Latest Works

REVELATION

(An unemployed philosophy professor seeks revenge for his mother’s murder by an Evangelical priest, who turns out to be his biological father.)

BY

Attila J. Keszei

Consumer and Corporate Affairs Canada
Registration Number: 387946

November, 2009

(GENERAL NOTE: ALL THE PRESENT DAY ACTION, WHICH HAPPENS IN ONE DAY, IS IN BLACK & WHITE AND ALL THE PAST (THE PROTAGONIST LIFE STORY) AND FUTURE ACTION (AN EPILEPTIC SEIZURE OR THE REVELATION) IS IN COLOR!!! THIS CHANGING COLOR CONTINUES THROUGHOUT THE ENTIRE FILM!!!)

INT. COURT BUILDING LOBBY – PRESENT DAY – COLOR

The camera shows a medium shot of a TV reporter in front of the district courtroom. He is covering the murder trial of a University professor.

TV REPORTER
The murder trial of Professor John Smith (JS) will start in a few moments the most controversial killing of our century. Channel 2 will give you live coverage on this proceeding… Prof. John Smith was an academic staff of the Philosophy department at the University of Kansas.

or could be any other University

TV REPORTER
When his mothers dead body disappear from the funeral home the investigation lead to him. He has stolen her body. His unexplainable action landed him in a mental institution an few years ago. In the present proceeding he has refused to have legal representation, he prefers to carry his own deafens…I have just heard that the jury have taken their seats so we’d better go inside.

As he puts his hand on his earphone.

INT. COURTROOM INTERIOR – PRESENT DAY – COLOR

The camera view shows the packed courtroom, newspaper men, TV reporters etc. The camera scans the jury. Everybody’s attention is focused on the accused as he is led in by two police men. His hands and legs are in shackles, he slowly moves as the chains let him move. He sits down. The court-clerk announces the arrival of the judge and instructs the people in the room to stand up. Everybody stands up but the accused. He sits on his chair with the expression of one who does not hear a thing. The judge comes in, sits down and looks to the side where J.S. is sitting. Everybody sits down and the judge starts the procedure.

JUDGE
John Smith you have been accused of killing Evangelist Clark. This jury will decide about your sentence. You did not accept any court appointed legal representative; you want to carry out your own defense. As the basic procedure you need to accept the assemble jury. Stand up and state your acknowledgment of this jury.

John stands up, taking his time looks around the courtroom and finally his eyes rest on the jury. He lifts his chained hands up and points at the first man of the front row on the bench.

JOHN
This man cannot pass a judgment over me…as he is guilty of killing his own brother…by slashing the tires of his brother’s car causing a fatal accident.

The camera angle changes and the view becomes through John’s eyes as he makes this statement and the camera focuses on the accused man’s face on the jury’s bench.

The accused man on the jury’s bench stands up, starts to mumble something like someone who had been traumatized, he wants to protest but no coherent words coming out of his mouth, he falls back into his chair, he acts like someone who become deranged, breaks into tears and starts to cry hysterically.

The camera picks up some people as they stand up to have a better look at the events at the jury box.

As John continues the camera angle is back to his view. He points at the second man in the front row of the jury.

JOHN
This man cannot pass judgment over me…He is guilty of incest. He has forced both of his young daughters to fulfill his sexual craving…

As John says that, the view shows the accused man on the jury’s bench looking very disturbed. He sits there for a few second and then he jumps up and rushes out of the room.

There is some slight disorder starts to develop in the court room as people asking questions from each other due to this unexpected event. The camera picks up this movement and pulls back to show both the accused and the jury box.

John points at the next member of the jury, a young woman.

JOHN
This woman cannot pass judgment over me…She is guilty of adultery… She has an affair with her husband’s brother…

The woman puts her face into her hands; try to hide her face as the camera focuses on a close-up showing how tears start to swell in her eyes and starts crying… The camera pulls back to a full shot of the court room.

The noise in the courtroom is getting noticeable.

The camera focuses on the judge who would like to interrupt John but John turns and looks at the judge who lowers the hummer and leans back without saying a word.

The camera angle changes back to John’s view.

John turns again to the jury-box again where the view shows as two of the jury members at the upper row stand up and quietly leave the jury box toward to the side. John points at the next man, who is a black man, in the jury and says:

JOHN
This man cannot pass judgment over me… He is prejudiced against the white race…and

The screen shows the black man’s angry reaction hearing the first part of Johns accusation,

JOHN
He is one of those who took part in plotting … the killing of Malcolm X…

But hearing the full statement he drops on his knees covering his face and starts to pray.

John points at the next man but before he starts talking the man jumps up from his chair and runs out of jury-box, screaming “Let me go…let me go!!!!”.

Disorder erupts in the jury box and all the remaining jury members are jumping up and running out of the room.

The camera scans the courtroom.

It picks up the judge who would like to lift his hammer but his hand does not respond. After some time the disorder in the courtroom settles and slowly everybody sit back into their chair and looks at J.S.

The room is in dead silent.

The camera angle changes and the view is as John sees the room, looking at the people and his eyes finally rests on the judge.

