MIRACLES 1X10: SAINT DEBBIE UNAIRED IN U.S. AIR DATE IN CANADA: 12/05/2003 TRANSCRIBED FROM MASTER DUB Written by: RICHARD HATEM Directed by: LAWRENCE TRILLING 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: A waitress in a small town is attacked during a robbery and makes a miraculous recovery. ========================== MIRACLES 1X10: SAINT DEBBIE (UNAIRED) ========================== [BLACK SCREEN] TOUCHSTONE TV/MIRACLES MIRACLES EPISODE #112 "SAINT DEBBIE" NTSC DUBBING MASTER TRT = 43:38 525/29.97 DFTC 04.23.03 ENCORE FADE IN. NARRATOR: Previously on "Miracles" ... [Scenes from 1X01: The Ferguson Syndrome] (From the passing bus, the red water tower is seen just outside the window. The words, "God is Coming" is painted in white on the side.) (White flash to: [EXT. CEMETERY - DAY] PAUL talks with the FATHER.) PAUL CALLAN: I'm afraid there's no miracle here. (The FATHER looks shocked.) [INT. DINER - DAY] (PAUL talks with FATHER "POPPI" CALERO.) PAUL CALLAN: You should see their faces. They look gut-punched every time. I feel like a doctor who never cures anyone. 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. (Flash of the eerie face in darkness.) (PAUL wakes up.) [Scene from 1X09: Mother's Daughter] [EXT. CATTRALL RESIDENCE - BACK YARD - DAY] (PAUL and KEEL discuss the case.) PAUL CALLAN: I don't buy it. ALVA KEEL: Why not? PAUL CALLAN: Because we haven't exhausted the other alternatives. BRIEF CUT TO: PAUL CALLAN: Souls don't just randomly takeover other people's bodies. [Scene from 1X01: The Ferguson Syndrome] [EXT. ROAD NEAR WATER TOWER IN FRONT OF RAILROAD TRACKS - DAY -- PAUL'S DREAM] (It's raining blood and PAUL is drenched.) [Scene from 1X05: The Bone Scatterer] [INT. SODALITAS QUAERITO] ALVA KEEL: ... Someone has just confessed to having predictive dreams about those killings. Doesn't that interest you, Paul? (PAUL takes a deep breath.) [Scene from 1X07: You are my Sunshine] (Lighting flashes and we see the ice man standing outside the window in the darkness in the rain.) [Scene from 1X06: Hand of God] [INT. DENVER POLICE DEPARTMENT - DAY] PAUL CALLAN: Why are you doing this? ALVA KEEL: In my attempt not to influence events, I influenced them greatly. Perhaps a better method would be to act on instinct. I can't stop you from acting on instinct. (Camera holds on PAUL.) SMASH CUT TO BLACK END OF PREVIOUSLY ON FADE IN. [EXT. ROAD OUTSIDE APPLE TREE CAFÉ -- DAY] (A car drives by.) [INT. APPLE TREE CAFÉ - DAY] (DEBBIE OLSON, the waitress, puts the plate on the table in front of the customer.) DEBBIE OLSON: Enjoy your meal, sir. (More customers walk into the diner.) DEBBIE OLSON: I'll get that for you. (DEBBIE picks up a couple of plates off another table she walks by on her way back to the front counter.) (She touches the male customer sitting at the counter briefly on the back to get his attention.) DEBBIE OLSON: You owe me one. CUSTOMER: (nods) Yeah. (She puts the dishes aside and picks up the coffee carafe to fill up the coffee cups.) CUSTOMER 2: Thank you. (DEBBIE puts the coffee back on the machine and turns to check on the orders. A customer catches her attention as she walks by.) CUSTOMER 3: Where's my ham sandwich? Out killing the pig? DEBBIE OLSON: (smiling) Hey, I only have three hands. (She turns back and nearly runs into her brother, DANIEL, who is carrying a deep, white plastic tray.) DEBBIE OLSON: Oh, oh! Aren't you supposed to be going to the bread pick-up, buddy-boy? DANIEL OLSON: No way. It's too busy ... A-Arturo n-needs m-more sp-spoons. DEBBIE OLSON: The Bakery closes in five minutes. (smiles gently) And Chuck says there's two jelly-filled in it for you, if you're not late again. DANIEL OLSON: Okay. (DANIEL puts the tray down and turns to leave. DEBBIE stands in front of the customer to take his order. DEBBIE OLSON: Ah, hi there. What can I get for you? (DANIEL leaves the diner, the door closes behind him.) (The customer places his order. In the back, a man in a black mask slips into the diner. He closes the door behind him and heads for the register. He puts an envelope on the counter.) (The customers in the diner take notice.) MASKED MAN: Fill the bag. (The woman behind the counter opens the register and starts removing money to fill the bag. DEBBIE sees the masked man and heads toward the register.) MASKED MAN: Come on. Hurry up. (She slips her order pad into her apron pocket.) MASKED MAN: Come on, lady! (DEBBIE steps up to the masked man.) DEBBIE OLSON: Hey! (The MASKED MAN grabs DEBBIE and pulls a knife out of his pocket. He holds it against her throat. She starts struggling.) MASKED MAN: Anyone moves, she dies! (The cook, peering through the order window, moves around to step out front.) (The MASKED MAN cuts DEBBIE'S throat. He drops her to the floor; blood is everywhere. He looks around at the shocked patrons, then turns and leaves the diner. He runs.) (The patrons slowly get up to check on DEBBIE.) OLDER WOMAN: Oh, my goodness! (The OLDER WOMAN rushes forward with a cloth to help DEBBIE who is still on the floor, her hand clutching her throat.) OLDER WOMAN: You poor thing! (The other patrons slowly get up and crowd around to watch. The OLDER WOMAN uses the cloth in her hand to wipe at her bloody throat and makes a startling discovery.) OLDER WOMAN: Wait, she's not cut. (The OLDER WOMAN wipes away some of the blood around DEBBIE'S neck and checks just to make sure.) OLDER WOMAN: She's not bleeding. (DEBBIE wipes at the blood on her throat in confusion. The crowd around her is confused. They start whispering and murmuring to themselves.) DEBBIE OLSON: What happened? (The OLDER WOMAN checks again, her eyes wide with amazement.) OLDER WOMAN: It's a miracle. (Camera holds on DEBBIE.) FADE TO END OF TEASER ROLL TITLE CREDITS FADE IN. [INT. SODALITAS QUAERITO - OFFICE -- DAY] (ALVA KEEL stands in front of a large world map hanging on the wall. The map is swaying back and forth. KEEL is mesmerized by its movement.) (Behind him, PAUL knocks lightly on the door to get