MIRACLES 1X09: MOTHER'S DAUGHTER (UNAIRED) [UNAIRED IN U.S.] AIR DATE IN CANADA: 11/28/2003 TRANSCRIBED FROM MASTER DUB Written by: CHRISTIAN TAYLOR Directed by: JOHN FAWCETT 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: The teenaged daughter of an amish woman is slowly overtaken by the reincarnated spirit of a New York Socialite who died ten years before. ========================== MIRACLES 1X09: MOTHER'S DAUGHTER (UNAIRED) ========================== [BLACK SCREEN] TOUCHSTONE TV / MIRACLES MIRACLES EPISODE #104 "MOTHER'S DAUGHTER" (AKA WAKEY) NTSC DUBBING MASTER TRT=42:45 525/29.97 DFTC 04.30.03 ENCORE FADE IN. NARRATOR: (v.o.) Previously on "Miracles "... [Scene from 1X05: The Bone Scatterer] [EXT. RED DEER CHURCH OF THE SACRED CROSS - NIGHT] (Linger on the church sign outside.) [INT. CHURCH - SANCTUARY - NIGHT] (The REV. J. GRAFMULLER is thrown into the air. He screams with fright.) [Scene from 1X01: The Ferguson Syndrome] (TOMMY FERGUSON and PAUL toss a baseball to each other in the back yard.) TOMMY FERGUSON: You don't have parents? PAUL CALLAN: Everyone's got parents, I just never knew mine. [EXT. CEMETARY - EARLY EVENING] (PAUL breaks the news to the FATHER.) PAUL CALLAN: I'm afraid there's no miracle here. FATHER: Wha--? [INT. DINER - DAY] (PAUL talks with FATHER "POPPI" CALERO.) PAUL CALLAN: You should see their faces. They look gut-punched every time. I just show up, deliver the bad news, and move on. FATHER "POPPI" CALERO: What's the point of faith if it's never tested. [Scene from 1X02: The Friendly Skies] [EXT. PARK - DAY] (PAUL talks with KEEL.) ALVA KEEL: You do play a significant role in all of this. [Scene from 1X03: The Patient] (EVIE talks with KEEL.) EVIE SANTOS: Well, what about Paul? Wouldn't this thing target Paul in two seconds flat? [Scene from 1X08: The Battle of Shadow Ridge] [EXT. WOODS - NIGHT -- PAST] (A CONFEDERATE SOLDIER raises his gun and fires at the Yankee.) (Cut to: Woods. PAUL is shot in the chest. The blood runs down his white shirt. The wound is definitely real.) (Cut to: Hospital. KEEL holds up the gun bullet.) ALVA KEEL: You were shot by a one hundred and forty year old bullet. [Scene from 1X06: Hand of God] (KEEL to EVIE.) ALVA KEEL: Paul is on a spiritual journey. This is something few of us undertake, and as in Paul's case, it is not that one chooses --rather, one is chosen. [Scene from 1X03: The Patient] [CU: PAUL] PAUL CALLAN: Pray. FADE TO BLACK. END OF "PREVIOUSLY ON" FADE IN. SCENE #01: [EXT. ROADWAY -- DAY LEGEND: LANCASTER PENNSYLVANIA (A horse and buggy races down the roadway. A car going in the opposite direction passes by.) [EXT. CATTRALL RESIDENCE - DAY] [INT. CATTRALL RESIDENCE - BEDROOM -DAY] (ELIZABETH picks up the pitcher of water and pours it into the bedside bowl. We hear a woman's muffled moan coming from the bed.) (HANNAH CATTRALL, a teenager, is on the bed writhing in pain caught in whatever fever has her.) HANNAH CATTRALL: (mumbling) (ELIZABETH squeezes out the sponge in the bowl and turns to sit on the bed next to her daughter.) HANNAH CATTRALL: (mumbling) (ELIZABETH hears the horse arrive outside. With a glance at her daughter, she gets up to meet the buggy.) [EXT. CATTRALL RESIDENCE - FRONT -DAY] (Outside, the horse and buggy pull up the drive and stops near the tree out front. The horse neighs. JOSIAH exits the buggy and rushes to the back of the buggy to get his delivery.) [INT. CATTRALL RESIDENCE - KITCHEN -DAY] (ELIZABETH walks down the stairs. She glances at MIRIAM who is already in the room.) ELIZABETH CATTRALL: Is that Josiah? (ELIZABETH walks over to the window to check outside.) [EXT. CATTRALL RESIDENCE - FRONT -DAY] (JOSIAH grabs the ice wrapped in a thick blanket. Already, it's melted from the trip back home and he spills water on the ground on his way to the house.) [INT. CATTRALL RESIDENCE - KITCHEN -DAY] (ELIZABETH lets go of the curtain and turns to MIRIAM.) ELIZABETH: Oh, the fever won't break. I'm fearing for her, Miriam. MIRIAM: (consoling) Give it time. She's a strong girl. (The front door opens and JOSIAH rushes in with the ice.) JOSIAH: The Flodes are out of ice, so I had to go to Everly's Market. (He empties the ice into the wooden ice box. MIRIAM has the ice pick and starts hacking at the big block of ice cutting it into large chips. ELIZABETH gets the bowl to gather the ice.) [INT. CATTRALL RESIDENCE - BEDROOM -DAY] (Upstairs, HANNAH writhes on the bed.) [INT. CATTRALL RESIDENCE - KITCHEN -DAY] (Downstairs, they fill the bowl up with large chunks of ice. [INT. CATTRALL RESIDENCE - BEDROOM -DAY] (HANNAH mumbles in her sleep.) (A quick flash of: A large piece of red cloth flaps in the wind against the clear, bright blue sky.) [INT. CATTRALL RESIDENCE - KITCHEN -DAY] (Downstairs, MIRIAM and ELIZABETH work quickly to get the ice ready. As soon as the large bowl is filled, ELIZABETH rushes back up the stairs to the bedroom. MIRIAM follows her.) [INT. CATTRALL RESIDENCE - BEDROOM -DAY] [CU: HANNAH] (HANNAH mumbles, her eyes closed, her face feverish.) (A quick flash of: A large piece of red cloth flaps in the wind against the clear, bright blue sky.) (Suddenly HANNAH'S eyes open wide.) HANNAH CATTRALL: (rasps) Mother. (ELIZABETH walks into the room. She turns and looks at HANNAH and gasps. Shocked at what she sees, ELIZABETH drops the bowl of precious chopped chunks of ice onto the floor.) MIRIAM: (gasps) Oh, Father in Heaven! (MIRIAM puts a hand to her mouth, her eyes wide as she stares at HANNAH.) (ELIZABETH is completely shocked. In the back, we hear HANNAH mumbling over and over again, her words tumbling out one after the other.) HANNAH CATTRALL: You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. ... (The camera rises from the foot of the