JOHN
Find a jury which is not guilty of anything…only they can pass judgment over me.

A full shot shows John as he lifts his handcuffed hands up in front of him and without any visible effort breaks his chains. He kicks off his shackles and looks up at the judge and he say:

JOHN
I will be back tomorrow before noon…

He turns and walks out of the courtroom through the central aisle.

Everybody freezes!!!!

The camera picks up the bewildered faces. The policemen would like to stop him but they cannot move… The whole courtroom is spellbound… Everybody appears paralyzed!! It is like miracle!! After John leaves the courtroom the spell ends and everybody start to rush out from the courtroom to see John, but he evanished.

INT. UPPER MIDDLE CLASS BAD ROOM – EVENING PRESENT DAY – COLOR

A full shot of an enlarged view of a colour TV screen as the evening news is going on. A well-known commentator throws his hands up into the air.

TV REPORTER
The unexpected has happened today…The killer of Evangelical Reverend Clark walked out of the heavily armed courtroom packed with police and media people and other spectators… Here is a video clip of this unbelievable incident…

As the TV shows the cut, from a different angel than it was shown during the court room scene (like surveying camera) the camera pulls back slowly and the view reveals that the TV set belongs to the judge on John’s case, who is sitting on his bedside and slowly starts shaking his head as he sees the TV clip.

The camera pulls back more, revealing the judges wife on the other side of the bed as she asks the judge with puzzled face:

JUDGE’S WIFE
What has happened in your courtroom?

JUDGE
I don’t know…I don’t know…it was like a spell…I could not move… It was as if an unnatural power held me down…Can you imagine… that there were more than a dozen policeman in the building and none of them acted?… I have never been afraid of any one in my life… but… I…I…fear this man…

The camera pulls to a close up of the judges sweating face with glasses on.

JUDGE
I am sweating right now..

The camera pulls back from the judges face or rather glasses and show both the TV and the sitting judge as the commentator’s voice can be heard.

TV REPORTER
Who is this man?… What kind of knowledge or power he possess? Will he show up tomorrow..? Who is this man…??

The judge is repeating the last words of the TV. reporter as he shake his head.

JUDGE
Who is this man..? Who is this man..?

The TV.R. continues with his report:

TV REPORTER
How could Professor John Smith accuse the members of the jury whom he did not know before?…One of our reporters is at the hospital where Mr. Toth was taken directly from the court room… He is the jury member who was accused by Professor John Smith of killing his own brother.

INT. HOSPITAL’S LOBBY – EVENING – PRESENT DAY – COLOR

The view changes to the hospitals lobby where newspapermen and TV people are crowding around an announcement podium and a doctor, who walks out of a closed door, walks to the podium and starts to explain that the patient is in a very severe shock. One of the media people asks:

TV REPORTER #1
Doctor, doctor is there any medical explanation of this situation?

DOCTOR
I cannot give you any explanation what happened in the courtroom …but it seems that the accusation touched a very raw nerve in the patient…

A second reporter shouts in a question;

TV REPORTER #2
Could it be that the accusation is correct?

The doctor with some hesitation continues,

DOCTOR
I cannot tell you…

A different reporter shouts over to the questioner,

TV REPORTER #3
I just have asked one of the family members of the patient and I was told that the patients brother did die in a car accident…

More questions are fired at the doctor as the camera pulls back and up from this scene, and fades into the next scene.

EXT. CITY STREET – PRESENT DAY – EARLY MORNING – COLOR

Next cut shows a newspaper headline on the counter of a newspaper stand.

The headline reads: “Who is this man?”

A newspaper boy shouts waving the morning paper as passers going by:

NEWS PAPER BOY
How could a man accused of murder walk out of a courtroom with dozens of policeman on hand… Who is Professor John Smith? Is this a miracle or deception?? Who is this man?

The view fades into white as it changes to the next scene.

INT. A MIDDLE CLASS CHILDREN’S BEDROOM – IN THE LATE FIFTIES – COLOR

The action is taken back in time to the mid fifties when the protagonist was a young boy.

The scene is as a black nanny is dressing a 3 to 4 year old boy, who is affectionately hugging on her neck and kissing her on the cheek. She is having difficulty dressing him.

THE YOUNG JOHN
Nancy, I love you …and when I grow up I’ll marry you…

Nancy hugging the little boy affectionately,

NANCY
I love you too… but you have to get dressed… you will be late for church…

THE YOUNG JOHN
I like to go to church… there are so many beautiful paintings… and windows…

As Nancy finishing dresing John she lifts the boy off from the dressing table and placing him on the floor.

NANCY
Go to Daddy and Mommy, they are waiting for you… in the garden.

The boy is turning to Nancy with questioning eyes,

THE YOUNG JOHN
Daddy is coming to the church too…?

Nancy with a puzzled face as she starts to fold the clothing on the table,

NANCY
I don’t know… you should ask him…

Boy runs out of the room…

EXT. THE BACK YARD OF THE HOUSE – LATE FIFTIES – COLOR

The camera pans the back of the house and stops at the back door. Door opens and the little boy come into the view. He looks around to find his parents. The parents are standing by a flower bed talking to each other as they turn to the boy.

