the way carrying the flashlight as she unlocks and opens the coroner's office.) (She walks inside and turns on the room light. PAUL and KEEL follow her. She turns off her flashlight and approaches the body out on the examining table in the middle of the room.) (KEEL grabs a set of latex gloves and automatically puts it on.) EVIE SANTOS: This is the minister. (EVIE pulls the sheet covering the body back so the others can see the large claw-like gashes on the body.) PAUL CALLAN: (gasps at the damage) Oh. (PAUL glances at KEEL.) You realize that what we're doing is illegal. (PAUL grabs a set of latex gloves and puts it on.) EVIE SANTOS: (disgusted) Well, I asked the coroner nicely, but he called me "honey," and he told me to run along. So I did ... (EVIE looks at them innocently.) ... with his keys. (PAUL steps up toward the body and starts doing a visual examination of the victim's head and torso. KEEL stands near the foot of the table. PAUL reaches up and feels the victim's neck and shoulders.) PAUL CALLAN: Broken bones ... some of them crushed into fragments. EVIE SANTOS: Baseball bat? PAUL CALLAN: Not consistent with lacerations on his neck and abdomen. (KEEL lifts up the sheet to expose the victim's legs.) EVIE SANTOS: (suggests) Maybe a ... claw hammer? PAUL CALLAN: Plus eight hours of the most intense rage I've ever seen. EVIE SANTOS: Or sleep deprivation. PAUL CALLAN: I don't think Travis could have done this. (KEEL runs his fingers down the victim's leg checking for something.) EVIE SANTOS: Amphetamines can cause aggressive behavior. PAUL CALLAN: Who said he's on speed? EVIE SANTOS: You did. Ritalin is a psycho stimulant functionally similar to cocaine. (KEEL, who has been unusually quiet, suddenly comments.) ALVA KEEL: Interesting. PAUL CALLAN: Did you find something? ALVA KEEL: I-it's not what I found. It's what's missing ... (KEEL holds the victim's right foot in his hand, the leg bends backward like rubber.) ALVA KEEL: ... half of the tibia. It's as if it had been extracted. (PAUL turns to look at the leg.) PAUL CALLAN: Does that mean something to you? ALVA KEEL: It might. I need to speak to some of the locals. (KEEL takes off his gloves.) EVIE SANTOS: We need to start ruling things out before this happens again. I'm gonna go to the kid's school. If he's trouble, someone there should know. PAUL CALLAN: I wouldn't mind a chance to eliminate the partial-seizure theory. EVIE SANTOS: How? Remove a piece of his hippocampus? (They replace the sheet back on the victim's body.) PAUL CALLAN: No. A stakeout. (They turn to leave the office.) CUT TO: SCENE #09: [INT. CAR OUTSIDE PRESCOTT RESIDENCE -- NIGHT] (PAUL sits in his car drinking a cup of coffee while keeping a watch on the PRESCOTT house. He puts the cup down on the dash, then rests his arms on the steering wheel.) CUT TO: SCENE #10: [INT. RED DEER HIGH SCHOOL - GUIDANCE COUNSELOR'S OFFICE -- NIGHT] (EVIE SANTOS walks down the hallway toward the FRED NORRIS' office. She knocks lightly on the door frame. FRED NORRIS turns around.) EVIE SANTOS: Hi. (She steps into the office.) You're the, uh, wrestling coach. FRED NORRIS: And the Guidance Counselor and Remedial English, Monday, Wednesday and Friday. EVIE SANTOS: Yeah, I saw you, uh -- FRED NORRIS: Today in the gym. That's right. You were talking to the sheriff. EVIE SANTOS: Yeah. I'm actually hereabout his son, Travis. FRED NORRIS: Okay. Sit down. (EVIE sits down in the chair in front of his desk.) FRED NORRIS: Um ... is something wrong? EVIE SANTOS: How are his grades? FRED NORRIS: (sighs) Well, they're not great. He's a bright kid. He's just not conventionally bright. And teachers don't have the time to alter their teaching styles for kids like that, so they're always the ones who fall through the cracks. EVIE SANTOS: Where's his mom in all this? FRED NORRIS: She's dead. He does have an aunt over in Hamilton. It's the next county over. But I don't think she's in the picture. EVIE SANTOS: Does he have any friends? FRED NORRIS: No ... not really. (EVIE stands up and sighs.) EVIE SANTOS: Would you say that Travis has any...violent tendencies? FRED NORRIS: I wish. (EVIE stares back at FRED NORRIS. She's a little confused by his comment. He explains.) FRED NORRIS: No, I mean for the wrestling team. See, Sheriff Prescott asked me to put him on the team, so I did it as a favor. But that kid is not a natural- born athlete. EVIE SANTOS: Well, it's probably not a lot of fun when you're getting trounced on by kids twice your size. FRED NORRIS: Sometimes a good ass-kicking is