Miracles TV Pilot

8/14/2019 Miracles TV Pilot

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MIRACLES1X01: THE FERGUSON SYNDROMEORIGINAL AIR DATE ON ABC: 01/27/2003TRANSCRIBED FROM ABC

Teleplay by: RICHARD HATEM

Story by: MICHAEL PETRONI and RICHARD HATEMDirected by: MATT REEVES

Transcript by IntrepidCourtesy of http://www.webphilia.com/~anthology/wnp.html

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RATING: TV-14==========================

DISCLAIMER:=========================="MIRACLES" and other related entities are owned, (TM) and (c) by DavidGreenwaltProductions, Spyglass Entertainment, and Touchstone Television, AllRightsReserved. This transcript was made without their permission, approval,authorization or endorsement. Any reproduction, duplication ordistribution ofthis material in any form is expressly prohibited. It is absolutelyforbiddento use it for commercial gain.

Leave the headers/disclaimers in tact because it lists all those whohave madethis transcript possible for your enjoyment and provide a link back tothe sitewhere this file originated http://www.webphilia.com/~anthology/wnp.html

For corrections / inaccuracies, please contact the Transcriptionist at([email protected])==========================SUMMARY: After being disillusioned by the lack of proof of God'sexistence,Paul Callan takes a sabbatical from his work as an investigator for the

Catholicchurch. He's then sent to investigate Tommy Ferguson, a young boy, withtheability to heal.==========================MIRACLES1X01: THE FERGUSON SYNDROME==========================


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DUE TO INTENSE SUBJECT MATTER, VIEWER DISCRETION IS ADVISED.

FADE IN.

SCENE #01:

[EXT. CEMETARY - EARLY EVENING]

(On a windy day, a bulldozer digs up a grave. The cemetery headstonereads: )

Sister Agnes FultonBorn 1834Died 1861

(A dog barks in the background.)

(The bulldozer continues to dig. There is a dog tied nearby. A mansupervisesthe digging. When the hole is big enough, the man jumps in with a ropeand tiesit around the coffin inside.)

(The dog continues to bark.)

(The man climbs out of the hole and the bulldozer starts to lift thecoffin outof the grave.)

(The dog barks.)

(The wood on the bottom of the coffin is old and starts to break as thecoffinis lifted up in the air. The coffin sways wildly from side to side andthebottom of the coffin finally gives way.)

(The dog barks.)

(The coffin falls to the ground hitting the man to the ground also. Themanreaches out to brace his fall and his hand falls on a nail sticking outof apiece of old wood. He cries out in pain.)

(The driver of the bulldozer jumps out of his machine to assist the manon theground.)


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(The Man on the ground looks up at the broken coffin and sees theperfectlypreserved Sister Agnes Fulton starting back at him through lifelesseyes.)

HARD CUT TO:TITLE LOGOFADE TO BLACK.

FADE IN.

SCENE #02:

[INT. CORONER'S OFFICE -- DAY]

(A camera flashes. PAUL CALLAN walks into the room and looks at thebody.)

PAUL CALLAN: When did they pull her out?

OFFICER: Yesterday. County zoning says the bodies have to be exhumedand movedby the end of the year.

FATHER: Many saints have defied the process of decay.

MAN: She's been dead for over 104 years. She should be dust.

(PAUL CALLAN leans down close to her head and sniffs.)

PAUL CALLAN: Sweet.

FATHER: The odor of sanctity. Have you ever seen such a thing?

PAUL CALLAN: Once or twice. Do you have a syringe?

(One of the men in the room hands PAUL CALLAN a syringe. The cameraflashes.)

(Through Sister Agnes Fulton's open eye, PAUL CALLAN inserts the needle

andtakes a sample. He tests the sample on a piece of litnus paper.)

MAN: Alkaline?

(PAUL CALLAN nods.)

OFFICER: What's going on?


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PAUL CALLAN: Tell me where they found the body.

(PAUL CALLAN doesn't say anything else. He raises his eyes and looks attheFATHER.)

CUT TO:

SCENE #03:

[EXT. CEMETERY -- DAY]

(There is a lot of activity at the cemetery. Police officers put upcrime scenetape to keep the curious on-lookers out of the area. PAUL CALLAN slowlymakes

his way to the site. He ducks under the tape and is stopped by anOFFICER.)

OFFICER: Hey, you can't go in there.

(PAUL CALLAN turns around.)

PAUL CALLAN: Why not?

OFFICER: Father's got some guy who's supposed to check the site formiracles orsomething like that.

(PAUL CALLAN holds out his hand.)

PAUL CALLAN: Pleased to meet you. I'm the guy.

(PAUL CALLAN walks toward the site. He stops and looks down at theground. Hekneels and picks up some dirt. He finds something in the dirt.)

(The FATHER walks up to PAUL CALLAN.)

FATHER: So, may we begin the process of canonization for Sister Agnes?

(PAUL CALLAN stands and turns to look at The FATHER.)

PAUL CALLAN: I'm afraid there's no miracle here. Sister Agnes' bodyhas beenkept intact by, uh, by apricots.

FATHER: What?