There is a distance between the two adult.

The mother is a very beautiful lady wearing an elegant dress and a hat with veils, father is wearing an army uniform, very strict, a no-nonsense person.

The camera turns to the boy and shows him as he runs with open arms toward his parents…

THE YOUNG JOHN
Mommy …mommy I love you…

Mother bends down and catches her son, who flies into her arms. Lifts him up, and as she holds him in one arm, she rolls up the veil of her hat and lets the boy kiss her.

MOTHER
Johnny…lets go, we will be late…

She starts to walk out of the garden holding him in her arm.

Johnny looks back above his mother’s shoulder to his father, who does not move.

THE YOUNG JOHN
Father… you are not coming…

Looking at his father, who shakes his head and slowly turns away.

THE YOUNG JOHN
Daddy….

Extending his arm to his father, but his Daddy doesn’t move and mother walks out of the garden carrying the boy.

INT. A SMALL TOWN CHURCH – LATE FIFTIES – COLOR

Mother and son sitting in the congregation middle of a church. The church is full. Johnny with drowsy eyes looks around.

At the pulpit a young priest delivers the service. As he finishes he asks the people to come forward to receive communion.

Mother and son line up and as they get to the front they kneel down on the prayer stool side by side to receive holy wafer. The priest slowly approaches them, as he gives wafer to the others in the line. The priest reaches the mother and places the altar bread into her open mouth and bending forward whispers into her ears as he blesses her with his hands at the same time.

PRIEST
You came alone again… it seems your husband worships a different GOD…

The camera pulls on mother, she is embarrassed, closes her eyes and bends her head down as the priest steps over to Johnny and gives him the altarbread. He blesses Johnny, who smiles at him, and says to him;

PRIEST
You will be a great man Johnny…

Johnny smiles at the priest, who goes to the next kneeling person. The camera closes in on Johnnys face as he slowly turns to his mother with a smile on his face.

Suddenly the boy’s face freezes, his eyes open as the camera pulls back from the close up to a medium shot.

The camera turns and shows his mother leaning on the upper part of the prayerstool with both arms and her half covered face shows that there are tears rolling down her face. Johnny leans over to her as he asks her,

THE YOUNG JOHN
Mother… Mother what is happening…

Mother turns and hugs him as she stands up with Johnny in her arms, kissing Johnny’s face she says:

MOTHER
Nothing, Johnny..nothing.

They slowly walk out of the church as the picture dissolves.

EXT. OUTSIDE ON JOHNNY’S STREET – SAME TIME – COLOR

The next scene shows Nancy (the black nanny) and Johnny walking toward their house. From a distance Johnny notices a car in the driveway and turning to Nancy he says:

THE YOUNG JOHN
Who came to visit us… did Daddy come home…?

He is looking up to Nancy with a happy questioning face.

NANCY
No, its not Daddy’s car.. it seems that it is Reverend Clark’s car…

Johnny’s face change to an angry look.

THE YOUNG JOHN
I don’t like him…

NANCY
Why don’t you like Reverend Clark…

THE YOUNG JOHN
Because he made mother cry last time we were in the church… I won’t let him hurt Mommy again…

Johnny lets go of Nancy’s hand, runs across the road towards the house. He runs through the front garden to the back door of the house.

The back door of the house is open, and he walks in. The camera moves with him as it would be Johnny’s eye.

INT. JOHNNY’S RANCH STYLE HOUSE – SAME TIME – COLOR

Johnny listens as he slowly walks towards the living room. He finds nobody there. He looks around, listens some more and than he hears some faint noise from the corridor leading to the bedrooms.

He walks down the corridor.

As he reaches his parents’ bedroom he finds the door slightly open. Strange noises are coming from the room. He stands outside the door and slowly presses the door in.

As the door opens there is a full view of his mother and the Reverend making love.

Both of them are dressed. The mother is on her knees and elbows on top of the bed, her skirt is over on her head, exposing her rear view. The Reverend is back to the door, he does not notice Johnny.

The Reverend is dressed in his full religious uniform. He holds up his cassock and only his fly is open, he mounts her from the back.

Both of them are getting to their climax. The camera angle change to a medium shot of the Reverend as he is mounting Johnny’s mother and showing that he is wearing his white clerical collar.

The shot pulls in to a close up on the Reverend as he opens his eyes.

The camera angle change and shows as the Reverend glassy eyes rest on the mirror, opposite of him, he sees in the mirror that Johnny standing in the doorway.

Mother does not notice anything, she is coming to a climax.

The Reverend freezes, drops the cassock, turns around as he continues mounting Johnnys mother looks at the boy and with his free hand he slams the door into Johnny’s face.

An enormous noise of the slamming door!!! The screen becomes black.

(FROM THIS BLACKNESS THE FILM CHANGES FROM THE PAST TO THE PRESENT AND FORM COLOR TO BLACK & WHITE.)

INT. CLOSE UP SHOT OF YOUNG MAN – PRESENT DAY – BLACK & WHITE (B&W)

Instantaneously a 35-year-old sweating bearded man’s face jumps onto the screen with a fierce outcry.