just what a boy needs to keep him in line. EVIE SANTOS: His father agree with you? FRED NORRIS: "His father" is a single parent who is doing everything he can to make that boy into a man. EVIE SANTOS: Little ass-kicking to keep him in line, huh? FRED NORRIS: Listen ... Sheriff Prescott is one of the good guys, okay? Now, whatever goes on in that household is not really any of my business. EVIE SANTOS: You're Travis' Guidance Counselor. I think it is your business. (FRED NORRIS stands up and looks at EVIE.) FRED NORRIS: I think I'm finished talking to you. (EVIE turns and leaves the office. Camera holds on FRED NORRIS.) CUT TO: SCENE #11: [INT. PRESCOTT RESIDENCE - TRAVIS' BEDROOM -- NIGHT] (Camera slowly moves across the bedside table where TRAVIS has a framed photograph of his mother smiling. Music blasts loudly through the speakers.) (TRAVIS sits on the bed. He's sporting a black bruise on his right eye. He holds a butter knife in his hand and taps it lightly against his left arm.) CUT TO: SCENE #12: [INT. CAR OUTSIDE PRESCOTT RESIDENCE - NIGHT -- CONTINUOUS] (PAUL sits in the car and continues to watch the house.) (He looks up and notices a figure crawling down from the second floor balcony. TRAVIS steps onto the porch with an ease as if he's done this many times before. He manages to slip by unnoticed by his father inside.) (PAUL lifts his head from the steering wheel as he watches TRAVIS run away from the house.) (PAUL gets out of his car and follows.) CUT TO: SCENE #13: [INT. BAR -- NIGHT] (KEEL walks into the bar. The patrons there play billiards, sit and drink at the bar.) (KEEL waves to the bartender and gives his order.) ALVA KEEL: Um ... a shot of single-malt scotch, if you please, and a glass of water. (The patrons eye him warily.) ALVA KEEL: Colorful establishment you have here. (The CHIPPEWA MAN sitting at the bar looks at KEEL.) CHIPPEWA MAN: There's a bar for guys like you outside town. Called "The Rainbow". Maybe you should go there. (KEEL clears his throat and speaks to the CHIPPEWA MAN in his own Native American Language.) ALVA KEEL: (subtitled) They have a bar exclusively for investigators of the paranormal? (The CHIPPEWA MAN turns and look to his right. KEEL turns to look at what he's indicating. On a table alone off to the side, sits the MOST RESPECTED ELDER.) (KEEL approaches THE MOST RESPECTED ELDER.) ALVA KEEL: Bon jour. THE MOST RESPECTED ELDER: Bon jour. (They shake hands.) ALVA KEEL: (subtitled) Most Respected Elder. Can you tell me of the spirit who steals bones? THE MOST RESPECTED ELDER: (subtitled) You'd better sit down. (KEEL nods and takes a seat. THE MOST RESPECTED ELDER takes a sip from his cup.) CUT TO: SCENE #14: [EXT. ABANDONED HUT -- NIGHT] (PAUL walks down the path toward the hut. He hears something rattle. He pauses and stops. He listens for the sound. He turns around and looks. He sees nothing and continues toward the hut.) (He pauses as he sees the light inside the hut. Again, he hears the rattling sound. He turns around and looks behind him. He sees nothing and continues cautiously toward the hut.) CUT TO: SCENE #15: [INT. ABANDONED HUT - NIGHT -- CONTINUOUS] (Inside the hut, TRAVIS sits on the floor in front of a small fire. He has headphones on and his back is to the door.) (Without stepping inside, PAUL knocks lightly on the door frame. TRAVIS turns around. PAUL sees that TRAVIS has a large, dark bruise under his right eye.) PAUL CALLAN: Can I come in? (TRAVIS thinks about it.) TRAVIS PRESCOTT: Whatever. (TRAVIS takes off his head phones. PAUL walks in and looks around a bit. He clears off a seat for himself.) PAUL CALLAN: Does your dad know you're here? TRAVIS PRESCOTT: (watching PAUL) He doesn't care. PAUL CALLAN: Looks like you come here a lot. TRAVIS PRESCOTT: Nobody knows about it ... except for me ... and Jimmy. (PAUL sits down on the other side of the fire.) PAUL CALLAN: Who's Jimmy? TRAVIS PRESCOTT: He's my best friend. He, uh, goes to this reform school a couple towns over, in Medicine Hat. PAUL CALLAN: How'd you meet him, then? (TRAVIS looks toward the open door. PAUL looks in the same direction.) TRAVIS PRESCOTT: Out here ... a while ago. We talk about life and junk. I mean, Jimmy's really smart, you know. He's the smartest person I know -- way smarter than me. PAUL CALLAN: Sounds like quite a guy. Is there any way I could, uh ... I could talk to him? TRAVIS PRESCOTT: He won't come here if he sees you. PAUL CALLAN: Why not? TRAVIS PRESCOTT: He doesn't like people. He says it's the way they smell ... like, perfumes