M I L L E N N I U M
"ANAMNESIS"
Ep. # 2.19 [MLM-219 (5C19)]
Written by Erin Maher & Kay Reindl
Directed by John Kousakis
Edited by Chris Willingham, A.C.E.
Transcribed by Matt Asendorf
[ Second Season ] [Complete Transcript]
U.S. Air Date: April 17, 1998
=====================================================================
TEASER
Trademark music cue as we:
FADE IN FROM WHITE:
EXT. WOODS - NIGHT
Patti Smith's "Dancing Barefoot" begins to play over the sequence. The
camera swiftly moves past a Black Virgin statuette and focuses on the
necklaces and pendants which have been strung up in the tree branches. The
wind blows and they clatter against each other.
Several pairs of bare feet are seen stepping on the vegetation, circling a
stone.
SONG
She is benediction. She is addicted to
thee. She is the root connection. She is
connecting with he.
There are several more shots of the necklaces and pendants in the trees,
interwoven with those of four girls who are dancing in the woods. They
swing back their heads and shake their hair -- as if possessed by some
greater power.
SONG (CONT'D)
Here I go and I don't know why. I fell so
ceaselessly. Could it be he's taken over
me?
The girls clasp hands and repeatedly circle the stone, pulling each other
forward in an intense dance. The camera moves upward through the tree
branches, observing them from overhead.
SONG (CONT'D)
I'm dancing barefoot -- Heading for a
spin. Some strange music, draws me in,
Makes me come on, like some heroine...
INT. A HIGH SCHOOL CORRIDOR - DAY
A teenage boy picks up a scrunched up piece of paper off the ground and
reads it as he walks toward his friend who is talking to a girl near a wall
of lockers. He taps his friend on the back and hands him the paper. His
friend looks at the large, red handwriting: Don't go to Prayer Circle! and
crumples the paper once more. He tosses it in a wastebasket and walks
through a throng of students.
SONG (CONT'D)
She is sublimation. She is the essence of
thee. She is concentrating on he -- Who is
chosen by she.
Here I go and I don't know why. I spin so
ceaselessly. Could it be he's taking over
me?
EXT. A HIGH SCHOOL - DAY
A mini-van pulls up next to an empty parking lot space reserved for E.
Shetterly. The license plate of the vechicle reads: Washington / 637-VUX.
The camera pans upward and the driver is seen getting out -- it's CATHERINE
BLACK. She quickly opens the van door and runs toward the school entrance.
INT. A HIGH SCHOOL CORRIDOR - DAY
A blonde, teenage girl, CLARE MCKENNA, walks past the two boys from
earlier. They watch her with disgust and each stick out their index and
pinky fingers.
TEENAGE BOYS
(chanting quietly)
Devil girl!
The girl walks toward the camera with an emotionless face. Behind her, the
four other girls seen dancing in the woods, KELLY, LESLIE, MAUREEN, and
SHELLEY, are seen walking in tow. The other students avert their eyes and
avoid contact.
SONG (CONT'D)
I'm dancing barefoot -- Heading for a
spin. Some strange music, draws me in,
Makes me come on, like some heroine...
The five girls walk around the corner and head toward a flight of stairs.
Clare turns around and stares directly at the camera as her friends walk
around her in silence and climb the steps.
They approach a classroom door and Clare sighs heavily before entering. The
door closes behind them. A yellow sign taped to the door reads: PRAYER
MEETING AT 3:15pm.
A close-up of Catherine's face shows her escalating fear as she sprints
toward the classroom.
SONG (CONT'D)
(gently getting softer)
I'm dancing barefoot -- Heading for a
spin. Some strange music, draws me in,
Makes me come on, like some heroine...
INT. THE PRAYER MEETING - DAY
CLARE
Hail Mary, full of grace, the Lord is with
thee. Blessed art thou among women and
blessed is the fruit of thy womb Jesus.
The classroom door quietly opens a crack and the side of a figure in a
black coat can barely be seen. He removes a gun from his pocket and
steadily takes aim.
CLARE (CONT'D)
Holy Mary, mother of God, pray for us
(she trails off as the gun cocks)
sinners...
Another close-up of Catherine in terror as she continues to the classroom.
CATHERINE (O.S.)
No!
Clare looks toward the doorway in sadness then closes her eyes and bows her
head. The gun fires.
EXT. WOODS - NIGHT
Several screams are heard as the camera zooms past some vegetation and
focuses on the Black Virgin.
SONG (CON'T)
(mixed with screams)
Oh God, I fell for you...
(the line is continually repeated)
SONG (V.O.)
The plot of our lives sweats in the dark
like a face: the mystery of childbirth, of
childhood itself, grave visitations... What
is this that calls to us? Why must we pray
screaming? Why must not death be redefined?
We shut our eyes, we stretch out our arms
and whirl on a pane of glass -- an
asphyxiation, a fix on anything -- the line
of life, the limb of a tree, the hands of
he, and the promise that she is blessed
among women.
Water accumulates in the eyes of the Black Virgin -- as if crying because
of the preceding events.
FADE OUT.
ACT I
Trademark music cue as we:
FADE IN FROM WHITE:
INT. LARA'S JEEP - NIGHT
LARA MEANS is gripping the steering wheel, an unlit cigarette rests between
the index and middle fingers of her right hand. She places the cigarette in
the mouth and pulls out a lighter. She flicks the lighter on and studies
the flame. Distorted human voices are heard as the flame appears to be
burning within her eyes, in front of billowing clouds. The clouds turn
bright orange and horses are seen trotting and heard whining. The visions
eventually subside and Lara lights her cigarette, allowing the nicotine to
soothe her.
In the rear view mirror she sees a woman's shining face, partially
concealed by a cloak. Lara turns around and looks at the back seat, but
there is no one there. She continues driving, smoking her cigarette.
EXT. ROWAN, WASHINGTON - DAY
Traffic and people occupy the streets of a small town. A LEGEND APPEARS:
Rowan, Washington. Two Days Earlier.
A news crew is interviewing REVERAND SAM HANES outside St. Peter's Church.
Catherine is driving her van past, listening to the broadcast on her radio.
REVERAND HANES (V.O.)
Our Lord told John that we'd see messengers
traveling to and from heaven. However, it's
unlikely that a holy messenger would take
the form of the likes of this.
INT. EMMA SHETTERLY'S OFFICE - DAY
Vice Principal EMMA SHETTERLY enters her office and sits down at her desk,
opposite of Catherine.
EMMA
I can't thank you enough for taking time
away from your family to help me out with
this, Cath.
CATHERINE
I'd do anything for you.
Emma chuckles.
CATHERINE
Besides, it gives Frank and Jordan some
time to spend with Frank's dad.
EMMA
Are the two of you still having a rough
time?
