Need To Know 3rd Draft

8/7/2019 Need To Know 3rd Draft

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NEED TO KNOW

A screenplay by

Bill Hodge

Bill Hodge FINAL DRAFT5/2 Dotterel Place March 16, 2011Ingleburn, NSW, 2565 [email protected] 61 402 858 447


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"NEED TO KNOW"

FADE IN:EXT. FOREST ROAD. MID MORNING. BEAUTIFUL SUMMER DAY.

Specks of light shine across the screen as the image fadesin. The light looks like spirits rushing past the camera butas the scene brightens it is the light shining through thetrees as seen from out of the sun roof of a moving car in midmorning.

Light happy classical music covers the beautiful scene.

The car is driving through a verdant forest on a narrowsealed country road. It glides along, the trip obviouslyenjoyable.

DAVID STERN a middle-aged man is at the wheel, his fatherFredrick beside him half asleep humming in the warm sunshine.

The car negotiates the curves of the road against suddenlyappearing oncoming traffic having to half leave the narrowstrip of sealed road each time a car passes them going theother way.

Enjoying driving David changes down gears as they come to asteep decline. Music declines becoming more ominous as thecar moves down the slope. David changes up gears at the hillsbase.

His hand suddenly shakes on the wheel. We see him begin toseize in the midst of a heart attack. He fights hard toregain his control in an all but silent battle. He is astrong silent type. His father continues to hum eyes shut.The car looses the road as David clutches at his chestkeeping one hand on the wheel. The attack strengthens Davidcalls out to this dad as he totally looses control.

FREDRICK STERN wakes to see the imminent collision; hereaches for the steering wheel but is too late. He looksacross at his son in obvious agony.

The car slams into a massive Oak tree as David fails to makethe corner; the impact hits his old mans side of the car.David is left clutching at his chest as the camera revolvesup away from the scene looking down on the accident. Carscome to a stop around them people getting out to help.

Sound of mobile phones calling for paramedicsSFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME ZOOMS IN.

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INT. CAMERA FOLLOWS HOSPITAL TRAUMA CARTS THROUGH EMERGENCYWARD. DAY.David and Fredrick are taken by Paramedics into the unit.Registrar takes over. Heart attack protocol is followed.

DISOLVE:

INT. HOSPITAL WAITING ROOM, DAYGILLIAN STERN, a neatly dressed 37 years old, waits tearfullyin the room. The swing door opens and her mother MARY BUTLERenters. Mary is about 60 years old, she has the look of apillar of strength. A matriarch.

MARYOh Gillian! (Seeing herdaughters distress)

GILLIAN

Mum. Davids in surgery. Mum(beat)His fathers dead.

Gillian hugs her mother who holds her no more words passbetween them. Gillian takes her support as always. Maryshoulders her daughters grief.

INT. HOSPITAL INTENSIVE CARE, A CURTAIN SEPARATES DAVIDS BEDFROM THE OTHERS. DAY LATE AFTERNOON

Gillian is sitting beside the bed. David is intubated aftersurgery and not quite awake. Mary stands like a guardian at

the opening in the curtain. The nurses meekly excusethemselves past her having finished Davids hourly check.

GILLIANDave?

David looks toward her not totally aware because of thedrugs. He reaches his hand out past the tubes She holds it.He nods her to talk, knowing her well and that she hassomething important to say.

GILLIANYour dad

(beat)Hes

(She cant find the words)

Davids eyes close he knows what she is trying to say. Hegrips her hand tighter. A tear rolls down his cheek.

MARYYoure not to blame yourself

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David.

David clenches his eyelids to hold back the tears. He doesfeel guilty.

LONG DISSOLVE:

EXT. FREDRICKS HOME. SUNDAY, OVERCAST MORNING

Gillian drives to a stop in front of Fredricks now vacanthome. David is still convalescing after surgery and cannotdrive yet. A shadow of sadness crosses his face as he looksat the house. They plan to start clearing it out for sale.

DAVIDThanks Gillian but Im not sureI can do this. 4 months sincehes gone.

GILLIANWe can come back later Dave you

dont have to clear it out. Wedont need to sell it.

DAVIDI know. Gill it was such a happyplace when mum was alive. Whenhe lost her well he changed.

GILLIANYour dad was one in a million.

(Smiles)So are you.

DAVID(Holding up the keys)Lets havea look anyway its been yearssince I set foot inside. Daddiscouraged it, he just wantedhis monthly drive through theforest. He called it hisrecharge. (he closes his eyes insudden grief)

GILLIANDont think about it. Come on.

Taking the keys form her husband. Gillian gets out of thecar. David slowly follows her.

CAMERA MOVES with them as they walk up the stairs onto theverandah.

GILLIANHow old is this place?

DAVIDAbout 120 years, its classic

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really. I remember mum tellingreal-estate agents to go tohell. Its been in her familyfor generations.

GILLIANTucked away on the back streets.

Its quite beautiful, but inneed of attention. When did yourdad last do any work on it?

DAVIDAh he kept it up, but he wasmore of a professor ofphilosophy than a maintenanceman. You know he fully expectedus to be the next family here.

GILLIANWell it would have been nice.

DAVIDSorry honey that wasthoughtless. Weve had a badyear first with doctor tellingyou your news then with Dad.

GILLIANWell at least weve got eachother. (She says in a smallvoice)

INT. FREDRICKS HOME. MID-MORNING.

The house is beautiful but has an empty closed up feeling.They feel as if they are intruding. David picks up an oldphoto of his mother in her twenties. He smiles and tenderlyputs it back on the hall stand. Gillian looks on.

GILLIANYour Mum was so beautiful.

DAVID(Moving down the hall, looking

about into other rooms)It broke Dads heart when shedied. Thats 15 years ago.

GILLIANI wish I could have met her.

David walks into his fathers library without answering. Ifthe rest of the house feels empty the library is anythingbut. There is even a light still burning on the reading tablewhere an old spiritualist text lies open. The room feels

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alive like someone was just there. David switches off thereading lamp.

DAVIDIt feels like hes still around.

GILLIAN(Standing in the doorway she

wont enter the room)Was this his inner sanctum?

DAVIDFascinating feeling. (He rubshis hand along the spines of hisfathers volumes pulling oneout) Metamorphosing Reality.(He starts turning the pages)

Faint musical chimes are heard playing, as he looks troughthe book. Gillian watches him from the doorway still not

entering the room. A breeze flows past her from the open doorinto the Library. She hugs herself. David is engrossed inthe book and doesnt notice.

GILLIANDave? Can we go? Im gettingcold.

DAVIDWhat? (Pulls himself away fromthe book) Oh, sorry. Go? Sure.

He puts the book carefully back in place. Has one last look

round the room and leaves.

Behind him, unseen, Fredrick smiles, switches on the light asDavid leaves the room and continues reading. He takes out asmall black notebook (THE ORACLE) patting it against hisother hand. We hear the front door close as Gillian and Davidmake their exit. Fredricks ghost looks thoughtful.

FREDRICKGood for you son its time yougot a new interest.

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERA

MOVES ONTO NEW FRAME ZOOMS IN.INT. KITCHEN; THE STERNS HOUSE DAY LATE AFTERNOON

A small kitchen full of gadgets; rays from the low sun shinesacross David as he washes dishes at the sink, his heartsurgery scar clearly healing under his loose shirt. Heconcentrates on scrubbing; the dish suds splash lazily downfrom the anxious brushing. Fredrick Stern shuffles into theroom. (Fred is portrayed as a solid person slightly brighterthan his surroundings). He goes to the full-length window

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beside the kitchen bench. He pushes aside the curtain andstudies the unseen exterior.

FREDWhats wrong boy, beautiful dayout and youre stuck doingdishes. There are more important

things needing to be done.David glances at his father; he seems about to answer butturns away and continues scrubbing frantically.

FREDCome on Junior, its too latefor that behavior. You shouldenjoy this. Im here to help. Notime I like better than thepresent.

Fred gestures out the window. David suddenly stops his

scrubbing, and turns to his dad.DAVID

Dad I cant do this. You comeback here and I can see you.Ive done my exercise outside,now Ive got work to finish.Gillian will be home soon. Ivegot too finish.

FREDYoull miss out. (Kindly) You

have to see the bigger picture.All this is just illusion boy,so you might as well enjoy it.

Fred smiles at his son. He rests his hand on Davids shoulderlooking into his eyes. Fredrick tilts his head to the sidelooks like he is hearing something we cant.

FREDDont waste it son. You can feelme Im real. Accept it.

There is the sound of a key in the door lock as Gillian letsher self in. Gillian enters the room dressed for success; shedrops her bags on the counter. She is frazzled; running onempty but is stunning none-the-less. She kisses David.

GILLIANFreaking traffic. I should havebeen here half an hour ago.

She starts to unpack the shopping, going to and from thefridge, as she talks to David. There is no sign of Fred.

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GILLIANHows the jobhunt going, Honey?Find anything Id like?

She looks concerned when David mumbles. David mimes being anHR person looking at an imaginary resume.

DAVID

I was thinking of becoming aprofessional lay-about. Do youknow any places for stuck-at-home geniuses, sick and tired ofrecovery time?

She embraces him. He tries not to get foam on her businessclothes.

GILLIANFeeling that good, hey? Come onlighten up, youll get there.

Im sure Frank would give youyour old job back.

DAVIDIm sick of computer science.

David looks into her eyes, working up the courage to talk. Helooks down at his right hand; there is a slight tremor in it.

DAVIDDad was here again.

GILLIAN(Looks at him questionably)Thats not possible David. Youknow that.

DAVIDHe was right there. Told me notto waste my life. I thinkthats what he meant. Wanted meto go outside and enjoy the day.