bed to show HANNAH CATTRALL on the center of the bed, arms stretched out away from her sides, wrists are at the level of her shoulders and her feet together. Her wrists are bleeding, a startling red against the white bed sheets.) HANNAH CATTRALL: (mumbling feverishly) ... You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. You don't know me. (ELIZABETH stares at HANNAH.) FADE TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) FADE IN. [INT HOSPITAL] (Open on a baseball glove. The little boy wearing the glove plays absently with the baseball in the glove tossing it into the glove.) (Camera cuts to a long shot from the hallway into the open hospital room where we see a little boy about five years old sitting in a chair near the door in his mother's hospital room. His feet dangle off the chair not touching the ground. In the room, his mother is lying on the bed near the window and is hooked up to various machines.) (As he looks dejectedly at his glove and ball, his mother starts jerking and convulsing in the bed in the background. The monitors start to beep. His mother gasps for air. YOUNG PAUL looks up and sees his mom struggling.) (He reaches out a hand to her as the doctors and nurses rush into the room.) YOUNG PAUL CALLAN: (echo-y) Mommy! (His mother reaches out her hand to him.) MOTHER: (echo-y) Paul. (Their fingers barely grab each other. More people rush into the small hospital room. A large black figure, dressed in what looks like a nun's gown, walks into the room and grabs YOUNG PAUL from behind, and pulls him out of the room toward the hallway ripping his grip out of his mother's grasp.) YOUNG PAUL CALLAN: Mommy! (The black figure pulls YOUNG PAUL backward and out of the hospital room, out of the bustle and commotion inside.) YOUNG PAUL CALLAN: Mommy! (YOUNG PAUL'S mother reaches out her hand to him feeling for him.) MOTHER: (faint, echo-y) Paul! (As YOUNG PAUL watches from the hallway, the door closes in front of him, obscuring his view of his mother in the hospital bed.) CUE SOUND: TELEPHONE RINGING [INT. PAUL'S ROOM - MORNING] (PAUL wakes up.) PAUL CALLAN: (muffled) Mmmom! (He sits up in bed. Still partially asleep and haunted by the dream, PAUL puts a hand to his forehead. The phone continues to ring.) (PAUL answers it.) PAUL CALLAN: (to phone) Hello? ALVA KEEL: (from phone) An orderly called us from a hospital in Pennsylvania this morning. PAUL CALLAN: (to phone) Hospital? ALVA KEEL: (from phone) Yes, he had quite a story to tell. Are you ready to take a trip? PAUL CALLAN: (to phone) Uh, yeah, okay. (PAUL picks up his watch from the bedside table and looks at it.) When do you want to meet? ALVA KEEL: (from phone) Now. I'm downstairs. (PAUL'S quiet for a moment, then hangs up the phone.) CUT TO: [EXT. HOSPITAL BUILDING (STOCK) - DAY] LEGEND: LANCASTER GENERAL HOSPITAL [INT. LANCASTER GENERAL HOSPITAL - HALLWAY -- DAY] (PAUL tells KEEL what he thinks about stigmata. KEEL looks down at the slip of paper in his hand and up at the room numbers on the doors as they walk by.) PAUL CALLAN: Say "stigmata," and people see blood pouring from the palm of a person's hand, but in actual crucifixions, they always went through the wrists. Hands would tear. ALVA KEEL: Oh ... PAUL CALLAN: If she's bleeding from the wrists, it could be miraculous intervention, but it's more likely a suicide attempt. ALVA KEEL: That's the problem, you see, she's bleeding from the wrists, but according to the information I was given, there aren't any wounds. (They stop in front of the hospital room.) PAUL CALLAN: That doesn't make sense - a real stigmata has real wounds. (PAUL heads toward the door.) ALVA KEEL: You're the expert. (He turns to look back at KEEL.) CUT TO: [INT. LANCASTER GENERAL HOSPITAL - HANNAH'S ROOM -- DAY] (The door opens and we see HANNAH CATTRALL on the bed near the window. There are no machines hooked up to her, but HANNAH is in restraints. They walk into the room. PAUL walks around the bed as he looks down at HANNAH. HANNAH'S awake.) ALVA KEEL: Hannah ... My name is Alva Keel. (KEEL sits down near the bed as he makes the introductions.) This is Paul Callan. We'd like to talk to you about why you're here. HANNAH CATTRALL: (afraid) Where's my mother? I want to go home. PAUL CALLAN: I know. Do you know why you're in restraints, Hannah? HANNAH CATTRALL: They said I was violent. PAUL CALLAN: We were told you were brought here because your wrists were bleeding. Has this ever happened before? (PAUL kneels near the bed. She shakes her head, no.) Did you cut your own wrists? HANNAH CATTRALL: (shakes her head) No. PAUL CALLAN: Do you know why they were bleeding? HANNAH CATTRALL: (sighs) Because I dreamed it. (PAUL looks at KEEL. ELIZABETH CATTRALL walks into the room and looks at PAUL and KEEL suspiciously. With her are JOSIAH and the DOCTOR.) HANNAH CATTRALL: Mother. (ELIZABETH steps up to the bed and smiles down at HANNAH.) HANNAH CATTRALL: Mother, I'm so glad you're here. (KEEL stands up and moves to the back of the room. JOSIAH steps forward. The doctor looks from PAUL to KEEL.) DOCTOR: Who are you and what are you doing here? PAUL CALLAN: We look into things like ... stigmata. DOCTOR: (to ELIZABETH) Do you know these men? ELIZABETH CATTRALL: No. DOCTOR: You'll have to leave. ALVA KEEL: This girl did not try to take her own life. ELIZABETH CATTRALL: (agrees) I told them the same thing, but they don't believe me. I knew bringing her here was a mistake. ALVA KEEL: So, tell me, if this girl did try to cut her own wrists, why are there no wounds? DOCTOR: Of course there are wounds. ALVA KEEL: Well, then show us. DOCTOR: I'm not gonna -- ELIZABETH CATTRALL: Please, doctor, I'd like to see them, too. (The DOCTOR steps forward and removes the gauze