his attention.) PAUL CALLAN: We need to talk. (PAUL steps into the office.) PAUL CALLAN: I'm leaving. (KEEL slowly turns around to look at him.) It's not that I don't believe in the work we do here. I do. It's just ... I don't see the point in leaving one cloister for another. When I think about being here ten years from now -- hell, even five -- spending my life searching through these dusty books, well ... I just don't want that. Good luck, Alva. (PAUL turns and walks out of the office. KEEL doesn't say anything.) (EVIE walks into the office.) EVELYN SANTOS: I'm so sorry, Alva. I'm leaving, too. (KEEL'S eyes widen in shock and surprise. EVIE turns and leaves.) (For a beat, KEEL turns back to the wall, but then he hears something. He walks over to the small sliding window in the wall. He hears laugher in the main office. He slowly slides the window open.) (As he opens the window, the laughter in the main office is louder. It's obvious that it's both PAUL and EVIE sharing a moment.) (KEEL watches as PAUL and EVIE kiss each other. He can't believe his eyes, but there they are ... kissing ... and laughing. They break apart.) (Over the sounds of their laughter is another louder set of voices laughing.) (Hand in hand, PAUL and EVIE turn to walk out of the office.) (KEEL wakes up.) [INT. KEEL'S PLACE - LIVING ROOM - MORNING] ALVA KEEL: (groans) Uh ... (His eyes are half-closed and hair mussed. He wakes to sounds of the radio -- or television set --and the DJ personalities laughing together. ) MALE DJ: (voice only) Well, it's only on five times. FEMALE DJ: (voice only) Well, I guess I like it. (Camera gives us a room shot showing KEEL lying on the couch, an open book on his chest. It's obvious that he's fallen asleep on the couch while working, an old blanket covering him.) MALE DJ: (voice only) Like it? You didn't get a chance to not like it. FEMALE DJ: (voice only) Oh, I see. (KEEL reaches out a hand and pushes aside the papers on the coffee table to dig and feel for the clock radio. It's six-something in the morning.) (He turns the radio off.) (He groans as he sits up.) (KEEL sighs.) CUT TO: [INT. KEEL'S PLACE - BATHROOM - MORNING] (KEEL dips his hands under the running taps and splashes some water on his face. He turns the tap off and looks at himself in the mirror.) [EXT. SODALITAS QUAERITO BUILDING (STOCK) - DAY] [INT. SODALITAS QUAERITO - MAIN OFFICE -- DAY] (PAUL is sitting at the main table reading something. EVIE is standing near the filing cabinet.) (FATHER "POPPI" CALERO turns the corner and quietly looks into the office. He sees EVIE head toward PAUL with a file folder in her hand.) (PAUL looks up and is startled to see POPPI standing there. He smiles and stands up to greet his friend.) PAUL CALLAN: Oh. Hey! Oh, Poppi. (He walks over and gives him a warm hug.) PAUL CALLAN: Hey. How are you? FATHER "POPPI" CALERO: Oh, Just fine. PAUL CALLAN: What are you doing here? FATHER "POPPI" CALERO: What do you think? I'm just checking up on you. (PAUL turns to make the introductions.) PAUL: Evelyn, this is Father Calero. EVELYN SANTOS: (smiles) Oh, Paul talks about you all the time. (She holds out her hand in greeting, but POPPI embraces her in a warm hug.) FATHER "POPPI" CALERO: I'm a hugger, especially around beautiful Puerto Rican women. EVELYN SANTOS: How did you know I'm Puerto Rican? FATHER "POPPI" CALERO: Those eyes. Are you kidding? Puerto Rican eyes can read the soul -- I know. Hmm. There's no secrets around this one, kiddo. PAUL CALLAN: You're telling me. (EVIE laughs.) (POPPI looks around the office.) FATHER "POPPI" CALERO: Well, nice place. It's, uh ... it's very ... functional. (In the back of the office, ALVA KEEL steps out of his office. PAUL spots him and makes the introductions.) PAUL CALLAN: Oh, Poppi. This is Alva Keel. (KEEL steps into the office, not looking all there. His hair's scruffy and his face unshaven. It looks as if he's just crawled out of bed and put a coat on. Tucked under his arm is a thicker than thick book. He doesn't smile at POPPI, the two men obviously sizing each other up.) (PAUL stops mid-way between the two men.) ALVA KEEL: Pleasure. FATHER "POPPI" CALERO: Likewise. (KEEL nods.) FATHER "POPPI" CALERO: I may have a job for you. (PAUL turns to look over at KEEL.) ALVA KEEL: Mm-hmm. CUT TO: [INT. SODALITAS QUAERITO - DAY - LATER] (PAUL stops filling the coffee cup as POPPI explains the case.) FATHER "POPPI" CALERO: More than thirty people saw her get her throat cut, but ten minutes later she was walking around, not a scratch on her. Now, Pastor James says things are getting pretty crazy. He'd like someone to check her out. EVELYN SANTOS: Does he think it's a miracle? FATHER "POPPI" CALERO: Sounds like one. ALVA KEEL: I suppose it depends on how you define the word miracle, isn't it? FATHER "POPPI" CALERO: How would you define it? ALVA KEEL: I wouldn't. Most of what I've witnessed defies categorization. FATHER "POPPI" CALERO: Oh, well, with all due respect, Mr. Keel, it sounds a little simplistic. Don't you think it's our job as thinking men to evaluate our experiences and draw moral distinctions? (PAUL puts the coffee carafe down on the table. He shoves his hands into his pockets as the two men 'discuss' the issue.) ALVA KEEL: I don't see the point of assigning moral distinctions to phenomena that mankind doesn't fully understand. I'm sure that the priests of neanderthal culture preached that lightning was evil. Well, now we know better, don't we? FATHER "POPPI" CALERO: Not if it hits you. ALVA KEEL: Well, now you've struck upon my concern -- not whether a phenomenon is good or bad, but rather, how close is it getting to us? (PAUL nervously tugs on his shirt collar.) (POPPI stares at KEEL, then chuckles.) FATHER "POPPI" CALERO: Back in my college days, we'd call guys like you "one- boxers." Good, bad, God, Devil --all in one box. It's all just information, hmm. (The two men stare at each other. That wasn't a complement.) PAUL CALLAN: So, who wants more coffee? FATHER "POPPI" CALERO: No, I have to be going. (POPPI gets to his feet. KEEL also stands.) ALVA KEEL: Father Calero. Hmm? If I may ask -- why did you come to us rather than simply assigning this investigation to Paul's replacement at the archdiocese? FATHER "POPPI" CALERO: Because we don't have a replacement. (PAUL glances uncomfortably at the two men.) It turns out it's pretty tough finding someone with Paul's qualifications. He is very special. ALVA KEEL: Yes. I couldn't agree more. FATHER "POPPI" CALERO: Well, who knows -- he may decide to come back, hmm? (He chuckles a bit.) CUT TO: [LATER] (PAUL helps POPPI put his coat on.) FATHER "POPPI" CALERO: So, how is all this working out for you? Finding what you're looking for? PAUL CALLAN: I don't know. FATHER "POPPI" CALERO: No miracles? (PAUL playfully 'boxes' with POPPI who puts a hand up as a target for him to hit.) PAUL CALLAN: Plenty -- at least plenty of something. FATHER "POPPI" CALERO: So then, what's wrong? PAUL CALLAN: I don't know what any of it means. FATHER "POPPI" CALERO: Hmm. Join the club, kiddo. Look, about your friend, Keel ... uh ... just look out for him, hmm? PAUL CALLAN: He's a good guy, Poppi. FATHER "POPPI" CALERO: I'm sure he is. All I'm saying is just 'cause he's a "one-boxer" doesn't mean you have to be. Right? PAUL CALLAN: Yeah. (POPPI turns and leaves. PAUL watches him go.) FADE TO: [EXT. COUNTRYSIDE -- DAY] LEGEND: THREE SPRINGS, CALIFORNIA (The SQ team drives into town. KEEL is driving, PAUL is in the passenger seat and EVIE sits in the back.) (Off in the distance, they pass a green water tower. PAUL takes note of the water tower and stares at it probably looking to see if there's any message written on it. There is none. He turns around in his seat, his eyes still on the water tower as if he's expecting to see the message pop up at any moment.) (The car turns the corner into the street with the diner. There is a small crowd gathered out front. There is a sidewalk guitarist playing and singing. Out in front of the diner are people selling t-shirts: GOD LOVES THREE SPRINGS.) (They continue driving past the diner.) CUT TO: [EXT. CHURCH - DAY] (The SQ car is parked alongside the curb in front of the church.) [INT. CHURCH - DAY] (KEEL, EVIE and PAUL walk into the church. MAYOR FRANK LETHERTON steps out to greet them.) ALVA KEEL: Pastor James, I'm Alva Keel. We spoke on the phone. (They shake hands.) FRANK LETHERTON: Uh, no. As a matter of fact, we didn't. I'm the mayor, Frank Letherton, but I'm glad the pastor called you. If he hadn't, I would've. I want this investigation taken seriously. CUT TO: [SECURITY VIDEO] (On the monitor, they watch as the events of that day are replayed. The masked man walks up to the register, DEBBIE OLSON walks up to him, is grabbed from behind and pulled back.) [INT. CHURCH - OFFICE - DAY - LATER] (In the small office, we see that KEEL and the others are gathered around the small television watching the video.) (Back on the video, they watch as the masked man cuts DEBBIE'S throat.) PASTOR JAMES: I wish I could say that was the only tape, but it got copied, and now there are bootlegs all over town. Pamela Lee's got nothing on Debbie Olson. ALVA KEEL: Have you talked to her, pastor? PASTOR JAMES: She seems scared, confused. I don't think she's faking, but at the same time, I don't see how it could possibly be for real. CUT TO: [INT. CHURCH SANCTUARY - DAY - CONTINUOUS] (PASTOR JAMES steps out of the back office. KEEL and the others follow with FRANK LETHERTON following from behind.) PASTOR JAMES: Father Calero tells me you've investigated a lot of these kinds of things, and frankly, our town is turning into a circus. (FRANK LETHERTON smiles, clearly disagreeing with the pastor.) FRANK LETHERTON: Ha. Why, you say that like it's a bad thing, Pastor. PASTOR JAMES: If there's a reasonable explanation for what happened, I want to know. I want the town to know. Faith isn't about super powers. It's about faith. FRANK LETHERTON: Well, you guys are the experts. Do we have a Saint here? PAUL CALLAN: Well, it's not that simple. There's a process. Evidence of a first miracle leads to beatification, a second miracle to canonization, not to mention the fact that to be sainted, you have to be dead. FRANK LETHERTON: So, what's the definition of a miracle? (PAUL glances at KEEL who remains quiet.) PAUL CALLAN: It's a wondrous, supernatural event surpassing all known human and natural laws, uh, expressing the divine will of god. FRANK LETHERTON: And we need two of those? PASTOR JAMES: Don't look at me. I'm presbyterian. For us, a miracle is when the choir sings on key. ALVA KEEL: You don't seem upset at all by this commotion. FRANK LETHERTON: Well, no. No, not at all. I mean, the tourists are flocking. Maybe some will decide to buy here. Three Springs actually has its very own parking problem. I think it's terrific. EVELYN SANTOS: Terrific for business, in other words. FRANK LETHERTON: No, those exact words. CUT TO: [INT. APPLE TREE CAFÉ - DAY] (A small crowd stands outside the diner window, peering inside with their cameras. Inside, its standing room only. Yet, DEBBIE OLSON continues to work. She carries the order to the table.) (As she puts the plates down, the other customers stare at her. The woman at the table eagerly talks with her wanting to hear her story.) DEBBIE OLSON: Hi. CUSTOMER (WOMAN): Debbie, what was it like? I mean, did it hurt? DEBBIE OLSON: (uncomfortably) Uh, a little, I guess. CUSTOMER (WOMAN): Did you see God? (A camera flashes. Startled, DEBBIE looks up and the woman sitting at the next table. She smiles and waves sheepishly to her.) DEBBIE OLSON: Sorry, I have food up. (DEBBIE leaves and heads back to the counter.) CUSTOMER: Okay. I guess she's busy. (At the counter, DANIEL OLSON talks with one of the customers.) DANIEL OLSON: You know Debbie? Sh-she's my sister. Debbie is super-special. She can do anything. She always knows things, like, um, what the weather's going to be and what we're going to have