Gillian steps back from her husband. She looks worried andfrazzled again. She looks at the spot David has pointed to;there is no one there. She looks down at the empty shot glass

on the counter. David picks up on her unspoken question.

DAVIDI havent been drinking; thatsfrom salad dressing I made forlunch. Smell the glass if youdont believe me.

Gillian doesnt pick up the glass. She just nods and looks atDavid. She then returns to putting away the shopping. Davidstemper suddenly drops he has no choice but to return to the

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dishes.

GILLIANWell be OK, Dave. You just needtime to get better.

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME ZOOMS IN.

INT. DAVIDS STUDY, UPSTAIRS. LATE NIGHT.

A small book-lined room with a writing desk on which sits alaptop thats beeping incessantly. David sits at a smalltable, writing letters. David is writing job applications byhand not wanting to use the computer. The machine annoys himwith its noise. He flips it over and removes the battery andtakes its power cord out of the wall socket. The computerdies.

DAVIDBeep Beep now, you bastard.

David is finishing a letter for yet another job application.Other letters, in envelopes, lie on the table beside him.

From out of shot, behind David, we hear his fathers voice.

FREDYou write with a nice turn ofphrase boy. Youd get the job if

I were hiring. You will anywayif you really want it.

DAVID(Turns to his Dad, whispersurgently) Dad this has to stop!How can I concentrate if youregoing to intrude all the time?

FREDYou were the one who had to KNOWboy! But knowing is only a startDavey, you have to believe. You

have to make it real.

DAVIDAs real as you are? (Scornfully)

FRED(Having the iron of self-beliefin his voice)Yes. Thats right David, as realas me. As real as what you feel!

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Just believe in yourself, inwhat you know, in what you cancreate!

DAVIDDad, while Im seeing andtalking to you, Gillian thinks

Im going nuts. And Im not sureif she isnt right. Why cantyou be here when she is?

FREDWe can try, but her vibrationswill make it hard. Shessomewhat overpowering.

DAVIDYes, you can say that, twelveyears of marriage and I stillfeel her power.

FRED(Said with a smile) Thatsbecause you take after your oldman. Then again, if you did, youshould have kids by now.

DAVIDThats not fair Dad. Gill cant.I told you that the last timeyou tried to push the house onus.

FREDLovely home for kids, you know.Here she comes David. Justbelieve in yourself junior.Dont sell the house. Youllneed it. Itll all be OK.

Fred fades out as Gillian opens the door; she feels a chillin the air and rubs her arms.

GILLIANHey, thats some pile of letters

youve got there! Good going.(She yawns) Im going to bed,monkey man.

At the pet name David goes into his ape act. He talks in alow voice and makes mock threatening gestures towards hismate, Gillian.

DAVIDMe great silver back gorilla, me

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take sexy lady to my mountainnest!

GILLIANYou big idiot, youre arecovering heart patient. Dontyou dare try and pick me up.

CUT TO:

INT. STERNS HOUSE UPSTAIRS HALLWAY.

He chases Gillian to the bedroom, loping down the hall afterher, into the bedroom, making monkey noises. She is laughingloudly. CAMERA FOLLOWS The scene closes with the bedroomdoor slamming shut under the recovering strength of a silver-backed David.

DISSOLVE:

EXT. STERNS HOUSE. GARAGE. FOLLOWING MORNING.David opens the tilt-a-door garage. It is a dark, drearymorning. David looks back at Gillian as she gets into hercompany car. He looks energized. She smiles at him.

GILLIANOnce youve delivered yourletters, you could always rideover and see me for lunch. Icould use a silver back at work.The other girls would be sojealous.

DAVID(Monkey noise) No publicperforming, its against mycontract.

GILLIANIll see you this evening inprivate then. Bye darling, Ivegot to go.

Gillian drives off, while David gets his bicycle down from

the wall of the small garage. His father stands in theshadows behind him, having surveyed the scene.

FREDYouve got a spring in yourstep! Feel like going cycling?Interesting, we dont think youhave taken that bike down for,well, ever

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DAVIDDad! I hope you werent watchinglast night?

FREDWhat, exercises on MonkeyMountain? No, you have your

privacy, as soon as you want it.DAVID

What about right now?

FREDYou dont really want us toleave. Otherwise we could notstay. We would not want to.

DAVIDNo, I dont want you to go. ButIve got these letters to post.

FREDGood lad! You could have gotGillian to drop them for you,but you decided to ride,sensible. Good exercise helpsyour stamina. Well come withyou.

DAVIDHow? You want me to double you?

FRED

No need. Once youve been whereweve been, you can travel atthe speed of thought.

Fred vanishes, leaving David looking around for him. Fredreappears instantly, in the mid-distance down the street.

FREDCome on junior, whats takingyou so long?

David groans and rides off after him. He hears his fathersvoice in his head.

EXT. STREET - MORNING

David rides along as Fred vanishes, and reappears, keepingpace beside the bike.

FREDYoull get the hang of us son.When you asked for guidance inyour life you didnt think

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anyone was listening, did you?(Laughs)

DAVIDCan anyone else see you?

FREDNot the normal folk, junior. But

if we run into a half-decentmedium, then well be noticed.

DAVIDThe Royal we hey?

FREDNo boy. While Im your fatherthere are others, not onlymyself here. We are a group-mind, a collective, thats theonly way for us to achieve

manifestation on your physicalplane.

DAVIDNo kidding? Whos with you?

FREDLike attracts like boy, its auniversal law, even beyond yourworld. Not so mixed up however.

DAVIDMixed up? Its just me whos

mixed up Dad. But thats myfault. I think Im feelingguilty about killing you and soyoure haunting me.

FREDCommunication was never meant tobe this hard. David, Im nothere to blame you, I had a goodlife. But things are mixed up.

DAVID(David stops riding his Dad

appears in front of him)What, Dad? What is mixed up?

FREDTime and space are mixed up,David. We have made a master ofthat which was meant to serveus. Thats what makes it sohard for sustained contact to bemade, without a great deal of

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effort on the part of a greatnumber of souls.

DAVIDSo if I accept youre real, whydo I get this special treatment?Why are you really here with

your committee?

FREDBecause everything has to be putback in balance. Some doorwaysneed to be opened and a futuremade manifest, a future thatwill save everything. But, moreimportantly, the bad doors needto be closed.

DAVIDWhat do you want me to do?Become some sort of white knightand ride in and save the day onmy trusty steed? (He rings thebicycle bell)Am I your cosmic doorman?

FREDIn a manner of speaking, son,yes. You need to change yourbelief and to follow through,

once you know your new beliefsto be true.

David frowns at the sound of follow through, as he neverwas a quitter.

FREDYou are a key to the lock, youmight say. You can help sort itout for the better. Make the mapfor a new future.

David rides off shaking his head, having a hard time taking

it in. His father watches him go. There is a look of doubtbriefly on his fathers face.

FREDHe is not ready.

BERREL(Disembodied speech)He will be. Tell him to ask forour help. We will be there.

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EXT. STREET, MAILBOX, MORNING

David goes to put the mail in the postbox. His father isbeside it. He indicates for David to wait.

FREDBless it son, and be gratefulfor what you are to receive.

Just remember to receive it,thats the trick!

DAVIDDad? How do I bless a letter?

FREDHonestly? Feel and think.Will it on its way. Bless it tobe able to act on your behalf.Do it with love.You dont have to say it out

loud, but to ask is all.DAVID

Bless my mail? People will thinkIm losing it.

FREDIt only matters that you believeyou are gaining it bless it.Be grateful and receive. Itsthat simple.

DAVID

(Closing his eyes, he muttershis blessing and then breatheson the letters, before postingthem.)May these letters have theeffect I need them to have andIll gratefully receive that.

FREDGood blessing. Lets go.


EXT. CAF. LUNCHTIME.

NAOMI STEWART walks into frame looking for Gillian. She is 34years old a bright, charming single woman with a sense ofhumor.

INT. CAF. LUNCHTIME

Gillian waves to her friend, Naomi, from inside the cafe.

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Naomi approaches Gillian and Gillians mother, Mary Butlerwho are already seated.

GILLIANMum, you remember Naomi.

The women peck one another on the cheek.

NAOMIHi, Mrs. Butler, youre lookingwell.

MARYHello Naomi. Thank you. Is thiswere you two have lunch? Itlooks expensive.

GILLIANDont worry, ma. Ive got itcovered.

NAOMIYes, I have a trained waiter!You think hes got a crush on me?

Gillian Nods. Naomi and Gillian laugh.

NAOMIYou girls ready to order? (Theynod) Good, I know what I want.Waiter!(She knows she has his attentionwithout the show, but obviouslyloves taking advantage of thesituation)

Gillian and Mary observe as the waiter, WARREN, who has beenwatching Naomi since she arrived, springs to her side.

NAOMIHello Warren. How are you?

WARREN(Blushes) Good, Miss, the usualthen? (Naomi nods)

He looks at Gillian, who nods. Then he looks at Mary.

MARYId like the poached seafood,thank you, with a side salad.

He writes down their order and, with a last look at Naomi,hurries away.

MARYGood service. Polite, if a

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little over-friendly.(She smiles at Naomi, who raisesher eyebrows, enjoying it)

GILLIAN(Changing the subject)Thanks for coming, Mum. I really

need your advice, about David.Its hard to discuss, hes beengetting stranger all the timesince the car accident.

MARYNothing unusual in that dear,men measure themselves by whatthey do. Having to take time offto heal doesnt appeal to him.But hes a strong one; so youmust keep him busy until he

mends.

GILLIANThats just it Mum he keepshimself very busy! He has nointerest in going back toworking with Frank in thecomputer lab. He has churnedout applications, since Isuggested he look for anotherjob.

(beat)

Now he keeps telling me hesseeing his fathers ghost!