around HANNAH'S left wrist. He wipes away the dried blood and reveals that there is no wound.) DOCTOR: It's impossible. There's got to be some kind of mistake. There were wounds when they brought her in. CUT TO: [EXT. CATRALL RESIDENCE - NIGHT] [INT. CATRALL RESIDENCE - NIGHT] (ELIZABETH lights a lamp. JOSIAH appears in the doorway carrying HANNAH in his arms. ELIZABETH points over to the bedroom where she wants HANNAH. JOSIAH steps into the room. KEEL and PAUL follow.) (JOSIAH steps into the bedroom to put HANNAH inside. He passes CALEB and a little girl, EMMA.) CALEB: (to ELIZABETH in German) [subtitled] Who are these strangers, Elizabeth? ELIZABETH: (in German) [subtitled] They are not strangers. (She turns to look back at them.) They're friends. CALEB: (in German) [subtitled] This is for our bishop. Not English men. KEEL: (in German) [subtitled] We respect that ... and your ways. (ELIZABETH turns to look at them, surprised that KEEL speaks German.) But I believe we can help this girl. CALEB: (in English) Hannah is a precious child of this community. We do not take those that impose on us lightly. (JOSIAH returns to the room.) JOSIAH: She's sleeping now, but she's still very warm. (ELIZABETH heads into the bedroom with CALEB. JOSIAH looks at PAUL and KEEL and smiles.) JOSIAH: Ignore Caleb. He is an Elder and will always be suspect of strangers. (He motions to them.) Please, sit down. EMMA: Is Hannah crazy? ALVA KEEL: I don't think so. EMMA: Then why does she act so weird? PAUL: What do you mean? (JOSIAH puts a glass on the table and sits down.) JOSIAH: For the last few weeks, she has acted like -- I don't know, someone else -- even sleepwalking. Last Wednesday, the police found her at the roadside in the middle of the night dancing. ALVA KEEL: What does your father say about this? JOSIAH: My father's dead. He drowned rescuing Hannah. (JOSIAH pours some milk in the glass as EMMA takes a bite out of the bread.) JOSIAH: When she was seven, she fell through the ice on the lake. When mother got her to ground, she thought she was dead. Five minutes passed before she breathed. (ELIZABETH and CALEB return. KEEL gets to his feet.) ALVA KEEL: (in German) [subtitled] With your permission, May we speak with Hannah? ELIZABETH CATTRALL: It's late. (PAUL gets to his feet.) PAUL CALLAN: Yes, of course. (From the other room, they hear HANNAH laughing loudly and hysterically. ELIZABETH and CALEB turn to head back into the bedroom. PAUL follows.) [INT. CATTRALL RESIDENCE - HANNAH'S BEDROOM - NIGHT - CONTINUOUS] (The door opens and ELIZABETH finds HANNAH sitting on her bed laughing hysterically. Behind her, JOSIAH and EMMA watch in the doorway. She turns and motions to JOSIAH.) ELIZABETH CATTRALL: Josiah, take Emma. (JOSIAH turns and leaves the room with EMMA. HANNAH laughs. ELIZABETH nods through the doorway. PAUL steps inside the small, plain bedroom. He glances back at KEEL before heading toward HANNAH.) PAUL CALLAN: Hannah. Hannah, can you hear me? (PAUL kneels beside the bed.) LUCINDA MORGAN-BRYANT (IN HANNAH): Who are you? What are you doing in my room? PAUL CALLAN: My name's Paul. We met at the hospital. LUCINDA MORGAN-BRYANT (IN HANNAH): Are you a doctor? I'm sick of doctors ... traipsing through here. Crap! These bandages itch. (HANNAH turns and scratches at her bare wrists. There are no bandages.) LUCINDA MORGAN-BRYANT (IN HANNAH): Would you stop staring at me? You're giving me the creeps. Who are you again? PAUL CALLAN: Paul. (PAUL stands up and pulls a chair closer to the bed to sit in.) PAUL CALLAN: Paul Callan. LUCINDA MORGAN-BRYANT (IN HANNAH): Paul Callan. (She chuckles.) LUCINDA MORGAN-BRYANT (IN HANNAH): You're cute, Paul. You got anything to drink? PAUL CALLAN: Not on me. LUCINDA MORGAN-BRYANT (IN HANNAH): She hides the booze now --the mother-from- hell nazi. I don't even think they keep it in the house anymore -- afraid I'm gonna go on one of my binges again. (She turns to her right and shouts to someone there, but really, it's to the wall.) I hate you! You hear that? (She turns back to PAUL.) Do you ever feel like you're alone? Like the people that are supposed to love you don't even know you exist? (She gets off the bed and walks over to the window. She passes by her mother and Caleb without batting an eye as if she doesn't see them standing there.) PAUL CALLAN: Sometimes. LUCINDA MORGAN-BRYANT (IN HANNAH): I've looked out this window since I was a kid. (PAUL walks over to the window.) PAUL CALLAN: Describe it for me. LUCINDA MORGAN-BRYANT (IN HANNAH): The buildings, the big church ... the endless string of cars. (As she describes it, we see a street in a city from a building window. Resume to present.) (ELIZABETH and CALEB look uncomfortably at each other.) LUCINDA MORGAN-BRYANT (IN HANNAH): It's weird ... living up in the sky makes everything below you seem so small. PAUL CALLAN: What's your name? LUCINDA MORGAN-BRYANT (IN HANNAH): My name is Lucinda, but people call me "Cinda." Cinda Morgan-Bryant. I need to sleep. (HANNAH turns and walks back to the bed.) PAUL CALLAN: Wait ... how can I talk to you again? (She takes his hand and writes her name and number on the back of his wrist. 