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PAUL CALLAN: The soil is full of preservatives found in the gas fromapricotseeds. It rots on the ground, and the gases saturate the dirt.

FATHER: Impossible. Can't be.

PAUL CALLAN: I'm sorry, father.

(PAUL CALLAN walks past The FATHER to leave.)

FATHER: No, you're wrong.

(PAUL stops. He raises his eyes and looks at The FATHER. After amoment,without another word, PAUL walks back past the FATHER and deeper intothecemetery where the other coffins that have already been dug up are.)

(PAUL grabs a crow bar and, to the dismay of the FATHER behind him,starts toopen a randomly selected coffin.)

FATHER: What are you doing?

(PAUL lifts the lid off of the coffin. Inside is the perfectlypreserved bodyof an unknown man.)

PAUL CALLAN: Congratulations, Father. Looks like you've got a townfull ofSaints.

(PAUL CALLAN looks at The FATHER and leaves.)

CUT TO:

SCENE #04:

[EXT. CEMETERY ROADSIDE -- DAY]

(PAUL CALLAN leaves the cemetery. Across the street, ALVA KEEL sits in

a carand sips from his cup of coffee. He watches as PAUL CALLAN gets intohis carand drives away.)

CUT TO:


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SCENE #05:

[INT. -- DAY]

(PAUL CALLAN walks into the building. He fixes his scarf and promptlybumps

into someone.)

FATHER "POPPI" CALERO: Oh! That's a fine hello.

PAUL CALLAN: Sorry, Poppi.

(POPPI and PAUL hug in greeting.)

FATHER "POPPI" CALERO: How are you, kiddo?

PAUL CALLAN: I'm good.

FATHER "POPPI" CALERO: What's wrong?

PAUL CALLAN: Nothing.

FATHER "POPPI" CALERO: Like hell. Come on.

PAUL CALLAN: Where are we going?

FATHER "POPPI" CALERO: The confessional.

(The two men leave the building.)

CUT TO:

SCENE #06:

[INT. BAR & GRILLE -- DAY]

(PAUL CALLAN and POPPI sit at a table.)

PAUL CALLAN: You should see their faces. They look gut-punched everytime. Ifeel like a doctor who never cures anyone. I show up, deliver the bad

news, andmove on.

FATHER "POPPI" CALERO: Well, what's the point of faith if it's nevertested?

PAUL CALLAN: I'm tired of being the one doing the testing. In the pastsix


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months, I've seen weeping statues, housewives with stigmata, glowingcrosses,and every time, there's a mundane explanation. The one thing I haven'tseen isthe true Spirit of God. I'm beginning to think that maybe ...

FATHER "POPPI" CALERO: Maybe what?

PAUL CALLAN: Maybe we're on our own down here.

FATHER "POPPI" CALERO: Paul, this job is a test of the faith.

PAUL CALLAN: I need to take some time off, Poppi, and ... figure thingsout.

FATHER "POPPI" CALERO: Paul, are you sure that taking time off is theanswer?

PAUL CALLAN: Yeah.

FATHER "POPPI" CALERO: All right, then, do me a favor while you'redoingwhatever you're doing on your ... sabbatical. Work extra-hard at thefaiththing.

(PAUL nods.)

CUT TO:

SCENE #07:

[INT. BUS -- DAY]

CUE MUSIC: CHOIR SINING IN LATIN

(PAUL CALLAN rides on the bus. Across the aisle, a little boy playswith hisbaseball and glove. PAUL watches and smiles.)

(He looks outside the window and sees on the red water tower painted in

white:"God is Coming". In the background, the sound of the boy hitting hisbaseballin his glove gets louder.)

(PAUL CALLAN looks back across the aisle. Back to the little boy withthebaseball and glove. The boy's face is pale bluish and his eyes bloodred.


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PAUL CALLAN: Hello?

FATHER "POPPI" CALERO: (from phone) Hey, kiddo.

PAUL CALLAN: Hey, Poppi!

FATHER "POPPI" CALERO: (from phone) How's desert life?

PAUL CALLAN: It's hot.

FATHER "POPPI" CALERO: (from phone) Look, I hate to do this, but Ineed to askyou a favor. There's a case in Cottonwood, just about two hours southof you.I'd like you to check it out.

PAUL CALLAN: When?

CUT TO:

SCENE #11:

[EXT. ROADWAY -- DAY]

(PAUL CALLAN'S car drives along the road.)

FATHER "POPPI" CALERO: (v.o.) Tomorrow. You're looking for theFergusonfamily. Tell them Father Marcus got in touch. The Address is 2485Copper MineRoad. Ask for Thomas Ferguson.

(He stops at the railroad crossing and waits for the train to pass. Helooks upat the red water tower near the train tracks. The same water tower helooked aton the bus. There are no words painted on it. There is no message.)

CUT TO:

SCENE #12:

[EXT. FERGUSON DRIVEWAY -- DAY]

(PAUL CALLAN drives up along the roadway leading to the FERGUSON'S home.On thefence there are small notes, gifts and messages. Standing outside is asmall


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crowd of people.)

(PAUL parks his car and gets out. He walks up through the gave and upthedriveway.)