for dinner. She's not like everyone else. (On her way to the back, another female customer stops her.) CUSTOMER 2 (WOMAN): Debbie, have you met Little Katelyn? (The woman holds up her baby. DEBBIE leans forward and touches Katelyn's hand.) DEBBIE OLSON: Hi, there, sweetie girl. (DEBBIE turns and heads back to the counter, catching the customer's words as she goes.) CUSTOMER 2 (WOMAN): (o.s.) She touched my baby. (DEBBIE calmly walks to the back and takes a breather.) CUT TO: [EXT. APPLE TREE CAFÉ - SIDEWALK -- DAY] SIDEWALK GUITARIST'S SONG: (singing) I've known her for a thousand years / but she don't know me / someday I'll touch angel's hand / then I'll be set free / oh, Debbie ... (The front door opens. DEBBIE and DANIEL walk out. DANIEL turns to watch the GUITARIST, but DEBBIE turns him back keeping him moving forward past the small crowd.) (Headed toward the café, FRANK LETHERTON leads, KEEL and the others down the sidewalk.) (DEBBIE glances back at the musician and doesn't see the mayor until they're right in front of her.) FRANK LETHERTON: Hey, Debbie. How you doing? DEBBIE OLSON: (absently) Hi. (He introduces them to her.) FRANK LETHERTON: Hi. Listen, I want to introduce you to Paul Callan, Evelyn Santos, and Alva Keel. These are the people that Pastor Don sent over. ALVA KEEL: Hello. We'd like to help you if we can. (DEBBIE looks at KEEL, taken with him.) DEBBIE OLSON: Uh, that's really nice. Um, actually, Danny and I have to get going. (She once again urges DANIEL forward, but MRS. MARTIN stands behind them and grabs her arm, stopping her.) CHARLOTTE MARTIN: Oh, you dear girl. You're a gift from heaven. Well, she is, you know, and we just love her to death. (DEBBIE stops. A man carrying a snake pushes his way through the crowd.) SNAKE MAN: Hey! Hey, Saint Debbie. Let's see if you really are a Saint. (The snake lurches forward and bites DEBBIE on her arm near her elbow. Surprised, she falls backward. KEEL steps forward to help her.) (The crowd around them disburses. DANIEL, afraid, has his head down under his jacket collar. The snake hisses on the sideward ground.) (DEBBIE clutches her arm in pain.) FADE OUT. FADE IN. [EXT. APPLE TREE CAFÉ - SIDEWALK -- DAY] (The crowd disburses. DEBBIE is sitting on the sidewalk, MRS. MARTIN stands over her. FRANK LETHERTON chases after the SNAKE MAN. KEEL steps forward to deal with the snake.) CROWD: Stand back! CROWD: Stand back! (He heads for the hissing snake, firmly placing his foot on the snake near its head to hold it in place. He reaches down, grabs the snake and puts it in the sidewalk guitarist's guitar case. He slams the case cover closed.) ALVA KEEL: (to the guitarist) Foot there. (The musician puts his foot firmly on the guitar case cover. KEEL heads back to check on DEBBIE. She is sitting with her back against the building wall clutching her injured arm. ) DEBBIE OLSON: Ow. Oh. (EVELYN tries to calm DANIEL down.) ALVA KEEL: Let me take a look. (She lifts up her hand to show the two read bite marks on her arm.) DEBBIE OLSON: Oh. It hurts. ALVA KEEL: It's all right. It's all right. It's okay. (She looks up at him.) ALVA KEEL: Let's get you to a doctor. (He helps her to her feet. With his arm around her, they head down the sidewalk.) DEBBIE OLSON: Ow. Ow. (EVELYN and DANIEL follow behind. CHARLOTTE MARTIN watches them go.) CHARLOTTE MARTIN: God bless Debbie Olson. WOMAN IN CROWD: (o.s.) Amen. CUT TO: [INT. HOSPITAL -- DAY] (THE DOCTOR talks with KEEL.) DR. CLAIRE BIGLER: This doesn't make a whole lot of sense, Mr. Keel. ALVA KEEL: In my opinion, throwing a live rattlesnake at someone doesn't make any sense. DR. CLAIRE BIGLER: Are you sure she was bitten? ALVA KEEL: Aren't you? DR. CLAIRE BIGLER: The marks are barely visible. I've seen rattlesnake bites before. Her arm should be swollen and red to the elbow, but no nausea, no dizziness, no joint pain or respiratory distress. ALVA KEEL: So, in your opinion, she's in perfect health? DR. CLAIRE BIGLER: Won't even need a bandage. (They turn and look at DEBBIE in the exam room.) [INT. EXAM ROOM - DAY - CONTINUOUS] (DEBBIE glances over PAUL'S shoulder at KEEL standing out in the hallway.) DEBBIE OLSON: Your friend was very brave grabbing that snake. (PAUL doesn't look up from his note pad.) PAUL CALLAN: (deadpans) Yeah. He's like James Bond and Tarzan rolled into one. (DANIEL looks up from his seat behind them.) DANIEL OLSON: (impressed) Ooh! Tarzan's cool. (PAUL and DEBBIE laugh.) PAUL CALLAN: So, what do you think happened? DEBBIE OLSON: (shakes her head) I don't know. DANIEL OLSON: Oh, Paul. Knock knock. PAUL CALLAN: Who's there? DANIEL OLSON: Interrupting cow. PAUL CALLAN: Interrupting cow ... DANIEL OLSON: (interrupting) Moo! (They laugh. DEBBIE smiles at her brother.) PAUL CALLAN: (smiling) Wow. That's one terrible joke, Daniel. (DANIEL laughs.) (KEEL walks into the room.) ALVA KEEL: Well, Debra. You're free to go. How do you feel? DEBBIE OLSON: Okay, I guess. ALVA KEEL: I think that you should probably get some rest, in any case. (DEBBIE jumps to her feet and grabs her jacket.) DEBBIE OLSON: Oh, gosh. I almost forgot. Daniel's got his reading tutor at the church. (She turns and heads toward DANIEL to help him.) I was supposed to be there ten minutes ago. PAUL CALLAN: Well, I can give him a ride. ALVA KEEL: Yes, excellent idea. DANIEL OLSON: I'm fine by myself - with Paul. (DEBBIE looks over at PAUL who waits for her consent.) DEBBIE OLSON: Thanks, but I really couldn't. ALVA KEEL: I really think that, um, you need to take care of yourself. (DEBBIE hesitates, then relents.) DEBBIE OLSON: Okay. CUT TO: [EXT. OLSON RESIDENCE -- DAY] DEBBIE OLSON: (v.o.) Sorry the place is so dirty. [INT. OLSON RESIDENCE - LIVING ROOM - DAY] (DEBBIE scrambles around the living room tidying up as she goes. KEEL stands off to the side watching her.) DEBBIE OLSON: It's just I've been pulling these double shifts all week, and Daniel, well, he doesn't put his stuff away. Um, can I get you something to drink? A soda? Apple