and stuff. PAUL CALLAN: Is Jimmy the one who gave you the black eye? TRAVIS PRESCOTT: No, I, uh, I did it to myself. (PAUL doesn't believe it for a second.) The pain helps. PAUL CALLAN: Helps what? TRAVIS PRESCOTT: Helps me to stay awake. You know, so I don't ... fall asleep and ... kill people. PAUL CALLAN: Travis, what if I told you I don't think you have anything to do with these people getting killed? (TRAVIS sniffles.) TRAVIS PRESCOTT: I say you don't know what you're talking about. PAUL CALLAN: All right. Fair enough. I'll make you a deal. (PAUL stands up and walks back toward the door.) PAUL CALLAN: You go to sleep, and I'll, uh ... I'll make sure you don't get up and murder anyone. (PAUL pulls up a seat next to the open door and sits down. He waves with a small book he has in his hand.) PAUL CALLAN: I promise. (TRAVIS looks at PAUL for a moment, considering the offer. He then settles down to go to sleep.) TRAVIS PRESCOTT: Paul? What if I try to kill you? (PAUL stares at TRAVIS for a moment.) PAUL CALLAN: Go to sleep. (TRAVIS closes his eyes.) (Outside, PAUL hears the rattling again. He turns around and looks out the front door. He doesn't see anything. He turns back to his book.) CUT TO: [EXT. ABANDONED HUT - NIGHT] [INT. RED DEER HIGH SCHOOL - HALLWAY -- NIGHT] SCENE #16: [INT. RED DEER HIGH SCHOOL - FRED NORRIS' OFFICE -- NIGHT] (Inside his office, FRED NORRIS, the guidance counselor, sits at his desk reading and absently squeezing a hand-held exerciser in his hand.) (Outside, FRED NORRIS hears a distant rattling. He looks up and takes off his glasses. He listens carefully. He stands up and walks toward the door to look outside.) (He opens the door and looks outside. He sees nothing.) FRED NORRIS: Hello? Is someone there? (FRED NORRIS is thrown backward into his office. He falls to the floor. The office door closes.) (FRED NORRIS looks up with fright. He's thrown up and over to the other side of his desk. He lifts his head and looks up, but before he can do anything, he's lifted up and hits the ceiling with his back where he then crashes down to the floor again.) (An unseen creature growls. FRED NORRIS is thrown to the other side of his office. He's picked up and smashed against the door.) (Cut to: [HALLWAY] FRED NORRIS' face is pressed up against the textured glass of the door. He's pulled aside and blood splashes against the door glass.) FADE TO BLACK. (COMMERCIAL SET) FADE IN. [EXT. ABANDONED HUT - DAY] SCENE #17: [INT. ABANDONED HUT - DAY] (PAUL still sits guard by the front door. TRAVIS suddenly gets up and checks to see that PAUL is still there.) PAUL CALLAN: You okay? (TRAVIS looks at PAUL. His breathing is ragged.) TRAVIS PRESCOTT: I did it again. Someone's dead. PAUL CALLAN: You didn't do anything. I've been here all night. You never left that spot. SHERIFF ED PRESCOTT: (o.s.) Travis? (TRAVIS stares at the door, scared.) SHERIFF ED PRESCOTT: (o.s.) Travis! (TRAVIS gets up and heads for the door. PAUL stops him.) TRAVIS PRESCOTT: I got to go. PAUL CALLAN: Wait, wait, wait. Travis. No one's dead. (TRAVIS gets loose and runs out of the hut toward his father.) SHERIFF ED PRESCOTT: (o.s.) Travis! (TRAVIS runs up the path toward the house where his father stands angrily in the drive in front of his car.) SHERIFF ED PRESCOTT: Where the hell were you? (TRAVIS doesn't say anything.) SHERIFF ED PRESCOTT: Answer me when I ask you a question. Where were you? TRAVIS PRESCOTT: I was just, uh ... I was sleeping outside. SHERIFF ED PRESCOTT: In the woods? Why? (Behind TRAVIS, SHERIFF ED PRESCOTT sees PAUL CALLAN walk up the path.) SHERIFF ED PRESCOTT: (to TRAVIS) Get in the car. (PAUL walks up to the SHERIFF.) SHERIFF ED PRESCOTT: What were you doing with my son? (Thinking that the SHERIFF would want to know, PAUL explains.) PAUL CALLAN: Travis has been trying to stay awake for the last week and a half. He, uh ... he's been dreaming about these murders and thinks that somehow he's causing them. SHERIFF ED PRESCOTT: What the hell are you talking about? (TRAVIS hesitates getting in the car. He lingers by the open car door.) TRAVIS PRESCOTT: Dad ... SHERIFF ED PRESCOTT: (without turning around) Shut up! (At the SHERIFF'S harsh response to his son, PAUL'S eyes shift suspiciously from the SHERIFF to TRAVIS. He watches as TRAVIS slowly gets into the car and closes the door without saying a word. It's then that PAUL realizes the truth.) (PAUL looks at the SHERIFF.) PAUL CALLAN: How did he get that black eye? (The SHERIFF doesn't say anything. He stares at PAUL. Behind them, the