212 555 0180 CINDA.) LUCINDA MORGAN-BRYANT (IN HANNAH): Call me ... unless you're some pervy old guy, because I'm not into that. CUT TO: [EXT. CATTRALL RESIDENCE - FRONT PORCH -- NIGHT] (KEEL sits on the front porch steps. PAUL walks up to him and sits down also.) PAUL CALLAN: The number she gave me was disconnected. ALVA KEEL: That would've been too easy, wouldn't it? PAUL CALLAN: Yeah. (PAUL sighs.) Maybe we were wrong to take Hannah out of the hospital. She's got all the signs of a multiple personality -- dissociated consciousness, childhood trauma of her father's death, oppressive life. ALVA KEEL: How often does a multiple personality have its own telephone number? (PAUL looks at his wrist and shows the number to KEEL.) PAUL CALLAN: Does that look like a "6" to you? ALVA KEEL: Zero. [LATER] (PAUL is on the cell phone.) PAUL CALLAN: Yes, I'm trying to get in touch with a Lucinda Morgan-Bryant. MRS. MORGAN-BRYANT: (from phone) Who is this? PAUL CALLAN: I'm sorry to disturb you, but is there a Lucinda at this number? MRS. MORGAN-BRYANT: (from phone) This is her mother. Who are you? PAUL CALLAN: My name's Paul Callan. ... (KEEL sits on the side and listens.) PAUL CALLAN: Oh ... I see ... Thank you. (PAUL hangs up and heads back to KEEL.) ALVA KEEL: What'd they say? PAUL CALLAN: There is a Lucinda. She died ... ten years ago. FADE OUT. (COMMERCIAL SET) FADE IN. [EXT. CATTRALL RESIDENCE -- DAY] (EVIE who is back at the office fills them both in through the computer.) INTERCUT WITH: [INT. SODALITAS QUAERITO - OFFICE - DAY] EVIE SANTOS: (from phone) Well, it's not the happiest story -- father's a lawyer, mother's an art dealer. Ten years ago they lost their only child to suicide. She was eighteen. Her name was Lucinda Morgan-Bryant. She died December 12. It made headlines at the time. Her parents were New York socialites. ALVA KEEL: Any reason these girls would know of each other? EVIE SANTOS: Nothing that I can see. (MATTY sits on the desk next to her.) PAUL CALLAN: Uh, Evelyn, how'd you get this information? EVIE SANTOS: On-line. ALVA KEEL: So, you'd need a computer to find this out? EVIE SANTOS: Or a library card. Paul, do you think this girl's faking it? PAUL CALLAN: Uh, it's a possibility. EVIE SANTOS: Well, the phone number she gave you is listed. I'm e-mailing something to you now, so just call me if you need anything else. PAUL CALLAN: Thanks. (They receive a fax picture of LUCINDA MORGAN BRYANT.) PAUL CALLAN: Why would she kill herself? ALVA KEEL: Why don't you ask her? CUT TO: [INT. CATTRALL RESIDENCE - HANNAH'S BEDROOM -- DAY] (PAUL knocks lightly on the door. He pushes the door open and steps inside. It's empty. He looks around the small room and turns to leave when HANNAH steps in through the doorway.) PAUL CALLAN: Lucinda? HANNAH CATTRALL: Who's Lucinda? (He walks up to her.) PAUL CALLAN: Lucinda Morgan-Bryant. Don't you know who that is? You've been sleeping a lot. You been having any dreams? (HANNAH doesn't say anything, although by the look on her face you know she's remembering something.) (A quick flash of: A large piece of red cloth flaps in the wind against the clear, bright blue sky.) (HANNAH turns and walks quietly past PAUL back to the bed.) PAUL CALLAN: What? HANNAH CATTRALL: I dream that I'm falling, and that everything is cold and dark. PAUL CALLAN: You've been, uh ... talking in your sleep, saying you're someone else. HANNAH CATTRALL: Lucinda? PAUL CALLAN: Are you sure you don't know who that is? (She nods.) W-what's wrong? HANNAH CATTRALL: I don't know. The name makes me sad. CUT TO: [INT. CATTRALL RESIDENCE - DINING AREA -- DAY] (ELIZABETH shows KEEL some artwork of a dark haired mother and her blonde-haired child.) ELIZABETH CATTRALL: We don't encourage our children to draw themselves. We have a prohibition against graven images, but she loved it so much, I had to let her. I live a simple life, Mr. Keel, but I'm not a simple woman. You need to tell me what's going on. ALVA KEEL: I'm not sure. Was there ever a point Hannah was different? ELIZABETH CATTRALL: After my husband died, everything was different in this house. I was different, and Hannah was different. She would lock herself away in her room, draw for hours. ALVA KEEL: When did her father die? ELIZABETH CATTRALL: Ten years ago, December 12 --she was seven. (The date means something to KEEL. He flips the page in his notebook to check: LUCINDA MORGAN BRYANT. DIED DEC 12TH. (KEEL picks up a drawing of two little girls holding hands: One is dark-haired the other is blonde.) ALVA KEEL: Who is this little girl holding hands with Hannah? ELIZABETH CATTRALL: Oh, that's her imaginary friend, Linda. CUT TO: [INT. CATTRALL RESIDENCE - FRONT YARD -- DAY] (KEEL and PAUL sit outside discussing the case.) ALVA KEEL: So ... Lucinda slit her wrists the same day Hannah's father died rescuing her. PAUL CALLAN: So, you're saying Hannah's possessed by Lucinda's ghost? ALVA KEEL: No, I think we're dealing with a case of reincarnation. PAUL CALLAN: Reincarnation? ALVA KEEL: Professor Ian Stevenson at the University of Virginia is an expert on the subject. He described an incident in India where a child appeared to die. When the child was revived, he claimed to be an entirely different person, a person who, in fact, had been killed at the same time as the child's accident. PAUL CALLAN: And you think that's what's happening here? ALVA KEEL: No, not exactly. Hannah, still with us, is revived, and with her comes Lucinda. See, cases like this are few and far between, but they can still be classified as reincarnation. PAUL CALLAN: I don't buy it. ALVA KEEL: Why not? PAUL CALLAN: Why not? Because we haven't exhausted the other alternatives. Maybe she does have a personality disorder. Maybe she's faking it. Maybe she has a brain tumor. Souls don't just randomly takeover other people's bodies. ALVA KEEL: It isn't random. Souls reincarnate for a reason -- typically to work out unresolved conflicts. PAUL CALLAN: It doesn't make sense. ALVA KEEL: What does makes sense -- we die and if we've been good, we go to heaven? If not, we go to hell? (PAUL doesn't say anything. KEEL stands up and walks over to the wash line to look at the blood-stains on the bed sheet hanging on the line. EMMA watches them from her bedroom window.) ALVA KEEL: I am worried