The cry stops and only the man’s shaken face stay on the screen. The camera slowly pulls back to reveal the main character of the film, the now 35 year old Johnny.

INT. BACHELOR TYPE BASEMENT APARTMENT – PRESENT DAY – MORNING – B&W

As the camera pulls back from the face of John the view reveals a small bachelor basement apartment and the camera pans slowly around the room.

Quite clean but sparsely furnished with a desk an arm chair; a single bed; an old black and white TV; an old stereo; books; books and more books.

On one side of the room there is a floor to ceiling and wall to wall book case laden with heavy philosophical and religious books, such as Plato, Aristotle, Socrates, Sophocles, Spinoza, Newton, Darwin, Marx, Lenin, Kierkegaard, Koestrel, eastern philosophical books …

On the rest of the walls there is nothing except above the bed, where there are two framed photographs. One is an army officer, the other one is a portrait of a rather beautiful woman.

It will take as much time as needed to show the title, and the necessary credits of the film.

There is no music score as yet, only Johns distorted breathing….

As the camera angle arrives to the entrance door, the letter slot opens on the door and a flood of letters drops on the floor. The camera switches back to full shut of John who is by-now visibly relaxed.

He gets out of bed. He wears only an under-pant. He walks over to the fridge and takes out a carton of milk. Standing at the open door of the fridge, he swallows a few mouthfuls, puts the milk back and closes the door of the fridge and walks over to the mail.

Walking back he goes to the tape deck, turns it on and the sound of old Gregorian chants fills the room.

He sits down to the table.

Amongst the standard junk mail, there is one from the Government

Manpower Office. Slowly he picks it out as he drops the rest and opens it. He reads the contents on a subdued voice.

“This is your last U.I. payment! Please come to the Manpower Office to discuss details!” He stands up, starts to dress as the view fades out.

The music is left on.

INT. TYPICAL GOVERNMENT OFFICE – PRESENT DAY – B&W

John enters the waiting room with a piece of paper in his hands. He takes a number from the machine at the door. He sits down and looks around.

From his viewpoint the camera scans the typical scene of a Government Manpower Office. The place is full but not overcrowded. Some people are seriously studying the bulletin board’s job advertisements. A young fellow is tearing some papers apart, and then, with a dissatisfied face, walks out. An older working class man sits in a chair with an expressionless face just rubbing his old work hardened hands.

The camera continues to pan around the room showing others…..

CLERK
Number seventeen!

Comes through the office noise.

The camera pans through a piece of paper in a hand with number seventeen on it. It returns to the paper then turns slowly up revealing the clerk who called the number.

Throughout the film, most of the time the camera angle is the same as Johns viewpoint !

The camera angle change to the clerk’s view, showing John as he stands up and walks towards the camera.

INT. A TYPICAL GOVERNMENT CLERK OFFICE – PRESENT DAY – B&W

The clerk sits behind a desk and on the right hand side there is the national flag and a photo of the leader of the country.

The clerk bends forward and takes the letter from John. She turns to a computer terminal on her desk as she indicates to John to take the seat.

After a few seconds, she turns right into the camera and with an expressionless face says:

CLERK
Mr. John Smith you have used up all your unemployment benefits. You have been without a job for almost a year …What is your plan?

The camera angle change and the view shows John’ expressionless face. As the camera switches back to the clerk as she turns to the terminal and says:

CLERK
What is your trade?

She starts to read from her terminal as her face changes.

CLERK
You have a Ph. D. in philosophy. Your last and only employer was the University of Kansas… and you were working as an assistant Prof.in the Philosophy Department.

With a closeup of her face she turns to John.

CLERK
What has happened?

The camera angle change the view shows John as he shakes his head indicating that he does not want to talk about it. The camera angle pulls back and shows the clerk as she shakes her head also.

CLERK
We cannot help you… You have to find your own way… We can hardly find any work for those people out there, though most of them are very good tradesmen. Companies are closing down,…

The clerk appears as though she is talking to herself.

CLERK
Taking the work elsewhere, to make more profit,…

The clark voice reveals her helplessness.

CLERK
Leaving these people after twenty, thirty years of work for unemployment benefits… The companies do not care if the workers find another job. These people give half of their life to the companies and now they are on the street…

The Clerk grimaces.

CLERK
What happens with their family life is not the companies’ concern. How can I,…I want to say… “WE” help?

The camera is taking a close-up of the painful face of clerk. As the camera pulls back she reaches into a drawer of her desk, pulls out some papers and hands it over to John.

CLERK
Here are the papers you have to complete to apply for welfare…

The camera angle changes it shows John as he takes the papers, stands up and walks out without saying a word.

EXT. FRONT OF GOVERNMENT BUILDING – PRESENT DAY – CLEAR & SUNNY – B&W

The next cut shows John exiting the office building. He looks around and after some hesitation, he starts walking aimlessly in one direction.

The camera angle changes to John’s view.

He notices an old lady in front of him. She pulls a shopping cart loaded with plastic bags. John slows down and tries to listen to her mumbling. Some fragmented sentences are coming through the street noise.

