MIRACLES 1X08: THE BATTLE AT SHADOW RIDGE (UNAIRED) [UNAIRED] TRANSCRIBED FROM MASTER DUB Written by: DAVID GRAZIANO Directed by: MICHAEL GROSSMAN Transcript by Intrepid Courtesy of http://www.webphilia.com/~anthology/wnp.html Please do not archive this transcript without permission from the Transcriptionist. ========================== 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. CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) 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: Paul and Keel investigate the famed Virginia "Ghost Lights". ========================== MIRACLES 1X08: THE BATTLE AT SHADOW RIDGE (UNAIRED) ========================== [BLACK SCREEN] TOUCHSTONE TV/ MIRACLES MIRACLES EPISODE #106 "BATTLE AT SHADOW RIDGE" NTSC DUBBING MASTER TRT = 41:35 04.24.03 ENCORE FADE IN. [BUSINESS CARD] [Scene from 1X01: The Ferguson Syndrome.] (Camera focuses on the business card: SODALITAS QUAERITO 365 MIDLOTHIAN LANE NO. 29 ANGUS MACFADYEN (NARRATOR): Previously on "Miracles "... [Scene from 1X06: Hand of God] ( [KEEL'S OFFICE] PAUL sits down on the chair.) PAUL CALLAN: I joined up with you to find the answers ... [Scene from 1X01: The Ferguson Syndrome] (Cut to: Camera flash as a picture of SISTER AGNES FULTON'S hand is being taken.) [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: 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.) [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] (Side view of a needle about to pierce her open eye.) (Cut to: The message in the cracked wind shield written in blood reads: GOD IS NOW HERE.) CHAD GOODWELL: (v.o.) I saw it written in my own blood. "God is Now Here". [Scene from unknown episode] (EVIE introduces PAUL to her son, Mateo.) EVIE: Paul, this is my son, Matty. (MATTY'S playing on the floor with his truck. He peers around the desk and waves to PAUL.) [Scene from 1X01: The Ferguson Syndrome] (POPPI and PAUL are at the diner.) POPPI: What's the point in Faith if it's never tested. [Scene from 1X03: The Patient.] [INT. S.Q. - MAIN OFFICE - DAY] (PAUL smiles at KEEL.) PAUL CALLAN: Shouldn't we be more discreet? Not everyone knows how to handle all this darkness. (Cut to: Close up of: EVIE) [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.) [Scene from 1X06: Hand of God] [INT. PAUL'S APARTMENT - DAY] (EVIE is sitting down after PAUL tells her about KEEL lying to him.) EVIE: (shakes her head) This doesn't make any sense. [Scenes from 1X07: You Are My Sunshine] [INT. SPENCER'S HOUSE - BATHROOM -- DAY] (PAUL shuts the medicine cabinet door. The mirror swings closed and in the reflection he sees a dark-haired woman with a big bleeding impact mark on her forehead. Blood runs down her face. Her eyes are bruised as if she were abused.) (PAUL is startled by the sight.) [Scene from 1X06: Hand of God] ALVA KEEL: This could become very dangerous for you. PAUL CALLAN: I think it already has. (EVIE turns around to look behind her.) [Scene from 1X07: You Are My Sunshine] [INT. SPENCER HOUSE -- BASEMENT] (They open the ice box and find the two preserved bodies inside.) FADE TO BLACK. END OF "PREVIOUSLY ON" FADE IN. [EXT. S.Q. BUILDING - DAY] SCENE #01: [INT. S.Q. - MAIN OFFICE -- DAY] (ALVA KEEL eagerly hurries down the steps into the main office where EVIE and PAUL look up from their places at the table. They're eating take-out.) ALVA KEEL: We have to go to Virginia immediately. PAUL CALLAN: Why? ALVA KEEL: You've heard of Hurricane weather? There's Ghost Life there. (KEEL reaches the bottom .) PAUL CALLAN: Ghost-life? ALVA KEEL: Yes. It's anomalous life from. If we hop in my car right now, we'll be there in less than ten hours. PAUL CALLAN: Ten hours? EVIE SANTOS: I can't go. PAUL CALLAN: Why not? EVIE SANTOS: Well, it's Matty's birthday and I've got my work cut out for me just trying to track down his father. And besides, when we get there and we don't see anything, the trip is just going to drag on. I know how this works. PAUL CALLAN: But, we will see something. EVIE SANTOS: Well, send me pictures. ALVA KEEL: Okay. (to PAUL) Guess it's just you and me. PAUL CALLAN: (mutters) Ten hours. CUT TO: [EXT. COMMUNITY - DAY] LEGEND: SHADOW VALLEY, VIRGINIA SCENE #2: [EXT. SIDEWALK -- DAY] (RENATA and GUS walk side by side down the sidewalk.) RENATA JACOBSON: (shouts) Come on, let's take a short cut! (RENATA turns and runs into the bushes. She laughs as GUS runs to keep up with her.) GUS JACOBSON: No fair! [PATHWAY INTO THE WOODS] (RENATA and GUS run down the pathway into the woods.) [HILLSIDE] (They run over and across the hill.) [DIRT ROAD] (They come out of the woods onto an old dirt road.) GUS JACOBSON: Here I come! (GUS comes from behind her and knocks RENATA'S books out of her hands. She's forced to stop to pick them up as GUS runs past her.) GUS JACOBSON: Bye! (RENATA turns and yells over at GUS' back as he runs over the bridge.) RENATA JACOBSON: Hey, no fair! That's cheating. (He points back at her and laughs.) (RENATA kneels down to pick up her yellow book and sees a red-stained footprint in the dirt. She looks up and can barely see GUS as he's already over the other side of the bridge.) RENATA JACOBSON: Gus! (She picks up her book and runs after him.) RENATA JACOBSON: Hey, wait for me! (RENATA walks through the bushes and bumps into GUS staring wide-eyed at something in front of him. He's not moving.) RENATA JACOBSON: Gus! (In front of the two kids, is a Confederate Soldier, transparent and carrying a rifle. He looks just as surprised to see them as they do to see him.) (After a beat, the two kids turn and run screaming back the way they came.) (They run out of the bushes toward their home.) GUS JACOBSON: Hurry! SCENE #3: [INT. JACOBSON RESIDENCE - DAY -- CONTINUOUS] (They run non-stop up to the porch screaming for their mother.) GUS JACOBSON: Mom, mom! (In the kitchen, GINNIE'S wiping the dishes.) GINNIE JACOBSON: What is it?! (GUS opens the front door and they both run into the house. They stop in the kitchen doorway.) RENATA JACOBSON: We just saw a ghost! GUS JACOBSON: Yeah! CUT TO: SCENE #4: [EXT. WOODS - NIGHT -- PAST] (The Confederate Soldier runs back to camp through the woods. It's pouring. He runs as fast as he can, frightened by his experience. He glances back over his shoulder, but continues to run toward base camp.) (In front of him, three other Confederate Soldiers hear him coming.) CONFEDERATE SOLDIER 1: Henry? Where were you all night? HENRY TUCKER: (panting) I just saw a ghost. FADE TO END OF TEASER ROLL TITLE CREDITS [BLACK SCREEN SPACE FOR TITLE