that Hannah's slowly slipping away, and eventually, she'll be gone forever. PAUL CALLAN: There's got to be something we can do to save Hannah. ALVA KEEL: Stevenson followed the child in India for fifteen years. The original soul never returned. PAUL CALLAN: I can't accept that. Elizabeth's not going to lose her daughter. ALVA KEEL: What do you have in mind? PAUL CALLAN: I'm going to New York. I want to talk to Lucinda's parents. (KEEL looks at the blood stain on the sheet and gets an idea.) ALVA KEEL: If you think there's value in it, I wouldn't waste any time. The clock is ticking. (He rips the sheet to get a sample of the blood stain.) CUT TO: [INT. CATTRALL RESIDENCE - HANNAH'S BEDROOM -- NIGHT] (HANNAH is sleeping in bed. Suddenly she sits up and looks around. She rushes out of the room.) [EXT. CATTRALL RESIDENCE - ROAD - NIGHT] (HANNAH is murmuring to herself and walking rapidly down the dirt road in her nightgown and bare feet.) LUCINDA MORGAN-BRYANT (IN HANNAH): Madison 316, across the spire and near the green. Madison 316, across the spire and near the green. Madison 316, across the spire and near the green. (A truck passes her, stops and honks its horn. LUCINDA pauses, then waves to it for a ride.) CUT TO: [EXT. NEW YORK CITY (STOCK) -- DAY] [INT. MORGAN-BRYANT RESIDENCE - APT 3407 -- DAY (PAUL knocks on the door. The door opens.) MARTIN MORGAN-BRYANT: Mr. Callan? PAUL CALLAN: Yes. MARTIN MORGAN-BRYANT: Come in. (PAUL steps into the house.) (Inside the apartment, they sit in the living room and talk.) PAUL CALLAN: I apologize for intruding, but I need your help. There's an Amish Girl in Lancaster, Pennsylvania. Her name is Hannah Cattrall. Do you recognize the name? MARTIN MORGAN-BRYANT: No. MRS. MORGAN BRYANT: No. PAUL CALLAN: This girl has been having some, uh, some episodes in which she thinks she's your daughter, Lucinda. MARTIN MORGAN-BRYANT: What do you mean, she thinks she's our daughter? PAUL CALLAN: Well, she takes on a whole other personality. This personality calls herself Lucinda Morgan-Bryant. She says things Hannah never would. MRS. MORGAN-BRYANT: Like what? PAUL CALLAN: Uh ... (He checks his notes.) "She hides the booze now. The, uh, mother-from-hell nazi. I don't even think they keep it in the house anymore. They're scared I'm gonna go on one of my binges." (These words mean something to MRS. MORGAN-BRYANT.) MRS. MORGAN-BRYANT: Mr. Callan, what exactly do you want from us? PAUL CALLAN: Just your help. I'm trying to rule out any possibility of contact between your two families. MARTIN MORGAN-BRYANT: I'm sorry. We don't know these people. We can't help you. PAUL CALLAN: Thanks for your time. (PAUL'S cell phone rings. He answers it.) PAUL CALLAN: Excuse me. (to phone) Hello? INTERCUT WITH: [INT. SODALITAS QUAERITO - MAIN OFFICE - DAY] EVELYN SANTOS: Paul, it's Evelyn. I got the results from the bloodstained sheet you sent me. The blood isn't Hannah's. It's AB negative -- very rare. It's only found in one percent of the population. (pause) Paul? (PAUL turns and looks at the MORGAN BRYANTS.) PAUL CALLAN: (to phone) Uh, yeah I'm here. Thanks. (He hangs up.) PAUL CALLAN: Do you remember what your daughter's blood type was? MRS. MORGAN-BRYANT: Mr. Callan, I don't see that that's -- PAUL CALLAN: Was it AB negative? MARTIN MORGAN-BRYANT: Yes, it's very rare. What's going on here? (He motions for them to sit down.) PAUL CALLAN: Please ... can you tell me why your daughter committed suicide? MRS. MORGAN-BRYANT: No. MARTIN MORGAN-BRYANT: She was on drugs. We didn't see it ... although we weren't looking very hard. If your child acts like she doesn't need you long enough, eventually you make the mistake of believing her. MRS. MORGAN-BRYANT: It's not a mistake we'd make again. If we've learned anything in the last ten years, it's that you don't get a second chance. (The doorbell rings.) LUCINDA MORGAN-BRYANT (IN HANNAH): I'm sorry. (MRS. MORGAN-BRYANT stands and answers the door. It's HANNAH. MRS. MORGAN- BRYANT stares at her.) MRS. MORGAN-BRYANT: Can I help you? LUCINDA MORGAN-BRYANT (IN HANNAH): Look, I'm sorry, I know I should've called. (At the sound of her voice, PAUL and MARTIN both stand up.) LUCINDA MORGAN-BRYANT (IN HANNAH): Don't get all depressive, okay? You were right. Happy now? (HANNAH steps into the apartment.) They stole my bag! Loser model freaks! (She sighs and turns around to look at her mom.) LUCINDA MORGAN-BRYANT (IN HANNAH): God, I am so tired. Did you do something to your hair? (HANNAH reaches out a hand to touch her and MRS. MORGAN-BRYANT jerks back away from her.) LUCINDA MORGAN-BRYANT (IN HANNAH): You all right, mom? You look ... old. (HANNAH turns around and heads into the room. MARTIN walks over to her.) MRS. MORGAN-BRYANT: Oh, god! Martin. It's her. (She starts crying.) It's her. FADE OUT. (COMMERCIAL SET) Miracles will return in a moment, here on A.B.C. FADE IN. [INT. MORGAN-BRYANT RESIDENCE - APT 3407 -- DAY (HANNAH slowly walks around the room looking at the things around her. MRS. MORGAN-BRYANT'S eyes are alight with hope as she stares at this young woman.) MRS. MORGAN-BRYANT: It's her. MARTIN MORGAN-BRYANT: I-it's okay. It's okay. MRS. MORGAN-BRYANT: She smells like Cinda. LUCINDA MORGAN-BRYANT (IN HANNAH): When did you have time to paint? And you moved the coffee table. What's going on? (louder) Sprytle! Here, boy! (kissy sounds) Sprytle! (She looks at MARTIN.) Daddy, where's Sprytle? MARTIN MORGAN-BRYANT: Sprytle died. LUCINDA MORGAN-BRYANT (IN HANNAH): (upset) When -- last night?! (She turns and looks at PAUL.) LUCINDA MORGAN-BRYANT (IN HANNAH): I know you. You're Paul. PAUL CALLAN: Yes. LUCINDA MORGAN-BRYANT (IN HANNAH): Something's wrong here. I don't feel well. (HANNAH rushes past PAUL and heads