BAG LADY
I was good for you till I……but now I have nothing……but God will make you remember for this …

She turns suddenly around and yells at John.

BAG LADY
What the fuck do you want!?… Get lost, you asshole.

But as she looks at John she bends a bit forward and with an open eye she asks

BAG LADY
Johnny is that you…

John froze standstill as he looks at the old black lady… and slowly with a questioning voice asks;

JOHN
Nancy is that you…?

They stand apart and look at each other for a few seconds, when John opens his arm and slowly approaches the bag lady.

JOHN
Nancy … O… Nancy it is so good to see you.

She steps back a step as John hugs her and a close up shows as tears flooding her eyes.

JOHN
I have not seen you a few decades… o so good to see you… Can I invite you for a coffee or something?

Nancy just stand cannot talk as this sudden unexpected situation knocked her back in time. She points to the park across the street and start to push her shopping cart and bags to the rood crossing.

John goes to her and says as he point to one of the benches of the park

JOHN
Just go over to that bench I get some coffee and ketch up with you.

EXT. A SMALL CORNER SHOP – PRESENT DAY – B&W

John turns around and walks to a corner 7-11 store. As he walks in the store he grabs a paper from the news stand and asks for two coffees. He gives the money to the attendance.

He puts the paper under his arm pit takes the coffees, and walks out of the store.

He comes out, looks around and see that the old lady, Nancy, is already sitting on one of the bench.

He starts to walk to join her.

EXT. A TYPICAL DOWNTOWN PARK – PRESENT DAY CLEAR & SUNNY – B&W

John puts the paper on the bench, gives one cup of coffee to Nancy and he sits beside the old woman who is still dazed-out from this unexpected meeting.

John reaches over with one arm to the solder of Nancy who at first gives a quiver but slowly relaxing and starts to drink from the cup.

JOHN
I have not heard from you for a long time… my God I am so happy to see you… tell me what…

and he stops for a moment realizing Nancy’s situation;

JOHN
What can I do for you?

Nancy holding the cup with both hands as she slurping the coffee and she just looks at John.

NANCY
You have become a very handsome man John. I know some things about you… as I was with your Mom at the convent for a long time… You know when you and your Mom departed I went with her. We were together… time to time I saw you from a distance when you came to visit her.

JOHN
So you know that mother is dead… she could not continue and she ended it…

NANCY
No, she did not end it… I was there… she had an quarrel with Reverend… and the next morning she was found dead … I lost my belief and since then I am on the streets…

JOHN
Nancy you say that Mom did not took her own life?

NANCY
Yes, she did not… she was very happy that you will take her out of that place… She was looking foreword to go and live with you.

JOHN
But she was found hanging just outside of the church in the garden…

Nancy looks around, she looks frighten and in whisper she continues;

NANCY
I was in that garden…
I could not keep hearing the fight… I went out of the convent…
I went and sat-down in the garden… it was well after midnight… nobody saw me… and nobody was there …I just wanted to be alone… As I was sitting there on one of the small benches after a while I have heard that some people were coming in to the garden… I’ve got a bit scared so I hid in the bush … and as I was standing there …I have seen two people carrying something heavy…

John in shock asks;

JOHN
What did they carry?.. Do you know who were those people?

NANCY
I did not know what they were carrying …and I did not see their faces… it was dark and I was frightened to get closer …and that is the garden where your Mother was found next morning…

She stands up grabs the handle bar of the shopping cart and say.

NANCY
I cannot talk about this … I have to go…

John jumps up on his feet and tries to comfort her but she just want to go.

John grabs the news paper tears off a piece of the paper and writes his telephone number on it.

JOHN
Nancy I did not want you to be hurt and be alone… here is my phone number…please give me a call and let me help you get back on your feet… I love you as much as I loved my mom…

Nancy looks up at John with tears in her old eyes as she puts the phone number away.

NANCY
I love you too John..

As she starts to walk away.

John standing front of the bench and follows her move out of the park.

He sits back on the bench and just sitting there motionless.

EXT. IN THE SAME PARK – PRESENT DAY – AT NOON TIME – B&W

After a while John crosses his legs and unfolds the paper.

The camera angle changes the full view of the local paper. On the front page in big letters: EVANGELIST CLARK WILL HAVE MASS AT THE GOODHOPE CENTRE … showing a big photo portrait of the evangelist.

The camera angle shows John’s face from the paper position in his hands. John’s face hardens. His facial expression shows the extent of his discontent with the news.

The camera angle change and shows John in a full shot as he puts down the paper beside him on the bench without reading it further.

As camera close up on him, he looks straight ahead into the distance and slowly lifts his head upward. The camera follows his move and closes up on his up-turned face.

The street noise is slowly dies off and the same Gregorian Chants filters though.

EXT. IN THE SAME PARK – TAKEN FROM A HIGHER ELEVATION – PRESENT DAY – CLEAR SUNNY WEATHER – B&W

The camera pulls back from a close-up of his eyes and face showing him in the park and going higher and higher. A whole block of building surrounds the park, higher and higher, showing the city…

(This shot shall express his sense of total loss.)