CREDITS] FADE IN SCENE #5: [EXT. ROAD NEAR WOODS -- NIGHT] LEGEND: WEST GLEN, VIRGINIA (PAUL and KEEL sit in the station wagon waiting to see ghosts. In front of them is a bright light.) (Inside the car are empty take-out containers. It's obvious that they've been there for a while.) (PAUL sighs.) PAUL CALLAN: How can it be a hundred degrees at three in the morning? (PAUL looks miserable. He's hot and sweaty and disgruntled that he's there and not somewhere cooler. But, he's hanging in there.) ALVA KEEL: It's not the heat, it's the humidity. PAUL CALLAN: It's both. (KEEL glances at PAUL.) ALVA KEEL: See anything? (PAUL lifts up the binoculars and looks out in front of him. He sees nothing.) PAUL CALLAN: No. (KEEL takes the binoculars.) ALVA KEEL: Are you sure? (He looks through them. He sighs.) ALVA KEEL: Seems like the same story for the past three nights. (He puts the binoculars down.) ALVA KEEL: I don't understand. This is one of the most common, unexplained phenomena there is. When I was a boy, my grandparents used to tell me stories about seeing ghost lights out on the moors all the time. I even convinced them to take me there on a number of occasions. PAUL CALLAN: And then what happened? ALVA KEEL: Nothing. (KEEL sees something outside in front of them.) ALVA KEEL: What's that? (In front of them, a blurry light rises over the hillside. He straightens in his seat.) (A police siren sounds. Police lights flash. PAUL looks over at KEEL. He looks amused.) (Cut to: The RURAL DEPUTY walks back to them. PAUL and KEEL are both out of the car leaning against it. PAUL looks as if standing outside isn't doing him a heck of any good. He's still just as hot and bothered.) RURAL DEPUTY: You mind tell me what you fellers are doing out here? ALVA KEEL: We were investigating the possibility that a local legend of touring base ghost lights isn't just swamp gas. (The RURAL DEPUTY nods. He looks back down at their licenses.) RURAL DEPUTY: My daddy always said that the lights was a headless railroad man. ALVA KEEL: Ah, you've heard of Ghost Lights. RURAL DEPUTY: I've seen 'em. They're famous around here. Folks in town will tell you that they're caused by the souls of Civil War soldiers. PAUL CALLAN: Are they? RURAL DEPUTY: People say all kinds of crazy things. I don't believe none of it myself. But this weird stuff you're looking for? The next town over has been getting its share recently. PAUL CALLAN: How so? RURAL DEPUTY: A couple of kids said they was almost shot by a ghost. (The RURAL DEPUTY turns and heads back to his car.) ALVA KEEL: Which town? RURAL DEPUTY: Shadow Valley. Have fun, boys. (He waves over his shoulder and climbs back into his car.) (PAUL and KEEL look at each other.) CUT TO: SCENE #6: [INT. JACOBSON RESIDENCE -- DAY] (GINNIE has the screen door closed) GINNIE JACOBSON: I don't mean to be rude, but there's no reason for you to talk to my children. I can tell you whatever they think they saw, they didn't. (She opens the door and steps out onto the porch.) PAUL CALLAN: What do you think they saw? GINNIE JACOBSON: Well, the police suspect that it was just a Civil War reinactor. ALVA KEEL: Why would they say that? RENATA JACOBSON: Because the man in the woods was dressed like a soldier. GINNIE JACOBSON: Children's scared to go to school today and they kept me up half the night. RENATA JACOBSON: Not as scared as Gus. He's afraid a ghost is going to get him. (They turn to find RENATA standing there listening to their conversation.) GINNIE JACOBSON: Now, Renata. I don't want to raise this issue again. What did I tell you about ghosts. BOTH: (by rote) "They don't exist." GINNIE JACOBSON: Good. RENATA JACOBSON: Who are you. PAUL CALLAN: I'm Paul. Do, uh, either of you have a favorite blanket? RENATA JACOBSON: (indicates GUS) He does. And it smells. (PAUL kneels down in front of them.) PAUL CALLAN: Well, you see, that's part of the trick. You know, when I was a kid and I was afraid to sleep, I used to pull my favorite blanket over my head. Smell keeps ghosts away. (As he talks, he kneels to tie GUS' shoe laces.) PAUL CALLAN: That makes your favorite blanket the safest place on earth. (He notices the blood on the little boy's shoes. He looks surprised. He reaches out and touches it.) GINNIE JACOBSON: All right, you two. Go inside, now c'mon, skoot. Let's go. (The two kids head into the house.) GINNIE JACOBSON: That was sweet. You all want some lemonade? You look like you're about to melt. PAUL CALLAN: Thank you. Uh, no. Is it always this hot here? GINNIE JACOBSON: Sometimes. It does seem a little strange this time of year. Why? PAUL CALLAN: If anything else comes up, please don't hesitate to call us. (He gives her their card. She looks at it, then back at them. He clears his throat, then turns to leave.) PAUL CALLAN: Thank you. CUT TO: SCENE #7: [SIDEWALK - CONTINUOUS] PAUL CALLAN: See that? (PAUL and KEEL turn out from the front walk onto the sidewalk.) ALVA KEEL: What? PAUL CALLAN: He had blood on her shoes. ALVA KEEL: Ah, is that what you were looking at. PAUL CALLAN: I've never heard of a ghost bleeding before - statues and crosses all the time ... but ... ALVA KEEL: Perhaps those children were more frightened than they're letting on. PAUL CALLAN: Think they were telling the truth? ALVA KEEL: Yes. Children tend to be excellent witnesses. They don't filter out things that - quote or unquote - don't fit. PAUL CALLAN: Yeah, but you ought to be careful, they're also very good at telling you what they think you want to hear ALVA KEEL: Which is why I was talking too. PAUL CALLAN: All right. Otherwise, you'd be kicking around the soccer ball and trading Yu-Gi-Oh cards. (They reach their parked car.) ALVA KEEL: Well, it's worth looking into. PAUL CALLAN: You want to start with the kids' shortcut? (They get into the car.) ALVA KEEL: Into the woods it is then. FADE INTO SCENE #8: [EXT. WOODS - CONFEDERATE CAMP - PAST] (Inside the tent, the medic is rendering aid to the wounded soldiers on the table in front of him. HENRY TUCKER nervously stands next to him.) HENRY TUCKER: My wife, Isabella, is about to give birth in Livingston. Still no word has reached me. There's a typhoid epidemic. I fear for her and the child's health. JOHN (MEDIC): So you tried to desert last night. Is that why you did it? HENRY TUCKER: I do this for my country. I did not desert, John. I was on patrol and I simply became lost. JOHN (MEDIC): Well, Henry, you know these woods better than any one of us. HENRY TUCKER: And I tell you, I stumbled through these thickets like a blind