CATHERINE
Our separation never meant that Frank and I
didn't love each other. Just the opposite
in fact. We're getting stronger as a
family.
Emma smiles phonily.
You got that therapist look down pat.
EMMA
Do I really?
(chuckles)
It's hard to tell with the kids
CATHERINE
It IS hard, I've worked with kids.
EMMA
Children can't be put into convient little
boxes anymore. Which is good, on the one
hand, because they shouldn't be, but... on
the other hand, Cath... it makes me
nervous. Kids seem to know so much about
the world these days, but... they're
growing up without role models and knowing
too much makes them reject responsibility.
Even their own parents don't take
responsibility for them. More often than
not I've been a convient scapegoat.
CATHERINE
Five girls claim to have seen a vision of
the Virgin Mary -- the ultimate role model.
And you don't believe them.
EMMA
It's appalling, isn't it? I just instantly
thought why, why would the Virgin Mary
appear to these ordinary to my mind --
unworthy teenagers. I -- I was...
CATHERINE
Jealous?
EMMA
You have still got that insight that made
you Doctor Hill's favorite student.
CATHERINE
I just wore tight sweaters to class.
EMMA
Actually, Cath, I need your help because,
um... I'm afraid that, uh... I do believe
them.
Catherine stares at Emma with a slight disbelief.
INT. A HIGH SCHOOL CORRIDOR - DAY
Catherine and Emma are walking in the hallway. Emma hands Catherine a black
file folder.
EMMA
Clare McKenna, leader of the pack.
Catherine flips the folder open and begins reading.
CATHERINE
Fighting, Smoking, Cutting Class, Petty
Theft. Not exactly the type you'd expect
to find channeling relegious visions.
EMMA
Clare's problems started a few years back
when her mother died. Now the other girls
have become isolated by their peers.
Catherine begins to flip through the folder, glancing at its contents.
CATHERINE
This "secret thing" that the girls have
created makes them special.
EMMA
So special that they're celebrities. And
nobody in town is unaffected. My secretary
is convinced that the Virgin is speaking
through Clare.
The two women arrive at the end of the hallway at the school library.
Catherine looks in through the a glass window at Clare's friends who are
sitting around a round table, drawing and doing homework.
EMMA
The other girls with this "secret thing"
are: Kelly Celaya, into horses, Shelley
Larrabure, future rocket scientist, Leslie
King, planning to out-Salinger Saligner,
and Maureen Regan, into --
(sighs)
serial killers.
INT. A HIGH SCHOOL LIBRARY - DAY
Catherine enters the library and approaches the table. As she pulls up a
chair, Kelly places a pad of paper over her drawing.
CATHERINE
Why'd you cover that up?
KELLY
(monotonic)
Didn't turn out right.
Catherine removes the pad and looks at Kelly's work: a brown horse with a
cresent moon and star in the upper-left corner.
CATHERINE
I think it's wonderful. Is it a
thoroughbread?
KELLY
(suddenly interested)
How'd you know?
CATHERINE
I always wanted a horse. All my friends
had horses. But the closest I ever got was
drawing them.
The girls listen with curiosity.
CATHERINE (CONT'D)
Of course, my drawings always looked like
a... log with a mane and a tail.
(begins to draw on the pad of paper)
I guess you could see almost anything in
it, if you were looking for it.
Catherine shows the girls her pathetic drawing and they all laugh.
CATHERINE
When I was twelve, um... a friend's mom
saw Jesus in a loaf of bread.
The girls avert their eyes.
CATHERINE
Maybe she did see something and now we'll
never know. I'd like to help you, if
you'll let me.
They look at each other questionably and Maureen recounts how her friends
experienced their vision.
MAUREEN
Reverend Hanes was reading from the book
of John...
INT. ST. PETER'S CHURCH - DAY
The pews are full of patrons, listening intently to Reverend Hanes who is
preaching at the pulpit. The five girls are all sitting together at the
front of the church, also listening to the sermon.
MAUREEN (CONT'D) (V.O.)
Chapter Six, Verse 36 -- after the loaves
and the fishes. He was preaching about how
Jesus was the bread of life -- that if we
only believe in Jesus we'd never go hungry
again.
REVERAND HANES
Jesus told the apostles, "I am the bread
of life if you come to me you will never
hunger. If you believe, if you BELIEVE in
me, you will never thirst."
MAUREEN (CONT'D) (V.O.)
Reverand Hanes said the apostles saw Jesus
but they didn't believe. He said non-
believers go to Hell.
REVERAND HANES (CONT'D)
"You have even seen me and you still
refuse to believe. You still REFUSE to
BELIEVE."
MAUREEN (CONT'D) (V.O.)
It was scary, then it wasn't scary. There
was a light and it moved.
(a bright light shines on the girls)
All of a sudden, there she was.
The girls all turn their heads and stare towards the bright light. Clare
unsteadily stands to her feet.
CLARE
I see her.
MAUREEN (CONT'D) (V.O.)
We saw her. Clare started the hail Mary.
It just -- it felt right.
The others in the church rise and look at the girls, who are on their
knees, praying aloud. Clare faces the light as the others are turned away
with their eyes closed.
CLARE AND THE GIRLS
Hail Mary, full of grace, the Lord is with
thee. Blessed art thou among women and
blessed is the fruit of thy womb Jesus.
Holy Mary, mother of God, pray for us
sinners now and in the hour of our death.
Reverend Hanes stands at his pulpit in apparent fustration.
MAUREEN (CONT'D) (V.O.)
But Reverand Hanes didn't see her. Clare
said Mary would never appear to someone
like him...
INT. A HIGH SCHOOL LIBRARY - DAY
MAUREEN (CONT'D)
He said we were sent from Satan.
Catherine finishes listening, saddened and sympathetic. Maureen sees Clare
walk through the library, observing towards them with disapproval. The
girls return to their work and Catherine turns in confusion. She watches
Clare walk away.
CATHERINE
Can we talk again later?
The girls simply ignore her, but watch as Catherine gets up and leaves. A
boy, ALEX HANES, approaches her from behind.
ALEX
It wasn't John, it was Matthew.
Catherine spins around.
ALEX
My dad's the preacher...
INT. ST. PETER'S CHURCH - DAY
The pews are full of patrons, listening intently to Reverend Hanes who is
preaching at the pulpit. The five girls are all sitting together at the
back of the church, giggling and talking with each other. The people behind
them shaking their heads in disgust.
ALEX (CONT'D) (V.O.)
It was verse 25 -- about the maidens and
the bridegrooms and preparing for Judgment
Day.
Alex turns around and ssh-es them. They laugh and kick the back of his pew.
ALEX (CONT'D) (V.O.)
Finally my dad took notice. He said, "This
was your last warning."
REVERAND HANES
(pointing at the girls)
This is your last warning.