CUT TO:

SCENE #13:

[EXT./INT. FERGUSON RESIDENCE -- DAY -- CONTINUOUS]

(He knocks on the door. OLIVIA FERGUSON answers it.)

OLIVIA FERGUSON: Who are you?

PAUL CALLAN: Uh, I'm Paul Callan. Uh, Father Marcus contacted us about...Thomas Ferguson.

OLIVIA FERGUSON: Father Marcus has a big mouth.

PAUL CALLAN: If this is a bad time --

OLIVIA FERGUSON: It's always a bad time. Hurry up.

(She steps aside and lets him in.)

OLIVIA FERGUSON: Take your shoes off. He's upstairs.

(She closes the door and locks it again. PAUL CALLAN sits down andtakes hisshoes off.)

OLIVIA FERGUSON: Are you sick --anything -- cold, flu, anything likethat?

PAUL CALLAN: No. No.

OLIVIA FERGUSON: Good.

(A man peers in through the window. OLIVIA sees him and covers thewindow up.)

OLIVIA FERGUSON: (yells) Get out of here! Go away! God! It's beenlike thatfor weeks. They never leave.

(She's visibly upset. She sighs.)


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OLIVIA FERGUSON: Last week, in the middle of the night, I woke up ...there wasa man in his bedroom just standing there, staring at him. That's when Iput onthe extra locks. Come on.

(She leaves the kitchen expecting PAUL to follow her.)

PAUL CALLAN: Uh ... Mrs. Ferguson... you'll have to forgive me. Iwasn't givena full briefing before I arrived.

OLIVIA FERGUSON: They didn't tell you what Thomas can do?

PAUL CALLAN: No.

OLIVIA FERGUSON: He heals people.

(She sighs and walks up the stairs. PAUL CALLAN follows.)

CUT TO:

SCENE #14:

[INT. FERGUSON RESIDENCE - TOMMY'S ROOM - DAY -- CONTINUOUS]

(OLIVIA FERGUSON steps into the bedroom.)

OLIVIA FERGUSON: Thomas? There's someone hereto meet you.

(PAUL CALLAN enters the room. In front of the television set playingvideogames is a little boy. He turns around to look at his "visitor".)

(They both recognize each other. PAUL recognizes TOMMY as the boy onthe bus.)

(Quick flashback to the little boy on the bus. End of flashback.)

(With his eyes on PAUL, TOMMY slowly gets to his feet.)

THOMAS FERGUSON: (quietly) Hi.

PAUL CALLAN: Hi.

(TOMMY sits back down and continues playing his video game. Cameraholds onPAUL CALLAN.)

FADE TO BLACK.


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(COMMERCIAL SET)

FADE IN.

SCENE #15:

[INT. FERGUSON RESIDENCE -- DAY]

(PAUL looks at a small framed photograph of TOMMY with his parents atDisneyland. TOMMY has Mickey Mouse ears on.)

ROBERT FERGUSON: He has Fanconi's Anemia. It's a rare genetic blooddisorder.There's no cure.

OLIVIA FERGUSON: That was earlier this summer. It's one of the placesTommyalways wanted to go before he got sick.

PAUL CALLAN: Uh, when did you first notice Tommy's gift?

ROBERT FERGUSON: It was, uh, two months ago. We were at TucsonMemorialHospital visiting my mom. She was real sick --liver cancer. Just as wewereleaving, Tommy gave her a hug and said, "I hope you feel better soon."Two dayslater, she walked out of the hospital -- no cancer at all.

PAUL CALLAN: Mrs. Ferguson ... do you really believe that your son canhealpeople?

OLIVIA FERGUSON: I know he can. I've seen it.

PAUL CALLAN: And you both realize I've been sent to investigate andauthenticate this, if need be?

ROBERT FERGUSON: Yes. Anything we can do to help...

(OLIVIA FERGUSON looks warily at her husband.)

PAUL CALLAN: Well, the first thing I should do is meet someone thatTommy hashelped.

CUT TO:


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SCENE #16:

[EXT. TRAILER PARK -- DAY]

(PAUL drives up to the trailer park. A dog barks. Children shouting

playfully.)

(Cut to: PAUL walks up to a woman wearing sunglasses. She's takinggroceriesout of her car. When she turns around, she's surprised to see PAULstandingthere.)

KATE ARMSTRONG: Oh!

PAUL CALLAN: (smiles) Sorry. (he laughs embarrassed) Didn't mean tostartle

you.

KATE ARMSTRONG: It's okay. Can I help you?

PAUL CALLAN: Uh...yeah. I'm Paul Callan, and ... the Fergusonssuggested Italk to you about --

KATE ARMSTRONG: About how Tommy cured me?

PAUL CALLAN: Yeah.

KATE ARMSTRONG: Well, grab some bags. Come on in.

PAUL CALLAN: Okay.

CUT TO:

SCENE #17:

[INT. KATE ARMSTRONG'S TRAILER - DAY -- CONTINUOUS]

KATE ARMSTRONG: I ... guess they can just go ... over here.

(They put the bags of groceries down.)