juice? (She heads to the kitchen, KEEL follows her.) ALVA KEEL: No, thank you. DEBBIE OLSON: I've barely had time to go grocery shopping. (She opens the refrigerator, but KEEL gently closes it.) ALVA KEEL: You need to rest. (She brushes him aside as she heads back to the living room.) DEBBIE OLSON: No, no, no. I'm fine. I'm fine. I thought the doctor said I'm indestructible. ALVA KEEL: Well, yes. Indestructible or not, you're experiencing a lot of stress. Please, just sit down. DEBBIE OLSON: I'm fine. ALVA KEEL: (firmly) Sit down. (He grabs her upper arms and places her onto the nearest chair. He sits down in front of her.) DEBBIE OLSON: It's just really weird -- the way people look at me now, like I'm different or famous. (She sniffles.) At first, I thought it was cool, but Danny's completely freaked out. He can barely sleep. ALVA KEEL: Um ... I'll get you a glass of water. (He stands up and heads for the sink. He returns with a cup of water.) ALVA KEEL: Um ... do you mind answering a few questions about what's been happening to you? (She shakes her head.) (He hands her the cup of water, but remains standing.) DEBBIE OLSON: Uh ... thank you. ALVA KEEL: Have you ever broken any bones? DEBBIE OLSON: No. ALVA KEEL: Had surgery? Any serious illness whatsoever? DEBBIE OLSON: Not really. (He sits down.) DEBBIE OLSON: So, this is what you do for a living? You go around and see if miracles are happening? ALVA KEEL: Yes, indeed. That is correct. DEBBIE OLSON: You sound like Henry Higgins from that musical. ALVA KEEL: "Pygmalion" --uh, "My Fair Lady." Actually, he spoke the Queen's English. I'm from Scotland. DEBBIE OLSON: I've never met anyone from Scotland before. ALVA KEEL: But I've never met anybody who's a saint - uh, might be a saint before. DEBBIE OLSON: I'm no saint. Ask anyone who knows me. ALVA KEEL: I don't think that your brother would agree with that. DEBBIE OLSON: He doesn't think I'm a saint. He thinks I'm god. ALVA KEEL: If you don't mind me asking, how long have you been responsible for him? (She hesitates.) (In her mind, she hears tires screeching and a horn blaring.) (Quick flash of: A car crashing in the night, the sound of metal crunching is heard. Resume to present.) DEBBIE OLSON: Uh, our parents died in a car accident the summer after my senior year, and Danny was just twelve. I was supposed to go away to college, but ... ALVA KEEL: A lot of sacrifices. DEBBIE OLSON: Ah, I don't date as much as I'd like. (KEEL chuckles.) DEBBIE OLSON: I sometimes feel like I'm missing out on life. ALVA KEEL: Locked up in a cloister? DEBBIE OLSON: Yes. ALVA KEEL: I know the feeling. DEBBIE OLSON: So, all that miracle hunting slows down your love life? ALVA KEEL: (choosing his words carefully) Um, certain professions are not compatible with long-term relationships. DEBBIE OLSON: So you're the expert -- why is this happening to me? ALVA KEEL: Uh, well, I don't ... I have absolutely no idea. (He rolls his eyes and she smiles.) CUT TO: [EXT. APPLE TREE CAFÉ -- DAY] [INT. APPLE TREE CAFÉ - DAY] (EVELYN questions the local OFFICER DAMON KELSO.) EVELYN SANTOS: So, any leads on who cut Debbie Olson's throat? OFFICER DAMON KELSO: We're a small town four minutes from the interstate. It's perfect for a stop-and-drop. EVELYN SANTOS: You get a lot of that? OFFICER DAMON KELSO: This place was hit twice in the last three years. The guy's probably in Vegas by now, or Mexico. EVELYN SANTOS: Anyone get a plate? OFFICER DAMON KELSO: A partial -- QCP and maybe a 4. (EVIE jots it down in her notebook.) The only match within 100 miles is an 83-year-old lady who lives in a trailer over in Wyantville. She walks around dragging an oxygen tank. I'd say her throat-slitting days are over. [EXT. ROAD TO OLSON RESIDENCE - DAY] (DANIEL walks and talks with PAUL.) DANIEL OLSON: Saint Debbie --my sister's a saint. Nothing can hurt her. PAUL CALLAN: You know, Daniel ... uh, one of the things about Saints is it isn't just not getting hurt. They can help people, too. DANIEL OLSON: Uh-huh. Well, she did. Today, at the diner, a lady said Debbie cured her baby. And when I get sick, she cures me -- all the time. She can do anything. (DANIEL rushes forward and up the porch. He opens the front door and steps inside. PAUL sighs.) (KEEL steps out of the house.) PAUL CALLAN: How is she? ALVA KEEL: She seems to be suffering no ill effects at all from the snakebite. PAUL CALLAN: I had a case in Alabama last year -- a snake handler. He'd been bitten over fifty times by water moccasins, had his whole parish convinced that he was touched by god. It turned out over the past two years he'd been giving himself small doses of venom until he built up a natural immunity. ALVA KEEL: (shakes his head) No. She's not faking it. PAUL CALLAN: Really? And you know this how? ALVA KEEL: Gut instinct. Isn't that how you typically operate? PAUL CALLAN: Yeah, and my gut's telling me this isn't real. Why do you want to believe this so badly? ALVA KEEL: Why do you not? PAUL CALLAN: I do. It's just ... I'm not a "one-boxer," all right. You can live your life that way, but I can't. I have to have a good box, and the things that I put in that box, they have to be real, or else what's the point? ALVA KEEL: But what about life's other box -- the box of evil, of anger, of hatred, of pain? PAUL CALLAN: Well, that one seems to fill up on its own. Look, I've seen what happens when these things go south, all right. A lot of people in this town are going to be devastated, and one of them is gonna be her brother. Now, what box should I put that in? (PAUL'S phone rings. He answers it.) PAUL CALLAN: (to phone) Hello. (pause) Where are you? All right, hang on a second. (to KEEL) It's Evie. She's got a lead. She needs the car. Are you coming? (KEEL doesn't answer.) This could settle the question. ALVA KEEL: I'm staying here. PAUL CALLAN: (to phone) I'll be right there. (He hangs up and turns to leave.) It's good to see you've made up your mind without actually investigating the case. (PAUL heads