The girls roll their eyes.
ALEX (CONT'D) (V.O.)
And that's when it happened.
Clare jumps up from her seat.
ALEX (CONT'D) (V.O.)
"I see her!"
CLARE
I see her!
Alex turns around again in anger. The others jump to their feet.
REVEREND HANES
Girls.
They all kneel in unison and pretend to pray.
INT. A HIGH SCHOOL LIBRARY - DAY
ALEX (CONT'D)
That's what she said. And now everybody
thinks she's divine. But she's not...
She's going to Hell.
Catherine stares back at the boy.
INT. OUTSIDE EMMA SHETTERLY'S OFFICE - DAY
Catherine enters the office outside Emma's own. She closes the door behind
her and listens to the radio that is sitting on the secretary's desk, next
to a tall, lit candle.
MAN ON THE RADIO (V.O.)
I believe that Clare McKenna's problems
stem directly from the fact she's being
raised by a single parent. That's --
The secretary turns the radio off as Catherine approaches.
SECRETARY
Nobody can see the truth.
CATHERINE
"Truth?"
SECRETARY
About Clare.
CATHERINE
And that truth being?
SECRETARY
Well, I guess that's what you'll find out.
Catherine walks toward Emma's office.
SECRETARY
Uh, not now, you're not.
CATHERINE
I have an appointment with Clare.
SECRETARY
Well, you'll have to wait until the other
lady finishes her questioning.
Catherine frowns in confusion and slowly approaches Emma's office door,
listening to the conversation within.
INT. EMMA SHETTERLY'S OFFICE - DAY
CLARE
And the savior said: "The visionary does
not see with the soul or the spirit but
with the mind that exists between these
two. That is what sees the vision and that
is what..." I bet you'll love to know what
comes next.
The camera pans and Lara Means is sitting across from Clare, slightly
annoyed.
LARA
Nobody knows what comes next. Those
passages are missing.
Clare stares back with intensity and Catherine observes them both from
outside through the window blinds.
FADE OUT.
ACT II
Trademark music cue as we:
FADE IN FROM WHITE:
INT. EMMA SHETTERLY'S OFFICE - DAY
Catherine and Lara are sitting across from Emma, who is listening with
hesitation as the two women argue the merits of the girls' visions.
CATHERINE
Why didn't you tell me that The Millennium
Group was involved?
EMMA
I wasn't consulted. I don't even know
what the hell The... Millennium Group is.
CATHERINE
Neither do I, but I know that they have
their own agenda which is not in the best
interest of the girls.
LARA
(to Emma)
Through the years we've investigated many
well-documented apparitions: lourdes,
marpingen, fatima. In each case, young
girls were the recipients of messages
that --
CATHERINE
Young girls whose bodies are changing and
who feel isolated --
LARA
(to Catherine)
Visionaries at Medjugordje still receive
messages from the Virgin and the
similarities among the sightings --
CATHERINE
That's like saying alien abduction exist
because abductees report the same
experiences.
LARA
The Virgin appeared to George Washington
at Valley Forge and showed him the future
of America without any faith.
CATHERINE
It's unclear to me how you can claim to be
objective when you've already made up your
mind that this girl is a visionary.
LARA
You've already made up your mind that she
isn't.
Emma looks at the two women questioningly and Catherine stares at Lara with
disdain.
INT. THE PRAYER MEETING - DAY
Catherine, Lara, and Emma enter the classroom. The boys and the girls are
huddled together respectively, keeping a distance.
LARA
It's interesting how reactive religious
activiy is following predictable gender
lines.
CATHERINE
Looks like the first half hour of every
high school dance I ever went to. If
somebody put in a KISS album and cranked
up "Beth" we'd see a quick resolution to
any gender issues.
LARA
I'd have to disagree.
Catherine turns toward her in confusion.
LARA (CONT'D)
Well, the slow dance of choice would
absolutely have to be Journey "Hope and
Arms."
Lara smiles at Catherine who turns away amused. Just then, Alex Hanes steps
forward from the group of boys and addresses the room.
ALEX
Okay, I need a volunteer to read.
Clare steps forward from the group of girls and raises her hand.
ALEX
Somebody else.
Lara looks away from the teenagers and at a man, BEN FISHER, observing the
students. She quickly avoids his eye contact as he begins to intuitively
turn towards her.
CLARE
(strangely calm)
Jesus said, "As God as my witness. You'll
see the sky open and see God's messengers
traveling to and from the sons of Adam."
Alex is exasperated at Clare's dramatics.
CLARE (CONT'D)
Jesus said he'd show us wonders if we'd
only believe what we saw.
ALEX
Miss Shetterly, she's supposed to read,
not make stuff up!
Emma tries to appease Alex, but her nervousness prevents her from saying
the words.
CLARE (CONT'D)
"I know the first ones, and those after
them know me."
ALEX
That is not from the Bible, that comes
from Satan!
CLARE (CONT'D)
"I am the power of the powers and my
knowledge of the angels who have been sent
at my word..."
THE BOYS
(chanting repeatedly)
Devil Girl!
Emma rushes in front of Clare.
EMMA
Alex, boys, stop it!
CLARE (CONT'D)
"I am peace and war has come because of
me. I am the first and the last..."
Catherine listens to Clare with intensity.
CLARE (CON'T) AND THE POLAROID STALKER
"The alpha and the omega."
INT. A BASEMENT - NIGHT
A brief flashback of the episode "The Beginning and the End" as Catherine
is strung up, crying while The Polaroid Stalker whispers to her.
THE POLAROID STALKER (CONT'D)
"I am the beginning and I am the end."
INT. THE PRAYER MEETING - DAY
Clare turns toward Catherine who runs out of the room. Lara watches her go
and stares at Ben Fisher... who stares back.
INT. A BATHROOM - DAY
Catherine is standing at a sink, running her hands under the water. She
cups some in her hand and splashes her face. She looks in the mirror --
INT. A BASEMENT - NIGHT
Another flashback of the episode "The Beginning and the End" as Catherine
is strung up, crying while The Polaroid Stalker whispers to her.
THE POLAROID STALKER (CONT'D)
"I am the first and I am the last."
INT. A BATHROOM - DAY
Catherine runs her fingers over her lips, recalling her past horror.
INT. A HIGH SCHOOL CORRIDOR - DAY
She eventually leaves the restroom and suddenly stops upon hearing Lara's
voice. She sees Lara talking with PETER WATTS at the bottom of a stairwell.
LARA
She's formidable, Peter.
PETER
And him? What about him?
LARA
Arrived July 2nd, 1982.
PETER
The day she was born.
Catherine listens more closely to their conversation.
LARA
Having been informed that a member of The
Family is here, Peter, I'm doubting my
ability to merely stand by.