PAUL CALLAN: Well, whatever it was Tommy did, it seems to have worked.Youdon't look sick at all to me.

(She chuckles softly.)


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KATE ARMSTRONG: I wasn't sick --not exactly.

PAUL CALLAN: So what did Tommy do?

(She takes off her sunglasses and shows him her eyes. They're cloudywhite.

PAUL can't hide his own reaction when he sees them.)

KATE ARMSTRONG: It tends to freak people out, especially when I drive.

PAUL CALLAN: I'm sorry.

KATE ARMSTRONG: No, it's okay. My optometrist has been customizingsomecontacts. It's taken a while, though. I'm ... a unique case.

(They both laugh.)

KATE ARMSTRONG: Would you like something to drink?

PAUL CALLAN: Yeah, sure, yeah. Sorry. I'll wait outside.

KATE ARMSTRONG: Okay.

(PAUL leaves the trailer.)

CUT TO:

SCENE #18:

[EXT. KATE ARMSTRONG'S PORCH - DAY -- CONTINUOUS]

(They both sit on the trailer porch. In the background, sounds ofchildrenplaying and a dog barking can be heard.)

KATE ARMSTRONG: I can't explain what happened. Mr. Ferguson broughtTommyover. He said he though the could help me with my eyes. Tommy huggedme, andhe said he hoped I'd get better soon.

PAUL CALLAN: Wow.

KATE ARMSTRONG: The next morning, I could see.

CUT TO:


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SCENE #19:

[INT. HOSPITAL -- DAY]

(PAUL CALLAN talks with TOMMY FERGUSON'S doctor.)

DOCTOR: I think it's a lot of excitement over nothing.

PAUL CALLAN: What about Tommy's grandmother?

DOCTOR: Sarah Ferguson was already showing signs of remission from hercancerbefore Tommy went to visit ...

(TOMMY is inside the check-up room.)

PAUL CALLAN: And Kate Armstrong?

DOCTOR: She has the apparatus to see various shades of light and dark.She'shad any number of surgeries and treatments. If her condition'simproved, myguess is that Tommy had nothing to do with it.

(She sighs softly.)

DOCTOR: People like to believe in magic, especially if it's coming froma sicklittle boy. But that's what he is --a sick little boy. And right now,all ofthis attention is the last thing he needs.

CUT TO:

SCENE #20:

[INT. FERGUSON'S RESIDENCE -- ROOM -- DAY]

(Back inside his room at The Ferguson's PAUL does some research intoTOMMY'Sdisease.)

[The book reads:"Figure 24-27. Acute pyelonephritis. The surface is dotted with smallabscesses.""... both kidneys are dotted with these lesions ..."" ... the infection is limited to ... " ]

[Paul writes in his notes:"Chromosome breakage test


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"Incurable" ]

(PAUL pauses from reading. He can hear the sounds of a baseball hittinga glovecoming from outside. He lifts his head and sees TOMMY FERGUSON outsideplaying

with his baseball and glove.)

CUT TO:

SCENE #21:

[EXT. FERGUSON'S BACKYARD -- DAY]

(PAUL CALLAN walks outside the house. TOMMY FERGUSON tosses thebaseball high

up into the air and catches it with his glove.)

PAUL CALLAN: Hey, Tommy. Want to play catch?

TOMMY FERGUSON: (shrugs) Okay.

PAUL CALLAN: (smiles) Yeah? (they toss the ball to each other)You're aDiamondbacks fan, huh? I'm a Red Sox man myself. Father Calero used totakeall us kids to the games. He ran the orphanage where I grew up.

TOMMY FERGUSON: You don't have parents?

PAUL CALLAN: Everyone's got parents. I just never knew mine. (pauses)When Ifirst got here, Tommy, I got the feeling you were afraid of me. Wereyou?

(TOMMY doesn't answer. PAUL walks up to TOMMY and kneels down in frontof him.)

PAUL CALLAN: (gently) Tommy ... hey... are you afraid of me?

(TOMMY doesn't say anything. He doesn't even look at PAUL. After a

moment,TOMMY runs back into the house.)

(PAUL puts his head down.)

CUT TO:


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SCENE #22:

[INT. FERGUSON RESIDENCE - KITCHEN -- DAY]

(PAUL CALLAN walks into the house. Inside, OLIVIA and ROBERT FERGUSONargue.)

ROBERT FERGUSON: He wants to do this!

OLIVIA FERGUSON: He's ten years old. He can't do this anymore.

ROBERT FERGUSON: What are we supposed to do, tell everyone just goaway?!

(PAUL walks up to them to make his presence known.)

PAUL CALLAN: Is everything okay?

ROBERT FERGUSON: We just got a call from the hospital. There's a womanbringing her sick baby here. He was born premature with a damagedheart.

OLIVIA FERGUSON: You have no idea what this takes out him.

ROBERT FERGUSON: God gave our son a gift.

OLIVIA FERGUSON: God?

ROBERT FERGUSON: There has to be a reason.

OLIVIA FERGUSON: (to PAUL) Tommy can cure anyone but himself. Tellme, you'rethe expert --why would God do that?

(For a moment, PAUL is silent.)