man. I was unable to find the path, until ... until two spirits revealed it to me. (JOHN turns and looks at HENRY with disbelief.) HENRY TUCKER: What? What? Is it not said that under certain conditions spirits will communicate with spirits in the flesh? (JOHN stands up and heads for the other table.) JOHN (MEDIC): Said by whom? HENRY TUCKER: Spiritualists. Mary Todd Lincoln. JOHN (MEDIC): Now, I would give her tragedy would have an interesting effect on one's ability to reason. I, too, used to seek comfort in the after life, but while studying medicine, a few of us attempted to reconcile spirit with matter to put a quarter on a dying man's scale. (He puts the sheet over the body on the table.) HENRY TUCKER: What happened? JOHN (MEDIC): Nothing. We've seen death in this life. No spirit left this body. I'd like to believe in the after life. (As he talks, the sound of the wind around HENRY gets louder blocking out JOHN'S voice. JOHN is still talking, but HENRY can barely hear him. He leans in closer and watches JOHN'S lips move, but cannot discern the words.) JOHN (MEDIC): Henry. (HENRY stares at JOHN. He doesn't answer.) JOHN (MEDIC): Henry. (HENRY looks scared at what's happened to him.) HENRY TUCKER: I fear my mind has steered away. JOHN (MEDIC): You going over the ridge tomorrow with the rest of us? (HENRY nods.) JOHN (MEDIC): You afraid to die? (HENRY doesn't say anything.) JOHN (MEDIC): I fear soon enough, you may be able to answer up your questions. (JOHN turns and leaves HENRY.) CUT TO: SCENE #9: [EXT. WOODS - NIGHT - PRESENT] (KEEL and PAUL are in the woods. KEEL looks around. He takes a few steps around PAUL, looks around some more. PAUL stands in the same spot watching KEEL.) PAUL CALLAN: We're lost, Keel. ALVA KEEL: We're not lost. PAUL CALLAN: It's night. It was light out when we started. (KEEL walks around PAUL and looks over the hill. He points.) ALVA KEEL: The path is ... just up ahead. (PAUL points to the tree behind them.) PAUL CALLAN: We passed that tree twice already. (PAUL and KEEL stand in the middle of the road. KEEL continues to look around.) (At this point, we notice that the tree that PAUL was pointing to is black and white-devoid of color - while the bark of the tree next to it is a regular brown. We hear the wind blowing and we notice that some of the trees are colored and others are devoid of color.) (And we wonder, do they notice it too?) ALVA KEEL: Is it me? Or are the trees ... PAUL CALLAN: Shhh ... ALVA KEEL: ... re-arranging ... (In the distance we hear the roaring of the wind. Or is it wind? PAUL listens carefully.) PAUL CALLAN: What is that? (Both men are silent and watchful. KEEL listens as well.) (PAUL and KEEL step forward. They look out into the distance and see a single light shining toward them. Two lights. Like headlights of a car. We hear the roaring of dune buggies as they appear over the hill. Just a couple of kids out for a joyride.) (PAUL and KEEL step back off the dirt road and out of their way. The kids ride past them stirring up a large cloud of dust and dirt in their wake.) (KEEL and PAUL step back out onto the dirt road. The kids turn around and stop in front of them.) PAUL CALLAN: (obviously) There are your ghost lights. (They walk over to the kids. They both take off their helmets. It's a man and a woman.) ATV GIRL: You're not from around here, are you? PAUL CALLAN: (smiling) No. ATV GUY: Well, we almost ran you over. What are you doing out here tonight? PAUL CALLAN: Well, it's kinda hard to explain. ALVA KEEL: (tries anyway) I'm a former professor from Harvard University with a special interest in paranormal occurrences. ATV GUY: You mean, like Sasquach and Devil worshippers and such? BOTH: ALVA KEEL: Sort of. PAUL CALLAN: No, not exactly. (They smile.) PAUL CALLAN: The Jacobson kids said they saw something weird out here yesterday. ATV GUY: (he knows) Gus and Renata. They saw a ghost. ATV GIRL: My boyfriend's started to hear creepy sounds about a week ago over at the CIRCLEMART where he works. ALVA KEEL: Where's that? (Awkwardly, she points out the obvious.) ATV GIRL: Across the highway. (We hear a car zoom by.) (Both KEEL and PAUL turn to look in that direction. Just beyond the trees that PAUL swore they walked by earlier, they see the headlights of cars zooming by. Lots of cars zooming by. Big cars ... and big trucks. Hard to miss, really.) PAUL CALLAN: (quietly to KEEL) That wasn't there before. (KEEL turns slowly to glance at PAUL. They share a look of agreement.) ALVA KEEL: I know. CUT TO: [EXT. CIRCLEMART AND GAS STATION - NIGHT] SCENE #10: [INT. CIRCLEMART -- NIGHT] (The CIRCLEMART WORKER leads PAUL and KEEL up the front steps. He unlocks the door.) CIRCLEMART WORKER: I worked the graveyard shift polishing floors by myself. (He opens the door and they step inside the Mart. He turns the lights on and shows them here it happened.) CIRCLEMART WORKER: Of course, I was scared of aisle three. But I'm getting used to it. PAUL CALLAN: What's so special of aisle three? (They all walk over to Aisle Three. The CIRCLEMART WORKER slides an orange bucket along the aisle toward them. They look at the bucket, then back up at the CIRCLEMART WORKER.) CIRCLEMART WORKER: Just wait. SCENE #11: [INT. CIRCLEMART - NIGHT -- LATER] (The BIKE RIDER 1 (WOMAN) is fast asleep on the floor. PAUL and KEEL sit on each of their orange buckets waiting for the event to happen.) (PAUL looks so bored.) PAUL CALLAN: This is even less exciting than Ghost Lights. (KEEL waits patiently.) (Then they hear it. Warped sounds coming out of nowhere.) (PAUL stands up. Listening.) (They hear voices and clanging objects and more warped sounds.) (KEEL stands up and holds up the micro-cassette recorder. The sounds sound clearer. They hear voices and clanging objects and horses hooves. PAUL looks around the aisle. He turns to KEEL.) PAUL CALLAN: What do you make of all this? ALVA KEEL: (shakes his head) I'm not sure yet. (He continues to record and listen.) (The CIRCLEMART WORKER turns the aisle and interrupts them. He smiles.) CIRCLEMART WORKER: You guys want to see something? Just wait. (As if it's a show, the CIRCLEMART WORKER walks past them down the aisle. A horse neighs.) (The CIRCLEMART WORKER sits down at the overhead pa and makes the announcement through the mike.) CIRCLEMART WORKER: Clean-up in Aisle Three. Clean-up in Aisle Three. (Amidst the usual indistinct sounds, they hear a single voice clearly.) MALE VOICE: (echo-y) "Show Yourself!" (They look around.) MALE VOICE: (echo-y) "Show Yourself!" CUT TO: SCENE #12: [EXT. CAMPFIRE - NIGHT - PAST (CONTINUOUS)] HENRY TUCKER: (shouts) I said, "Show Yourself"! (HENRY listens. The other SOLDIERS sitting around the campfire laugh at him.) MOUSTACHED SOLDIER 1: He has clearly lost his mental facilities. SOLDIER 2: Hmmm. I wonder what sort of *** bother me. Oh, I wonder what sort of spirit vexes it, Henry? SOLDIER 3: I see it, Henry! And she's a fat spirit and at this very moment perched on top your boot. (They laughs at him. HENRY gets up and leaves the campfire.) SOLDIER 2: Careful, Henry. You might shoot all your own soldiers tomorrow. [BOULDER IN WOODS - NIGHT - PAST (CONTINUOUS] (HENRY walks over to the boulder and sits down on it. He glances behind him, then reaches into his knapsack. He takes out and puts on his glasses. He pulls out a small diary and writing instrument and starts writing.) HENRY TUCKER: (v.o.) My dear sweet Isabella. This fortunate beam of moonlight which surely must shine on you somewhere, too. Has given me the opportunity to write these lines to you. I fervently wish and pray for the health of you and our child. Everyday I ask for signs. Now, I believe that I am getting some. (From above and behind him, a bright light shines over HENRY TUCKER'S shoulders. It shines noticeably bright with an annoying electronic hum. HENRY turns around and in the reflection of his glasses, we see the circular image of a fluorescent light.) (There, behind him, is a tall modern fluorescent street lamp. The kind that can be found at the gas station in the future.) HENRY TUCKER: My God. (HENRY stares at the fluorescent lamp.) FADE OUT. FADE IN. [EXT. GAS STATION AND CIRCLEMART - NIGHT -- PRESENT] (Establish. An exterior view of the gas station. Out in the front where the gas prices are, is the circular fluorescent lamp.) SCENE #13: [INT. CIRCLEMART - NIGHT (PRESENT)] (In aisle three, PAUL picks up a canister of coffee. He lifts it to his ear and shakes it. KEEL turns the aisle and rushes up to PAUL.) ALVA KEEL: I think I know why we were lost in the woods. In Germany, they call it Das Leuffen Zorechtenseight (?). PAUL CALLEN: Does everything with you involve a foreign language? (Behind them, the BIKE RIDER 1(WOMAN) and her boyfriend, the CIRCLEMART WORKER, listen.) ALVA KEEL: The Time Slip. PAUL CALLAN: You're saying we slipped into those woods the way they were in the past? ALVA KEEL: Picture, if you will, years stacked on top of years. Like pages in The Sunday Times. Now picture spilled coffee on the top pages. When the pages become wet, it also becomes transparent allowing you to see through it onto the page beneath. PAUL CALLAN: The past becomes visible. ALVA KEEL: Briefly. And as the top page dries ... PAUL CALLAN: The past becomes invisible again. ALVA KEEL: (echoing) Invisible again. CIRCLEMART WORKER: Ooo. Is that possible? ALVA KEEL: The whole reason why we live in sequential time is so that two events can never occur in the same space at the same moment. If this is at work here, it could be incredibly dangerous. (They turn and look at the back of the CIRCLEMART where they start to hear the sounds starting up again.) (It's clear this time: A horse neighs. A strong wind blows through the aisle and they feel it. PAUL and KEEL back away as they feel the horse run past them.) CUT TO: SCENE #14: [EXT. WOODS - NIGHT - PAST -- CONTINUOUS] (Horse and rider gallop into camp. The soldiers rush up to meet them.) SOLDIER: (shouts) Rider coming in! (The horse stops. The SOLDIERS gather around the horse and rider.) SOLDIER 2: Any word from our troops to the South? MESSENGER: No. SOLDIER 4: When are the reinforcements coming? (The RIDER hands the message to SOLDIER 2. The SOLDIER takes it and reads it. The RIDER answers the question.) MESSENGER: I've heard only rumors of ambush. (SOLDIER 2 turns and walks away from the RIDER. The other Soldiers turn to gather around him. HENRY TUCKER pushes his way toward the RIDER.) HENRY TUCKER: My wife, Isabella Tucker. Any word on the typhoid in Livingston? MESSENGER: Henry, I'm sorry. No news of your wife. (HENRY looks disappointed. He stands still, then reaches into his knapsack.) HENRY TUCKER: I need to bring her something. (HENRY hands the RIDER his journal.) MESSENGER: Well, what is it? HENRY TUCKER: (desperate and earnest) My journal. You bring it to her. In return, I must have word by dawn if she and the baby are touched by Typhoid outside else I die in ignorance. MESSENGER: A ride? Delivered and back by dawn? Henry, that's impossible. HENRY TUCKER: Please. (He grabs JOHN'S shirt and pulls him closer.) Try. You try. (HENRY looks at his friend and nods. JOHN sees the desperation and decides to do it. He grabs the horse's reigns.) MESSENGER: Then I'll ride like a demon in the night. You will see me again, I promise. (JOHN turns his horse and rides out.) CUT TO: [EXT. GAS STATION AND CIRCLEMART - NIGHT -- PRESENT] ALVA KEEL: (v.o.) There was a time slip in Frankfurt. SCENE #15: [INT. CIRCLEMART - NIGHT - PRESENT] (PAUL and KEEL sit on their orange buckets in the center of the store.) ALVA KEEL: 1809. Some members of the New German Parliament were camped for the night on an embankment when they were awakened by the sounds of Roman Centurions falling in the river. They couldn't see the Romans and there was no river. But, even so. One of the parliament members died. PAUL CALLAN: How? ALVA KEEL: He drowned. PAUL CALLAN: Why now? Why here? ALVA KEEL: (shakes his head) That's a natural occurrence, like a thunderstorm. This is caused by convergence of conditions that we don't really understand, though it might be worthwhile taking a closer look at the weather. PAUL CALLAN: The weather? I think it might be a little more than that. ALVA KEEL: No, when an area contains a substantial amount of electrical material like the quarts in the hill slanting this town, it then would require a very small amount of additional energy to trigger a temporal anomaly. PAUL CALLAN: And that extra energy would come from what? ALVA KEEL: It's been very humid these last few days - humidity is known to store a latent negative electrical charge. Now I'd be interested to know is if the conditions here mirror those in Frankfurt. PAUL: (nods) Okay. CUT TO: SCENE #16: [INT. EVIE'S RESIDENCE - BEDROOM -- NIGHT] (The phone on the night table rings. Next to the phone is a cute framed picture of a baby wearing large circular wire-framed glasses.) (EVIE picks up the phone.) EVIE SANTOS: Hello? PAUL CALLAN: Hi, Evelyn. It's me. EVIE SANTOS: Paul. INTERCUT WITH: [INT. CIRCLEMART - NIGHT - PRESENT] PAUL CALLAN: Did I wake you? EVIE SANTOS: No. What can I do for you? PAUL CALLAN: Well, I need to know the relative humidity of Frankfurt, Germany during the third week of April - 1809. (She reaches for the pen and pad on the bedside table.) EVIE SANTOS: Okay. PAUL CALLAN: And knowing the geological make-up of the region wouldn't hurt either. (PAUL'S phone beeps. He looks at it, then continues the conversation.) How much quartz is there - where it's distributed - I gotta go. I have another call. Thanks, Evelyn. (PAUL hangs up and answers the next call.) PAUL CALLAN: Hello? GINNIE JACOBSON: Hi. It's Ginnie from this morning? PAUL CALLAN: Hi. Is everything all right? GINNIE JACOBSON: I'd like you to come here as soon as possible. PAUL CALLAN: Ginnie, is everything okay? GINNIE JACOBSON: No. CUT TO: SCENE #17: [INT. JACOBSON RESIDENCE - NIGHT] (GINNIE opens the door to her kid's bedroom.) GINNIE JACOBSON: My kids won't go to sleep. They want the ghost expert. (Inside the darkened room, RENATA and GUS are wide awake. GUS looks extremely worried.) GUS JACOBSON: We're not afraid. Not unless a ghost can eat through a blanket. (GINNIE turns the bedroom light on. Both children are sitting up in bed.) GINNIE JACOBSON: I'm at the end of my rope. GUS JACOBSON: We're afraid of the man in the woods. (RENATA nods. PAUL pulls up a chair between the two beds.) PAUL CALLAN: Okay. Uh, well. The man in the woods is not allowed to come out of the woods. Otherwise, he wouldn't be the man in the woods. GUS: Are those woods his heaven? PAUL CALLAN: Well, yeah. Sort of. I guess. RENATA: What's heaven like? PAUL CALLAN: Okay. Think of the best moment you can imagine and put that moment in the best place you can imagine. I think that would be heaven. GUS: Are there dogs? PAUL CALLAN: In heaven? It wouldn't be heaven without dogs? RENATA: Is there cotton candy? PAUL CALLAN: Yeah, there's entire houses built of cotton candy. RENATA: Who lives in the houses? PAUL CALLAN: Clowns. GUS: Well, I don't like clowns. PAUL CALLAN: Well, they're really more like performance artists. GUS: Oh. PAUL CALLAN: Yeah. RENATA: Well, what about cats? Can cats go? PAUL CALLAN: Ah, Yeah, but you see, the cats and the dogs, they don't ever fight. (The kids smile.) CUT TO: SCENE #18: [DOWNSTAIRS LIVING ROOM - NIGHT - LATER] (PAUL walks down the stairs. GINNIE'S there.) GINNIE JACOBSON: I'd really like to thank you. PAUL CALLAN: Oh, well ... really ... GINNIE JACOBSON: But, I can't. You just told them a bunch of stuff you obviously don't believe yourself. PAUL CALLAN: I really wasn't expecting them to start asking existential questions. GINNIE JACOBSON: I know my kids, Mr. Callan. They're sensitive, but they're also intelligent. It's not enough to tell them that ghosts are nice and eat cotton candy. PAUL CALLAN: What are you suggesting? GINNIE JACOBSON: I'd like to go down to that shortcut and show them that there's nothing to be afraid of. PAUL CALLAN: (shakes his head) I really don't think that's a good id- (But she's upset and beyond listening. GINNIE pushes past PAUL and calls out for her kids.) GINNIE JACOBSON: Hey, kids? Get your shoes on. Let's go for a little walk with Paul. Let's go! CUT TO: SCENE #19: [EXT. WOODS - NIGHT -- PRESENT] (PAUL, GINNIE and the kids are walking in the woods. They each carry a flashlight. RENATA leads them while GUS walk between the two adults.) GUS: I'm scared. GINNIE JACOBSON: There's nothing to be afraid of. (RENATA stops and looks around.) PAUL CALLAN: This the spot? RENATA: (points with flashlight) No. It happened way up there. (She runs ahead of them. GUS runs with her. PAUL and GINNIE follow from behind.) [EXT. ANOTHER PART OF THE WOODS - NIGHT -- PRESENT] (RENATA and GUS lead the way. GINNIE tries to keep up with them and PAUL takes the slack.) (As he looks around, PAUL steps into a puddle. He lifts up his foot and shines the flashlight on his white tennis shoes. He's stepped into blood, the bottom of his shoes are red and dripping.) (He stares at his shoes.) CUT TO: [EXT. WOODS - NIGHT -- PAST] (SOLDIERS run in the night. There's gun fire all around them. Yankee soldiers break into camp and fire. Confederate soldiers wake up and crawl out of their tents. SOLDIERS: Go! (General confusion reigns all around them. HENRY TUCKER wakes up to the commotion. He grabs his gun and crawls out of his tent. He takes a couple of steps when he hears something behind him. He turns around and sees the enemy soldier.) (A Yankee soldier stands, aims, and fires, hitting him in the shoulder. He looks down at the wound, more surprised than anything.) [Cut to: PRESENT] (PAUL looks down at his shoulder, blood runs down his white shirt from the bullet wound. He looks up. The bullet slipped through time missing the soldier completely and hits PAUL instead.) [Cut to: PAST] (HENRY TUCKER looks down at his shoulder and finds there's no wound, no blood, no bullet. He looks up at the equally surprised Yankee soldier who fired the gun at him.) [Cut to: PRESENT] (PAUL staggers backward and falls to the ground with a grunt.) (GINNIE hears the sound and turns around. She sees PAUL, gasps and runs back to him.) [Cut to: PAST] (HENRY TUCKER raises his gun and fires at the Yankee Soldier hitting him square in the chest.) [Cut to: PRESENT] (PAUL writhes in pain on the ground reeling from being shot. GINNIE runs over to him and kneels down to check on him.) GINNIE JACOBSON: Paul, are you all right? (She sees the gun shot wound.) GINNIE JACOBSON: Oh, my god! Oh, my god! (RENATA and GUS reach PAUL and see that he's hurt. GINNIE reaches into her pocket and pulls out her cell phone.) (She dials.) FADE OUT. SKEET ULRICH: (v.o.) Miracles will return in a moment, here on A-B-C. FADE IN. SCENE #20: [EXT. WOODS - NIGHT - PRESENT/PAST] (PAUL is on the ground lying on his side, his shoulder bleeding. He opens his eyes. We can hear the sounds of battle all around him.) (He rolls over and in the background, we can see the soldiers fighting.) (A single soldier sees PAUL and walks over to him.) (His eyes open and looking straight up, PAUL can hear him.) (HENRY TUCKER kneels down next to PAUL and looks at him.) HENRY TUCKER: Are you an angel? (PAUL looks at him.) (HENRY TUCKER says something, but PAUL only hears the low, slow sounds of a person speaking as if in a mode too slow to hear.) (He stares at the man's mouth, trying to make out the words. The man speaks again, but PAUL can hear nothing but the voice sounds too slow and too low to hear. He glances down and sees the top button of the man's uniform.) (HENRY