MARYWhat? Old Fred?(Chuckles)

GILLIANMum, David says they talk to oneanother.

MARYI dont know if its anything toworry about dear. After yourfather died I had some

(beat)Interesting moments, believe me.

GILLIANBut did you hear Dad and seehim? David tells me that he sees

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and hears Fred.

MARY (more serious now)Gillian, have you considered ifDavid would talk with FatherRyan, or see a doctor?

GILLIAN

You mean go to a psychiatrist?

MARYOr to the dear Father, hes awonderful person to talk to.Up to you, dear. Youre the oneswho should make that decision.

Gillian looks down troubled, and Naomi, seeing this, puts herhand over Gillians to comfort her.


INT. STERNS HOUSE. LOUNGE ROOM. LUNCH TIME.

SOUND IN BEFORE PICTURE. TV Newscast (V.O.)CAMERA PULLS BACK from Davids Laptop in the Sterns livingroom. The machines battery is lying beside it, laptop deadas a doornail. David is watching the midday news while eatinghis lunch.The TV news coverage is about a terrorist attack on a sportsteam in the Middle East. There is some talk of retaliationagainst the country involved.

(V.O.)NEWSCASTWith Trade embargoes now inplace there is a threat of thesituation leading to retaliationagainst the Middle Eastern power

DAVIDBloody madness!

His father is suddenly sitting beside him.

FREDYou could change that. Make surethere is no need for retaliationand no escalation of theproblem. You could make it goaway.

DAVIDCome on dad, you must be joking.Ive no control over that. Its

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horrible, but what can I doabout it?

FREDChange the future, David. Open anew door to a better future.

David temporarily chokes on what he is eating. He cant

believe what he is hearing this again.

DAVIDDad, or whoever you are. Ivegot no way of changing thefuture. I dont even know whatit will bring. Youre making mefeel like Im not quite sane andthat frightens me. Gilliansright! If you are a figment ofmy over-active imagination, thenIm in serious mental trouble.Maybe Ive got some sort oftumor in my brain. Or maybesomething went wrong with mysurgery.

FREDJunior there isnt a tumor. I amas real as you are. Let yourselffeel. You know this to be true.You KNOW it. Trust yourfeelings, your love.

DAVIDLove! What about my love forGillian? The longer this goes onthe more worried she becomes.Dad youre dead. And Im goinginsane.

FREDDeath is not the end David. Youneed to remember. We will showyou.

DAVIDWhat now? You want to kill me?

FREDNo, but you can leave your body.You have been able to since yourexperience during heart surgery.

(continuing)FREDFinish your food, because youneed to relax.

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David finishes eating and sits back with one eye half-open,watching, but not trusting his Dad. He closes his eyes, triesto relax, but opens them again.

DAVIDDad? Im not sure about this,you make me feel like some big

kid! What if I cant get backinto my body? Its weird, itsimpossible.

Fredrick touches the tips of his splayed fingers togethersending energy across his hands. Fred stands beside thelounge.

FREDMonroe was scared to. He firstpopularized out-of-body back inthe 1960s. You should read mybooks. Look. Think of it as achange of consciousness. Thatsall it is. Close your eyes,gently.

David closes his eyes and his father starts humming. As thesound of the hum rises in pitch, David rubs first his templesthen his forehead.

DAVIDI feel funny.

FRED

(humming tone continues behind Freds voice)Relax; listen to the sound ofthe tone. Think of somethingsmall, a grain of sand. Rememberwhat it was like, as a child, toswing back and forth on a swing.

David leans back on his seat, relaxing as much as he can. Hisfather waves his right palm over Davids forehead. A smallviolet and white light flickers across his head, under hisfathers hand. David relaxes further into the lounge.

His father brings his left hand above Davids body. The tone

increases and starts to quaver.

We see Davids 2nd body slowly rise out of his physical one,which seems asleep. Fredrick steps back as Davids 2nd bodysettles, to stand beside him.

Davids 2nd Body looks itself over, front and back.

DAVIDWow! Hey, Ive still got myclothes on. I feel kind of light.

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David looks at his body sitting on the lounge chair. He talksto his father as a voice over (to show telepathic speech.)

DAVIDAm I dead?

FREDNo. Its just how you leave your

body each night to dream, onlythis time you are conscious.

DAVIDWill my physical body be OK?

FREDYes boy, it will be fine. Imnot going to take you to theother side. Right away you needto get your perspective first.

DAVIDWhy?

FREDTo help you understand what thenature of reality is and whathappens after you die. You needto know.

David nods at this. They both float up and fade away from thescene.

EXT. DAYTIME, JUST AFTER MID DAY ABOVE THE CITY.

David and Fredrick glide out-of-body over the buildings ofthe city. They see earth-bound spirits clearly, but theworld itself is faint as if watched through gauze. David isgetting the hang of it and sails out of screen followed byFredrick. Fredrick then takes Davids hand. Fredricks handis phasing to a higher vibration rate.

FREDI want you to raise yourfrequency, David.Do you feel a tingle in my touch?

DAVIDYes Dad. Your hand is flowingwith energy.

FREDGood, can you match thevibration? Can you will yourselfto do it?

David raises his vibration and starts phasing energy across

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his whole body. His astral body brightens.

FREDVery good! Want to see somethingspecial? (David smiles and nods)Right, keep raising yourfrequency.

David and Fredrick disappear in mid-air.


INT. SHOPPING MALL, DEPARTMENT STORE, AFTERNOON

Gillian and Mary shop in Ladies Formal Fashions. Gillianholds an evening dress up to Marys slim frame. Naomi gets atext on her cell phone, and looks annoyed as she reads themessage.

NAOMIIve got to go. So sorry,Gillian. Mary. They need me backat the office.

GILLIANThats fine Naomi; Ill call youlater.

Mary smiles her farewell.

MARYBye, dear. It was lovely to see

you again; its been too long.Its very good Gillian has afriend to keep her spirits up.

NAOMIMrs. Butler you know me! Justdont let the spirits get eitherof you down! Especially thescary ones that go bump in thenight. Love. Bye.

GILLIAN(Laughs)

See you later, Naomi. (Holds thedress up to Mary again)

GILLIANYoure still beautiful, mum.

MARYExercise helps me keep moving,my dear, and hard work got me tohere. Its lovely, what would

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this cost?(Inspects the tag, slightlyshocked)What excuse would I have,though? (Chuckles)

GILLIAN

It would suit you, Mum. Do weneed an excuse to buy it?

MARY

(Putting the dress back on the rack)I think you should be the onebuying today, for yourself, tocheer you up.

(Changes tone to a maternal instruction)Father Ryan is a trainedcounselor, if David wont go,perhaps you should see Fatherfor advice. Perhaps he can helpyou, dear.

GILLIANMaybe. Im wondering how Davidwill react. The heart attack hashit him hard. Made worse by thedeath of his Dad. He feelsguilty mum.

MARYWell you two have known each

other a long time, its notunusual to be aware of yourpartners distress. It shows youcare.

GILLIANYoure right, our marriage haslasted way past the averagethese days. Mum, I know he lovesme. He still loves me

MARY

Just let him know that you lovehim too, hes a strongpersonality but he needs you tobe strong for him. Hes got tostop blaming himself for theaccident. Hes worried aboutletting you down, too, in hiscareer.

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GILLIANMe?

MARYDavid needs your help, Gillian.He may not be able to get clearof this without your

involvement. Be there for him.Gillian looks down, wondering how she can approach him.SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.

EXT. A BEAUTIFUL SUN-LIT PARK. DAY

Blue sky and vivid green grass, the scene is surreallybright. David and Fredrick walk over a slight hill towardsthe camera. They stop at the top of the rise, looking out atthe view. A path leads down towards fabulous flower gardens

that have more color in them than is natural. There is lightmusic in the air that is coming from the plants below. Davidbreathes in deeply, joyously.

DAVIDWhat a wonderful feeling. Dadwere solid! I can feel thespring in the grass! It feelsgreat! Wonderful! The view hereis beautiful.

FREDIts set up for when peoplefirst cross over.

DAVIDWhere is here? Is this heaven?

FREDNo junior were in a waystation, a place people come torest after they leave thephysical.

DAVID

But we are physical, I feelgreat. I havent felt this goodin years.

FREDIn a manner of speaking you are,because our vibration matchesthis place, and specialattention was given to this andother way stations toaccommodate peoples old

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physical biases. We call it thepark.

DAVIDSo this is where we go after wedie?

FRED

Not everyone finds his or herway here. There are areas moresuited to personal beliefs, ifyou closely follow a particularfaith. Then there are theEarth-bound spirits who werebeneath us before. Well theywont make it here, until theyallow themselves to break freeof whatever holds them to earth.This is a place of convalescence

that helps people who passsuddenly and have no religiousties.

There is a bark behind them and over the hill comes a littletan dog, he goes right for David.

DAVIDTeddy! Its so good to see you,boy. (Laughing) It must be 23years.

TEDDY the dog jumps into Davids arms. Licking him on the

face crazily.

FREDHe couldnt wait. (Raiseseyebrows and laughs)

David puts down his dog. Who wags his tail at him and prancesaround him welcomingly. David suddenly realizes if Teddy canbe here, he should be able to see his mother.

DAVIDMum? Is she here?

FREDDoris? (Smiles) Lets follow themusic. See the lights on thenext rise behind the trees?Thats where they all are. Thereis a concert in progress. Teddyjust had to be first to see you.

They walk towards the trees, the small dog running ahead and

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then back to them, sniffing around.