PAUL CALLAN: (quietly) I don't know.

OLIVIA FERGUSON: (to ROBERT) I'll take him away if I have to.

(OLIVIA walks past them to leave the room.)

ROBERT FERGUSON: It's not your decision, Olivia!

(OLIVIA turns around.)

OLIVIA FERGUSON: No, it's our decision! Why do you refuse to see whatthis isdoing to him, Robert? For god's sake, it's killing him!

(TOMMY walks into the room. Everyone stops shouting. TOMMY puts hisball and


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glove on the table and walks out of the room.)

CUT TO:

SCENE #23:

[INT. TOMMY'S BEDROOM -- DAY]

(OLIVIA walks into the bedroom. TOMMY is lying down on the bed.)

OLIVIA FERGUSON: Hey, sweetie.

TOMMY FERGUSON: (voice breaks) I'm sorry, mom.

OLIVIA FERGUSON: For what?

TOMMY FERGUSON: For making you guys fight.

OLIVIA FERGUSON: Oh, sweetie ... it's not your fault.

TOMMY FERGUSON: It's 'cause I'm sick ... 'cause I do that stuff.

OLIVIA FERGUSON: Come here. Listen to me ... Daddy and I love you morethananything. Nothing's ever gonna change that. And if you never want todo thatstuff again ... it's okay. You know that, right?

(TOMMY nods. ROBERT enters the room.)

ROBERT FERGUSON: Hey, buddy. (nervously looks at his wife) There's,uh,someone downstairs to see you.

(ROBERT looks at his wife. She shakes her head and inhales deeply. Sheplacesa kiss on TOMMY'S forehead, stands up and leaves the room. She passesPAULCALLAN who lingers in the doorway holding TOMMY'S baseball glove.ROBERT looksat TOMMY, then leaves the room. PAUL enters the room and puts the

baseball andglove on the bedside table.)

PAUL CALLAN: Hey, Tom.

TOMMY FERGUSON: What happens when you die?

PAUL CALLAN: What do you think happens?


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TOMMY FERGUSON: Something bad.

PAUL CALLAN: I'd like to believe that ... when you're a good person,like youare, then ... something good happens.

(TOMMY nods his head.)

CUT TO:

SCENE #24:

[INT. FERGUSON'S RESIDENCE - LIVING ROOM - DAY -CONTINUOUS]

(Down in the living room, a woman holds her baby. PAUL CALLAN stands onthe

wide watching.)

(TOMMY walks toward the woman with her baby. He holds out his arms.The womangives him her baby. The baby is fussy.)

(TOMMY carries the baby.)

TOMMY FERGUSON: I hope you feel better soon.

(The baby stops fussing. TOMMY slowly rocks the baby in his arms.OLIVIAdoesn't watch and starts crying.)

(After a moment of silence, the baby starts crying loudly. TOMMYcontinues torock the baby in his arms. The young mother looks up at TOMMY as thebabycontinues to cry loudly.)

(TOMMY'S nose starts to bleed. Blood drips onto his shirt. The youngmothergasps and takes her baby just as TOMMY falls backward onto the floor)

ROBERT FERGUSON: It's okay.

(PAUL is startled. OLIVIA gets to her feet and rushes toward TOMMY.)

OLIVIA FERGUSON: Tommy!

(The baby continues to cry. OLIVIA gathers TOMMY in her arms.)

FADE TO BLACK.


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(COMMERCIAL SET)

FADE IN.

SCENE #25:

[EXT. ROADWAY -- DAY]

(PAUL CALLAN walks along the deserted roadway. He's talking on his cellphone.)

PAUL CALLAN: Poppi?

FATHER "POPPI" CALERO: (from phone) Yeah?

PAUL CALLAN: Poppi, hey, it's Paul. Can you hear me?

FATHER "POPPI" CALERO: (from phone) Yeah.

PAUL CALLAN: You were right -- there's something really weird happeninghere.Something is wrong with the boy.

(There's static on the phone and it goes out. PAUL looks at the phoneand itreads: "NO SERVICE".

(Water drips on the phone as it starts to rain.)

(Blood drips on the phone as it starts to rain.)

(It starts pouring. Blood.)

(Startled, PAUL looks up and finds the place covered in blood. He'sstanding atthe train track crossroads in front of the red water tower. It'srainingblood.)

(In the distance a train is coming. The guard rails go down, red lightsflashing. PAUL turns his head and sees TOMMY FERGUSON with his baseball

andglove standing on the train tracks.)

(The train whistle continues to blow and get louder.)

(PAUL starts running toward TOMMY. He waves his arms and yells, tryingto getTOMMY'S attention. The train whistle continues to get louder.)


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(As he continues to run, he's too late. TOMMY raises his head and looksup atPAUL. The train reaches TOMMY first. PAUL stops in front of the guardrail.)

(An eerie face flashes before him.)

(PAUL wakes up.)

CUT TO:

SCENE #26:

[INT. FERGUSON RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]

(PAUL looks around the room and sees the DOCTOR looking over TOMMY on

the bed.A monitor beeps quietly in the background. ROBERT FERGUSON walks up totheDOCTOR.)