TUCKER looks down at PAUL and sees the bloody shoulder. He reaches out and touches the wound as if to make sure it's real. His eyes widen.) (He places the flat of his hand directly over PAUL'S wound.) AUDIO RESUMES: (PAUL cries out in pain.) CUT TO: SCENE #21: [INT. DOCTOR'S OFFICE - DAY] (KEEL holds the bullet between his fingertips.) ALVA KEEL: You were shot by a one-hundred and forty year old bullet. (PAUL sits on the examination table, his arm in a sling. He's still shaking from the experience and probably from the pain, too. He's wearing clean clothing.) PAUL CALLAN: I know. ALVA KEEL: Did you see the man? PAUL CALLAN: I didn't just see him. Look at my clothes. (KEEL walks over to look at the clothes PAUL was wearing. On his shoulder, there's a bloody hand print.) PAUL CALLAN: He needs something. He was trying to ask me something, but I couldn't make out the words. (PAUL reaches out and grabs the shirt out from KEEL'S hands.) PAUL CALLAN: He needs something. (He stands up and places a hand on KEEL'S shoulder.) PAUL CALLAN: I have to figure out what it is. ALVA KEEL: You might want to do that quickly. PAUL CALLAN: Why? ALVA KEEL: Haven't you noticed? The weather's cooling down. (PAUL swallows and heads out of the room.) CUT TO: SCENE #22: [INT. DOCTOR'S OFFICE - NURSE'S STATION -- DAY] (KEEL stands at the nurse's station. He takes the clipboard and form from her. In the back, GINNIE JACOBSON rushes across the hallway, heading toward the waiting room where PAUL and KEEL are. KEEL hands the form to PAUL.) (PAUL grimaces. He's still in pain.) (GINNIE stops next to PAUL.) GINNIE JACOBSON: Are you all right? You scared us half to death. PAUL: Sorry. GINNIE JACOBSON: No, I'm sorry. I'm the one who made you go out there. Is there really a man in the woods? PAUL CALLAN: More than one. Something called a Time Slip. GINNIE JACOBSON: A Time Slip? And this is something that you guys know about. ALVA KEEL: A little. GINNIE JACOBSON: Only a little? Okay. I need to know the truth. I need to explain this to my kids. PAUL CALLAN: What have you told them so far? (beat) GINNIE JACOBSON: I lied. (PAUL nods.) CUT TO: [EXT. MUSEUM BUILDING - DAY] LEGEND: SHADOW VALLEY HISTORICAL SOCIETY SCENE #23: [INT. SHADOW VALLEY HISTORICAL SOCIETY -- DAY] (The HISTORIAN looks a the bullet as PAUL watches.) HISTORIAN: So, you say you found it in your back yard, right. Pretty common in these parts. Boy scouts bringing them in all the time. (GINNIE points to one of the photos hanging on the wall behind the counter.) GINNIE JACOBSON: If you wanted to identify a man in one of these pictures, how would you do it? HISTORIAN: Name. We're fairly well archived. ALVA KEEL: The name we're simply out of. HISTORIAN: Oh, well, let's see. Well, you could try ... (PAUL has a quick flash of the button HENRY TUCKER was wearing. End of flash.) PAUL CALLAN: Would a button tell you anything? HISTORIAN: Hmm. Quite a bit actually. (He leads the group over to another display.) HISTORIAN: Silver button indicates an officer. Brass button, a common soldier. PAUL CALLAN: A Brass button. The one I saw had a woman holding a sword on the front of it. HISTORIAN: That's an infantry from Virginia. (He looks in the display case and takes out a button. He shows it to PAUL. It's the same button.) HISTORIAN: Must've lived in the second battalion. ALVA KEEL: Why do you say that? (He looks around and takes out a file box.) HISTORIAN: Well, the flanking maneuver attempted by a small detachment of the second battalion in the hills close to here, uhm ... (In the box he pulls out a file folder with an old photo in it.) HISTORIAN: hmm, uh, here. hmmph. (He hands the photo to PAUL. PAUL looks at the photo.) HISTORIAN: I have another one if you'd like to see - taken after the Battle of Shadow Ridge. PAUL CALLAN: Never heard of that one. (PAUL sees HENRY TUCKER in the line-up.) HISTORIAN: For good reason. A modest squirmish over a forgotten ridge which ultimately had no bearing on the outcome of the war. (PAUL sees the second photo of the dead man from the squirmish.) HISTORIAN: There were no survivors. (PAUL flips the photo over and reads the name written on the back identifying the dead man: HENRY TUCKER.) FADE TO: SCENE #24: [EXT. WOODS - DAY -- PAST] (HENRY TUCKER sits in the woods and writes in his diary with a pencil.) HENRY TUCKER: (v.o.) My Sweet Isabella. It is with extreme difficulty that I write this. I am alone. Desperately praying to know the health of you and our child. I am hopeful for word. Soon, was the messenger's refrain. I fear the worst, but God has been good to me, so far. He's shown me a halo floating in the sky which preceded the arrival of a man I can only call an angel set down before me in strange clothing. This man spared me from the most cruelly devised assault by the union ... (PAUL CALLAN'S voice joins in the voice over.) CUT TO: SCENE #25: [INT. LIBRARY - DAY - PRESENT] (PAUL, KEEL and GINNIE read HENRY TUCKER'S diary on the microfiche viewer.) PAUL CALLAN: (v.o.) ... in the middle of the night and then went as quickly as he appeared. The air is lately full of sounds; the sky of visions, every object on the ground is full of hints for me. I do not yet know what all this means, but for the first time I realize there are things on this earth which cannot be weighed on a scale, which the smartest of doctors cannot know with certitude. (Note that the page they're showing isn't the page PAUL'S reading from. It's different.) GINNIE JACOBSON: All right. What happens on the next page. Come on. (PAUL moves the slide over and his jaw drops at what he sees.) CUT TO: SCENE #26: [EXT. GAS STATION - DAY - PRESENT] (PAUL holds up a hardcopy of HENRY TUCKER'S diary. On the top left hand corner there is a drawing of the thing that HENRY called the "halo". Held up to the air, PAUL compares it to the fluorescent Gas Station sign. It's a perfect match.) (PAUL puts the paper down and glances behind him. He swallows in pain.) PAUL CALLAN: It's not just that we could see into his world, he could see into ours. GINNIE JACOBSON: This man? He-he stood right here when he wrote that? ALVA KEEL: A hundred and thirty-seven years ago. PAUL CALLAN: (reading from diary) "I am willing to die for my country. But, because I died knowing not whether my baby or my wife live, my spirit will never rest." (He hands the sheet to KEEL who grabs it to read it for himself. They look at each other. They found it.) ALVA KEEL: That's what he needs to know. That's what he needs to find out. PAUL CALLAN: Nobody should have to die like that. (PAUL turns away and starts to walk. He opens his pill bottle and taps out a couple of pills into the palm of his hand.) ALVA KEEL: Where are you going? PAUL CALLAN: He wants to know what happened to his family. I'm going to find out. (He takes a pill.) GINNIE JACOBSON: And then what? PAUL CALLAN: Then, I'm going to tell him. (PAUL walks away.) FADE INTO: SCENE #27: [EXT. DIRT ROAD - DAY - PRESENT] (The car speeds along the dirt road. Inside the car, PAUL is on the phone.) PAUL CALLAN: (to phone) Henry and Isabella Tucker. I need birth records. April, 1865. (pause) No, 18! 