EXT. CONCERT IN THE PARK. DAY

Above the trees a great shape is forming in thin air. It is acollection of pastel and rainbow colors creating the surfaceof a great glowing dome-like ethereal form. David looks up at

the lightform, as it billows and changes color and shape, ina graceful dance. The movement responds to the music they canhear coming from the same direction. As they walk through thetrees into a natural bowl in the ground, many people sitwatching the concert, its musicians in their midst. Acrescendo sets off a series of lights, like fireworks,shooting skywards from the dome. The crowd gasps. The musicis fading, but the main form of the dome stays above thepeople.

FREDIt will stay like that until itlooses its form and dissipates.David you are not in thephysical world anymore, as younow can see. But lets find yourmother.

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME.INT. GILLIANS OFFICE. AFTERNOON

Gillian is worried, tapping pencil on her teeth and making upher mind. She taps in a phone number.

GILLIANHello, Yes, its Gillian Sternhere, I want to make anappointment with your clinic.Its for my husband David.

(beat)Oh, sorry, of course. Who shouldI see about a referral? I see.Ive never done this kind ofthing before?

(beat)Im so worried about his mentalbalance. He is recovering fromheart surgery. Im frightenedhow he might react towards mefor making this appointment.

(beat)Can I? Thats so kind of you.Hello, Doctor

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SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.

EXT. CONCERT AT THE PARK. DAY

David and his father walk up behind his mother, he gesturesfor his dad not to say anything. Teddy runs around DORRIS

STERN and she turns about.

DORISYou couldnt sneak up on mewhile I was physical, David, mydear, what makes you think youcan now?(She laughs, very glad to seeher son)(To Teddy) Good boy Teddy youfound him!

DAVID(Tears well up) Mum! I

(beat)I, its lovely to see you. Youlook so well! (Doris looks 40years younger than when shepassed over)

DORISIt must be the carrot juice,junior.

David hugs her, he then holds her at arms length, looking ather.

DAVIDYou look so young.

DORIS(Laughs) Thanks!

The crowd is departing. David and his parents are leftrespectfully alone to catch up.

DORISCome on David theres someone I

want you to meet. We can walk.Its not far to the border. (Sheturns to Fred) Does he know?

FREDI left that to you, my dear.

DORISTypical. Youre still the same

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man you always where, FredStern. Havent changed at all.

FREDThats why you love me.

DORISI havent seen you since just

after you got here. Too busygallivanting with those guidefriends of yours.

FRED(Smiles) Its important work,Doris.

DORIS(She just looks at him)

Yes. OK, Ill take charge; wehave to get over to Berrels.

She can get us through to you-know-who.

DAVIDWho do you want me to meet Mum?Whats this border you aretalking about?

DORISYoull see. We cant comfortablycross the border unless we gethelp from Berrel.

DAVIDBerrel Slocombe?

FREDThe one and only!

DAVIDThat old witch, I didnt thinkshe would be here.

MUMNow David thats no way to talkabout a gifted lady!

FREDI was quite surprised myself,junior. But listen to yourmother, shes right as always.

As they banter as they walk. Teddy is hot on their heels.SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME ZOOMS IN.SOUND IN: BEFORE IMAGE FADES IN FROM WHITENESS.

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INT. STERNS HOUSE, LOUNGE ROOM.Gillian has come home, after work, finds David in an out-of-body trance. She is worried when she cant wake David.

GILLIANDavid wake up! Honey? Come on,youre scaring me!

DAVID(Groans) Berrel? Gillian? Whatsthe matter?

GILLIANI couldnt wake you! I thoughtyou were dead. Whos Berrel?

DAVIDBerrel Slocombe, mums longtimefriend. She was just explainingthe transfer of energy to getthrough the barrier.

GILLIANYoure not making sense David.Berrel Slocombe died last year.

(beat)It must have been a dream.

DAVIDA dream? No Dad took me there.

GILLIANDavid, stop it, now! You need torecognize your dad is gone. Hesbeen dead for six months.

DAVIDGillian, I need you to listen tome. Im not crazy. I know dad isdead. But hes still

(beat)around.

GILLIANDavid you need help.

DAVIDIm fine, darling, really greatin fact, the things Ive got totell you about.

(beat)I really should be writing allof it down.

David gets up off the couch; he embraces her, looking at her,wanting to share his experience, but not knowing where to

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start. He goes in search of a notepad and pen.

DAVIDGillian, promise you will listento me so I can explain whathappened.

GILLIAN

(Looking at him skeptically, shehugs herself, sighs) OK.

DAVIDIve been to the other side! Iwas flying out of body withdads help. Its real, Gillian.Dad mentioned some books he hasthat make this clear. Lots ofpeople do it.

Gillian is shocked at the flying idea. She shakes her head

and swallows her desire to have him stop. He waits, thencontinues.

DAVIDAt any rate, Dad showed me howfully the world is populated byspirits, earth-bound ones stuckhere because they are soaddicted to physical life.

GILLIANAddicted to life? David what do

you mean.DAVID

People get lost; they want moneyor power, or have lost theirlives, but not the desire to behere.

GILLIANLike your dad?

DAVIDNo, Dads not like that at all.

He loves us, thats for sure andhe still wants us to live in hishouse.

GILLIAN(This is something she can talkabout that is not crazy) Davidits too big and out of the way.

DAVIDI dont know about that. Dads

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books would be very helpful tome. I think we should move there!

GILLIANIm not leaving my home to goand live on the other side ofthe city, away from work. You

must be mad.Gillian storms out of the room into the kitchen. Davidfollows her. CAMERA FOLLOWS. He knows this is going badly,now shes openly hostile, but he still wants to tell herabout his experience. She is obviously not responsive.Gillian starts to get food out of the freezer, smashingfrozen meat down on the counter. David looks at her as shemoves about with a worried anger that she wont control. Shesuddenly stops and looks at him.

GILLIANMum wants you to go to seeFather Ryan with me.

She sticks meat in microwave, not really watching what shesdoing.

DAVIDWhy?

GILLIAN(Turning back to him)David we are worried about you.Youre losing it!

DAVIDNo Im not! You should see whatIve seen Gillian.

GILLIANDave! Dont do this to me. Youneed a doctor or a priest. Thisis not real. Im willing togrant you Heaven exists, but yougo there when you die, notbefore! Its crazy talk.

DAVID

No its strange but its real.Darling. Ive seen it sovividly! Not like a dream, butlike everyday life.

GILLIAN(Angry she shouts)

Everyday life! We havent hadeveryday life around here formonths! Ive had it! Why dont

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you go and live with your Dad athis house with his weird books!

She storms out of the kitchen, slamming the door behind her.

David is shocked. He had not thought Gillian was under somuch stress. He wants to follow her, but is stopped by hisDad appearing in front of him.

FREDLet her cool down, David. Thatdidnt go well. Ill tell theothers. Youve seen a lot. Wouldyou have accepted it withoutexperiencing it?

DAVIDNo Dad.

FREDGive Gillian time, she got afright not being able to wakeyou up. You best write down whatyou have seen while it is freshin your mind, so you can shareit with her later.

Fredrick vanishes. David makes to go after Gillian. Thenstops sighs and finds the notebook, he goes back to thelounge room. He sits down and starts to write.DISOLVE:

INT. STERNS HOUSE KITCHEN, NIGHT (2 HOURS LATER).Gillian enters the kitchen. She has been crying. She looksaround the room for David. He isnt there. She decides tocontinue with dinner. Checking the microwave, she sees themeat is still semi-frozen. Instead of re-microwaving it, shegets it out and starts hitting it with a meat mallet.

INT. STERNS HOUSE LOUNGE ROOM, NIGHT

David sits on a chair, still writing. David flinches at everypound of the meat mallet. He chews his lower lip and puts

down his work. He gets up and walks to the kitchen doorway.CAMERA TRAVELS with him into the Kitchen. Gillian, her backto David continues to pound the meat.

DAVIDI think its dead.

GILLIANWe have to eat.

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DAVIDIm sorry I didnt mean to scareyou.(He embraces her from behind)

GILLIANIm sorry too David.

(Her head drops in shame)Im just so worried, how youvechanged.

DAVIDI know.

GILLIANEver since the heart surgeryyouve been moody, happy oneminute, then down the next.Now, all this stuff.

DAVIDWhat do you want me to do?

GILLIAN(she turns to him in the embrace)Will you come and see FatherRyan with me? Hes a trainedcounselor. And you should getyour heart checked. It was likeyou were dead when I came home.

DAVID

(he breaks the embrace)No, Gillian, I dont want totalk to Ryan.

GILLIANYoull get your heart checked?

DAVIDTheres nothing wrong with myheart. I feel fine!

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.

INT. DORISS SUMMERLAND HOUSE. ETHEREAL REALMS. DAY

Doris is arranging flowers. Teddy barks. She looks up outsidethe window, Fredrick materializes. She smiles at him.Gesturing to come in.

DORISHello Fred. To what do I owethis pleasure?

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FREDHi. Youve been here longer thanI, Doris.

Teddy wagging his tail madly takes advantage of Freds visitfor pats.

DORIS

Yes? (Doris gestures he sit down)

FRED(Teddy jumps into his lap Fredpats him absentmindedly)I feel like Im ruining oursons life. Gillian is so upsetwith him.

DORISThrowing pans, like I used to?

FREDNo. But so angry, shes confusedand frightened and theresomething I can put my fingeron? (Teddy licks his face insympathy)

DORISShell get over it.

FRED(to Teddy)Down Boy!

Im not so sure. It felt like

the beginning of a breakup. Iknow what he is going to do oncehe sees the need. But what iftheir relationship is ruined.

Teddy takes up the position for a back rub lookingappealingly at Fred. Fred complies.

DORISHaving second thoughts aboutyour work, Fredrick? You knew itwas going to be hard. Running

Owl could do this. You know hehas the experience.

FREDNo Davids still my boy and Iwont let him down. Maybe if sheis involved more?