to the bathroom.) [BATHROOM] (HANNAH throws up water.) (Quick flashback to: The ice breaks and she falls in under the water. She sinks. Resume to present.) (HANNAH leans over the toilet and coughs.) (Quick flashback to: YOUNG HANNAH is on the ice, her face frosted over with cold. Resume to present.) (HANNAH takes a deep breath.) (Quick flashback to: YOUNG HANNAH'S eyes open. Lying on the ice across her is LUCINDA. LUCINDA'S eyes open and she looks at YOUNG HANNAH. Resume to present.) (HANNAH coughs. Her breath is frosty from the cold. Out in the hallway, PAUL watches her. HANNAH takes deep heaving breaths and wipes her mouth with her wrist.) (She stands up, turns and walks out of the bathroom. She walks past PAUL.) LUCINDA MORGAN-BRYANT (IN HANNAH): I'm just gonna ... (PAUL follows her.) [BEDROOM] (PAUL walks into an empty room to find HANNAH standing near the window looking outside. By the looks of it, this used to be LUCINDA'S bedroom. PAUL stands near the window and looks outside. It's the same view of the city that LUCINDA had told him about.) LUCINDA MORGAN-BRYANT (IN HANNAH): I drowned. (PAUL looks at HANNAH.) PAUL CALLAN: Hannah? You're back. (HANNAH looks at PAUL, scared at where she is.) HANNAH CATTRALL: I don't know this place. PAUL CALLAN: You shouldn't. HANNAH CATTRALL: I feel like I'm still drowning. (PAUL sighs.) HANNAH CATTRALL (scared, lost) I'm just going to lie down for a little bit, okay? (HANNAH turns around and lies down on the bed.) (PAUL'S cell phone rings. He answers it.) PAUL CALLAN: (to phone) Hello? ALVA KEEL: (from phone) It's Keel. Is she there? PAUL CALLAN: (to phone) Yeah, but I'm not sure for how much longer. You better get up here fast. ALVA KEEL: (from phone) She's slipping away, isn't she? I'll bring her mother. PAUL CALLAN: (to phone) Hurry. (PAUL hangs up.) CUT TO: [LATER] (PAUL is sitting on the bed next to HANNAH. He tries to keep her there long enough till her mother arrives.) PAUL CALLAN: Hannah? Stay here, Hannah. (HANNAH smiles wistfully, her voice is small and breathy as if she's fading away.) HANNAH CATTRALL: I think it's over. PAUL CALLAN: No, it's not. You have to fight this. HANNAH CATTRALL: At the other place, I can count five shadows on the ceiling ... (She raises her hand up toward the ceiling.) (Quick flashback of: A small child's hand reaches up to the ceiling in the darkness. On the ceiling are the shadows of the tree branches cast by the light outside.) HANNAH CATTRALL: (v.o.) ... like tiny fingers stretched across the sky. (End of flashback. Resume to present.) HANNAH CATTRALL: My mother calls to me, and I run to stop my brother from stealing the bath. (Quick flashback of: Low to the ground on a child's bare feet as she runs across the wooden floors toward the bath. Resume to present.) (HANNAH takes a shuddering breath.) (Quick flashback of: A child's hand falling under the cold, dark blue water.) HANNAH CATTRALL: (v.o.) ... She plunges her hands through the ice ... (From under the water, we look up and see ELIZABETH through the thin sheet of ice. She screams and plunges her hands into the water to grab HANNAH. She grabs her wrist and pulls her up.) (From above. ELIZABETH pulls HANNAH out of the water.) HANNAH CATTRALL: (v.o.) ... and pulls me to air. (Although we can't hear her, we see ELIZABETH scream for help, then give HANNAH mouth-to-mouth to revive her. HANNAH is still unmoving. ELIZABETH pulls HANNAH away from the water and looks up screaming for someone to help her.) (HANNAH is still not moving. ELIZABETH leans down and gives HANNAH mouth-to- mouth. Finally, HANNAH takes a breath and moves.) HANNAH CATTRALL: (v.o.) ... Mother saves me. (HANNAH opens her eyes and sees LUCINDA lying next to her. LUCINDA opens her eyes and looks at HANNAH.) (ELIZABETH lifts HANNAH in her arms and holds her close.) HANNAH CATTRALL: (v.o.) ... I never saw father again. (Cut to: MR. CATTRALL pounds on the ice from below. He then sinks to the bottom.) (End of flashback. Resume to present.) (HANNAH sighs.) HANNAH CATTRALL: (faintly, sadly) I want to tell her I'm sorry ... but I can't see her face. (Quick flashback of: ELIZABETH stands at the sink washing dishes, her back to the little girl who approaches her from behind. A child's arm breaks into camera frame, reaches up to tug on ELIZABETH'S sleeve beckoning her to turn around. ELIZABETH stops washing dishes.) HANNAH CATTRALL: (v.o.) ... I can't remember her face anymore. (ELIZABETH looks up and slowly turns around, but before we can see her face, there's a white flash and we hear material flapping in the wind. We see the sun shining behind it through the material.) (End of flashback. Resume to present.) HANNAH CATTRALL: (quietly) Who will remember me now? PAUL CALLAN: Don't go. HANNAH CATTRALL: (fading) Tell my mother I love her. (PAUL gently places his palm flat against HANNAH'S cheek.) PAUL CALLAN: Stay here, Hannah. She's on her way. Please don't go. (Quick flashback of: [HOSPITAL] PAUL'S mother reaches out her hand toward him, reaching for him. PAUL stands outside in the hallway as the door closes in front of him obscuring his vision of his mother. Resume to present.) (HANNAH smiles. She closes her eyes and falls asleep. PAUL pulls his hand back and sits there watching her.) FADE TO: [EXT. NEW YORK CITY LIGHTS (STOCK) - NIGHT] [INT. MORGAN-BRYANT RESIDENCE - APT 3407 - NIGHT] (PAUL walks through the hallway to the living room. He finds KEEL and ELIZABETH there. She turns and sees him.) ELIZABETH CATTRALL: Where's Hannah where's my daughter? PAUL CALLAN: She's, uh, she's sleeping. ELIZABETH CATTRALL: I want to see her. PAUL CALLAN: Maybe you should wait until, um -- (LUCINDA walks out of the bedroom. ELIZABETH sees her and walks toward her.) ELIZABETH