The camera shifts again and fades into a view seen through John’s eye. It shows a sunny but cloudy sky. Suddenly a black cloud comes into the centre. At the same time the Gregorian Chants is broken by a rusty voice.

WINO
“Hi man do you have a cigarette?”

The camera focuses on the black cloud which becomes an unshaven, bearded, vagabond looking man. The view shifts from the bearded man to John as he slowly shakes his head.

WINO
“Habat a buck for a cup of coffee?”

Comes from the background, till showing John.

The camera angle changes to show both men. John reaches in to his pocket pulls out some paper money and change. Starts to count it, than he looks at the Winos baffled face:

JOHN
Twelve bucks, that’s all I have.

WINO
I have none.

John splits his money and offers half of it to the Wino who takes the money from the outstretched hand with a doubting expression on his face.

JOHN
Now we have the same!

The Wino takes the money and start to walk away.

After a few steps he turns around with a disbelieving expression, he opens his hand, looks at the money and lifts his head to looks back. But John has already turned his head toward the sky.

The view slowly fades out.

EXT. IN THE SAME PARK – PRESENT DAY – LATE AFTERNOON – B&W

The scene starts from the same position but now it is late afternoon. John is still sitting on the same bench. The paper is still untouched beside him. He is still looking somewhere out in space. The same Gregorian Chants filters though.

The camera angle pulls further back until it picks up the same Wino entering the park and walking to the bench where John sits.

He sits down at the other end of the bench and looks at John who does not notice him.

WINO
Did you eat today?

John’s close-up, with a surprised face, turns to Wino and a faint smile appears at the corner of his mouth.

Camera angle switches and shows both men sitting on the bench.

JOHN
No.

WINO
If you come with me I’ll get you a four course dinner.

The Wino stands up and starts walking away. After some steps, Wino turns around and looks back.

John slowly stands up and starts walking towards Wino. The view fades out as the two men walking out of the park.

EXT. FRONT OF A SOUP-KITCHEN ON THE OTHER SIDE OF THE STREET PRESENT DAY LATE AFTERNOON B&W

The view is across from a soup-kitchen, and shows the different characters gathering for the evening meal.

It is an important shot as it will show the kinds of people in need of this social service in our society. It should show some alcoholics, some bag ladies, the winos, some vagabonds of all races, as well as young people…

This scene should go on and on with close-ups and pull-backs…

The camera finally picks up the Wino and John as they slowly approach the building and enter through the door.

INT. SOUP-KITCHEN’S LUNCH ROOM – PRESENT DAY – B&W

The next scene takes place within the soup-kitchen’s dining room, as people line up to take a tray for the food. There will be numerous close-ups of some of the interesting people, mainly ageless men and women who could be 35 or 75.

Finally the camera shows the two men as they sit down and start eating. Wino seems to enjoy his food but John is not thrilled with it.

WINO
So what’s your name?

JOHN
John Smith.

WINO
Mine is Jack. Oh, Jack Fraser…What do you do for a living John?

JOHN
I…I don’t know.

WINO
Oh, I see.

The camera takes a close up of Wino who appears embarrassed for his inquisitiveness. In his confusion, he starts talking about himself:

WINO
You know…I was a tool maker…

As he talks, he looks into his bowl of soup. The camera focuses on the bowl of soup. It gets blurry and fades into white.

From this white screen the viewers are taken into the next scene that should be shot in COLOR!!!(This event s happened in the past.)

INT. FACTORY WORK HALL – THREE YEARS BEFORE – DAY TIME – COLOR

Blue collar workers are gathered for a lunch time meeting. The tension is running high.

A member of the middle management comes through the workers and climes up to one of the workbench.

He has a very sad face.

He takes the microphone into his hands, looks around, then with faltering voice he starts to speak. The camera focuses on the manager’s face.

MENEGER
I’ve hoped… that I would not be the one who has to tell you… but the owner has ordered me to. As you all know… it has been evident for more than a year… we are closing down…

The camera turns from the Manager’s sweating face to the workers, showing their disbelieving angry faces, some of them jumping up, others just sitting and looking at their aged dirty hands…

In the mean time Wino’s rambling voice comes through, the scene changes from the lunch time meeting to show workers overtaking of the factory as Wino discribes;

WINO
… about three years ago the company laid me and the other two thousand workers off… it wanted to pack all the machinery and tools and moved the operation to the Far East or Mexico… God knows where… The company did not want to pay even our already worked overtime or the… contractually earned holidays… we did not leave the factory floor… we demanded to settle the unpaid sums… the police came but hearing our side of the argument they leave as it was no violence… lawyers were coming and going … our families were bringing food… we were not let the owner to take over the factory… finally after two weeks the owner agreed to pay us off and we left the factory…

INT. FACTORY FOREMAN’S OFFICE – THREE YEARS AGO – COLOR

A medium shot of Wino and a foreman holding same paper in his hand and both of them are looking out, into a dingy work shop.

FOREMAN
So you were working for Combine International for twenty-five years…

Foreman shaking his head as he continuous.