for the car. The front door opens and DEBBIE joins KEEL out on the porch.) DEBBIE OLSON: Your friend doesn't believe me. ALVA KEEL: No, I'm afraid not. DEBBIE OLSON: But you stood up for me. Not many people have done that. ALVA KEEL: I do believe you, Debra. DEBBIE OLSON: Well, Mr. Keel, I appreciate that. Coming from you, that really means something. (They look at each other and slowly move forward. They lean ever so slowly into each other, their foreheads touching. She pulls back.) DEBBIE OLSON: I'm sorry. ALVA KEEL: It's all right. CUT TO: [EXT. WYANTVILLE - TRAILER PARK -- DAY] (PAUL and EVIE question the owner of the car, an older WOMAN hooked up to an oxygen tank.) WOMAN: I haven't been in Three Springs in a year. I only go there for my doctor, and that was ... March. PAUL CALLAN: No one could have borrowed your car? WOMAN: Who could have borrowed it? I live alone. (EVIE steps behind to check out the car's license plate: 4QCP135.) WOMAN: You're the first one to drive up this road in weeks. EVELYN SANTOS: Maybe it was stolen and returned while you were asleep? WOMAN: You are real pretty, but you're not too smart, are you? EVELYN SANTOS: Lie number one -- you're in Three Springs at least once a month. That's the closest place to get your oxygen. Lie number two -- there's three different tire tracks on your road. I saw them when I drove in. I'm guessing the first two are your car and Officer Kelso's car from when he came out to question you last Friday. You want to tell me about the third? (Before she says anything, a big, blue truck roars up the drive toward the trailer. Radio music blares. The blue truck, license #6A238C1, stops next to the trailer.) (A young man steps out of the car and glares at them. It's the same man who threw the snake at DEBBIE.) CUT TO: [EXT. THE BILL WILL MOTEL - NIGHT] [INT. MOTEL ROOM - NIGHT] (The door opens and KEEL walks inside. He looks at the room door and sees the card, DO NOT DISTURB, hanging on the knob. The door isn't closed nicely.) (Inside, he hears EVIE struggling. He pushes the door open and sees EVIE standing near the window. A masked man has his arm around her shoulders, a knife next to her neck.) EVIE SANTOS: (panting) Let me go! (KEEL'S eyes widen as the masked man cuts EVIE'S neck. He throws her on the bed.) (The masked man steps toward KEEL. He reaches up and pulls off his mask. It's PAUL.) PAUL CALLAN: Not bad, huh? (PAUL smiles.) FADE OUT. Miracles will return in a moment, here on ABC. FADE IN. [INT. MOTEL ROOM - NIGHT] (EVIE is lying on the bed, her neck bloody. She opens her eyes and sits up. KEEL stares at them in shock.) [LATER] (KEEL is sitting down at the table. PAUL holds out the knife as EVIE wipes off the fake blood from her neck.) PAUL CALLAN: It's a prop knife like the one they use in the movies. You can buy them online. EVELYN SANTOS: Debbie had an accomplice -- the same guy who threw the rattlesnake at her. His name is Greg Barger. He was the guy in the ski mask who pretended to cut her throat. PAUL CALLAN: They were both hired by Mayor Letherton. It was all planned to drum up business, put Three Springs on the map. ALVA KEEL: You talked to this Greg... EVELYN SANTOS: Yeah, he lives up in Liverpool, but he used his grandmother's car. He told us the whole story. PAUL CALLAN: Once we got him started, you couldn't shut him up. He was proud of the whole thing. Since the mayor was involved, he figured he was covered. ALVA KEEL: What about the snake? PAUL CALLAN: Well, the one they used had its venom glands surgically removed. ALVA KEEL: This doesn't make any sense. PAUL CALLAN: I'm sorry, Keel. ALVA KEEL: Really? You seemed to enjoy your little performance. PAUL CALLAN: I didn't enjoy it at all, but if we hadn't shown you exactly how it happened, would you have believed us? Especially after our conversation? ALVA KEEL: Probably not. EVELYN SANTOS: No one else knows about this -- yet. PAUL CALLAN: They don't have to. It's up to you. CUT TO: [INT. OLSON RESIDENCE - NIGHT] (There's a light knock. DEBBIE opens the door and sees KEEL on her porch.) DEBBIE OLSON: Hi. Come on in. ALVA KEEL: Is Daniel here? DEBBIE OLSON: Uh, he's asleep. (KEEL doesn't say anything. He steps into the house and closes the door behind him.) DEBBIE OLSON: What's wrong? ALVA KEEL: Why did you do it? (She stares at him, then sees that he knows. She sighs.) DEBBIE OLSON: Money. Frank offered me $30,000. It'd take me two years to earn that. ALVA KEEL: Okay, so ... the mayor coerced you. Now, that I can understand. DEBBIE OLSON: No, he didn't coerce me. I would have done it for half that. ALVA KEEL: Why? DEBBIE OLSON: Because that money's the only chance we have for me and Daniel to leave here and never come back. Look, Frank and I ... were dating. And I guess I took it more seriously than he did. I told him about this fantasy that I had ever since my folks died. Somehow I'd win the lottery or something and Daniel and I could move. There's a school in Los Angeles for kids like Daniel, but it's expensive. UCLA was my dream college. (KEEL puts a hand to his head and rubs his tired eyes.) DEBBIE OLSON: It just seemed fair, you know? Something really good would happen to us because something really bad already did. Anyway, Frank said he thought we could make my fantasy come true together. And then he told me his big idea. Then I realized the only thing he was offering me was money. So I thought, fine. Screw it. Money's money, right? Okay, it was a stupid idea. I did it because I was angry. I said I'd do it once --the robbery. That's it. But then ... ALVA KEEL: Then what? DEBBIE OLSON: People started to notice me. People who never even gave me a second look before. ALVA KEEL: Oh, for god's sake. You ... you did all of this for attention? DEBBIE OLSON: It sure got yours. If you didn't think that I was special, the only thing you would've said to someone like me is "more coffee, honey." ALVA KEEL: That's not true. DEBBIE OLSON: Really? (sniffles) Well, we'll never know, will we? ALVA