police radio sputters on.) SHERICE: (police radio) Sheriff, what's your 20? (The SHERIFF walks back toward his car and reaches for the radio through his open car window.) SHERIFF ED PRESCOTT: I'm at home, Sherice. What's going on? SHERICE: We have a fatality at Red Deer High School. Fred Norris, the guidance counselor? It's just like the others --broken and missing bones. (PAUL is completely shocked by the news.) SHERIFF ED PRESCOTT: (to the radio) I'm on my way. (to PAUL) I see you within a hundred feet of my son again, you're going to jail. (The SHERIFF gets into his car and drives off, leaving PAUL staring at the empty driveway. PAUL puts a hand to his forehead and rubs his eyes, dismayed at what he now knows.) CUT TO: SCENE #18: [EXT./INT. BLUE BIRD BAR -- DAY] (PAUL walks into the dark bar. He closes the door behind him. In the background, a lazy country song plays.) (PAUL walks over to KEEL and EVIE, both near the billiard table.) PAUL CALLAN: There's been another murder. At the high school --a guidance counselor. EVIE SANTOS: I just talked to him last night. PAUL CALLAN: I can tell you one thing --it wasn't Travis. ALVA KEEL: How can you be so sure? PAUL CALLAN: I was with him all night. EVIE SANTOS: I wonder if the Sheriff, maybe ... ALVA KEEL: What? EVIE SANTOS: I got the impression last night that he was a violent man. PAUL CALLAN: (confirms) He is. He's beating his son. (PAUL sighs and sits at the small table with EVIE. KEEL picks up the pool stick off of the table.) PAUL CALLAN: Could a human really be doing all this? ALVA KEEL: No. EVIE SANTOS: We're not going back to the Bigfoot thing, are we? ALVA KEEL: Bigfoot is a myth created to keep white people out of the woods. See, this is sacred ground. I heard a very strange story last night -- told to me by one of the Chippewa Elders. Long before their people, there existed here an ancient tribe, and according to legend, they believed that twins were considered to be a monstrosity. EVIE SANTOS: And if twins were born? ALVA KEEL: One of the pair would be left in the woods to die. However, as the surviving twin reached puberty, this was considered a cause for celebration. He was destined to become a great warrior because he had a spiritual double to protect him. (KEEL says something in a Native American language and immediately translates it for them.) ALVA KEEL: "One who scatters the bones of his enemies." EVIE SANTOS: This would certainly shed light on the M.O. PAUL CALLAN: Except for one thing -- Travis doesn't have a twin. EVIE SANTOS: Is it possible he had one --maybe put up for adoption? (PAUL thinks about it for a moment.) PAUL CALLAN: Last night, Travis told me about his friend Jimmy. Said he was in reform school in Medicine Hat. ALVA KEEL: You think this person could be his twin? PAUL CALLAN: I ... I don't know. It seemed like a made-up story to me, like an imaginary friend, but ... EVIE SANTOS: I'm going to see Travis' aunt this afternoon. I'll ask her. ALVA KEEL: While you're doing that, Paul and I will visit this reform school. PAUL CALLAN: No, you're gonna have to do that on your own. (PAUL stands up.) I'm gonna keep an eye on Travis. I'll talk to you later. (PAUL walks out of the bar and closes the door behind him. CUT TO: [EXT. AUNT'S RESIDENCE - DAY] SCENE #19: [INT. AUNT'S RESIDENCE -- DAY] (EVIE interviews the AUNT. The AUNT sits on the couch holding a pendulum at the end of a long chain allowing the chain to swing in a circle over the coffee table.) AUNT: I'm sure you know women who have done this. EVIE SANTOS: (smiles) Every time a woman in my family is pregnant, it swings clockwise if the baby's a boy and counterclockwise if it's a girl. AUNT: It's just an old wives' tale. But, we had a lot of fun with it when Janeane was pregnant. It predicted that Travis was gonna be a boy. And then the ring did something that I've never seen it do before. It stopped ... and then it started swinging again. She was thrilled, of course, because the pendulum just confirmed what she already knew deep in her heart. EVIE SANTOS: She was having twins. AUNT: A mother ... knows these things. Ed was a nice guy ... at first. But he always had a temper. (Quick flashback to: JANEANE, pregnant, holding the door shut against someone trying to get in. She puts a hand protectively around her tummy.) JANEANE PRESCOTT: (crying) No! No! (End of flashback. Resume to present.) AUNT: She was terrified of him. (Quick flashback to: ED gets through and pushes the door open. JANEANE falls to the floor, crying. End of flashback. Resume