FOREMAN
Look, right now I don’t need extra help… we need work…we will close down in a few months … if no work comes through As the picture fades out Wino’s voice comes through again…

WINO
I could not get another job…I was then fifty-two… One day I got so frustrated knocking on closed doors that I got drunk and …beat my wife…

The picture sharpens again; the viewers are taken into the next scene.

INT. WINO’S LIVING ROOM – THREE YEARS AGO – DAY TIME – COLOR

The view shows the unshaven Wino sitting in front of a TV. set, with many empty beer cans around him. His appearance is neglected, he is drunk. He is watching some wrestling matches, which works him up emotionally.

The door opens and his wife comes in with both hands full of grocery shopping bags. Her appearance shows the pressure she is under. Seeing the drunk Wino watching TV. just adds to her frustration.

The camera angle changes and the view is from behind the TV. showing Wino watching the TV. and the wife is in the background as Wino asks her without turning;

WINO
Did you bring some beer?

WINO’S WIFE
No, I brought some food..

WINO
What the fuck… I told you to bring some beer!!! Get the fuck back…or I’ll tear your head off…

Turning to her angrily.

WINO’S WIFE
We don’t have any money for beer… Go and get a job…you lazy bum.

Wino stands up and starts to shout as he walks over to his wife.

WINO
You call me a lazy bum.. you fucking bitch…He grabs her hair, and swings her across the room… Go and get me same beer…

She shouts back to him with closed teeth.

WINO’S WIFE
Go and get a job… Don’t sit on your fat ass…

He jumps at her and starts beating her violently as he shouts.

WINO
I will teach you who is the boss in this house. you bitch…

The camera angle changes to the wife’s view and shows her drunken husband hitting her.

She falls down and camera angle falls with her.

It is a violent sequence to show what problems are created by the loss of dignity, loss of job.

The picture gets blurry. She lost consciousness. The camera angle changes back to the Wino’s view who is still hitting and kicking the woman’s body.

WINO
I’m not lazy..I don’t get a job…do you understand me I do not get a job… they took the jobs away…

Wino’s voice indicates that he is out of air.

WINO
Do you understand me … you bitch… there is no job no job…

Suddenly he realizes that she is unconscious. He stands above the laying body.

Reality hits him!!!

He kneels down to her as he starts to cry.

WINO
Martha… Martha…What did I do?.What did I do?.

He is on his knees and hands, he crawls over to the telephone and starts dialing as he cry.

WINO
Send an ambulance… send an ambulance … fast…

The picture fades out as the noise of his crying fades back into the dining room noise. The picture fades from COLOR back to B&W. We get back to the present.

INT. SOUPKITCHEN’S LUNCH ROOM – PRESENT DAY – B&W

It is a medium shot of Wino who stops talking and starts eating again but after a few spoonfuls he continues with his story.

WINO
She was taken to a hospital and kept there almost a month… She never came back to me…I can not blame her.

His speech becomes halting. His voice is trailing off.

WINO
After I got a letter from her divorce lawyer…I just walked out of our house and sent the key to her…I have never been back in that house since then…. I live on the street… Something snapped in me… I think, I lost my pride…

The camera slowly close in on a close-up of Wino as tears come into his eyes and his voice gets shaky.

John’s voice comes through, as the views is still Wino’s close up.

JOHN
I know what you mean… I guess

WINO
I don’t think you know this strange feeling when nobody needs your work you cannot make ends meet and nobody cares about you or your family….. you are done!!!

Wino’s face hardens, looks a bit embarrassed.

WINO
I talk too much…I don’t know what has happened to me… you are the first person I’ve told my story ever…

It is still a close up of the Wino, who’s face soften as he continuous.

WINO
I feel…as if I have known you for a long time John.

JOHN
We are all coming from the same roots…some times I’ll tell you the cross that I bear…

The camera angle change and shows both men as they continue with their meals. After a few bites Wino looks up and with a friendly expression asks.

WINO
John do you have a place to stay?

After some hesitation as John just get to know this strange homeless person he lays;

JOHN
No.

WINO
So in this case I’ll share my “mansion” with you.

They finish eating, Wino puts some bread into his pocket, they return the trays and leave the soup kitchen building.

EXT. FRONT OF SOUP-KITCHEN – PRESENT DAY -EARLY EVENING – B&W

The camera picks up the two men as they exit the building.

WINO
You know, we should celebrate our friendship. Do you still have your half of your money?

John nods his head.

WINO
Give it to me, I will buy some booze.

John reaches into his pocket and gives the money to Wino. As they walk front of a hardware store the Wino stops John and says:

WINO
Wait outside, I gotta get something.

The wino enters the hardware store.

EXT.INT. FRONT OF & INSIDE A HARDWARE STORE – MOMENTS LATER – B&W

The camera angle change and the view shows John from the back, at front of the hardware store’s window.

John looks through the shop window and sees the Wino. as he puts some spray cans into his hidden pocket, keeping one in his hand and goes to the counter.

Wino comes out with a big smile on his face.

WINO
We bought one and got three.

EXT. UNIVERSITY CAMPUS – PRESENT DAY – DUSK – B&W

A full shot of the two men as they are walking together. They enter the University Campus.