1865. GINNIE JACOBSON: Do we really need to drive this fast? PAUL CALLAN: It may be too late already. GINNIE JACOBSON: I don't understand. The man has been dead a hundred and thirty-seven years. Aren't we already too late? ALVA KEEL: We have a short window of opportunity to get a message through before the time slip inevitably corrects itself. PAUL CALLAN: (to phone) How late are you open? Okay. We'll be there. (He hangs up and turns to KEEL.) Step on it. (The car zooms along the dirt road.) GINNIE JACOBSON: Look out! (The car screeches to a stop.) (In front of them, the transparent ghostly figures of the soldiers walk across the dirt road in front of them. Men, firearms, horses. The entire regimen is headed off to fight.) (PAUL turns to KEEL.) PAUL CALLAN: Henry's got a hell of a battle coming. FADE OUT. FADE IN. SCENE #28: [EXT. DIRT ROAD - DAY -- PRESENT] (The ghostly soldiers walk across the dirt road directly in front of their car. They watch quietly.) ALVA KEEL: I don't understand. The wind's changed, but the Time Slip is getting stronger. PAUL CALLAN: I don't think it has anything to do with the weather. What's going to stop this is Henry getting his answer. CUT TO: SCENE #29: [INT. RECORD STORAGE ROOM - DAY -- PRESENT] LEGEND: LIVINGSTON HALL OF RECORDS (The FILE CLERK opens the storage room door and turns on the light. GINNIE, PAUL and KEEL walk into the room. The shelves on the wall, from floor to ceiling, is covered with file boxes. There are file boxes stacked on the floor.) FILE CLERK: You do understand that I'm not going to help you. (She closes the door shut behind them leaving them inside the storage room.) CUT TO: SCENE #30: [EXT. WOODS - DAY - PAST] (The SOLDIERS stand in a line. They load their weapons, preparing to fight. In the distance, they hear an approaching horse neighing.) (They look up and see the horse and rider.) SOLDIER 2: Who's that? SOLDIER 1: Reinforcements? Maybe things aren't so bad as we think on the other side. What the hell is he doing? Grazing that dang horse? (HENRY TUCKER looks up at the horse and rider. Eventually, he recognizes them.) HENRY TUCKER: (hopeful) It's the messenger. (Everyone rushes over to see him.) (HENRY reaches the horse first. He tugs on JOHN.) HENRY TUCKER: Hey, hey, hey. (JOHN falls back on the horse.) SOLDIER 2: (to HENRY) He's dead. HENRY TUCKER: Dammit. (HENRY opens the MESSENGER'S knapsack and pulls out his own journal.) HENRY TUCKER: (disappointed) He never made it. He never made it. (A SOLDIER calls out from the distance.) SOLDIER: (v.o.) They're getting closer. SOLDIER 2: (shouts) Come on. Come on. (The SOLDIERS leave the messenger and run back to their positions. They can hear the start of gunfire on the other side of the hill.) SOLDIER: Over here! (The SOLDIERS form a line on the road facing the top of the hill. On their leader's signal, they head into battle.) SOLDIER: Forward! March! (The SOLDIERS walk up the hillside.) CUT TO: SCENE #31: [INT. LIVINGSTON HALL OF RECORDS -- STORAGE ROOM - DAY -- PRESENT] (KEEL and PAUL search through the files in the storage boxes.) GINNIE JACOBSON: (o.s.) I've found it! (They both look up and rush over to the next aisle where GINNIE is looking through a file.) GINNIE JACOBSON: I found it. (She hands them the certificates.) SCENE #32: [EXT. HILLSIDE - DAY - PAST] (The SOLDIERS reach the top of the hill and see the YANKEE defense line just beyond. They move in closer.) (The SOLDIER cocks his rifle and lifts it to his shoulder. The other SOLDIERS move in closer.) (The canons fire. The battle has begun.) (The SOLDIERS continue to advance on the YANKEE defense line. The YANKEE soldiers standing behind their make-shift barriers pick off the CONFEDERATE soldiers one by one. But still they keep advancing forward.) (HENRY turns and watches as the soldier next to him is shot and falls. He continues forward, but the very air around him begins to wave and ripple.) (In the distance to the side, he sees a billboard for the movie: IMMINENT DISASTER. He looks ahead to shoot, but turns back to get a second look.) (Speeding toward him, he sees a red truck.) (The battle continues around him, another soldier falls. But still, HENRY can't take his eyes off the large red truck. The red truck passes right in between him and the YANKEE soldier aiming his gun on him. The truck passes and the YANKEE soldier fires hitting HENRY in the chest.) (HENRY falls backward to the ground. He reaches up to touch his wound.) CUT TO: [EXT. WOODS - NIGHT - PRESENT] (PAUL and KEEL standout in the clearing. The CIRCLEMART WORKER drives his red truck up toward them. He stops and gets out of his car. PAUL and KEEL walk up to him.) CIRCLEMART WORKER: Dude. I brought as many speakers as I could find. (Inside the car, GINNIE JACOBSON watches, her mouth open at what she sees happening in the distance. PAUL, KEEL and the CIRCLEMARK WORKER all work to get the speakers working.) (GINNIE thinks about it for a moment. She turns to her kids sitting in the back seat, their eyes wide open as she explains to them what's going on.) GINNIE JACOBSON: So, it is plausible, even if you can't accept the idea that time itself is bending, that a strong enough magnetic field that revolves in the earth could create ... well, hiccups in the way that we perceive time which is a perfectly acceptable explanation for everything you've seen, right? (She nods, encouragingly at them. Her kids stare blankly back at her.) (Outside, KEEL puts the large speaker down on the dirt road while PAUL unwinds the cord back to the truck. The CIRCLEMART WORKER carries the second large speaker over to the first one.) CIRCLEMART WORKER: I don't believe I'm really doing this. (PAUL and KEEL head back to the truck.) [EXT. BATTLEFIELD - DAY - PAST] (HENRY TUCKER'S eyes are open as he lies back on the dirt road waiting to die. All around him, the sounds of battle - gunfire and shouting - continues.) [INT. CAR (PARKED) - NIGHT - PRESENT] (GINNIE