DORISDavids my son and Gillian is

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made of stronger stuff than yourealize. She will be fine.


INT. STERNS HOUSE, DINING ROOM, MID-EVENING.

David is finishing setting the table. He puts a vase ofpaper flowers in the centre. Gillian walks in with theirmeals.

GILLIANWhere did you find that oldthing?

DAVIDOut in the garage, I dusted itoff. Good as new. Thought wecould use it. (He goes and puts

on soft, romantic music)GILLIAN

(She smiles) Youre an old softyreally, arent you?

DAVIDI havent been thinking abouthow all this was affecting youGillian.

GILLIANAnd more to the point, you still

want to tell me about it (raisedeyebrows) Dave. Id rather justeat.

DAVIDOK.

GILLIANIf this is something you justhave to get out of your systemthen we should seek counseling,David. Thats if you want to

stay a couple. Come on, itllget cold.

He pokes at his food, looking down at his plate. She doesthe same. There is a sense of emotional divide as THE CAMERAPULLS BACK.DISOLVE:

INT. STERNS HOUSE, BEDROOM, MORNING

Gillian wakes to find the bed still neat on Davids side. He

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hasnt slept there. She frowns and gets up, throwing on arobe against the cold. She walks from room to room. There isno sign of David. She comes into the Kitchen there is a noteon the fridge door. She sits perched on the edge of a stoolreading it. Tears start to flow.SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME.

INT. FREDRICKS HOME, ENTRY HALLWAY, LATE AFTERNOON.

David opens the front door. He brings his racing bike inside.And leans it against the wall. The hall is getting dusty andcauses him to cough. He speaks to the empty house.

DAVIDNeed to get you all cleaned up,if Im to stay here.

INT. FREDRICKS HOME, LIBRAY ROOMS, LATE AFTERNOON.He walks into the library, looking at his fathers books. Theshelves are packed. CAMERA TRACKS HIM. As he rounds thecorner of the room another room behind it has been filled tothe ceiling with books. He walks further in to yet anotherroom of books.

DAVIDThis just got a whole lot harderDad. Where do I start?

A book on the far side of the room pulls out of the shelves,

flies to the table in the centre of the library, and landssoftly, opening mid-way.

DAVIDThanks.

David picks up the book and retires to his fathers chair bythe reading table. The light comes on as he sits down. Davidsmiles, knowing hes been taken care of, and starts to read.SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME.

INT. STERNS HOUSE, LOUNGE ROOM, LATE AFTERNOON.Gillian lets herself in. The house is empty. She goes to thephone. She calls her mum.

GILLIANHey mum. Im home.No hes not here, gone four daysnow.

(beat)No dont come over, Im going to

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make some dinner and watchtellie.

(beat)Im not good company at themoment.

(beat)No, he wouldnt see Father Ryan.

(beat)He says there is nothing wrongwith his heart.

(beat)He wrote that he had to get hisspirit sorted out;

(beat)No I dont think hes seeingsomeone else. Ive got to go.

(beat)Yes, ring me later. That would

be nice.

She flicks on the television. The 6.30pm news is on. CAMERAFOLLOWS HER as Gillian gets a box of plain crackers out ofthe kitchen and settles down in front of the television.Flicking through the channels, nothing interests her. Thereis a news story about suitcase bomb threats against centralEuropean cities. She watches.

GILLIANHow bloody horrible.

She switches channels again, the doorbell rings.

INT. STERNS HOUSE, ENTRY HALL. LATE AFTERNOON

Gillian looks out the door spyglass. Sees Naomi poking outher tongue.

GILLIAN(Opens the door smiling)Hello Naomi!

NAOMII just thought Id call in to

see how you are.GILLIAN

Im fine, Naomi. Im eatingcrackers from the box, flickingbetween TV stations.

NAOMI(Smiles)

That good hey?

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GILLIANAt least Ive left the chocolatealone.

NAOMI(mock shock)

God, woman, why do you want to

do that? Ive got the heavyammunition right here!

Naomi hefts a big bag of goodies on Gillian.

GILLIANThanks, Naomi. No Rocky Road,OK? I over-indulged last night.

NAOMIReally? Thats more like theGillian I know and love. NoRocky Road. But Ive got some

nice red wine.Naomi brandishes the wine bottle. Gillian invites her friendin. She walks back to the couch, moving the battery-lesslaptop aside, to make room for the goodies Naomi has brought.

GILLIANI cant help but feel like thislaptop. Im part of his lifethats been unplugged and leftpowerless.

NAOMI

Youre never powerless, Gilly.Have a Freckle! Feel the forcereturn.

GILLIAN(She laughs accepting the freckle)I love you Naomi, youre an out-and-out nut!

NAOMI(Gives a little bow)

All part of the get Gilly Stern

to be less Stern! Ill get theglasses shall I?(Big smile)

Naomi goes into the kitchen to get the glasses and comes backwith two wine glasses and a small black notebook(THE ORACLE).

NAOMIHey Gill. Look what I found onthese glasses in your cabinet.Davids got a little black book!

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Unless it belongs to you?

GILLIANWhat the hell? Whats in it?

Gillian takes the small book and Naomi pours the wine.

GILLIAN

This isnt Davids. Its belongsto his Dad? Where did it comefrom?

NAOMIWoooooo, ghosts can apport stuffyou know. (she drains her glass)

GILLIANStop that, silly. David musthave been here today, while Iwas at work.

NAOMIOr youve got a haunted house!

GILLIANOh, stop it. (She starts lookingthrough the book) This isstrange, all sorts of diagramshere, look.

NAOMICuriouser and curiouser. Wellbe down a rabbit hole next.

GILLIANIt doesnt say eat me either,silly.(Gillian flips through thepages) Its mystical and quantumscience stuff. Theres a diaryof sorts here too.

NAOMIOh goodie, I love other peoplesdiaries!

GILLIAN(Looks at her) Should we readit? It could be private.

NAOMIOf course we should. This isfrom the very man who ishaunting your husband. It maygive you some idea why.

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GILLIANOK. It starts just after Dorissdeath.

NAOMIDoris?

GILLIAN

Doris is Davids mother. Shedied 15 years ago. Theres apoem, then diary entries. Thepoem is lovely. Listen to this.Eternal mists I beseech theepart,Uncover the loss of my batteredheart,Clear the way for me to prayUpon that solemn lonely day,My love abides on shores apart,

Why must we be lost to heart?No contact, but would it were tostart.

NAOMIWow, did old Fred write that?(she refills her glass)

GILLIANIts in his handwriting. Davidtold me once he was quite apoet. But more importantly, look

at the desire in it. He wantsto talk to her so badly. Itslike he has had his heart rippedout. (Gillian has a drink)

NAOMIYou know, in all of this weveworried about David being crazy.What if Fredrick really did finda way back? Do you know whatthat would mean?

GILLIANNo and I dont want to. LookDavid is sold on this, but itdoesnt mean I am. Naomi what Ihavent told you is Davidclaimed he had been to the otherside.

NAOMI(she fills Gillians glass)

Gill a chill just passed down my

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spine. Would you like some morewine? Im a poet to. (she drinksher wine)

GILLIANHow many have you had Naomi?

NAOMI

Well to brave a very upsetGillian Stern, who has beendeserted by her husband and waseating crackers?

(beat)Enough. But lets not let thatstop us. (Smiles, she tops upher glass)(They giggle and clink glasses.)

The phones rings and scares them both. Gillian eventuallyanswers it.

GILLIANHi mum, Naomi arrived out of theblue.(Naomi does a little dance)She brought chocolate and founda strange little notebook.

(Smiles at Naomi)No, mum, I havent been drinking.

Gillian pulls a face at Naomi for gesturing shes naughty forlying to her mum

GILLIANWell, only a little bit. Youshould be more concerned aboutNaomi. What? The notebook?

Naomi feigns mock horror at being in trouble with Mrs Butler.

GILLIANIt belonged to Davids Dad.

(beat)No I havent seen it before.Naomi thinks its an apport.

Naomi does spooky finger dancing, Gillian pushes her away.

GILLIANYes, from the ghost.

(beat)Yes, I told her it was silly.

(beat)No, not yet. Im seeing FatherRyan tomorrow.

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(beat)Im fine, mum. Take the notebook?

(beat)Why? Do you think Naomis right?

Naomi does a little victory dance. Gillian shakes her head ather - youre mad is implied.

GILLIANIts not very scientific. OK.OK. Mum Ill take it.

(beat)No he hasnt called.Hes probably got his big nosestuck in his fathers books.Youre the only one Ive talkedto tonight. Yes love you to.Bye Bye. Yes. Bye, mum!

Gillian puts down the phone exhausted.

NAOMII love your mum! I told you, anapport!

GILLIANShut up, silly.(They both laugh)

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW FRAME.

INT. CHURCH, AFTER MASS. MORNING

Gillian has walked into the church looking around for FATHERTHOMAS RYAN. She is clutching the notebook in her hand. Musicfills the church hall. The father enters from anantechamber. He sees her and waves. The father is asprightly, elderly man with a warm smile.

FATHER RYANHello, my child. Your mothercalled me and brought me up tospeed, as they say.

GILLIANThank you for seeing me FatherRyan Father. I dont know whoelse I can turn to.

FATHER RYANNow, now, nothing is as bad asthat, Gillian. Lets walk in thegarden.

They walk from the church out its side entrance the camera

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follows them.

GILLIANI think something is hauntingDavid.

FATHER RYANGhosts, yes, your mother said.

Well, if we believe in eternallife that leaves the door opento ghosts.

GILLIANFather, is that the point ofview of the church?

FATHER RYANThere are stranger things thanheaven and hell, Gillian. Ourchurch has a point of view on

all things under the sun andthen some besides. My own viewmay be somewhat more liberal.