PETER
When Darwin published his theory of
evolution and natural selection, people
lost faith. Some committed suicide.
LARA
Are you saying we face that possibility
now?
PETER
Just remember why you're here.
Lara looks downward.
PETER
Is Catherine's pressence a problem?
LARA
No. She'd never believe what we know.
Catherine steps back and ponders the exchange that just took place.
EXT. A PLAYGROUND OUTSIDE THE SCHOOL - DAY
Catherine begins walking toward her van and notices Clare sitting alone on
a bench, watching children spinning themselves around on a merry-go-round.
She approaches the girl and sits down on the bench next to her.
CLARE
(continuing to watch the children)
You don't believe me.
CATHERINE
I haven't really had the chance to make up
my mind yet.
CLARE
My dad thinks I'm just trying to get
attention.
CATHERINE
Are you?
CLARE
(sarcastically)
Right. What my friends and I really want
is our parents paying attention to
everything we do.
CATHERINE
Clare, I was wondering about something
that you said at the prayer circle --
CLARE
I used to be a chronicler like you. Only I
believed. Then I got tested... like you.
And I didn't believe.
CATHERINE
Tested?
CLARE
By the man who took all the pictures of
you -- the one who told you the truth.
INT. A BASEMENT - NIGHT
Yet another flashback of the episode "The Beginning and the End" as The
Polaroid Stalker looks upward, bleeding from the mouth.
EXT. A PLAYGROUND OUTSIDE THE SCHOOL - DAY
Catherine sighs and looks downward as Clare turns the bracelet on her right
wrist with her hand. Catherine looks at the merry-go-round and the children
jump off cheerfully. The merry-go-round continues to swivel as Clare
continues to rotate her bracelet. Clare removes her shoes and runs
bare-footed over to the merry-go-round.
CATHERINE
Clare?
Clare gleefully grips the merry-go-round as it turns by itself. Lara
approaches the bench from behind and watches Clare as well. However, unlike
Catherine, she sees Clare in slow-motion, bathed in a bright light.
CATHERINE
(looking behind and upward at Lara)
Are you alright?
Lara doesn't respond, but continues to watch the girl spin in circles.
INT. CATHERINE'S MINI-VAN - DAY
CATHERINE
You think she's a visionary?
(sighs)
All I see is a child who's getting a kick
out of turning this town upside down.
LARA
A child that can recite gnostic texts?
CATHERINE
(looking at Lara with curiosity)
That wasn't from the Bible?
LARA
Before Emperor Constantine even became an
emperor in 337, he ordered the
confiscation and destruction of all works
that challenged orthodox Christianity as
set forth by the council of Nicaea in 325.
The so-called gnostic texts were excluded
from the Bible, for among other things,
promoting the idea that Mary Magdalene was
Christ's witness and the only apostle who
truely understood Christ's teachings.
Clare was reciting from a text called
"Thunder Perfect Mind" -- it's
fascinating: page after page of
contradictions, "I am the virgin and the
whore," "the mother and the daughter."
CATHERINE
The alpha and the omega?
LARA
That one she tacked on.
CATHERINE
So she doesn't have any idea what she's
saying?
Lara doesn't respond.
CATHERINE
Before launching into gnosticism, she
parroted a speach that the preacher gave
this morning. If all hell hadn't broken
loose, maybe she would have added a little
"It was the best of times; It was the
worst of times" just to keep things
lively.
Unamused, Lara turns away.
EXT. THE MCKENNA HOUSEHOLD - DAY
Catherine bangs the metal knocker against the door and RAY MCKENNA opens it
without hesitation.
CATHERINE
Are you Mr. McKenna?
Ray nods his head.
CATHERINE
We're --
RAY
I know who you are.
INT. THE MCKENNA HOUSEHOLD - DAY
Ray opens the door to Clare's bedroom and the two women enter.
RAY
Clare's going to pitch a fit when she
finds out about this.
CATHERINE
I understand your concern, but looking at
her belongings... finding out about her
interests...
Catherine handles a pendant suspended from the ceiling -- the star inside
the cresent moon which Kelly had drawn earlier.
CATHERINE (CONT'D)
...will tell us more about her than she's
willing to verbalize.
RAY
If you say so. Ever since this started,
it's like half the town is fighting over
Clare. Preacher Hanes is all over TV with
promises about driving evil out of town
and Miss Shetterly thinks Clare's some
case for her journals.
CATHERINE
What does Clare think about that?
RAY
Clare looks at inkblots and tells Miss
Shetterly she sees God waving at her.
CATHERINE
What do you think about that?
Catherine turns around and looks at Clare's bookcase which contains 3
copies of C.S. Lewis's "Chronicals of Narnia," "The Golden Compass" and
"The Subtle Knife" both by Philip Pullman, and "The Dark is Rising" by
Susan Cooper among others. Catherine removes "The Dark is Rising" and looks
its back cover: a horse galloping.
Meanwhile, Lara picks up Clare's diary off her dresser.
RAY
A bunch of grown people want to act like
jackasses waiting for a divine message
from a child, they deserve whatever
foolishness she comes up with.
Catherine opens her book to the inside cover inscribed: All The Best! Ben
Fisher.
Lara begins reading the diary: SHE CAME TO ME TODAY.
CLARE (V.O.)
She came to me today.
EXT. THE SHORE OF A LAKE - DAY
Clare is standing near the water's edge, smiling as a lone rowboat drifts
torward her. Inside, a Black Virgin, positioned on several pieces of paper.
Clare bends down, pulling her hair back under her ears, and gently feels
the statue with her finger tips.
INT. THE MCKENNA HOUSEHOLD - DAY
Lara closes the diary.
LARA
(to Ray)
Tell me about Ben Fisher.
RAY
The drama teacher? What about him?
CATHERINE
He's given her a lot of books.
RAY
In my eyes, Ben Fisher's the only one
isn't out to get something from Clare.
He's been good to her, gave her the lead
in the school play. Told me she was great
at memorizing lines.
Catherine unfolds a piece of paper enclosed in "The Dark is Rising" -- a
biblical painting of a young man speaking to a woman.
Lara looks over toward Clare's bedroom window. On a dresser below the
window sits the Black Virgin that Clare found earlier. It's surrounded by
six small candles and next to a tall, larger one. Catherine watches Lara
move toward it.
CATHERINE
(to Lara)
What's that?
LARA
Well it... it's a Black Virgin. It's
believed to be part of a religion that can
be traced back to first century. They're
usually associated with natural
phenomenon, ley-lines, places of power.
Legend has it that they become very heavy
if moved against their will.
Catherine grasps the statue and attempts to lift, expecting to do so
easily. She looks at Lara, who is watching intensely, with suprise.
Catherine tries again with more force, but without success. Lara reaches
toward the statue, placing her fingers apprehensively around it. Suddenly
Clare bursts into the room.