ROBERT FERGUSON: Ho-how is he?

(She sighs.)

DOCTOR: (quietly) His condition's deteriorating. But he's stable fornow.

(PAUL sits up and asks OLIVIA FERGUSON.)

PAUL CALLAN: Every time he cures someone, he gets sicker, doesn't he?

(She shakes her head.)

CUT TO:

SCENE #27:

[INT. FERGUSON RESIDENCE - LIVING ROOM - NIGHT -- CONTINUOUS]

(The DOCTOR takes off her stethoscope and walks toward her bag. PAULtalks withher.)

PAUL CALLAN: Tommy doesn't have anemia, does he? Fanconi's appears atbirth.According to you, Tommy only started showing symptoms about a year ago.


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DOCTOR: Tell me, do you get paid by the miracle?

PAUL CALLAN: Look ... something strange is happening with Tommy. Heshouldn'tbe getting this sick this fast.

DOCTOR: A few weeks ago, a patient got into a fender bender. A guybumps her --no big deal. She comes in with a little cut on her forehead. We giveherthree stitches, order x-rays, and send her home. We found a brain tumor--gotit just in time. Another couple of weeks ... she called this a Miracle.Whatwould you call it? Coincidence? Good luck?

PAUL CALLAN: That doesn't explain what's happening to Tommy.

DOCTOR: Tommy's condition is progressing at an alarming rate, butdiseases workat different speeds in different people.

PAUL CALLAN: Did you perform a chromosome-breakage test?It's one of the main --

DOCTOR: I know what it is. I performed the test myself. You want tobe adoctor, go to medical school.

(The DOCTOR picks up her bag and leaves the house.)

CUT TO:

SCENE #28:

[INT. KATE ARMSTRONG'S TRAILER -- NIGHT]

(There's a knock on the door. The door opens. PAUL CALLAN standsoutside. Inthe background, a dog barks.)

PAUL CALLAN: Can I talk to you?

KATE ARMSTRONG: What's going on?

PAUL CALLAN: Your eyes ...

KATE ARMSTRONG: The contacts came. Do you like them?

SHORT TIME CUT TO:


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[INSIDE THE TRAILER]

PAUL CALLAN: I keep having these strange dreams. And the harder I workathaving faith, the farther away it feels. When I left Boston, I felt

like maybe-- maybe there was no God. Maybe we are all alone down here. And ...now I'mafraid we're not alone. And maybe that's not such a good thing.

(KATE doesn't say anything. PAUL scoffs at himself.)

PAUL CALLAN: I'm sorry. I'm just trying to sort some things out

KATE ARMSTRONG: It's okay. You thought you could do that with me?

PAUL CALLAN: (laughs) Yeah. Yeah, I guess I did. I guess I wanted to

knowwhat you think about all this.

KATE ARMSTRONG: I think ... Miracles are ... like falling in love. Youneverbelieve it can happen ... until it happens to you.

CUT TO:

SCENE #29:

[INT. FERGUSON RESIDENCE - TOMMY'S ROOM -- NIGHT]

(TOMMY'S in bed and playing with a plastic action figure with no face.Themonitors he's hooked up to beep steadily. PAUL CALLAN walks up to himand sitsdown next to the bed.)

PAUL CALLAN: Hi.

TOMMY FERGUSON: Hi.

PAUL CALLAN: Tommy, when we first met ... why were you so afraid of me?

TOMMY FERGUSON: I knew you were coming. I dreamed it. We were on atrain.

PAUL CALLAN: And you were tossing a baseball into your glove.

(TOMMY looks at PAUL. PAUL nods his head.)


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PAUL CALLAN: I had the same dream.

TOMMY FERGUSON: Why is this happening to us?

PAUL CALLAN: (shakes his head) I don't know. You should try to getsome rest.

TOMMY FERGUSON: (nods) Will you stay?

PAUL CALLAN: Yeah. I'll be right here.

TOMMY FERGUSON: Good. I'll feel safer that way.

(PAUL smiles and puts a hand on TOMMY'S forehead.)

TOMMY FERGUSON: In school ... they say there's no such thing as Dark.Dark isjust a place where there's no light. But maybe they're wrong.

PAUL CALLAN: What do you think?

TOMMY FERGUSON: I think the Dark is its own thing, too. I think it candostuff. And sometimes, I think it wants something.

(PAUL doesn't say anything. He looks at TOMMY. TOMMY turns his headand looksat PAUL. PAUL puts a hand on TOMMY'S forehead.)

(Outside, thunder rumbles.)

(PAUL stands up and leaves.)

CUT TO:

SCENE #30:

[INT. FERGUSON'S RESIDENCE - LIVING ROOM -- NIGHT]

(PAUL CALLAN is asleep in a chair in the living room. Outside, it'sraining and

thunder rumbles.)

(PAUL wakes up. He hears indistinct whispering. He sees OLIVIA andTOMMYgetting dressed. OLIVIA puts a jacket around TOMMY and helps him out ofthehouse.)

TOMMY FERGUSON: Where are we going?


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(The front door opens and they leave the house.)