KEEL: No, we won't. (He reaches for the door knob.) I, uh ... I haven't told anybody about this. I'm going to leave that up to you. DEBBIE OLSON: I can't. It all comes back to me and Daniel. (She sniffles.) I'm all he's got. ALVA KEEL: Yeah, and who cares who else gets hurt, right? DEBBIE OLSON: (sniffs) I don't know. I leave town. I go back to school. Daniel gets some real help, maybe even learns to live on his own. The town gets tourist money, and people believe in god now like they never did before. You remind me --who's getting hurt? (They look at each other and he knows that she just doesn't get it.) ALVA KEEL: Yeah. Bye. (KEEL turns and leaves. He closes the door behind him. Through the window in the door, we see DEBBIE crying.) CUT TO: [DANIEL'S ROOM - NIGHT -- CONTINUOUS] (Through the open door, DANIEL has heard everything. He sits in the dark and cries.) FADE TO: [EXT. THREE SPRINGS (STOCK) - EARLY MORNING] [INT. DINER - EARLY MORNING] (PAUL plays with the spoon in his coffee watching the liquid drip of the end into his cup.) EVELYN SANTOS: You seem more upset about all this than Alva did. PAUL CALLAN: I know how these people feel. They want to believe so ... so desperately. You know, maybe Keel is right. Maybe the big message is there are no real miracles -- just a lot of unexplainable stuff, and none of it means anything. (In the back, EVELYN notices the commotion as people rush out of the diner. There's shouting as news starts to spread.) (They grab their jackets and head out of the diner.) [EXT. DINER - SIDEWALK - EARLY MORNING] (EVIE and PAUL put their jackets on as they look around the sidewalk. The musician puts his guitar back into the guitar case.) PAUL CALLAN: What's going on? MUSICIAN: It's Debbie's brother. He's on the water tower. (They start to run as they follow the others to the water tower.) CUT TO: [EXT. WATER TOWER - EARLY MORNING] (DEBBIE pushes her way through the crowd at the base of the water tower. KEEL meets up with her.) ALVA KEEL: Debra! DEBBIE OLSON: What's going on? ALVA KEEL: He's going to jump. He thinks you can save him. (Up on the tower, DANNY stands outside the railing at the top of the water tower.) DEBBIE OLSON: (shouts) Danny! FADE OUT. FADE IN. [EXT. WATER TOWER - EARLY MORNING] (DANIEL OLSON lingers at the top of the water tower while the crowd watches anxiously from below.) DEBBIE OLSON: Please come down here now! Danny, please! OFFICER DAMON KELSO: Just stay calm, Danny! DANIEL OLSON: I'm gonna jump! DEBBIE OLSON: No! PAUL CALLAN: Daniel, don't! Don't! DANIEL OLSON: It's okay! Debbie will save me! He told you you're a liar, and now you think you're a liar! But Paul says real Saints help other people! PAUL CALLAN: (whispers) Oh, my ... DANIEL OLSON: I'm gonna show everyone you can do it! I'll prove it to you, Debbie! (DANIEL lets go of the railing, balancing on his own.) DEBBIE OLSON: No, Daniel! I love you, but you have to understand something. Nothing that I did was real. (The crowd reacts to that confession including FRANK LETHERTON.) DANIEL OLSON: No, that's not true! DEBBIE OLSON: Yes, it is. It was all pretend. And if you jump, there is nothing I can do to save you. DANIEL OLSON: But you're special! DEBBIE OLSON: No, I'm not, but you are. Danny, please climb down! DANIEL OLSON: You said ... you said you could do things. DEBBIE OLSON: Yes, and I was lying! I am so sorry, Danny! If I could save you, I would, but I can't! DANIEL OLSON: Why are you saying these things? (MRS. MARTIN pushes her way toward the front.) CHARLOTTE MARTIN: Your brother's right. Don't listen to the people who don't believe in you. They're speaking the devil's words. DEBBIE OLSON: Mrs. Martin, I'm sorry. CHARLOTTE MARTIN: God chose you. (KEEL gently pushes MRS. MARTIN back toward the crowd signaling her to be silent, but she doesn't listen.) You are special. No harm can come to you. We'll show them, Debbie. We'll show them who the liar is. (MRS. MARTIN digs into her purse and takes out a gun. She points it at DEBBIE. The crowd sees the gun and starts to disburse to take cover.) (MRS. MARTIN shifts her gun over and points it at KEEL.) CHARLOTTE MARTIN: You are. (DEBBIE moves in front of KEEL just as MRS. MARTIN fires the weapon point blank at him.) DANIEL OLSON: Debbie, no! (DEBBIE falls backward onto KEEL. FRANK LETHERTON and an OFFICER take the gun away from MRS. MARTIN.) CHARLOTTE MARTIN: No, I didn't mean to shoot it. PAUL CALLAN: (to the crowd) Call an ambulance! (He turns to check on DEBBIE and KEEL.) PAUL CALLAN: You all right? (KEEL'S eyes are wide as he holds DEBBIE. The wound bleeds out as PAUL and KEEL both try to help her.) (PAUL stands up. KEEL brushes the hair away from DEBBIE'S face.) (DANIEL, down from the water tower, makes his way slowly toward DEBBIE. EVELYN wraps a warm blanket around his shoulders.) (Cut to: KEEL steps into the back of the elevator with DEBBIE who is already inside on the gurney. He looks back at DANIEL and nods as he closes the ambulance doors.) (The AMBULANCE drives away leaving the crowd behind.) CUT TO: [INT. HOSPITAL - WAITING ROOM - NIGHT] (KEEL, PAUL, EVIE and DANIEL wait in the waiting room.) ALVA KEEL: (to PAUL) Now I think I understand how you feel. PAUL CALLAN: What do you mean? ALVA KEEL: Someone sacrificing their life for you ... it isn't a good feeling. PAUL CALLAN: Have you prayed? ALVA KEEL: (nods) Like a child. (PASTOR JAMES joins them and sits down.) PASTOR JAMES: People started coming by the cafe about an hour ago, bringing money for Debbie. Almost $5,000 so far. Amazing, isn't it? People would rally around her in spite of what she's done. ALVA KEEL: Hmm... PAUL CALLAN: Yes, it is. EVELYN SANTOS: There's your miracle. DANIEL OLSON: I'm gonna be a better brother, work harder on my reading. PAUL CALLAN: You're already a good brother. DANIEL OLSON: Debbie's gonna be okay. (KEEL and PAUL glance at each other. PAUL starts to explain it to DANIEL.) PAUL CALLAN: Daniel ... the things that your sister said back there, they were