CLARE
Don't you dare touch her!
Clare swiftly picks up the statue, exchanges glances with the two women,
and runs out the room. Catherine and Lara stare in shock and amazement.
FADE OUT.
ACT III
Trademark music cue as we:
FADE IN FROM WHITE:
INT. THE MCKENNA HOUSEHOLD - DAY
Clare is sitting next to her father on their living room couch, the Black
Virgin tucked snugly under her arm. Catherine is sitting in a chair, close
to them. Lara is across the room and quietly observing.
CATHERINE
I'm sorry if we upset you, Clare, but we
need to understand.
LARA
No you don't. You want to prove I didn't
see anything. You think that I made my
friends say that the saw something.
CATHERINE
I won't lie to you, I think it's a
possibility. Maybe you and your friends
thought that you saw something and you
believed in it so much that other people
began to believe in it too.
Clare turns to face Lara.
CLARE
(to Catherine)
You're trying to make sure she doesn't
believe it.
CLARE
(to Lara)
You do see. But not the angel -- your
angel. You don't see him here.
LARA
How do you know?
CLARE
(suddenly, strangely calm)
I was lost afterwards.
RAY
(concerned)
Clare.
CLARE (CONT'D)
I'd go to the garden, but he's not there.
Where have they taken him?
Catherine looks at Lara for understanding, but finds her supressing tears.
CLARE (CONT'D)
The gardner's there, and I ask him, but...
as I turn... I realize it's not the
gardner. I'd seen him die three days
earlier.
Clare's mindset returns to the present and she glances around the room,
finding only worried faces. She quickly jumps from her seat and bolts from
the room. The adults stand as well.
CATHERINE
(to Ray)
Just give her some time.
Ray resists the temptation to follow Clare, but Lara doesn't.
CATHERINE
Lara.
LARA
She shouldn't be alone right now.
CATHERINE
I do hope you mean Clare.
Lara gazes at Catherine with dismay.
INT. BEN FISHER'S CLASSROOM - DAY
Ben looks up from his work as Lara and Catherine enter the room.
CATHERINE
Mr. Fisher? My name is Catherine Black
(turning towards Lara)
and this is Lara Means.
BEN
There's been an upswing in the number of
psychologists on campus.
CATHERINE
I understand you've been something of a
mentor to Clare.
Lara surveys the posters hanging on the classroom. Among them, a black and
white drawing of rose with the inscription: DAT ROSA MEL APIBU S above it,
ancient temples, and underneath a portrait of a friar, a picture of the
Mary Magdalen -- a shocking resemblence to the woman who was in the
backseat of Lara's jeep earlier.
BEN
She's a student.
CATHERINE
You've given her a lot of books.
BEN
She's an unusual student. She likes to
read.
CATHERINE
Stories of isolated children who have been
given special powers and destinies.
BEN
Clare scares people. They can't accept
that a higher power could or would speak
through a child.
CATHERINE
But you can?
BEN
She has a gift. That frightens people so
much so, it's considered a curse.
Catherine's cell phone rings.
CATHERINE
(holding the phone to her ear)
Hello?
The scene intercuts between Catherine and Ray talking.
RAY
Mrs. Black? She's gone. Taken that statue
and rounded up her friends. She was so
upset. I don't know what to do.
Catherine turns off her cell phone.
CATHERINE
Clare's run away.
Lara shoots Ben a spiteful look and Ben stares back.
LARA
She's taken them to the woods.
CATHERINE
(dumbfounded)
How do you know?
LARA
The power's there.
Catherine looks questionably at Ben who continues to stare at Lara.
EXT. WOODS - NIGHT
Lara walks through the woods with Catherine trudging behind.
CATHERINE
We're wasting our time, we're never going
to find them.
LARA
We have to keep looking.
Catherine stops abruptly and turns off her flashlight. Lara spins around.
CATHERINE
I left my husband because I wouldn't stand
for the secrecy surrounding The Millennium
Group. Now I'm certaintly not going to put
up with it from you. Not in the middle of
the night, in the freezing woods. Not when
those girls need my help. Now you either
tell me what you know... or what you
believe... or I'm leaving you here. You're
on your own, just like like Frank Black.
LARA
(looks down and pauses)
Clare has been collecting her disciples.
That vision in the church that day, that
wasn't the Virgin Mary. That was Mary
Magdalene. Looking for someone in the
garden? Mary Magdalene was the first
witness of the resurrection, recognizing
the risen Christ. If the Black Virgin was
meant to be the Magdalene, then that
explains --
CATHERINE
Lara, you're just seeing what you want to
see.
LARA
I FELT Clare go into the past.
Lara grabs the flashlight from Catherine and continues walking. Eventually,
Catherine catches up, but Lara storms down an embankment upon hearing
Clare's voice.
CATHERINE
Lara...
Clare and her friends are in a circle, holding hands. Above them hang the
necklaces and pendants. Behind them, Ben Fisher stands observing.
CLARE
(lapsing into the past)
I have to find him. He's not dead. Not
dead.
BEN
You're right. He's alive.
CATHERINE
(angrily to Ben)
What the hell's going on here?
The girls quickly move behind Ben, while Clare has no awareness of her
surroundings. Ben pulls Clare toward him and she rests her head on his
chest. She sobs quietly and brushes her hair to calm her.
CATHERINE
Mr. Fisher, please step away.
BEN
There must be a sacrifice.
Catherine gently pulls Ben away from Clare.
BEN
Don't touch her.
Stepping in front of Catherine, Lara more forcefully pushes Ben to the
side.
LARA
Okay, okay. Woah.
Clare rushes towards Lara and grabs hers by the arm.
CLARE
(staring at Lara)
Leave him alone! You don't understand. We
have to do this. We have to.
Lara stares back.
CATHERINE
(trying to pull Clare away)
Sweatheart...
CLARE
(resisting)
No. You can't stop us. We have to finish
it and you have to write it down.
Catherine pulls Clare's head to her chest and consoles her as she softly
sobs. Lara looks to Ben and then at the Black Virgin, surrounded by
flowers.
INT. A POLICE STATION - NIGHT
A police offer escorts Ben Fisher down the hall as Reverend Hanes and his
son, Alex, approach the girls. They're sitting together with Clare's
father, Ray, standing quietly next to them and Catherine and Lara seated in
chairs nearby.
REVEREND HANES
(to Ray)
This is what happens when you allow
denizens of Hell into your hearts.
LARA
(whispering to Catherine)
He's not a cliche?
REVEREND HANES (CONT'D)
We must end this godlessness. I demand to
baptize these girls in the name of Jesus
Christ, our savior, before Satan has the
chance to worm his way any further into
their hearts.