to present.) AUNT: (v.o.) He would beat her up. And ... she never admitted it. I think she was too afraid ... or too ashamed. (Quick flashback to: JANEANE walking through the woods in the back of the house, she's soaking wet and carrying a small bundle in her arms, clutched close to her chest.) AUNT: (v.o.) And then one night, he went too far. (JANEANE falls to her knees and gently puts the bundle down on the ground. She starts digging a hole with her bare hands, her face twisted in pain.) AUNT: (v.o.) And ... she miscarried one of the babies and buried it in the woods. She was never the same after that. (JANEANE pauses from digging and sits back a little. She closes her eyes and lets the rain fall on her face.) SOUND CUE: In the distance, a woman screams in pain. (End of flashback. Resume to present.) SOUND CUE: A tea kettle whistle. [INT. AUNT'S RESIDENCE - KITCHEN - DAY - CONTINUOUS] (EVIE and the AUNT walk into the kitchen where she takes the tea kettle off of the stove to pour two cups of tea.) AUNT: The day that she went into labor and Travis was born, I was there. That was the last time I ever saw her. She died that night. EVIE SANTOS: Poor Travis. AUNT: You don't know the half of it. Janeane begged me never to tell anyone what Ed did to her. And for years, I didn't. EVIE SANTOS: Why? AUNT: I told myself that it was out of respect for her. But the truth is that ... I was scared. EVIE SANTOS: Of Sheriff Prescott. AUNT: And then one day, um ... Travis was ... five. I saw them at the grocery store. And Travis ... had a ... he had a cast on his arm. And I looked at Ed, and he looked at me, and ... and I knew. EVIE SANTOS: What did you do? AUNT: I took his ass to court. And I lost. It was my word against the Sheriff's. And little Travis, he wouldn't even answer the social worker's questions. That's what breaks my heart. To this day, he just loves his father. You know what I really wish? EVIE SANTOS: What? AUNT: I hear a sheriff's funeral can be really beautiful. CUT TO: SCENE #20: [EXT. ABANDONED HUT -- DAY] (The camera slowly moves up the roadway outside the abandoned hut. We can hear voices inside having a conversation.) JIMMY: (o.s.) How long are you going to take this? TRAVIS PRESCOTT: (o.s.) He just wants me to do better. JIMMY: (o.s.) (chuckles) What he wants is to beat the crap out of you. (Inside the hut, TRAVIS PRESCOTT is talking with JIMMY.) TRAVIS PRESCOTT: He loves me. JIMMY: That's a fairy tale, Trav. That ain't never gonna come true. Day's gonna come ... and you're gonna get bigger ... and stronger. But he ain't never gonna let you get big enough to whup him. He will kill you first. TRAVIS PRESCOTT: No, he wouldn't do that. He's my dad. (JIMMY throws the cigarette he's been smoking down on the ground and leans forward. His eyes intent on TRAVIS.) JIMMY: Not a single soul in this nothing and nowhere town is ever gonna stand up for you. You got to know that by now. TRAVIS PRESCOTT: (nervously) Jimmy, you -- you didn't have anything to do with the minister and the others, right? JIMMY: Don't you worry about that. TRAVIS PRESCOTT: Jimmy! JIMMY: They got what they deserved. (Suddenly, JIMMY stops talking and looks up at the door.) CUT TO: SCENE #21: [EXT. ABANDONED HUT - DAY -- CONTINUOUS] (Outside the hut, PAUL CALLAN is walking purposefully down the path. He sees the abandoned hut and walks toward it knowing that TRAVIS is inside.) (PAUL hears something rattle and stops. He pauses and listens. He looks up at the trees and feels the wind blow.) (Something ... or someone runs directly toward PAUL. He feels the person run toward him and puts his arms up in a defensive manner trying to block the impact.) (JIMMY jumps up and over PAUL. PAUL turns around and sees JIMMY run down the path.) PAUL CALLAN: (calling after him) Wait! (JIMMY disappears down the path.) CUT TO: SCENE #22: [INT. ABANDONED HUT - DAY -- CONTINUOUS] (TRAVIS PRESCOTT stands near the back wall of the hut, alone -- his back to the door. He looks down at something he holds in is hand. PAUL CALLAN appears in the doorway.) PAUL CALLAN: Travis? (TRAVIS starts. He closes his hand.) TRAVIS PRESCOTT: (sniffles) Go away. (PAUL turns and looks outside, then turns and takes a step into the hut.) PAUL CALLAN: Did, uh ... did ... did someone just leave here? TRAVIS PRESCOTT: (sniffles) Jimmy. PAUL CALLAN: Your friend. (TRAVIS doesn't respond. PAUL takes a step into the hut.) PAUL CALLAN: (concerned) What's wrong? TRAVIS PRESCOTT: (crying) Nothing. I want to be alone. (PAUL takes another step into the