CATTRALL: Hannah! I've come to take you home. LUCINDA MORGAN-BRYANT (IN HANNAH): But this is my home. (She looks at MRS. MORGAN-BRYANT standing in the back of the room.) Mom? (ELIZABETH'S eyes widen. She turns to look back at MRS. MORGAN-BRYANT.) I'm sorry, I don't know you. ELIZABETH CATTRALL: No, you're wrong. (ELIZABETH pulls LUCINDA toward the mirror.) ELIZABETH CATTRALL: Can't you see who you are? You're Hannah Cattrall. (From LUCINDA'S POV, we see that she sees herself, short blonde-haired, standing next to ELIZABETH. She turns and looks warily at the woman next to her.) LUCINDA MORGAN-BRYANT (IN HANNAH): Wait a minute. (LUCINDA goes to the desk. She opens a small drawer and takes out a key. She uses the key to unlock the desk. The MORGAN BRYANTS watch as she opens the drawer. She takes some paper and offers it and the pen to ELIZABETH.) LUCINDA MORGAN-BRYANT (IN HANNAH): Write down your name and address, and we'll be sure to contact you if your daughter shows up. (ELIZABETH turns and looks over at PAUL.) FADE OUT. (COMMERCIAL SET) FADE IN. [INT. DINER -- DAY] (ELIZABETH, PAUL and KEEL sit in a booth.) ELIZABETH CATTRALL: I saw my daughter in that room, but I didn't feel her. She was gone. PAUL CALLAN: I know it's hard to understand. ELIZABETH CATTRALL: My daughter is gone! She doesn't know me. Why should I understand that? ALVA KEEL: In cases of reincarnation -- ELIZABETH CATTRALL: Please, don't say that word to me. Tell me something I can understand. (She looks at both men.) ELIZABETH CATTRALL: I know what you're thinking -- why doesn't this amish woman turn to god? Well, I can't trust a god who could do such a thing. I don't see the purpose of it. (PAUL holds his head down in his hands.) CUT TO: [INT. MORGAN-BRYANT RESIDENCE - APT 3407 - DAY] (LUCINDA lightly runs her fingers over the measurements on the closet frame - 8 years ... 11 yrs ... 12 yrs ... ) (There's a light knock on the door. LUCINDA looks up to see MRS. MORGAN-BRYANT carrying a large box of clothes.) LUCINDA MORGAN-BRYANT (IN HANNAH): Why'd you stop measuring me? MRS. MORGAN-BRYANT: You grew up too fast. (She puts the box down.) I brought you some clothes. I couldn't bring myself to give them away after you ... (She opens the box and pulls out a dress.) ... here. Lucinda loved this dress. LUCINDA MORGAN-BRYANT (IN HANNAH): I still do. MRS. MORGAN-BRYANT: Well, help yourself to all of...your things. I'm really glad you're home. (LUCINDA smiles.) CUT TO: [LATER] (LUCINDA'S wearing the dress. It's a long, white dress with red material underneath. She looks at her reflection in the mirror as she adjusts the dress's wide-shoulder band.) [HALLWAY - CONTINUOUS] (LUCINDA steps out into the hallway to look for her parents. She heads for the living room and overhears them talking.) MARTIN MORGAN-BRYANT: (o.s.) Of course I'm happy. I'm delighted. But ... honey, it is strange. I mean, it's like we don't even know her. MRS. MORGAN-BRYANT: (o.s.) It's gonna take time. MARTIN MORGAN-BRYANT: (o.s.) We don't even know her. (A quick flash of: A large piece of red cloth flaps in the wind against the clear, bright blue sky.) LUCINDA MORGAN-BRYANT (IN HANNAH): You don't know me. (Another quick flash of: HANNAH on the bed, her wrists cut and bleeding.) LUCINDA MORGAN-BRYANT (IN HANNAH): You don't know me. [CLOSE-UP: HANNAH'S MOUTH] "You don't know me." (Resume to present.) (LUCINDA takes a step back.) LUCINDA MORGAN-BRYANT (IN HANNAH): (under her breath) You don't know me. CUT TO: [INT. DINER -- DAY] (ELIZABETH is confused, troubled and upset.) ELIZABETH CATTRALL: I don't know what to do. I can't leave my daughter, but how can I stay here when my family needs me? ALVA KEEL: Perhaps one of us stays here, keeps an eye out. (KEEL'S phone rings. He stands up and steps away to answers it.) ALVA KEEL: Excuse me. ELIZABETH CATTRALL: I'm never going to see her again, am I? (PAUL sighs.) PAUL CALLAN: I'm so sorry. I ... I tried to keep her here as long as I could. She wanted me to tell you she was sorry for the death of your husband, and ... that she loves you. ELIZABETH CATTRALL: (cries) But it wasn't her fault. (PAUL nods.) ELIZABETH CATTRALL: It wasn't her fault. Why did this have to happen? PAUL CALLAN: I was going to say we can never know the reason these things happen, but...the fact is, when you lose someone you really love, no reasons are ever good enough. ELIZABETH CATTRALL: You lost someone, too. (PAUL nods.) Your mother? How old were you? PAUL CALLAN: (whispers painfully) Five. ELIZABETH CATTRALL: Perhaps in a way, I was lucky. Perhaps in a way, I got ten more years than I was ever supposed to have. (PAUL nods. KEEL returns.) ALVA KEEL: There's a problem. CUT TO: [INT. MORGAN-BRYANT RESIDENCE - APT 3407 - DAY] (The front door opens. KEEL, PAUL and ELIZABETH walk into the room. MARTIN meets up with them, clearly angry at what's going on. MRS. MORGAN-BRYANT sits on the living room couch upset.) MARTIN MORGAN-BRYANT: She's gone. What kind of games are you people playing? (PAUL looks around and heads for the bedroom.) MRS. MORGAN-BRYANT: (voice breaking, head shaking, lost in her grief) I can't do this again. I can't lose her --not again. I can't lose her. I can't. (ELIZABETH sees her distress and moves toward her to comfort her. She puts her hand over MRS. MORGAN-BRYANT'S hand. MRS. MORGAN-BRYANT looks up and sees ELIZABETH, then realizes that she's not the only one losing a daughter.) MRS. MORGAN-BRYANT: Oh, god, I'm so sorry. I'm so sorry. [BEDROOM] (PAUL walks into the bedroom and looks around. It's empty with the box on the bed. He opens the closet door and finds the light turned on inside. He closes the closet door and walks over to the other closet. He opens it and finds a message written