Ray looks down at the girls who are looking up with innocence, then back at
Reverend Hanes. Alex nods in agreement with his father. Ray finally nods
his own head.
RAY
Make ready the ways of the Lord. Make his
paths straight.
The girls turn away in sadness.
INT. ST. PETER'S CHURCH - DAY
REVEREND HANES
(dipping his hands in water)
I baptisize thee in the name of the
Father, the Son, and the Holy Ghost.
Clare's friends have each been baptized, their slicked back hair a
testement to their excruciating suffering. Lara and Catherine watch
sympathetically from the pews as Reverend Hanes approaches Clare who backs
up in fear.
CLARE
(shouting)
No!
The other patrons in the church gasp as a bright light appears between
Reverend Hanes and Clare. Hanes stares with wonder and the girls fold their
hands in prayer. Mary Magdalene, wrapped in a shimmering gold cloak, turns
toward Clare with affection. The spectators murmur and Catherine gawks in
amazement. Clare smiles, while Lara is near tears.
CLARE
Mother, forgive them. They know not what
they do.
EXT. ST. PETER'S CHURCH - DAY
Ray escorts his daughter out of the church as people reach toward her,
placing their hands on her shoulders. Reverend Hanes approaches Clare with
a longing for forgiveness and understanding in his eyes. Ray and Clare
simply turn away and continue walking. Alex observes his father's behavior
and stands among the crowd in resentment. Catherine joins Lara who is
watching from a distance.
CATHERINE
Those words -- Clare believed she was
being crucified.
LARA
Of course not.
CATHERINE
Christians hold that plea sacred.
LARA
(turns around sharply)
Clare holds it sacred, too. How would you
feel if you were baptized against your
will by a religion that transformed Mary
Magdalene of the gnostic texts, the
apostle of the apostle, into a mere
prostitute?
CATHERINE
You've seen this before -- working with
The Millennium Group?
LARA
(saddened)
No. I'VE seen. It's why The Group wants
me. That's why they want Frank. I've had
the experience my entire life. But not
like this, not like Clare. She seems to
understand what's happening to her, who
she is. I envy her strength... as I fear
my growing weakness.
CATHERINE
Will Frank grow weaker?
LARA
What Frank sees is also different. He uses
his ability and manipulates it to to see
evil... to feel it. I never know where
evil lies, only that it exists.
(pleading)
Don't leave me alone, Catherine. These
visions are so isolating. Lately, they
seem to prey on my lonliness, driving me
to... an inevitability.
Catherine listens with empathy.
LARA (CONT'D)
And if it's true for me, then it will be
true for Frank... unless you're there.
CATHERINE
If it's true... and I'm not willing to
believe that everything you've said is
true... I need greater proof. And I'm not
willing to let this little girl be a
Millennium test case or a personal one for
me or for you.
LARA
Clare's not Frank or me. Who she is or
what she can be is out of the control of
The Group.
CATHERINE
Regardless of what happened in there,
telling her that's she's blessed or cursed
with visions... I don't see an upside to
that.
LARA
Catherine... there's absolutely nothing
you can do about it.
CATHERINE
(firmly)
I can let Clare know that she's not alone
in this.
Catherine walks passed Lara who then begins to weep.
FADE OUT.
ACT IV
Trademark music cue as we:
FADE IN FROM WHITE:
INT. A POLICE STATION
Ben Fisher is sitting at a table in a sterile room, saved only by the
sunlight shining through a few small windows. Across from him sits Lara
Means.
BEN
(constantly composed)
Did you check the church for a projector?
It would be easy to set something like
that up.
LARA
I know who you are.
BEN
Then we're even. Since The Family and The
Millennium Group split, this is our first
time knocking heads with you people. And
honestly, I am not that impressed. I
expected someone more formidable, instead
I get a canidate fumbling in the dark, so
obviously afraid... Not only of what she
knows, but of what she doesn't know.
LARA
I know enough to recognize that the role
you're playing is a lie. That your only
agenda is that of The Family.
BEN
My only agenda is to help Clare understand
who she is.
LARA
(scoffs)
You're her selfless, pious guardian is
that it? Hmm?
BEN
You're angry.
LARA
(tersely)
Damn right I am. You are taking advantage
of a --
BEN
Be honest Miss Means -- you're angry
because you're jealous. Imagine, at
fifteen, to have had someone completely
understand you, someone to explain. What
is it you see? Angels? Demons? The future?
Lara doesn't respond.
BEN (CONT'D)
Angels, then. But your angel's abandoned
you, hasn't he? You've been without his
guidance ever since you came into this
town. You fear him, but you rely on him,
but he's afraid -- afraid of the presence
of a higher power.
LARA
(curious)
The Magdalene? I -- I need to know.
BEN
You lie'd before, you don't know anything
about me.
Lara looks away.
BEN
They won't be able to hold me, you know.
Lara rolls her eyes and starts to get up. She hesitates as Ben begins
speaking again.
BEN
"If you bring forth what is within you,
what you bring forth will save you. If you
do not bring forth what is within you,
what you do not bring forth will destroy
you."
Lara stares at Ben with ferocity and leaves the room.
INT. THE MCKENNA HOUSEHOLD - DAY
Catherine enters Clare's bedroom and finds the girl staring out the window.
CLARE
It's happening. You can't say it's not
happening.
(faces Catherine)
You saw.
CATHERINE
What I saw could have dozens of
explanations.
CLARE
It only has one.
(pauses)
She came to me when I needed her. And
you've taken Mr. Fisher away. And they
won't let me talk to him.
CATHERINE
He's not the only one that cares about
you.
CLARE
He's the only one who understands. You've
all been shown, but you don't believe.
CATHERINE
Look, I don't know the truth about what
you've seen, but whatever it is, whatever
it means, you can't let it keep you apart
from the world. You born to live here, not
in some mystical place inside your mind.
Maybe you have been given a gift, I don't
know... but we're all given gifts every
day in things that we might think are just
ordinary.
CLARE
(firmly)
I'm not Jordan.
Catherine is taken back by Clare's words.
EXT. THE MCKENNA HOUSEHOLD - DAY
Catherine sits inside her mini-van watching Clare climb into her father's
truck. They speed off toward the high school, with Ben Fisher driving
behind them. Catherine sits up in alarm and starts her engine.
INT. PETER WATTS' CAR - DAY
Peter Watts is driving as his car phone rings.
PETER
(activating the speaker)
Watts.
The scene intercuts between Peter and Lara talking.
LARA
It's Lara. And now that I'm sure about who
he is, I can't just watch this happen.
PETER
We've watched worse things happen with
less reason.
(pauses)
You have identified him, haven't you?
LARA
Yeah. I spoke to him.
PETER
And the girl?
Lara doesn't respond.
PETER
After all we've been through, Lara, you're
just going to have to trust we're doing
the right thing.
