|
Summary:
Frank Black and Peter Watts
investigate a series of brutal killings in the Brighton Beach Russian
community of New York City, killings that are linked to the nuclear disaster
at Chernobyl. The shotgun slayings seem to be the work of
mysterious Russian diplomat
Sergei Stepanovich, a man
recognized by the local immigrants as Yaponchik, a
mythical Russian figure destined by prophecy to be revealed as the
Antichrist.
Season One on DVD
Full Transcript Available
Quote:
"Behold ye scoffers, For I will work wonders in your days,
which ye will not believe." —Book of Habakkuk
Synopsis:
In the Brighton Beach area of New York City, a man named Yaponchik kills a
Russian Elder by shooting him in the face with a 12 gauge pistol. It becomes
the third such killing in which the perpetrator mutilated the body to prevent
positive identification. Frank assists N.Y.P.D. Lieutenant McCormick, Yura
Surova, from the Moscow Police Department, and undercover officer Andrei
Medikov with the investigation. While inspecting the Elder's corpse, Frank
notices an odd mark in the shape of a inverted "V." But he is unable, at
first, to determine its meaning.
Frank
enters the Novgorod, a nightclub frequented by Russians, where Yura and
Andrei are supposedly working undercover. Yura approaches Frank, and while
they talk, a man known as Yaponchik sits down with Andrei and points a
12 gauge pistol at his face. One of the Russian clubgoers recognizes Yaponchik,
and calls out his name. Suddenly, a stampede of screaming people rush for
the exit. During the confusion, a shot rings out. Frank rushes to the table
where Andrei was sitting, and discovers his faceless body on the ground.
Yura
explains to Frank that the name 'Yaponchik' is synonymous with evil, a
kind of Russian bogeyman. Later, Watts confirms that the symbol discovered
on a victim's body is a portion of the monogram of Christ. He also states
the Russian people believe Yaponchik was responsible for Chernobyl, a disaster
some believe is predicted in the Bible. Frank examines a photograph of
Yura and Andrei standing next to one another at Chernobyl. He realizes
both men were at the power plant in 1986, and both believed in the Yaponchik
prophesy. Later, he accuses Yura of staking out the night club for the
sole purpose of assassinating their prey — the mythological Yaponchik.
A
priest identifies one of the killer's victims as a woman who restores religious
icons. Frank, Watts and the priest inspect the woman's loft, where they
discover several parcels wrapped for shipment, addressed to the Russian
Consulate. Frank realizes the dead woman had discovered Yaponchik's identity,
and was sending him religious icons as an offering. Frank also concludes
that the man known as Yaponchik killed his victims to fuel the myth of
his existence — creating even more terror amongst those who believe in the
prophesy.
Frank
and Watts pay a visit to the Russian Embassy, where they deliver an icon
to the man the parcels were addressed to: Sergei Stepanovich. They address
him as Yaponchik, who tells them they are fools for believing Russian superstition.
Later, Lieutenant McCormick warns Frank and Watts that Stepanovich is protected
by diplomatic immunity and cannot be prosecuted even if he is the man responsible
for the murders. Frank concludes that Yura, Andrei and the Priest were all
stalking (who they believe is) the Antichrist.
Yaponchik
kills two more men inside a Russian bath house, but this time Yura is there.
Yura steps forward with a gun pointed at Yaponchik's head. Yaponchik tells
him he can't kill him. Yura shoots Yaponchik in the head, mortally wounding
him.
Near
death, Yaponchik is rushed to the hospital in an ambulance. As Frank observes
the carnage at the bath house, he realizes Yaponchik received the same
mortal head wound as predicted in the Book of Revelation. Prophesy dictates
that the Antichrist is man who will miraculously survive a fatal head wound.
Fearing Yaponchik's wound might heal, Frank and Watts make their way to
the hospital. Yura, however, arrives first. He approaches Yaponchik's bedside,
pulls out his gun and prepares to shoot his enemy once again. But Yaponchik
convinces him that he is "not the one." Accepting his words, Yura lowers
the weapon and helps Yaponchik access the hospital's Medevac pad.