GILLIANDo you believe in ghosts, FatherRyan?

FATHER RYANYes. I do. Now was David doinganything caused by the influenceof the spirit?

GILLIANHe told me about being out ofhis body when I could not wakehim up. It was weird. I got himto come to a few times, beforehe finally regained fullconsciousness.

FATHER RYANDid he say anything that was outof character, while he was semi-conscious?

GILLIANNo not really, but he said hedbeen to the other side and Idinterrupted him talking toBerrel Slocombe.

FATHER RYANBerrel Slocombe died last year,

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(beat)not exactly the most devoutperson I could think of, but shewas a good soul. Always helpedthe orphanage across the road.I had some very interestingdiscussions with her.

GILLIANDavid used to call her an oldwitch.

FATHER RYANDid he now? (Smiles)Not very polite, but quitepossibly accurate.

GILLIANFather, would you considercoming and seeing David at hisfathers house?

FATHER RYANWith a chance to see FredrickSterns library? You dont haveto ask twice.

GILLIANYou knew Fredrick then?

FATHER RYANOh yes. More his wifes family,

they have always been goodChristians. It was said thatDoriss father had the greatestcollections of Christianesoteric books this side of thepacific. Fredrick was pleasedthat he had been able to roundout the collection. Im not surewhich direction he took it afterDoriss death and Ive neveractually been back. But it isrenowned.

GILLIANWell David is reading his waythrough it.

FATHER RYANIs he? How very interesting.

GILLIANAnd then theres this,

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She hands him the black notebook.

FATHER RYANMy goodness, this is FredricksOracle.

GILLIANYou know it?

Father Ryan nods.

GILLIANMy friend Naomi found it in ourwine cabinet, on top of the twored wine glasses Father Ryan. Ihavent seen it before lastnight. And Naomi brought thewine with her. I know it wasntin the cupboard beforehand. AndNaomi may be silly, but she

wouldnt play tricks on me likethat. She said it was an apport.

FATHER RYANVery interesting. I think wehad better go and see Davidsoon.(he stares fixedly at her)But Id like to keep this if Imay?

GILLIAN

(Gillian nods after thinking)Could you go this afternoon?

FATHER RYANIt would be my pleasure.

GILLIANThank you so much.


EXT. FREDRICKS HOME. LATE AFTERNOON.

Gillian slows her car to a halt in front of the house. TheFather Ryan looks at the dwelling. He obviously is impressedby what he sees.

FATHER RYANThey dont make them like thisanymore.

GILLIANI guess not. David knows werecoming he said he would leave

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the door unlocked.

FATHER RYANSafe enough in this part oftown, I guess.

They exit the car and walk up the drive. Gillian rubs herarms, feeling a chill again. Father Ryan takes note of this,

but does not comment. He looks towards the back of the housewhere a large radio mast reaches into the sky. He stops tolook at it.

GILLIANAre you right, Father Ryan?

FATHER RYANYes. (then under his breath)Its been a long time.Id forgotten he had that built.Davids father was always

interested in the afterlife, buthis grandfather was obsessedwith it. That was supposed to bea mast to talk to God, Gillian.Nicolai Tesla designed it forFredricks father.

GILLIANHow far back does this obsessionwith the afterlife go, FatherRyan?

FATHER RYANI dont know Gillian. Lets goinside.

INT. FREDRICKS HOME. LIBRARY ROOMS. LATE AFTERNOON.

Gillian calls Davids name as they walk into the hall. Shenervously stops at the threshold of the Library. The FatherRyan however walks right in surveying the collection.

GILLIANDavid were here. Dave? David.

FATHER RYANWondrous. This is magnificent.You can still feel the historyin this place.

GILLIANActually, it gives me the creeps.

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FATHER RYANNo, Gillian, think of it as atreasure trove of the best kindknowledge.

David, book in hand, walks out of the hidden inner library.

DAVID

Hello Father Ryan. Its beenalong time. Gillian.

FATHER RYANFifteen years to the day David.Were you aware of that?

DAVIDNo. You mean Mum died 15 yearsago today?

FATHER RYANYes.

GILLIANYou guys are freaking me out.

Father Ryan walks back to Gillian. He looks at her with asteady gaze.

David walks mid-way, and stops not able to come any further.

FATHER RYANShe needs you back, David, thisis not good for Gillian.

DAVIDIm sorry, I cant. I haventfound what Im looking for yet.

FATHER RYANWhat makes you think you needthis knowledge, David? Do youknow why?

DAVIDFather Ryan, you might thinkthis is stupid, but Im lookingfor a way to change the future.

FATHER RYANWhy, David?

DAVIDLook at the news, Father, lookat were we are going.

FATHER RYANThe cause of these events is notwhat you think David. Come with

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us.

GILLIANDavid, Ive got to leave.I cant stay here. I feel bad.

The Father takes a flying leap with Gillian. His age belieshis agility. He runs the length of the hall, half carrying

Gillian with him.

FATHER RYANDavid! Follow! Now!

EXT. FREDRICKS HOME. VERANDAH AND SURROUNDS. LATE AFTERNOON.

David follows them out of the building, but wont leave theverandah. The Father Ryan places Gillian on the steps andthen walks back to face David.

FATHER RYAN

Just what have you beenreciting, David?

DAVIDWhat are you accusing me of! Iwould never hurt Gillian.

GILLIANDave, you hurt me when you left.

FATHER RYANThis site has a very longhistory, David.

DAVIDSuperstition? I grew up here.Remember? I didnt think it wasa good idea to talk to you.

FATHER RYANYou never told Gillian the valueof the collection? She didntseam to know anything about itwhen she invited me here.

DAVID

It was Dads. I never thought ofit as a dollar-and-cents thing.

FATHER RYANThats not what I mean and youknow it. David your father wasthe best wielder of magic I eversaw. When he lost the only womanhe ever loved it crippled him.

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DAVIDWhat? He was a businessman whodabbled in antique books. Hemade his money on Wall Street,Father Ryan.

FATHER RYAN

So you say. David, Gillian feelsyour father is haunting you.

DAVIDNo, youve got that wrong. He isaround. Hes not earth-bound. Heis here to help.

FATHER RYANHe may not be your father.People dont come back David,they move on.

DAVIDNormally Id agree with youFather Ryan. But this isdifferent. (He cranes his neckto see Gillian behind FatherRyan) Gillian, honey, Im sorry,but I cant leave yet. Pleasetake Father Ryan and go.

FATHER RYANI hope you know what youredoing. You are very close to

repeating the past.

DAVIDNo father, its the future. Itsgot to be the future.

David turns and walks back into the house. He hovers at thedoorway his back to them, feeling Gillians need for him.

GILLIANTake care of yourself David!

He continues through and closes the door. They hear the door

lock.GILLIAN

Hes locked himself in, Father.

FATHER RYANIll need to talk to the Bishop.Maybe he can bring some light tobear here. Dont worry. David isin no danger. His father isprotecting him.

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Father Ryan helps Gillian stand and walks her back to her car.

GILLIANYou mean God?

FATHER RYANNo, I mean Fredrick Stern.

SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERA

MOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.INT. BERRELS COTTAGE ON THE EDGE OF THE PARK. BROAD DAYLIGHT.

BERREL SLOCOMB, Doris and RUNNING OWL listen as Fredricktells them what has happened. Running Owl sits, passivelylistening to the story. Doris is painting a picture, whichappears magically under her hand.

FREDSo our friend Father Ryan hasthe oracle. And David andGillian are more at odds than

ever.DORIS

Thomas Ryan is a good man.

FREDHe might not allow it to be used.

BERRELWell Fred, there is nothing wecan do now. Their relationshipis under real strain.

DORISI still think you allunderestimate Gillian. She ismore like her mother than sheknows.

RUNNING OWLShe is young, she is resourcefuland she has our help.

FREDReally? I dont seem to havebeen much help to her.

RUNNING OWLThe oracle was a good apportFredrick, a clever placement. Itwill do its work.

FREDAnd she left it with FatherRyan. He made sure of that.

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DORISWhy didnt you just give it toDavid?

BERRELHe was acting on my advice,Doris. I thought if Gillian gave

David the oracle that it wouldbond them again.

DORISBut she gave it to Thomas Ryan

RUNNING OWLRyan knows more about Davidsfather than any one else on theEarth plain.

Running Owl glides to the centre of the gathering. He looksat them each in turn before he speaks.

RUNNING OWLCome my friends. Our actions aregood, but the rising vibrationhas increased the earthlydisquiet.

BERRELDoris, you are a good judge ofcharacter. Will Father Ryan help?

DORISBerrel. Im not sure. He has

Free Will. He is a good man.

BERRELIts the turn of events. RunningOwl is right. As the vibrationsrise, we can be sure it will getmore difficult.

FREDAll is not lost. The priest is agood man.

DORISFred, what are the chances youcould get Thomas to give theoracle to David?

FREDI doubt Thomas would trust mewith it. He is not lost indoctrine, but I think Gillianwill have a better chance of

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getting it back. He wouldconsider that Gillian hadcustody of it to begin with.

There is a quiet in the group as they look at each other.Running Owl looks about them.

RUNNING OWL

The sprit of the bird peoplewill help. There is still hope.


INT. FREDRICK STERNS LIBRARY, INNER ROOM.

David sits, his back to the shelves on the floor with openedbooks spread around him. He looks down at an image of anarchaic magic ritual. It shows a triangle in the center of aspiral. At points of each apex stands a person or spirit. He

looks at the figure in the centre, rising on a tower ofenergy. His father materializes at the reading table. Davidgets up and walks over with hollow sounding footsteps.

FREDDavid?

DAVID(Looks up) Dad. Gillian washere. She got upset. I didntwant to talk to Father Ryan, butthey came anyway.