LARA
I can't, Peter. It would be murder.
Peter disconnects the phone.
EXT. A HIGH SCHOOL - DAY
Catherine pulls her mini-van up next to an empty parking lot space. She
quickly opens the van door and runs toward the entrance.
INT. BEN FISHER'S CLASSROOM - DAY
Lara is standing behind Ben Fisher's desk, using a letter opener to pick
the lock of his desk drawer. She places the letter opener back into a
pencil holder and opens the drawer. She pulls out several papers, a thick
book, and a large, manilla envelope. Lara looks up as the classroom door
opens.
CATHERINE
(out-of-breath)
Where's Fisher?
LARA
He's not in jail?
CATHERINE
You didn't bail him out?
LARA
Why would I?
CATHERINE
You tell me.
(sighs)
Something bad's going to happen. I've got
to find him before it does.
(checks her watch)
It's after three. So Clare's probably gone
to the pray circle, right? That's where
Fisher will go? For the sacrifice?
LARA
You can't stop it! You -- you don't
understand!
CATHERINE
You have known what's going on all along.
Why were you sent? Who is he?
(scoffs)
My own husband couldn't tell me that I was
being stalked by a psychopath, I don't
suppose that you could tell me why a
similar psychopath is stalking a little
girl.
Lara begins to speak.
CATHERINE
The Millennium Group doesn't uncover
truths, Lara. It buries them.
LARA
My responsibility --
CATHERINE
My responsibility is to the child!
LARA
Ours is too.
Catherine stares back.
INT. A HIGH SCHOOL CORRIDOR - DAY
Patti Smith's "Dancing Barefoot" begins to play over the sequence. A
teenage boy reads a piece of formerly scrunched paper and looks at the
large, red handwriting: Don't go to Prayer Circle! and crumples the paper
once more. He tosses it in a wastebasket and walks through a throng of
students.
SONG
She is benediction. She is addicted to
thee. She is the root connection. She is
connecting with he.
A yellow sign taped to a classroom door reads: PRAYER MEETING AT 3:15pm.
INT. THE PRAYER MEETING - DAY
Inside the clasroom, Clare is standing with her friends. A teacher nods for
Clare to begin.
CLARE
Hail Mary, full of grace, the Lord is with
thee.
MAUREEN
(perplexed)
Clare, what are you doing?
CLARE (CONT'D)
(not responding)
Blessed art thou among women and blessed
is the fruit of thy womb Jesus.
A close-up of Catherine's face shows her escalating fear as she sprints
toward the classroom.
The classroom door is open a crack and the side of a figure in a black coat
can barely be seen. He removes a gun from his pocket and steadily takes
aim.
SONG (CONT'D)
Here I go and I don't know why.
CLARE (CONT'D)
Holy Mary, mother of God, pray for us
(she trails off as the gun cocks)
sinners...
Clare looks toward the doorway in sadness then closes her eyes and bows her
head.
Another close-up of Catherine in terror.
CATHERINE
No!
She continues to the classroom as Alex, the figure in the black coat, looks
at her.
SONG (CONT'D)
I spin so ceaselessly.
Alex hesitates, but the gun fires.
SONG (CONT'D)
(abrubtly ends)
Catherine removes the gun from Alex's hand as the teacher calms him.
ALEX
(crying)
Does Jesus love her more than me?
TEACHER
No, Alex, no.
(to Catherine, referring to Ben)
He jumped right in front of her.
ALEX
(to the teacher)
I was just trying to scare her...
Catherine walks over and finds Ben lying face down on the ground. She claps
Clare's hand and they both kneel down. Catherine rolls Ben over and the
girls begin sobbing.
BEN
(panting)
The star of the sea... moves today... to
its rising.
Ben turns his head slightly, closes his eyes, and stops breathing. Clare
begins sobbing.
CLARE
No... No.
Lara approaches, looking down at Ben. Catherine puts her arm around Clare
and helps her to stand. She pulls the girl to her chest and rocks her
gently. Catherine and Lara exchange looks. Then, Catherine glances down one
last time at the deceased Ben Fisher.
INT. THE PRAYER MEETING - DAY
Time has passed since the shooting during the prayer circle and Catherine
sits alone with her thoughts. Lara enters, carrying a large, manilla
envelope.
CATHERINE
Was all this really necessary? Ben
Fisher's death? The life of that boy
ruined? And Clare...
LARA
I believe so, yeah. Fisher was at odds
with The Group, but he was right too.
There had to be a sacrifice to set certain
events in motion.
CATHERINE
So your belief in some twisted destiny
allows you to justify your inaction?
LARA
Whatever I did, Catherine, no matter how I
manipulated certain events, Fisher was
going to die in this classroom today.
THINK about it. What sent Clare to that
prayer circle today? Was it fate? Was it
destiny? Or was it you?
CATHERINE
So Fisher's death leaves Clare with no one
to guide her toward her destiny?
Lara doesn't respond, but doesn't dispute.
CATHERINE (CONT'D)
Toward revealing Mary Magdalene's message
to the world?
Lara opens the envelope and pulls out several oversized photographs.
LARA
It was never about the message, it was
always about the messenger.
She shows Catherine a photograph of Fisher's back -- marked by a tattoo of
a bright, red cross.
LARA (CONT'D)
Fisher was here for a reason. Tradition
and our research confirms that descendants
of the Merovingian Dynasty, The Family,
whose job it is to protect the Holy Grail
-- bear this mark, like Ben Fisher...
(taps the photograph)
A thousand years ago, The Millennium Group
and The Family shared a vision -- over
time that vision changed. Inevitably
prompting a split between the two groups.
Catherine looks down at two DNA reports: SHROUD OF TURIN: CASE NO. 88534
and CLARE MCKENNA: CASE NO. 98521.
CATHERINE
The Shroud of Turin was carbon-dated and
found to be from the fourteenth century.
LARA
Some believe that Clare McKenna is the
descendant of Jesus Christ and Mary
Magdalene...
Lara slides the two transparent reports over each other and Catherine
watches in amazement as they line up.
LARA (CONT'D)
Whom he took as his apostle, his
witness... and his wife.
CATHERINE
Who believes that? The Family? The Group?
LARA
Someone has to decide whether or not to
release this information to the world. If
you think that's an easy burden to live
with, you are very, very wrong.
LARA
(stifling tears)
But this is what I do. "This is who we
are."
Lara hands the folder and documents over to Catherine.
CATHERINE
Why are you giving this to me?
LARA
Maybe I don't trust The Group enough to
believe that they should be holding all
the cards.
(smiles)
I guess now it's your deal.
Lara walks out of the room.