(PAUL gets up and follows them.)

CUT TO:

SCENE #31:

[EXT. -- NIGHT]

(OLIVIA FERGUSON'S car leaves. PAUL gets into his car and follows.)

CUT TO:

(It's raining heavily. In front of him, OLIVIA drives off with TOMMY.)

(In front of him through the rain, OLIVIA's car stops.)

(PAUL'S car radio distracts him with static and indistinct voices.)

(PAUL looks outside and sees painted in white on the red water towernear thetrain tracks, the message: "GOD IS COMING".)

(The coming train whistle blows and bells clang.)

(In front of him, OLIVIA'S car is stopped behind the lowered crossingguardrail. But PAUL sees her too late. He swerves his car to the side toavoidhitting her. He crashes through the guard rail and onto the tracks.)

(In an instant, the train hits him and pushes his car along with it andoff tothe side where it rests battered and upside down.)

(The train continues on.)

FADE TO BLACK.

(COMMERCIAL SET)

FADE IN.

SCENE #32:

[EXT. -- NIGHT]


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(The train continues on.)

(PAUL is injured and barely alive in his overturned car. The radiosputters outindistinct voices and static. Blood stains the broken car glass.)

(OLIVIA tries to turn her car engine on. It won't turn.)

OLIVIA FERGUSON: You okay?

TOMMY FERGUSON: Yeah.

OLIVIA FERGUSON: I'm gonna go get help. You stay here. Do you hear me?

(TOMMY nods his head. OLIVIA opens the car door and runs out into therain toget help.)

(The train continues on in front of them.)

(Through the rain stained window, TOMMY watches his mom run down theroad.)

(The last of the train cars pass by.)

(TOMMY sits back down in his seat. He's thoughtful and silent. Helooksforward as if he's made a decision.)

CUT TO:

SCENE #33:

[EXT. - NIGHT -- CONTINUOUS]

(TOMMY walks along the train tracks and over the hill. He approachesthemangled car.)

(PAUL CALLAN lies down on his back. He's still alive, bleeding and

hurt.)

(TOMMY kneels down next to the broken window.)

TOMMY FERGUSON: Are you okay?

(He startles PAUL. PAUL gasps and closes his eyes. He turns his headand looksat TOMMY.)


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(Kneeling down in the rain behind TOMMY is a MAN, ALVA KEEL.)

(TOMMY turns around to look at what PAUL is looking at.)

(ALVA KEEL is still behind TOMMY. An eerie face flashes, superimposed

on ALVAKEEL.)

(PAUL CALLAN gasps for breath, his eyes wide.)

TOMMY FERGUSON: (worried) Are you okay?

(PAUL looks at TOMMY. ALVA KEEL is not behind him anymore.)

(TOMMY looks scared and frightened. He reaches out a hand toward PAUL.)

PAUL CALLAN: (groans) Don't.

(TOMMY pulls back a bit.)

(PAUL stretches his neck and looks up at the cracked car window.Written in hisown blood is a message. The longer he looks at it, the clearer itbecomes: GODIS NOW HERE.)

(As if he's made his decision, TOMMY crawls into the car next to PAUL.)

(PAUL gasps for breath. TOMMY wraps his arms around PAUL.)

TOMMY FERGUSON: I hope you feel better soon.

(PAUL gasps for breath.)

(After a moment, PAUL breathes easier and groans.)

PAUL CALLAN: (cries out softly) Aaah!

FADE TO BLACK.

FADE IN.

SCENE #34:

[INT. CATHOLIC CHURCH]

(Bells toll. A choir sings in latin. The FATHER in front of the churchspreadsincense around the small coffin.)


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(PAUL CALLAN sits in the congregation. Across the aisle in front ofhim, hesees the grieving parents. He turns his head and sees KATE ARMSTRONGthere.)

(The singing fades and harp music plays.)

(PAUL turns his head around and looks at the back of the church. Hesees TOMMYFERGUSON standing in the open doorway. They look at each other. PAULsmilesand nods. TOMMY FERGUSON disappears.)

CUT TO:

SCENE #35:

[INT. MONSIGNOR'S OFFICE -- DAY]

(The MONSIGNOR goes over PAUL CALLAN'S report. PAUL stands in front ofhisdesk.)

(The clock ticks. Light music plays.)

MONSIGNOR: You seem fairly confident of your conclusions.

PAUL CALLAN: Very confident, monsignor. (The MONSIGNOR closes the fileandputs it aside.) Won't there be any further action?

MONSIGNOR: Paul, there's no proof here. It's an interesting story,but, uh, nophotographs, no official scientific or medical documents -- justeyewitnesses.

PAUL CALLAN: He healed people. I saw it. He healed me.

MONSIGNOR: I'll be in touch.

PAUL CALLAN: With all due respect, Monsignor, I resign.

(PAUL leaves the office.)

CUT TO:

SCENE #36:


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[INT. BUILING STAIRWAY - DAY -- CONTINUOUS]

(As he walks down the stairs, PAUL bumps into FATHER "POPPI" CALERO.)

FATHER "POPPI" CALERO: Hey, kiddo! Welcome back!

(They hug in greeting.)