FREDI could have warned you.

DAVIDShe was really scared. Ivehurt her Dad. I never wantedto. What am I doing here?

FREDWhat you must, to learn, tochange your beliefs, to discoverwho you are.

DAVIDWhat is that, Dad? Father Ryansaid today you were the bestpractitioner of magic he eversaw!

(beat)My dad, the businessman.

(beat)Who are you?

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FREDIm your father, and I need yourhelp. Ive made a mistake.

DAVIDYouve made a mistake? Whatmistake? Dad, you had me so

revved up. I thought you werefree of mistakes.

FREDIm still only human David. Itsnot impossible, but what Iveasked you to do just got a lotharder.

DAVIDWhy?

FRED

I gave Gillian my Oracle, so shecould give it to you.

DAVIDI dont understand.

FREDShe gave it to Thomas. Its asmall black book, intenselymagical.

DAVIDMagical? All these books relate

to special knowledge. What do weneed it for?

FREDNot special knowledge, David,sacred knowledge. I hope shecomes back. I dont think Thomaswill trust anyone else with it.I developed it over years ofresearch. The power in it couldreally help you.

DAVIDWhos Thomas?

FREDFather Thomas Ryan.

DAVIDCant we just get it back fromhim?

FREDAfter what happened, I doubt the

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Father would trust you to haveit.

DAVIDYou mean he wouldnt trust mycharacter?

FRED

David, the truth is youre somuch like me. You mind your ownbusiness and you have forgedyour own course. Ryan stoodthere looking you in the eye.

(beat)I taught him to do that! He wasonce my good friend and awilling pupil.

DAVIDSo he really knew you? I thoughthe was our family Priest.

FREDWe had a falling out. Hebelieved I was going in thewrong direction after Doris died.

DAVIDWhere you?

FREDIt was semantics, David. We

merely disagreed.DAVID

What did you do to Father Ryan?

FREDI cut him loose. He feltabandoned.

(beat)I was mourning the loss of yourmother, boy.

DAVIDFather Ryan wasnt the only oneyou abandoned. You closed up.You never came to us for help.You even discouraged me fromvisiting. You just pushedeveryone away. You lost morethan Mum.

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FREDIm asking you for help now,arent I?

DAVIDDad. Look at us! This wouldnormally be too late. You would

be dead and Id be grieving.Feeling like I lost my chance.Why did you think I was so readyto listen to you?

FRED(Putting one hand on Davidsshoulder)I can only say Im sorry, son.

DAVIDSo what are we going to do aboutthis book?


EXT. MARY BUTLERS APARTMENT, INNER CITY.EARLY EVENING.

Gillian rings the doorbell. Her mother answers the door. Theykiss. Gillian is depressed. She has come to ask advice of hermother.

MARYCome on inside, dear. Ive madetea. Earl Grey?

GILLIANLovely, mum, thanks.

They move into the living room and Mary gestures for herdaughter to sit. The radio news is playing in the backgroundwith a story about the increase of inner city violenceagainst women. Mary exits to get the tea while talking. Shenotices the broadcast with some distaste at the subjectmatter.

MARY

I dont think we need to dwellon that.(Switches off the radio)So you saw Father Ryan?

GILLIANMum, we went to see David.Father Ryan knows a lot abouthis family. Did you know he wasso keen to see the books?

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MARYReally? What did he adviseDavid to do?

GILLIANIt was strange. They talked moreabout it being the anniversary

of the death of Davids mother.MARY

Pardon me? Did you say Davidsmother?

GILLIANFather Ryan said they werefamily friends, but I got thefeeling it was something more.

MARYWhat about the situation with

Davids apparition?GILLIAN

Mum, did you know Father Ryanbelieves in ghosts?

MARYWell, I told him about Davidsproblem. He said he would help.

GILLIANHe thinks ghosts are real.

MARYSo could he help?

GILLIANHes talking to his Bishop. Heactually said that Davids dadwould look after David.

(beat)I think I would have been betteroff getting him to a doctor.

MARYHes still in the old place then?

GILLIANMum, I dont want to go backthere. I use to like it, but itfeels wrong now.

MARYYoure letting your upsetfeeling over David cloud yourjudgment.

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GILLIANMaybe, but Im not going back hecan come home. You split up withdad. What did you do to get backtogether?

MARY

It was a lot of little things.It was hard to trust him again,but over time we thought it bestfor you actually.

GILLIANMe? Thats stupid. Didnt youlove him still?

MARYGillian, its a long time ago.You were three years old and Iwas pregnant with your brother.I was mad as hell at first, buthe made promises and kept tothem. It was never the same, butwe managed.

GILLIANBut, you loved him?

MARYIt was a different world then.The church wouldnt allowdivorce.

GILLIANMum, I never realized that youdidnt love him.

MARYI wouldnt say that. We grewcomfortable after a time.

GILLIANThats incredibly sad.

MARY

No dear, thats life. You makeyour decisions and you stick bythem. You should tell David tocome home.


EXT. STREET NEAR FREDRICK STERNS HOME, NIGHT

A hooded cloaked figure moves silently from shadow to shadow

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along the street front, reaching Fredricks house it slipsdown the sideway onto the property.

CUT TO:

INT. FREDRICK STERNS HOME, 3RD LIBRARY ROOM, LATE NIGHT.

David has collected a pile of books on the table. He has hisback to the blind covered windows. He is unkempt. He hasfailed to clean up the house and spends all his time in theLibrary rooms. His father is looking at range of booksmuttering to him self.

FREDIt simply will take too longDavid. Its all here, yes, butso many volumes were combined tobecome the oracle. It was adangerous operation to do once

and I was in the physical atthat time.

DAVIDYouve got me for the physicalside, dont forget dad.

FRED(Turning to his son, withsadness in his eyes)I havent forgotten, David.Believe me, if we can get thevolume back it would be muchsafer.

DAVIDYou think Gillian will get itfor me? She still thinks Im outto lunch.

FREDI cant think of any other way.Thomas has bound it, so I cantapport it away. I really thinkhe feels its his. I doubt you

could open it now anyway,without his willful help.

DAVIDHow did Thomas know what it was?

(beat)Dad, were you making the Oraclewhen you were training Thomas?(His father nods)So, he was helping you.

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FREDAt first he did.

Fredrick puts his hand up to his lips for silence.

David goes quiet, Fredrick moves towards the edge of thewindow. He suddenly triggers the blind, which flies uprevealing the startled, hooded face of Father Ryan.

FREDIts not nice to spy on people,Thomas!

David runs from the room to catch the priest outside.CUT TO:

EXT. FREDRICKS HOME, PATH BESIDE HOUSE.

Thomas runs for the street front, but is suddenly blocked bythe awesome sight of Running Owl in the midst of an ethereal

glow. Thomas doubles back. David catches him as he tries toget out by the back lane. The sight of Running Owl alsotransfixes David. Running Owl smiles and bows to David andis gone.

DAVIDWho was that?

FATHER RYANI didnt stop to ask.

Fredrick walks onto the rear porch. He glowers at Father Ryan.

FRED

I think you had best comeinside, Thomas. It seems yourown curiosity may have solvedour problem.

DAVIDWont you come in, Father Ryan?

FATHER RYANYou arent really giving me achoice are you?

DAVIDNo. (He pushes the Priest in theback)

FREDEasy David, Thomas is an oldfriend. (Said with anundercurrent of mistrust)

David walks Father Ryan into the house. Fredrick closes, andlocks, the door behind them.

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EXT. DARKENED STREET SCAPE IN A RUNDOWN INDUSTRIAL AREA.

TWO MEN walk along in front of a factory. One knocks twice onthe corrugated corner and they continue down the far side of

the building, THE CAMERA FOLLOWS SMOOTHLY AFTER THEM AS IFWATCHING. The two wait at a tall wire fence. A GUARD with asubmachine gun walks slowly out to meet them. He obviouslyknows them but is ever watchful. THE CAMERA continues toclose on the group as he shoulders his gun and lets them in.He stops suddenly. Then issues them in quickly.

GUARDYoure late.

1ST TERRORISTWe had to be sure we were not

under suspicion. They watcheverywhere.

2ND TERRORISTThen we will give them somethingto look at, yes?

The three enter the building laughing roughly. THE CAMERAcontinues to move through the fence as if it isnt there andinto the building through the wall (THE CAMERA REPRESENTSREMOTE VIEWING). Inside the old shell of the factory is asecond building, super modern in design. A long metal tableholds the remnants of outdated Soviet weapons boxes anddiscards from building suitcase bombs. The men join 5 otherterrorists, who carefully work on more than 10 suitcases. The1st Terrorist, the cell leader, is pleased with what he sees.

1ST TERRORISTYou have done well, my brothers.They will see they cant takeour country without paying agreat price.

The men nod in agreement.

THE CAMERA CRUISES PAST THE BOMBS.CUT TO:

INT. REMOTE VIEWING LAB, FORT WORTH, TEXAS, USA.

The lab is a closed-off room, one window that of theobservation room, a quiet and controlled environment. At atable, TWO MEN sit facing one another. One talks and writes,then begins to draw. A sealed envelope sits between them onthe table. It is only identified with an alphanumeric code.

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REMOTE VIEWERI believe I have the envelopesco-ordinates.

MONITORGood. Now go to the most recentevent of import.

REMOTE VIEWERRight. Im seeing a longbuilding, running north tosouth. Its not in good shape.But there is something strangeabout it.

MONITORSpecify?

REMOTE VIEWERIts roof is covered in

corrosion. It looks a lot likethe others in the area,industrial, and mostly disused.Our target is different, however.

MONITORHow?

REMOTE VIEWERIm sensing a shell. Theexterior is just a front. Thereis a second, cloaked building

underneath. We could notpenetrate it with sensors if wetried.