INT. ST. PETER'S CHURCH - DAY
Catherine enters the church and finds Clare sitting alone in a pew. She
hands Clare a piece of paper. Clare unfolds it -- it's the biblical
painting Catherine found earlier in Clare's bedroom while flipping through
"The Dark is Rising" -- a young man delivering a message to a woman.
CLARE
(referring to Ben)
He gave this to me.
CATHERINE
I thought he might have.
CLARE
He said it was a picture of the Virgin
Mary, finding out she was going to be
God's mother. It's a picture of the very
second she understands.
CATHERINE
She knows that she's very special.
CLARE
(tersely)
She knows her life is ruined.
INT. CATHERINE'S MINI-VAN - DAY
Catherine sits in her van and picks up a large book off the passenger seat
that has: THE FAMILY inscribed on the cover. She opens the book to a page
that says: HISTORY written at the top. Underneath is the same picture of
Mary Magdalene that was hanging on the wall of Ben Fisher's classroom.
CATHERINE
(reading the passage at the bottom)
"She will come in a boat, like the
daughters of Danaus and the Virgin of
Bologne-sur-mer."
Catherine looks up and sees a young man, dressed in a black coat and red
scarf like Ben Fisher in the woods earlier, carrying the same book. She
watches him in slow-motion as he crosses in front of her.
BEN (V.O.)
"She fed the saint which inspired the
warrior monks to dig up the stable of a
thousand horses and take their treasure to
help the angels build the churches."
Catherine closes the book and places it back down on the seat. She then
drives out onto the main road, returning home.
BEN (V.O.) (CONT'D)
"Their treasure returned to Bethania and
at the cutting of the elm they asked
themselves, 'Whom does one serve by virtue
of serving the Grail?' Thus, the sorcerer
kings become The Family."
CLARE (V.O.)
"She suffered every indignity from them
and she could not return to the Father. In
a human body, she came to be confined."
The young man continues to walk off into the distance.
INT. LARA MEAN'S HOME - NIGHT
A lamp illuminates the paintings hanging on the wall: Jesus Christ and the
Virgin Mary, holding her newborn son. Lara is sitting on her couch in
woeful silence, watching a flickering candle on the table in front of her.
CLARE (V.O.) (CONT'D)
"And thus, from age to age, she passed
from body to body, into one female body
after the other. Thus, she became the lost
sheep."
Lara's pager vibrates on the table and it spins itself around. The display
faces the screen: 2000.
FADE OUT.
THE END
=====================================================================
MAIN TITLE SEQUENCE
Starring
Lance Henriksen..........Frank Black
Megan Gallagher..........Catherine Black
OPENING CREDITS
Also Starring
Terry O'Quinn............Peter Watts
Guest Starring
Gwynyth Walsh............Emma Shetterly
John Pyper-Ferguson......Ben Fisher
Genele Templeton.........Clare McKenna
Garry Davey..............Ray McKenna
Brendan Fletcher.........Alex Hanes
Kristen Cloke............Lara Means
Music by Mark Snow
Editor: Chris Willingham, A.C.E.
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Chip Johannessen
Consulting Producer: Darin Morgan
Co-Producer: Robert Moresco
Co-Producer: Paul Rabwin
Proder: Thomas J. Wright
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Erin Mahler & Kay Reindl
Directed by John P. Kousakis
Executive Producers: James Wong & Glen Morgan
Executive Producer: Chris Carter
Ten Thirteen Productions
in association with
20th Century Fox Television (R)
A News Corporation Company
CLOSING CREDITS
Associate Producer: Julie Herlocker
Executive Story Editor: Michael R. Perry
Co-Starring
Genele Templeton.........Clare McKenna
John B. Lowe.............Rev. Sam Hanes
Kimberly Warnat..........Maureen
Melanie Manuel...........Kelly
Eayn Collins.............Shelley
Jessica Murdoch..........Leslie
Jenny Mitchell...........Lydia (Emma's secretary)
Christopher Gray.........Buddy (second boy in the teaser)
Angela Moore.............Teacher (during the final act)
A.J. Bond................Sports Boy (first boy in the teaser)
Mia Ingimundsen..........Cloaked Woman (Mary Magdalene)
Casting by Nan Outton, C.S.A. (Los Angeles)
Casting by Correen Mayrs, C.S.A. (Vancouver)
Original Casting By Randy Stone, C.S.A.
Associate Producer/Production Manager: Kathy Gilroy-Sereda
First Assitant Director: Craig Matheson
Second Assistant Director: Jerald Schoenroth
Set Decorator: Mark Lane
Art Director: Sandi Tanaka
Construction Coordinator: Mike Rennison
Script Supervisor: Amanda Alexander
Location Manager: Danny McWilliams
Hair Stylist: Gina Sherritt
Makeup Artist: Carolyn Stewart
Special Makeup Effects: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Jenny Seinen
2nd Unit Director of Photography: Barry Donlevy
Sound Mixer: Patrick Ramsay
Camera operator: Trig Singer
Gaffer: Blair McDonald
Key Grip: Brian Smith
Property Manager: Kimberely Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Production Coordinator: Roberta Cenedese
Extras Casting: Lisa Ratke
Assistants to Chris Carter: Joanne Service, Mary Astadourian
Production Associates: Jennifer Metcalf, Clear Hadden
Casting Associate (Vancouver): Heike Brandstatter
Casting Associate (Los Angeles): Linda Grigorian
Post Production Supervisor: Denise Pleune
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark Ridgely Crookston
Re-recording Mixers: Nello Torri, Peter R. Kelsey, Kurt Kassulke
Music Editor: Jeff Charbonneau
Scoring Mixer: Larold Rebhun
Assistant Editors: Robert Hudson, Jim Thomson
On-Line Editor: John Price
DaVinci Colorist: Philip Azenzer
Visual Effects by Area 51
Visual Effects Supervisor: Glenn Campbell
Visual Effects Producer: Tim McHugh
Supervising Animator: Scott Wheeler
Animator: Justin Hammond
Visual Effects Coordinator: Sherri Rycus-Weston
Main Title Sequence by Ramsey McDaniel / Storm Media
Processing by Gastown Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
Camera and Lenses by Clairmont Camera
Vehicles Provided by Chrysler
Filmed on Location in British Columbia, Canada
Presented in Dolby Surround TM where available
Copyright (c) 1998
Twentieth Century Fox Film Corporation
All Rights Reserved #5C19
Twentieth Century Fox Film Corporation is the author of this motion picture
for purposes of copyright and other laws.
The characters and names depicted in this photoplay are fictitious. Any
similarity to actual persons, living or dead, is purely coincidental.
Ownership of this motion picture is protected by copyright and other
applicable laws, and any unauthorized duplication, distribution or
exhibition of this motion picture could result in criminal prosecution as
well as civil liability.
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First Created: February 1, 1999
Last Updated: April 5, 1999