has her fingertips pressed against the bridge of her nose. She tries again.) GINNIE JACOBSON: Okay. Another way to look at it is this. It's the process of our time and another time temporarily crossing one another like two waves from different directions on a lake. (Her kids stare at her, wide-eyed. GINNIE motions with her hands.) GINNIE JACOBSON: They meet in the middle and they, you know, uh ... cross. RENATA JACOBSON: (simply) So there really is a ghost in the woods. (Out of the mouth of babes. GINNIE'S shoulders sag and she sighs.) GINNIE JACOBSON: Yes, there is, sweetie. [EXT. BATTLEFIELD - DAY - PAST/PRESENT] (HENRY TUCKER'S eyes are open as he struggles to breathe. He looks up and sees an airplane flying overhead. He stares at the plane, the sounds of his heartbeat getting louder along with his harsh breathing. He's dying and he doesn't have much time left.) FADE TO: [EXT. WOODS - NIGHT - PRESENT] (PAUL stands near the truck and takes out a cassette tape from his shirt pocket. He climbs into the truck and slips the cassette into the player.) (He turns the volume up.) PAUL CALLAN: (from tape) Henry Tucker: Your wife, Isabella and your baby, William, live on. William will grow up to be a newspaper man and raise three children of his own. (repeats) Henry Tucker ... [EXT. BATTLEFIELD - DAY - PAST/PRESENT] (A gun fires and the bullet hits the dirt near HENRY TUCKER'S head. All around him, sounds of battle range on ... as well as something else. He hears low, slow sounds.) (He turns his head and right next to him, he sees the large speakers through a ripple in time. From the speakers, he hears the low, slow sounds. He stares at the speakers.) [EXT. WOODS - NIGHT - PRESENT] (ALVA KEEL stands between the two speakers.) PAUL CALLAN: (from tape) Three children of his own. (repeats) Henry Tucker: Your wife, Isabella and your baby, William, live on. William will grow up to be a newspaper man and raise three children of his own. (repeats) Henry Tucker: ... (PAUL walks up to KEEL. He shakes his head.) PAUL CALLAN: It's never going to work. ALVA KEEL: It's worked on Aisle Three. PAUL CALLAN: (from tape) ... your wife, Isabella and your baby, William, live on. William will grow up ... [EXT. BATTLEFIELD - DAY - PAST/PRESENT] (HENRY TUCKER stares at the speakers, the low-slow sounds coming from them slowly getting clearer and clearer.) PAUL CALLAN: (slow sounds) to be a newspaper man and raise three children of his own. Henry ... (As HENRY stares, the words speed up and become more clear.) PAUL CALLAN: (from speakers) ... Tucker: your wife Isabella and your baby, William, live on. William will grow up to be a newspaper man and raise three children of his own. (The words become clear to HENRY as he dies with a smile on his face.) PAUL CALLAN: (from speakers) Henry Tucker: FADE INTO: [EXT. WOODS - NIGHT - PRESENT] (PAUL stares at the bushes in front of them as they wait. Lights like fireflies appear to light up the sky. From behind the bush, a bright glowing light shines brighter and brighter all the while the tape continues to broadcast the message.) (KEEL points.) [INT. CAR (PARKED) - NIGHT] (Attracted by the light, GUS turns his head to look out the car window.) GUS JACOBSON: Mommy, look! (RENATA and GINNIE turn to look out the window.) PAUL CALLAN: (from tape) Henry Tucker: your wife Isabella ... (Through the car reflection, we see them watching a bright light rising through the sky.) PAUL CALLAN: (from tape) Henry Tucker: your wife Isabella ... (GUS and RENATA stare out the window.) GUS JACOBSON: wow. (The lights of all the spirits trapped in the Time Slip rise and are released. In the center of the area, the biggest and brightest light rises up high into the air.) (PAUL watches the lights.) FADE INTO: [EXT. BATTLEFIELD - DAY - PAST/PRESENT] (HENRY tucker dies with a smile on his face.) [EXT. WOODS - NIGHT - PRESENT] (The CIRCLEMART WORKER stands next to his truck and watches the lights. He walks forward.) (KEEL and PAUL watch PAUL CALLAN: Keel? ALVA KEEL: Ghost Lights. PAUL CALLAN: The Spirits of the Civil War dead. (They watch the lights in front of them.) (Tears run down PAUL'S cheeks.) [OFF PAUL] (The lights reflected on his face go out and it's dark once more.) FADE INTO. [EXT. BUILDING - NIGHT] SCENE #33: [INT. PAUL'S APARTMENT - NIGHT] [OFF PAUL] (PAUL stands still, his eyes captured on something behind the camera. The Camera swings around on PAUL and we see that PAUL'S looking at an enlarged framed photograph of HENRY TUCKER'S Civil War regiment.) (Through the reflection of the glass, we see PAUL staring at the picture. Camera refocuses off the photo and onto PAUL'S reflection.) (And holds.) FADE TO BLACK. ========================== THE END ========================== Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive this transcript without permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== MIRACLES 1X08: THE BATTLE OF SHADOW RIDGE [UNAIRED] TRANSCRIBED FROM MASTER DUB 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 SUSAN YEAGLEY as Ginnie Jacobson ANDREW KAVOVIT as Henry Tucker STEPHANIE BRASS as Renata Jacobson PAUL BUTCHER as Gus Jacobson JOEL BISSONNETTE 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 Written by: DAVID GRAZIANO Directed by: MICHAEL GROSSMAN ========================== END CREDITS ========================== David Greenwalt Productions Spyglass Entertainment Touchstone Television Co-Producer: WILLIAM REDNER Co-Producer: MEGAN WOLPERT Executive Story Editor: DAVID GRAZIANO Co-Starring CASEY McFERON as Soldier #1 EVERETTE WALLIN as Soldier #2 THOMAS NEWTON as Soldier #3 WILLIAM WINTER as Southern Rock ZACHARY QUINTO as Messenger Co-Starring GILLIAN SHURE as ATV Girl TRAVIS AARON as ATV Guy MARTIN McCLENDON as Historian DAVID CARPENTER as Rural Deputy LISA GOULD as File Clerk Director of Photography: ERNEST HOLZMAN, A.S.C. Production Designer: LAWRENCE BENETT Edited by: ROBERT FIELD Unit Production Manager: TONY BROWN First Assistant Director: LINDA ROCKSTRAH 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: COLLEEN LABAFF 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. CHALFANT Post-Production Supervisor: DAN McDONALD Assistant Editor: BART J. BARISANO Re-Recording Mixers: TIM PHILBEN Re-Recording Mixers: ALAN DECKER Reinactment Consultant: DANIEL BERGMAN Visual Effects By: ZOIC STUDIOS High Definition Post-Production: ENCORE Film Laboratory: DELUXE FILM LABS (c) 2003 Touchstone Television All Rights Reserved. Dated:03/30/2004~lky http://www.webphilia.com/~anthology/wnp.html