in red lipstick on the mirror: YOU DON'T KNOW ME.) [STAIRS LEADING UP TO THE ROOF] (Close and low: A pair of feet runs up the stairs.) [LIVING ROOM] (PAUL walks through the hallway to the living room. He looks at MARTIN.) PAUL CALLAN: What does "you don't know me" mean? (MARTIN glances back at his wife. He turns to PAUL and answers.) MARTIN MORGAN-BRYANT: That was the last line of Cinda's suicide note. ALVA KEEL: Where was Cinda when she cut her wrists? [ROOFTOP] (A pair of feet runs across the rooftop.) [LIVING ROOM] MARTIN MORGAN-BRYANT: In the bathroom. That's not how she killed herself. That was two weeks before. [EDGE OF ROOFTOP] (A pair of feet inches up to the edge of the building.) [LIVING ROOM] MARTIN MORGAN-BRYANT: Cinda died by jumping off the roof of this building. (PAUL takes a deep breath.) [ROOFTOP] (LUCINDA stands at the edge of the building roof.) (PAUL bursts out through the stairwell and looks around.) PAUL CALLAN: Hannah! (He sees her standing at the edge of the roof. ELIZABETH and the others also step out of the stairwell. PAUL steps forward.) PAUL CALLAN: Hannah. (ELIZABETH stops him and she steps forward instead.) ELIZABETH CATTRALL: Lucinda. Wait. (LUCINDA glances behind her at them, then turns to look at the street below. ELIZABETH walks up to her.) ELIZABETH CATTRALL: Why are you doing this? LUCINDA MORGAN-BRYANT (IN HANNAH): Because ... I'm s -- because I'm so angry I -- I want it to stop ... all of it. I want to go somewhere else. ELIZABETH CATTRALL: If you go somewhere else, you'll just be starting again. LUCINDA MORGAN-BRYANT (IN HANNAH): So? ELIZABETH CATTRALL: You have your whole life ahead of you. Don't give it up. LUCINDA MORGAN-BRYANT (IN HANNAH): You don't know me! What do you care what I do with my life?! ELIZABETH CATTRALL: Because I had a daughter who went away ... and I never got the chance ... (her voice breaks) ... to let her know how much I'd lose if she were gone. LUCINDA MORGAN-BRYANT (IN HANNAH): You don't know me. ELIZABETH CATTRALL: Yes, I do. You're Lucinda Morgan-Bryant. You have a family. You are their life. Please don't throw that away. MRS. MORGAN-BRYANT: She's right - (MRS. MORGAN-BRYANT steps forward. At the sound of her mother's voice, LUCINDA takes a deep heaving breath.) MRS. MORGAN-BRYANT: (cc) We didn't know you, Lucinda ... but we want to. MRS. MORGAN-BRYANT: Please let us. Please. (LUCINDA smiles and turns around. As she turns, she slips. PAUL sees her slip and reaches out, grabbing her hand securely.) MRS. MORGAN-BRYANT: (gasps) Lucinda! PAUL CALLAN: I've got you. I've got you. (He helps her down. A red piece of fabric from her dress catches on the nearby pipe and rips. It flaps in the wind.) (LUCINDA looks at PAUL, she walks past ELIZABETH and goes to her mother. ELIZABETH watches sadly as LUCINDA hugs her mom.) (Camera refocuses on the red piece of fabric on the pipe flapping in the wind.) FADE TO: [INT. CATTRALL RESIDENCE -- DAY] (ELIZABETH stands at the sink washing dishes.) (A shadow passes over the kitchen with a soft whoosh. ELIZABETH notices it and looks up from her dishes.) [CHILD'S POV] (Behind her, a child's arm breaks into camera frame, reaches up and tugs at ELIZABETH'S sleeve beckoning her to turn around. ELIZABETH stops washing dishes, looks up and slowly turns around.) [RESUME POV] (She looks around the small kitchen. No one's there.) (Suddenly, EMMA rushes into the kitchen, flushed and excited by her news.) EMMA: (eagerly) Mother, mother. I just climbed to the highest branch in the oak tree. (ELIZABETH looks at JOSIAH.) JOSIAH: Don't worry, mother. I was there -- watching out for her. (ELIZABETH lifts EMMA into her arms, carrying her over to the table.) ELIZABETH CATTRALL: I am very proud of you. (Family life resumes.) (She puts EMMA down at the seat at the table and they all each takes a chair and sits down as EMMA recounts her experience.) EMMA: I got a little scared when I was halfway up, but I just kept going ... (Audio fades out.) FADE TO BLACK. ========================== THE END ========================== [Captions by vitac www.Vitac.Com captions paid for by ABC, Inc. and Touchstone.] 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 1X09: MOTHER'S DAUGHTER [UNAIRED IN U.S.] AIR DATE IN CANADA: 11/28/2003 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 MAGGIE GRACE CHERYL WHITE SAM ANDERSON as Martin Morgan-Bryant KATHRYN HARROLD 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: CHRISTIAN TAYLOR Directed by: JOHN FAWCETT ========================== END CREDITS ========================== David Greenwalt Productions Spyglass Entertainment Touchstone Television Co-Producer: WILLIAM REDNER Co-Producer: MEGAN WOLPERT Executive Story Editor: DAVID GRAZIANO Co-Starring: ALEX VILLIERS as Matty Santos NEAL DODSON as Josiah BRANDIS KEMP as Miriam JAMES LASHLY as Caleb Co-Starring: SCOTT N. STEVENS as Doctor MICHAEL LEN as Young Paul LAURA ROMINE as Young Hannah TAYLOR LITCHFIELD as Emma Director of Photography: ERNEST HOLZMAN, A.S.C. Production Designer: LAURENCE BENNETT Edited by: ROBERT FIELD Unit Production Manager: TONY BROWN First Assistant Director: LINDA ROCKSTROH 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: COLEEN 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 RAZATOS Special Effects Supervisor: KELLY KERBY Transportation Coordinator: DON HENLEY Construction Coordinator: J. JERGENSEN Production Associate: ELISABETH JAMES Production Sound Mixer: JACQUES NOSCO 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 Visual Effects by: ZOIC STUDIOS High Definition Post-Production: ENCORE Film Laboratory: DELUXE FILM LABS (c) 2003 Touchstone Television All Rights Reserved. Dated:06/20/2004~lky http://www.webphilia.com/~anthology/wnp.html