hut.) PAUL CALLAN: Travis, what are you doing? (TRAVIS turns around and tries desperately to get PAUL out of the hut.) TRAVIS PRESCOTT: (screaming) Leave me alone, okay?! (PAUL sees something in TRAVIS' hand and lunges for it. TRAVIS lets go and a handful of pills spill out onto the floor. With whatever is left in his hand, TRAVIS tries to shove the pills in his mouth. PAUL tries to keep his hand from reaching his mouth. They struggle.) PAUL CALLAN: Hey, what are you doin - ! TRAVIS PRESCOTT: (screaming and crying) No! No! No, I have to do this! PAUL CALLAN: Hey! (TRAVIS drops the pills and scrambles to pick them up. Both men kneel to the floor, TRAVIS trying to pick up the pills and PAUL trying to stop him. They continue to struggle.) TRAVIS PRESCOTT: (desperate) I have to do this! PAUL CALLAN: Hey! TRAVIS PRESCOTT: (crying) I got to do this! PAUL CALLAN: No! Hey! Stop! (PAUL pushes TRAVIS back against the wall and tries to make eye contact with him. TRAVIS is just leadened with pain and guilt. The pills completely forgotten.) TRAVIS PRESCOTT: (cries) Everything's my fault! PAUL CALLAN: It's not your fault, all right? I keep trying to tell you ... TRAVIS PRESCOTT: Yes, it is! PAUL CALLAN: No, it isn't! TRAVIS PRESCOTT: I'm bad, okay?! (crying) I've always been bad! I was born bad! PAUL CALLAN: No, you're not! That's impossible. TRAVIS PRESCOTT: I am! I killed ... (TRAVIS stops struggling.) PAUL CALLAN: Who? Who did you kill? TRAVIS PRESCOTT: (sobbing) My mother. She died giving birth to me. I killed her, okay?! PAUL CALLAN: (quietly) Why would you think that? TRAVIS PRESCOTT: My father told me ... she wouldn't have died if it weren't for me. PAUL CALLAN: (stronger and insistent) Your father's wrong. You hear me? He's lying to you. TRAVIS PRESCOTT: Why? PAUL CALLAN: To excuse what he does to you... what ... what he probably did to her. (TRAVIS cries.) PAUL CALLAN: (quietly and surely) It's not your fault. It's not. (Having heard the words that he so desperately needed to hear, TRAVIS gives in and rests his head against PAUL'S shoulder. PAUL wraps his arm around the young man's shoulders and lets him cry.) PAUL CALLAN: (softly) It's okay. Shh-shh-shh. It's all right. It's okay. CUT TO: SCENE #23: [EXT. PRESCOTT RESIDENCE -- DAY] (SHERIFF ED PRESCOTT'S car pulls up the drive and stops. The SHERIFF gets out of the car.) PAUL CALLAN: (v.o.) He'll never lay another hand on you. ... CUT TO: SCENE #24: [EXT. ABANDONED HUT - DAY -- CONTINUOUS] (PAUL and TRAVIS walk out of the hut.) PAUL CALLAN: ... I promise. (PAUL'S cell phone rings. He answers it.) PAUL CALLAN: Hello? ALVA KEEL: (from phone) Paul, it's Keel. I'm in Medicine Hat. PAUL CALLAN: (to TRAVIS) Just a sec. (PAUL steps away to talk privately with KEEL.) ALVA KEEL: (from phone) Medicine hat is a ghost town. INTERCUT WITH: [EXT. MEDICINE HAT - SIDEWALK - DAY] ALVA KEEL: There's no reform school, no Jimmy. He's not real. PAUL CALLAN: Then who did I see bounding off in the woods an hour ago? (Behind PAUL, TRAVIS turns away to give PAUL some privacy.) ALVA KEEL: Probably Jimmy. PAUL CALLAN: Keel ... ALVA KEEL: Now listen. Jimmy is Travis' Spirit Protector. They were fraternal twins. Evie talked to the aunt. Apparently, the sheriff beat his wife when she was pregnant. He killed Travis' brother in utero. PAUL CALLAN: Wouldn't that have killed Travis, too? ALVA KEEL: No. Fraternal twins have separate amniotic sacs. It's actually possible for one to miscarry and the other to thrive. Jimmy is the spirit of Travis' brother. Yes, and he's killing those who have failed to protect Travis -- the minister, the nurse, the guidance counselor. PAUL CALLAN: Wouldn't he go after the Sheriff, too? (Behind PAUL and some distance down the path, the SHERIFF makes his way rapidly toward them. PAUL'S back is to the path. TRAVIS is off to the side. Both don't notice the SHERIFF approaching.) ALVA KEEL: I'm not sure, but I think Travis is somehow preventing it. Where are you? PAUL CALLAN: I'm with Travis. I'm taking him to Child Services. ALVA KEEL: All right. We'll meet you there. (PAUL sighs and hangs up. The SHERIFF is nearly upon him. JIMMY turns around and sees his father.) TRAVIS PRESCOTT: (shouts) Paul, look out! (PAUL turns around completely unprepared for the SHERIFF. Without missing a beat, the SHERIFF clubs PAUL in the gut.) PAUL CALLAN: Uhhh! (PAUL doubles over in pain and falls to his knees. The SHERIFF uses the club to lift PAUL'S head up. The two men's eyes meet.) SHERIFF ED PRESCOTT: I believe I told you to stay away from my son. FADE