true. She isn't really a Saint. That bullet hurt her, and the doctor ... he doesn't expect her to make it. You understand? DANIEL OLSON: I know ... I know before was all pretend, but she's going to be okay because she's my sister, and I love her. And she's special. (Everyone lapses into silence by his faith.) (The SURGEON steps out of the room as he removes his surgical smock. KEEL sees him and stands up.) SURGEON: Well, I don't know what to say. I've never seen anything like it. The pattern the bullet described through her body -- it managed to miss four vital organs and arteries. There was almost no internal damage. She lost some blood, but other than that, she'll be home in a couple of days. Good as new. ALVA KEEL: Thank you, doctor. (He shakes his hand. The surgeon turns and leaves. KEEL turns around and laughs.) ALVA KEEL: (to PAUL) That's the second miracle. FADE TO: [EXT. THE WATER TOWER -- DAY] [INT. HOSPITAL - DEBBIE'S ROOM - DAY] (DEBBIE sleeps. KEEL sits at the edge of her bed. DEBBIE opens her eyes.) DEBBIE OLSON: Where's Daniel? ALVA KEEL: Oh, he's fine. DEBBIE OLSON: You saved him -- and me. Th-thank you. ALVA KEEL: There's no need to thank me. DEBBIE OLSON: I deserve this. I'm surprised no one else in this town has tried to kill me after what I did. ALVA KEEL: Well ... as a matter of fact, the reaction has been quite the opposite. Pastor Don has received over $8,000 in contributions for your hospital bills, and, um ... (KEEL pulls out a check and shows it to her.) This is from Mayor Letherton. DEBBIE OLSON: This is all the money he promised me. I don't believe it. ALVA KEEL: Paul and I had a little chat with him, and he realized it was ... simply better to just pay you and not have his involvement revealed. There is one condition, however. That you leave town ... as soon as you're healthy enough. Is it a deal, Debra? DEBBIE OLSON: I love it when you do that. ALVA KEEL: Do what? DEBBIE OLSON: Call me 'Debra'. You're the only one who does. (KEEL leans forward and kisses her forehead.) DEBBIE OLSON: My mouth's down here, Henry Higgins. (He tries again and this time, he gets it right. They kiss.) FADE TO: [INT. SODALITAS QUAERITO - KEEL'S OFFICE -- NIGHT] (KEEL sits behind his desk. A figure stands in the doorway.) FATHER "POPPI" CALERO: So, Mr. Keel ... burning the midnight desk lamp, I see. ALVA KEEL: Oh, just a little bedtime reading. (POPPI steps into the office.) FATHER "POPPI" CALERO: Let's see what we're reading here. "Unhoer Bares Wird Hoerbar." ALVA KEEL: "The Inaudible Becomes Audible," Konstantin Raudive's classic book on electronic communication with the dead. FATHER "POPPI" CALERO: Hmm. Is Paul around? He left a message. ALVA KEEL: No, no. Sorry, he ... uh ... he actually went out on a date. FATHER "POPPI" CALERO: Oh, really? Yes, well ... all right. (POPPI turns to leave the office when KEEL stops him.) ALVA KEEL: I meant to, um ... I meant to thank you. FATHER "POPPI" CALERO: For what? ALVA KEEL: For alerting us to the young woman in Three Springs. Uh, the investigation was quite illuminating. (POPPI steps back into the office.) FATHER "POPPI" CALERO: Hmm ... Turn out she was a Saint? ALVA KEEL: Yes. (chuckles to himself) Yes, as a matter of fact - (off POPPI'S look) -- although, not the kind that you'd put in the books. FATHER "POPPI" CALERO: Oh. Mr. Keel, I'd like to buy you a cup of coffee. ALVA KEEL: No. (POPPI stops.) ALVA KEEL: But you could buy me a drink. FATHER "POPPI" CALERO: Done. I'd like to know more about this possible saint. (KEEL stands up.) ALVA KEEL: Yes. She was really ... quite extraordinary. (He grabs his jacket.) It turns out that she's been caring for her younger brother for the past eleven years. (They both head out of the office.) FATHER "POPPI" CALERO: Mm-hmm. (KEEL turns the lights off. The two men leave, their voices fading in the background.) ALVA KEEL: And, um ... see, the parents had this terrible car accident. FATHER "POPPI" CALERO: Oh really? FADE TO BLACK. ========================== THE END ========================== [Captions paid for by ABC, Inc. and Touchstone Television] Courtesy of http://www.webphilia.com/~anthology/wnp.html Contact the Transcriptionist at (intrepidly002@yahoo.com) Please do not archive this transcript without permission from the Transcriptionist. ========================== TITLE/OPENING CREDITS ========================== MIRACLES 1X10: SAINT DEBBIE (UNAIRED) [UNAIRED IN U.S.] AIR DATE IN CANADA: 12/05/2003 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 LOIS HALL as Mrs. Charlotte Martin DANIEL NATHAN SPECTOR and ANDREA ROTH as Debbie Olson Co-Producer: NEAL ISRAEL Co-Producer: ANDREW DEANE Producer: CHRISTIAN TAYLOR Produced by: DENNIS STUART MURPHY Consulting Producer: BILL D'ELIA 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: RICHARD HATEM Directed by: LAWRENCE TRILLING ========================== END CREDITS ========================== David Greenwalt Productions Spyglass Entertainment Touchstone Television Co-Producer: WILLIAM REDNER Co-Producer: MEGAN WOLPERT Executive Story Editor: DAVID GRAZIANO Co-Starring JAY UNDERWOOD as Mayor Frank Letherton COLBY FRENCH as Officer Damon Kelso SEAN GALUSZKA as Garth PATRICIA PLACE as Charlotte Martin Co-Starring TERRY FRADET as Greg Barger ELAYN J. TAYLOR as Dr. Claire Bigler ROSALEE MAYEUX as Woman HEIDI SULZMAN as Young Woman CASEY MICHAEL McFADDEN as Man in Diner Director of Photography: ERNEST HOLZMAN, A.S.C. Production Designer: LAURENCE BENETT Edited by: CRAIG BENCH 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: SOLINA TOBRIZI Set Decorator: LINDA SUTTON-DOLL, S.D.S.A Property Master: ALAN J. SIMS Script Supervisor: HARRI JAMES / MARI WILSON Production Coordinator: LYNNE WHITE Stunt Coordinator: SPIRO RAZATOS Special Effects Supervisor: KELLY KERBY Transportation Coordinator: DAN 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: RAY PARRA 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:06/19/2004~lky http://www.webphilia.com/~anthology/wnp.html