PAUL CALLAN: I just quit.

FATHER "POPPI" CALERO: What? That's crazy.

PAUL CALLAN: I didn't want to, but, Poppi, the Monsignor --the case inArizona,the kid -- you were right. It's the real thing. And the Monsignor, hecouldn'tcare less.

FATHER "POPPI" CALERO: I don't know what you're talking about.

PAUL CALLAN: He practically threw my report in the garbage.

FATHER "POPPI" CALERO: I don't know what you're talking about.

PAUL CALLAN: The kid in Arizona -- the one you called me about,remember?

FATHER "POPPI" CALERO: I never called you, Paul. We haven't spoken inmonths.

(PAUL stares at POPPI in surprise.)

CUT TO:

SCENE #37:

[INT. RESTAURANT -- DAY]

CUE MUSIC: "KNOCKIN' ON HEAVEN'S DOOR"

(PAUL sits at his table and has his head bowed. He's deep in thought.)

(Across the aisle in the next booth is ALVA KEEL. PAUL turns his headand seesALVA KEEL sitting there. He sighs.)

ALVA KEEL: Paul ... may I have a word with you?

PAUL CALLAN: Excuse me, I have to go.


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(They both stand up.)

ALVA KEEL: Tell me what happened with Tommy -- please. Tell me abouttheblood.

(PAUL is surprised that he knows.)

PAUL CALLAN: I haven't told anyone about that.

ALVA KEEL: I used to do what you do. I've seen ... what you've seen... andmore.

PAUL CALLAN: Who are you?

ALVA KEEL: Someone who can help. Please.

(They sit down.)

ALVA KEEL: Now ... tell me ... did you see something in the blood?

PAUL CALLAN: You were there. That night, the blood -- my blood -- itwas ...it was dripping into broken glass. And it started spelling words. Itsaid --

ALVA KEEL: (interrupts) Don't say it.

(He slides a napkin toward PAUL.)

ALVA KEEL: Write it.

(He hands him a pen.)

ALVA KEEL: Write it down exactly as you saw it.

LYRICS:Knock, knock, knockin' on heaven's door / knock, knock, knockin' on

heaven'sdoor

(PAUL writes the words ... NOW HERE ... )

(ALVA KEEL looks down at the napkin.)

ALVA KEEL: Are you sure this is what you saw?

PAUL CALLAN: It's the one thing in my life I'll never forget.


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ALVA KEEL: Six people in the past 25 years have witnessed thisphenomenon. Myorganization has interviewed them all. It's called hemography -- bloodspontaneously forming into words. But in every case ... they have seensomething ...

(He writes something down on the napkin.)

ALVA KEEL: ... Significantly different.

(He slides the napkin toward PAUL. The message written reads: GOD ISNOWHERE.)

PAUL CALLAN: What I saw with that boy -he ... he was sick, and ...every timehe cured someone, he got sicker. Finally, it -- it killed him. Whywould Goddo that?

(ALVA slams his hand against the table. PAUL jumps.)

ALVA KEEL: Who said it was God?

PAUL CALLAN: You're not with the church?

ALVA KEEL: I work with my own group now, pursuing parallel lines ofresearch.These occurrences that we've been tracking, um ... have taken place allover theworld. And they seem to suggest ... a large...event ... is coming.

PAUL CALLAN: (chuckles) The end of the world?

(ALVA sighs and puts a business card on the table. It reads: SODALITASQUAERITO / 365 MIDLOTHIAN LANE / NO. 29 )

ALVA KEEL: Call me. My cell's on the back. We may be able to helpeach other.

(ALVA KEEL stands and leaves. Camera holds on the card.)

CUT TO:

SCENE #38:

(PAUL looks up the words in a dictionary. He finds:

[SODALITAS, atis, f. (sodalis). I. Prop.(1) Companionship, fellowship, brotherhood.. Meton. 2. Any kind of connection, fellowship,


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Association, partnership, Cic. - 3. A meeting, so-... club, a feasting or banqueting club, Cic... secret or unlawful association or society... familiaritasque, Cic. - inti ]

(He flips the page and looks up the second word. He finds:

[QUAERITO. are.227, Obs. 1.).for eagerly. II.... be anxious to know ... ]

( ... and ... )

[ freq. intens. (quae(1) To seek, search,(2) To search or inquire... accurately. EX.

ium ab alqo, of a ... ]

CUT TO:

SCENE #39:

[INT. BUILDING -- DAY]

(PAUL CALLAN walks into the building and looks at the directory. Itreads: 365Midlothian Lane. Under S. QUAERITO (The alley entrance) 29.)

CUT TO:

SCENE #40:

[EXT. ALLEY ENTRANCE -- DAY]

(PAUL walks through the alley and up the stairs.)

(Cut to: The door opens.)

PAUL CALLAN: Uh, I'm Paul Callan.

EVELYN "EVIE" SANTOS: (smiles) Please, come in.

(PAUL hesitates for a moment, then steps inside. The door closes behindhim.)

FADE TO BLACK.


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==========================THE END==========================

Miracles TV Pilot

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Transcript of Miracles TV Pilot