TO BLACK. (COMMERCIAL SET) FADE IN SCENE #25: [INT. CHIPPEWA COMMUNITY SOCIAL SERVICES -- DAY] (KEEL and EVIE are inside the building.) ALVA KEEL: (v.o.) Are you sure you haven't seen him? SOCIAL WORKER: (v.o.) Positive. EVIE SANTOS: (v.o.) He was bringing in a boy named Travis Prescott. SOCIAL WORKER: (v.o.) Sorry. ALVA KEEL: (v.o.) Okay, thank you for your time. (KEEL and EVIE walk out of the building. KEEL checks his watch.) EVIE SANTOS: Shouldn't he have been here by now? ALVA KEEL: Yes. (quietly) Yes. (They walk down the sidewalk.) CUT TO: SCENE #26: [INT. SHERIFF'S OFFICE - DAY] (PAUL is in the jail cell behind bars. SHERIFF ED PRESCOTT sits at his desk filling out the paperwork on the arrest.) PAUL CALLAN: Sheriff. SHERIFF ED PRESCOTT: Resisting arrest, attempting to transport a minor outside the county ... PAUL CALLAN: Sheriff, please. SHERIFF ED PRESCOTT: They don't like short eyes in jail, Mr. Callan. What's your social security number? PAUL CALLAN: Listen to me! You need to apologize to Travis. SHERIFF ED PRESCOTT: For what? (he laughs) A little discipline? PAUL CALLAN: For his mother's death. (From the bench he's sitting on, TRAVIS looks up at PAUL. The SHERIFF stops smiling.) SHERIFF ED PRESCOTT: Come again? PAUL CALLAN: Travis believes that he killed his mother. You need to tell him that's not true. SHERIFF ED PRESCOTT: I don't need to tell him anything. PAUL CALLAN: You're in real danger otherwise! (The SHERIFF stands up and walks toward the bars. PAUL lets go of the bar aware of the sudden change in atmosphere.) SHERIFF ED PRESCOTT: Are you threatening me? PAUL CALLAN: I'm trying to help you. There's a pattern to these killings - they are all people who could have protected Travis and chose not to. SHERIFF ED PRESCOTT: Protected him from what? (pause) (PAUL and The SHERIFF look at each other.) PAUL CALLAN: He's a good kid. You need to tell him what you did to her, and you need to tell him what you did to his brother ... before it's too late. (TRAVIS watches the exchange with wide eyes. PAUL glances over at TRAVIS. The SHERIFF doesn't like that PAUL knows so much.) SHERIFF ED PRESCOTT: I'm beginning to wonder, Mr. Callan ... if your case is even going to trial. (The SHERIFF takes out his gun. TRAVIS tries to stop him. He rushes up to his father.) TRAVIS PRESCOTT: Dad, no! (The SHERIFF pushes TRAVIS away from him with a careless force that sends him head first into the bars of the next cell. TRAVIS slumps to the floor unconscious.) (The SHERIFF glances back at his son.) SHERIFF ED PRESCOTT: Travis? (TRAVIS doesn't move. He's out cold.) SHERIFF ED PRESCOTT: Travis? (The SHERIFF holsters his gun and checks on TRAVIS. TRAVIS still doesn't move. The SHERIFF kneels down next to TRAVIS and tries to wake him up.) SHERIFF ED PRESCOTT: Come on, son. Come on, son. Wake up. (He shakes TRAVIS, but he doesn't move. From his cell, PAUL watches, alarmed.) SHERIFF ED PRESCOTT: Wake up. Wake up! (A strong wind passes inside the small office. The door opens and a young man stands just outside.) (The SHERIFF looks up and takes a couple steps away from TRAVIS. He puts a cautious hand on his gun.) SHERIFF ED PRESCOTT: Who are you? (JIMMY steps into the room.) JIMMY: Nobody. (JIMMY looks down and sees TRAVIS out cold on the floor. He looks disdainfully at the SHERIFF.) JIMMY: I went after the others. But I could never go after you. He loved you too much. I had to respect that. (PAUL tries to stop what's coming. He steps up to the bars.) PAUL CALLAN: Jimmy ... you don't have to do this. JIMMY: (smiles recklessly at his father) I'm done respecting that. (Behind JIMMY, KEEL and EVIE appear in the doorway. JIMMY looks at the SHERIFF and disappears.) (KEEL walks into the room, his eyes wide with caution.) SHERIFF ED PRESCOTT: (breathes heavily) What happened? What ... just happened? ALVA KEEL: (whispers) Sheriff, get out. (The SHERIFF doesn't move.) ALVA KEEL: (shouts) Get out!! (But it's too late.) (JIMMY, The Invisible Force, grabs The SHERIFF and throws him high into the air toward the door. He hits the wall above the door frame and crashes to the floor.) (EVIE watches stunned as she takes a step back. KEEL backs into the corner of the office, his eyes wide as The SHERIFF is picked up off of the floor and hangs suspended mid-air.) (PAUL tries to stop it.) PAUL CALLAN: (shouts) No! (The SHERIFF is thrown against the wall behind the desk. He falls to the floor.) (Everyone watches in horror as The SHERIFF is forced up against the jail cell, his head pushed between the bars. Bones crunch