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. ======================================================== First Created: February 1, 1999 Last Updated: April 5, 1999