MONITORCan you see inside?

REMOTE VIEWERIll try a walk-in with theothers.

MONITORHow many?

REMOTEIm following three. One sensesme.

MONITORTime to bug out?

REMOTE VIEWERNo. Hes very good though, awise choice for a guard. Its OKhes relaxed again, as much as

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he can.

MONITORHows our main man?

REMOTE VIEWERHes on edge too. Im followingthem. Im inside.

MONITOROK, youre inside the realbuilding? What do you senseabout the purpose of the place.

REMOTE VIEWERThis is it. Weve got them. Iget 9, no, 10 dirty nukes. Feelslike old Soviet stuff, thank God.

MONITORHow do you mean?

REMOTE VIEWERThe last time they got to thisstage, they were using our ownmaterial.

MONITORNot relevant, stay with the site.

REMOTE VIEWEROK. Well we got ourselves ahappy little cell of bastards.

MONITORAny details? Times? Tactics?

REMOTE VIEWERSoon, I think it will be time weget the Presidents approval,General, to go in and pay theseguys a goodwill call.

CUT TO:INT. OBSERVATION ROOM, FORT WORTH, TEXAS

The 5 STAR GENERAL and HIS AIDE have been watching the remote

viewer work.GENERAL

Major, how the hell did he knowI was here?

MAJORHes a psychic sir.

GENERALDont give me any of that crap,Bob. Your last commander may

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have accepted all this mumbojumbo, but I can close you downif I see fit.

MAJORHe is 96% accurate with theintelligence, sir.

GENERALIs he now? Whats the budgetfor this holiday camp Major?

MAJORIts all there in black andwhite sir.

The General puts on his glasses (He hates showing thisweakness) He looks at the Major over the top of them, afterreviewing the figures. He signs off on the budget.

GENERALI want 100% accuracy Major.Deliver that and Project GrillFlame will continue to befinanced by the US Army.

MAJORYes, Sir.


INT. FREDRICK STERNS HOME.

Father Ryan is sitting on the edge of one of the librarychairs.

David is leaning against the table in front of him.

Fredrick paces back and forth an anxious ghost.

FATHER RYANHow did you do it, Fredrick?

FRED(Stops pacing) Pardon?

FATHER RYANCorporeal manifestation. Youhave been able to hold yourhuman form for hours.

FREDIve got help from above.

FATHER RYANInteresting.

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FREDNecessary. If nothing else, thatshould tell you Im beinghonest. Thomas, you must atleast admit that we are going toa lot of trouble just for alittle stage show, as you calledit.

FATHER RYANYou always were a showmanFredrick, thats why Doris fellfor you and not me.

DAVIDStop it, you two! Were notgetting anywhere. Father Ryan,will you not give me the book?

FATHER RYANThat depends.

DAVIDDepends on what?

FATHER RYANIt depends, young man, on howyou intend to use it.(He looks intently at Fredrick)

FREDThats up to David.

FATHER RYANShut up, youre dead.(Smiles)David, what do you plan to do?

DAVIDThis is all Dads idea. I wantto stop the bad stuff. God, Imnot sure.

FATHER RYANBe careful how you talk to our

Heavenly Father, lad. Thinkcarefully about this David. Fredis not playing with his life. Henever does. Hes playing withyours.

FREDI never discounted the danger,Thomas, neither then nor now.

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FATHER RYANThen you were run by yournegative ego, Mr Stern. You wentoff like a bull at a gate, withno concern for anyone. Not evenDoris.

FRED(Threatening)

Shut it, Thomas, or so help meIll not protect you again.Shall we finish what we startedall those years ago?

FATHER RYANWell thats proof that charactersurvives after death. You arestill as egotistical idiot.David, your mother lost her life

in a situation very like this.

FREDBecause you chickened out!

FATHER RYANAnyone who is sane would have.

FREDYou little weasel, after all thetraining I gave you. You wouldhave been perfectly safe!

FATHER RYANDo you mean as safe as Doris?

FREDThats not fair.

FATHER RYANNo, but its true. David, when Iwouldnt do his bidding,Fredrick put Doris in my place,and went ahead and bound theOracle to the Earth plane.

FREDIf you hadnt gone behind myback, she would have been fine.

FATHER RYANIs that what you truly think?Fredrick Stern, if you are notalready in hell, then you are onyour way there!

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FREDTheres no such place and youknow it!

FATHER RYANNo, we make our own, dont weFredrick.

DAVIDStop it! You two are acting likefools.

(beat)Father Ryan, believe me, I knowthe danger. If you dont want meto use the book I wont.

FREDPardon me?

DAVID

Ive made up my mind Dad. Itsounds like the Oracle is toodangerous. If it did kill Mum,Ill have nothing to do with it.

FATHER RYANGood lad! Some things come attoo high a price.

FREDYou dont know what youredoing, either of you.

DAVIDI know what Im not willing todo. Dad, why did you give it toGillian? Were you mad?

FATHER RYANDavid he most likely thought shewould give it to you. When I sawit I felt I had been given achance to somehow help you both.I knew if anyone could ever comeback it was likely Fredrick

would find a way. After MrsButler told me about hispossible apparition, I knew Icouldnt ignore it.

FREDI was never a bad man.

FATHER RYANYou only got to the garden

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didnt you Fred, to theconvalescence area? Didnt thattell you anything, or are youtoo blind to see?

DAVIDIm going home. Gillian needs me.

FATHER RYANGood for you! Ill give you alift.

FREDIm not a bad man!

DAVID(Turns to face his father as hecollects his duffle bag)No dad, youre not. Im sureIll be seeing you now Father

Ryan can confirm Im not mad.But Ive got to take care ofGillian.

Father Ryan and David leave the library. Fredrick shakes hishead. He cant believe it. Running Owl materializes besidehim and puts a hand on his shoulder.

RUNNING OWLCome home, honorable warrior,the corn here is not ready forharvesting.

Fredrick looks sadly at the guide, he nods and they fade away.SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERAMOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.

EXT. ETERNAL INDIAN HUNTING GROUNDS: A BRIGHT SUNNY DAY.

Running Owl walks with Fredrick by his side. They are nothunting. We see the guide in all his majesty giving aid to amuch-loved son.

RUNNING OWLI sense your deep sadness,

Fredrick.

FREDHe just up and quit.

RUNNING OWLI do not think so.

FREDQuit is quit. He left.

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RUNNING OWLYour son is smart and powerful.He has not quit. It is not yourson who troubles me.

FREDIts me?

RUNNING OWLYou have doubts that what Thomassaid is true.

FRED(Beat) Yes

RUNNING OWLAnd so?

FREDIs it true Im convalescing?I dont belong at thatvibration? With Doris and Berreland everyone.

RUNNING OWLWhat if it is true, Fredrick?Your death was sudden. You wouldearn the right to time at theway station by that alone.

FREDSo if I dont belong, then whereshould I be?

RUNNING OWLYou should be doing what you aredoing. Helping souls lessfortunate.

FREDWhat about the plan to changethe future?

RUNNING OWLThat is Davids plan now.

FREDSo I cant go back?

RUNNING OWLThat is not what I said. Whilethe plan must be Davids questhe will need his fathersguidance and friendship.

FREDI understand. Give aid but dont

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direct, only guide.

RUNNING OWLYes, as a mighty river does.Remember all that matters islove. If we are to build abetter future, we need to free

ourselves from the past. Not toforget it, but not to let thepast guide our actions.

FREDRunning Owl, you are a wise man.

RUNNING OWLPerhaps.


INT. FATHER RYANS OLD UTE. LATE EVENING.Father Ryan behind the wheel. David looks moody, he looks outthe window away from the priest. He is lost in thought.

FATHER RYANDavid? A penny for your thoughts.

DAVID(Looks down; plays with his bag,preoccupied)What if hes right?

FATHER RYANYour father seems to think thefate of world rests on yourshoulders alone, David. It doesnot.

DAVIDHe is strongly convinced that Ican do something about our bleakfuture. Im not talking aboutheroics here, father.

FATHER RYANNo, youre talking about usingmagic.

DAVIDWe create our own reality. Thephysical world is just anotherform of energy, read yourquantum science.

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FATHER RYANWhere do you think they gottheir ideas from, David?

DAVIDFrom Unified field theory?

(beat)

From Spiritually?FATHER RYAN

Ideas create the world we build,Ill agree with you there.Science is yet to fullyunderstand what Einsteinssearch for the unified field wasall about.

DAVIDGod?

FATHER RYANYou believe in a creator?

DAVIDYes.

FATHER RYANAnd youre a computer scientist.

DAVIDI used to be. Im moreinteresting in what we aretalking about now.

FATHER RYANOK, think about this. What kindof world do you want to create?

DAVIDThats easy, a better world.

FATHER RYANIf you believe in miracles, asyour father did, then itspossible to use magic.

DAVIDThen you dont think its crazytalk.

FATHER RYANMiracles happen, by the grace ofGod, David.

DAVIDYou werent religious when youworked with him, were you?

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FATHER RYANI held certain beliefs. Afteryour mother died, I joined thechurch. I kept in contact withFredrick. Eventually, I becamethe family priest.Though Fredrick very rarely cameto church. He was never happywith my decision. But he hadvery few real friends.

They come to a halt at Davids house. Gillian looks out thewindow, hearing the car pull up. She opens the front door andwalks quickly to the priests vehicle as David alights. Ryanstays in the Utility with the motor running.

GILLIANFather Ryan, I dont know howyou worked this miracle, but

thank you.

FATHER RYANIts not a miracle Gillian, justa pickup and delivery service.

DAVIDIve just seen the error of myways, and wanted to be home withyou.

FATHER RYANTake care of each other, you

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Need To Know 3rd Draft