and snap with a terrible sound. The SHERIFF'S head is forced between the bars. He struggles to breathe.) (Finally, The SHERIFF falls to the floor. Dead.) (JIMMY materializes over the dead SHERIFF. He looks down at the body for a moment, then walks over to his brother. He looks down and slowly takes off a bracelet from his wrist. He kneels and puts the bracelet in TRAVIS' hand.) JIMMY: (quietly) Take care, little brother. (JIMMY stands up and looks at PAUL. PAUL takes a step back, his eyes wide.) JIMMY: You stood up for him. Thank you. (PAUL doesn't say anything. JIMMY stands there for a moment, then turns and walks back out of the office. He vanishes before he reaches the door.) (PAUL, KEEL and EVIE are absolutely stunned by the experience.) (Camera holds on PAUL.) DISSOLVE TO: SCENE #27: [EXT. AUNT'S RESIDENCE - DAY] LEGEND: ONE WEEK LATER (PAUL walks with TRAVIS up the front walk to his AUNT'S yellow house.) PAUL CALLAN: (quietly) You know, this may be hard to believe, but I've been where you are. (TRAVIS looks at the yellow house.) Do you know your aunt very well? TRAVIS PRESCOTT: Kind of. She's okay. PAUL CALLAN: Yeah, she seems nice. (PAUL walks in front of TRAVIS and hands him a card.) PAUL CALLAN: I'm, uh ... I'm not gonna let you go through this on your own, okay? You call me. Any time -- day or night. I'm gonna check in on you. Deal? TRAVIS PRESCOTT: Deal. PAUL CALLAN: Okay. AUNT: (o.s.) Travis? (The AUNT rushes out of the house and down the front porch to greet TRAVIS.) AUNT: Hello, Paul. (TRAVIS steps up to greet his AUNT.) Travis! I'm so glad you're here. (She gives TRAVIS a warm hug.) Are you all right? TRAVIS PRESCOTT: Yeah. AUNT: Everything is gonna be okay. (She looks at TRAVIS and is distracted by a light rattling sound. She looks down and sees the bracelet on TRAVIS' wrist. She examines the bracelet.) AUNT: Where did you get this bracelet? (TRAVIS looks at PAUL.) TRAVIS PRESCOTT: Uh ... a friend. AUNT: Your mother had one just like this. She never took it off. (pause) She was buried with it. (TRAVIS turns around to look at PAUL. PAUL looks back and nods slightly. TRAVIS turns back to look at his AUNT who gives him a hug.) (PAUL watches for a moment, then walks away.) (Camera holds on the bracelet.) CUE SOUND: BRACELET RATTLING FADE TO BLACK. ========================== THE END ========================== [Captions by Vitac -- www.Vitac.Com captions paid for by ABC, Inc. and Touchstone Television] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive without permission. ========================== TITLE/OPENING CREDITS ========================== MIRACLES 1X05: THE BONE SCATTERER ORIGINAL AIR DATE ON ABC: 03/10/2003 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: MICHELLE GREENE as The Aunt CHRISTOPHER MARQUETTE as Travis Prescott JOHN WALCUTT MATT NEWTON as Jimmy Special Guest Star: GREGORY HARRISON as Sheriff Ed Prescott Co-Producer: NEAL ISRAEL Co-Producer: ANDREW DEANE Producer: CHRISTIAN TAYLOR Produced by: DENNIS STUART MURPHY Consulting Producer: BILL D'ELIA Supervising Producers: ZACK ESTRIN Supervising Producers: CHRIS LEVINSON Co-Executive Producer: RICHARD HATEM Co-Executive Producer: STUART BIRNBAUM Executive Producer: ROGER BIRNBAUM Executive Producer: GARY BARBER Executive Producer: DAVID GREENWALT Written by: DAVID GRAZIANO Directed by: TERRENCE O'HARA ========================== END CREDITS ========================== David Greenwalt Productions Spyglass Entertainment Touchstone Television Co-Producer: WILLIAM REDNER Co-Producer: MEGAN WOLPERT Executive Story Editor: DAVID GRAZIANO Co-Starring JOHN HARNAGEL as Minister SAGINAW GRANT as Most Respected Elder CHRISTA NELSON as Jessica (sic) Prescott (Janeane) MYRTON RUNNING WOLF as Chippewa Man BRAD BUFONDA as Jack Director of Photography: ERNEST HOLZMAN, A.S.C. Production Designer: LAWRENCE BENETT Edited by: ROBERT FIELD Unit Production Manager: TONY BROWN First Assistant Director: CRAIG PINCKES Second Assistant Director: WARREN TURNER Music by: ROBERT J. KRAL Theme by: W.G. SNUFFY WALDEN and JOSEPH STANLEY WILLIAMS 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: SALINA TOBRIZI 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: BART J. BARISANO Re-Recording Mixers: TIM PHILBEN Re-Recording Mixers: ALAN DECKER Visual Effects by: ZOIC STUDIOS Special Make-up Effects by: ALMOST HUMAN, INC. High Definition Post-Production: ENCORE Film Laboratory: DELUXE FILM LABS (c) 2003 Touchstone Television All Rights Reserved. Dated:04/12/2003~lky http://www.webphilia.com/~anthology/wnp.html