Frank,
Watts and the Lieutenant rush to the rooftop, but the a barred security
gate blocks their access. As a helicopter lands on the roof, Frank shouts
to Yura through the security gate, urging him not to board the craft. Several
broad-faced men step from the helicopter and usher Yaponchik on board.
Several other men attempt to grab Yura and pull him away, but Yura grabs
onto Frank and the gate. One of the Broad-Faced men starts to pull a gun
from his belt, but the Lieutenant and two other officers draw their weapons
in a stand-off. The Broad-Faced men retreat to the helicopter, which soars
off into the sky.
|
Photographs:
- Yaponchik wields his trademark 12 gauge
- A distraught Yura
Surova collapses
- Frank holds Yura through bars
- Frank and Surova fail to see eye to eye
Abyss Rating:
(5/5)
Media Review:
"The
season comes to a satisfying thematic end in 'Maranatha,' which deals
with the myth of the Russian antichrist Yaponchik in big, bold style.
Frank’s final line of dialogue in the episode, 'He is coming soon,'
foreshadows the tragic events of the season’s hasty coda, 'The Paper
Dove.'" —Keith Uhlich,
Slant Magazine
"With its focus on Biblical revelation and
the Chernobyl accident, 'Maranatha' could have been truly taxing. But
thanks to the incredibly tight script, the great sense of Russian
culture and tradition and incredible performances by the guest stars,
this episode is incredibly ominous and grim. There are lots of
theatrics here, obvious bows to the end-of-the-world elements
discussed throughout. Combined with previous installments of the show,
this is one of the best examples of Millennium’s careful
balancing act between reality and the otherworldly." —Bill Gibron, DVD Talk
Trivia:
Those sharp eyed fans watching the
episode closely will note that the helicopter Yaponchik utilizes for
his escape from the hospital rooftop is labeled on its underside with
the registry number 666, the number noted in Revelation to be the mark
of the Beast.
This episode's closing is unique in that
it represents the only occasion, in sixty-seven episodes, that the
final scene fades to white instead of black. Frank Black opens a door
and steps into blinding white light and, in what is a negative inverse
of the traditional closing, the executive producer credit that ends
the episode appears as black text on a pure white background.
This episode was originally titled "The
Second Coming." The simplistic title references the episode's
repeated use of the Maranatha refrain, "Our Lord cometh," and the
apocalyptic event to be initiated by the rise of the Antichrist.
Death Toll:
6
Title:
An
expression used by St. Paul at the conclusion of his first Epistle to
the Corinthians, "Maranatha" literally translates to "Our Lord
cometh." The refrain, heard throughout this episode in reference
to the second coming of Christ, is doubly appropriate as it has come
to be used to curse those who have committed great crimes, an
invitation for the Lord's arrival such that he may judge and avenge
such wrongs.
Starring:
Lance Henriksen as Frank Black
Terry O'Quinn as Peter Watts
Guest Starring:
Bill Nunn as Lt. McCormick
Boris Krutonog as Yura Surova
Levani Outchaneichvili as Yaponchik
Michael Aniol as Priest
Dmitri Boudrine as Andrei Pietrovich Melnikov
Michael Cram as Paramedic
Bill Croft as Broadface
Brian Downey as Medical Examiner
Roger Haskett as E.R. Doctor
Beverly Pales as Torch Singer
Production
Credits:
Production #4C20
Music by Mark Snow
Production Designer Mark Freeborn
Director of Photography Robert McLachlan
Associate Producer Jon-Michael Preece
Consulting Producer Ted Mann
Consulting Producer James Wong
Consulting Producer Glen Morgan
Co-Producer Ken Dennis
Co-Producer Chip Johannessen
Co-Producer Frank Spotnitz
Co-Executive Producer Jorge Zamacona
Co-Executive Producer Ken Horton
Co-Executive Producer John Peter Kousakis
Executive Producer Chris Carter
|