The sun is going down. Students are walking in various directions. The building signs indicating which building house what Faculties.

WINO
Do you know this place?

John nods with his head.

JOHN
Yes, I know it very well.

WINO
You must tell me about this…

Wino stops front of one of the buildings, and holds John to stop. Wino look around and as he sees nobody in close distance he moves swiftly to the building waving to John to follow him.

EXT. LOBBY OF ONE OF THE CAMPUS BUILDING – MOMENTS LATER – B&W

They enter one of the Campus’ building. They walk down a stairwell. Wino stops at a service door at the bottom of the stairs, pulls something out of his pocket, puts it into the lock and opens the door.

The door leads to the tunnel of the central heating system of the Campus.

As John enters Wino closes the door behind him.

INT. IN THE DISTRIBUTION TUNNEL – MOMENTS LATER – B&W

It is pitch dark. It is a black screen. Only voices.

WINO
I hope no one has seen us… Don’t move I’ll get some light…oouuu fuck it!! I hit my head again.

Light comes on, here-and-there from some bare light bulbs. The camera follows them from the back. John follows Wino who says:

WINO
Take care of your head there..

After some walking between the pipes and the concrete wall of the tunnel, they get to a hidden opening which opens up to an expansion-joint room.

INT. IN AN EXPANSION-JOINT ROOM – MOMENTS LATER – B&W

The camera stops at the entrance of the opening and show the two men in that space. The Wino pulls out some broken board of Styrofoam. He sits down and offers a seat to John.

WINO
You see, I have full comfort here heating, water, lighting, what else would I need?

The view shows the two men sitting on the foam-boards between the pipes and pulls a close up of Wino’s smiling face.

WINO

Anyway let’s see what we can drink.

The camera pulls back and shows the two men in full shot again.

The Wino pulls out the three cans from his pocket, reaches behind a pipe and takes an empty vodka bottle.

WINO
On better days I could afford that… Today we have only this…

He takes a nail from one of the pipe hangers, makes a hole on the side of one of the cans. After the pressure is released he pours the liquid into the empty vodka bottle. He repeats this with all three cans.

John looks at him dazed.

After Wino finishes, he shakes the bottle and offers it to John.

John takes it from the Wino and takes a drop into his mouth. A close up of his face shows the horrible taste of the liquid. He spits the stuff out. Then the view pulls back to show them together.

WINO
Don’t waste it man…

He takes the bottle from John’s hand and drinks almost half of it.

WINO
It is not bad… you have to get used to it. Let’s see, I may have some better stuff for you…

Wino stands up , walks over to another pipe, and pulls out another vodka bottle with some vodka left on the bottom . He walks back to John as he hands it over to him and he asks;

WINO
How did you get to know this place?

JOHN
I used to work here.

John opens the bottle, smells it at first, than he takes a drop on his tang as it turns out to be the real thing he takes big mouthful of it.

WINO
What? what did you say, that you were working here?

John lays down on the Styrofoam, stretches a bit and nods as he takes another mouthful from the bottle.

WINO
What did you do here?

Wino burps loudly!

JOHN
At first I was studying philosophy… then later on I was teaching it.

WINO
Tell me about that…

As he stretches himself on the Styrofoam board.

The camera start to focus on John as he bigins to talk.

John stares into the light bulb and then he starts talking:

JOHN
When I was fifteen my father died…

INT. A “TYPICAL” AMERICAN ARMY OFFICER’S HOME – IN THE MID SIXTIES – COLOR

The picture changes from B&W. to COLOR. The view starts as it shows a very close-up of the light bulb through John’s eyes, then the view pulls back from the light bulb and the viewer can see a woman with a telegram in her hand as the woman’s figure sharpens.

Father’s photo hangs on the wall with a black ribbon across on the right corner. Father has recently died.

Mother is in black with a veiled hat, boy is approximately sixteen, conservatively well dressed.

The camera focuses on the mother until only her face is on the screen.

MOTHER
Your Father never believed in God! He was an army man! He killed a lot of people. He got what he deserved… The commis killed him.

The view changes to a full shot of the Young John as he turns to his mother.

YOUNG JOHN
Mother, how can you talk like this… Father loved you!!!

MOTHER
Yes, he married me…but even our wedding was not blessed by the church… He never came to the church.

Mother slowly turning away.

MOTHER
Only my prayers were saving this family… Once even the Reverend asked me if your father was serving a different God… than ours.

The camera focuses on Young John.

YOUNG JOHN
There are no different Gods mother… There is only one God… for all the people, regardless which race they belong or religion they practice.

The view changes to Mother who has a puzzled face.

MOTHER
Where did you learn that? Don’t you dare to tell me that the Gods of the Jews, the Arabs, and the Hindusis is our God too… You talk like your father.

With a restrained voice through her closed jaw.

MOTHER
You blaspheme God… like your father did.What will you turn out to be?

The view changes to show Mother and Son in a full shot.

YOUNG JOHN
I will be a philosopher!

MOTHER
Philosopher?

YOUNG JOHN
Yes.

Mother takes a prolonged look at her son, in amazement. Then she start to talk just to block out her son’s determined stand.

MOTHER
I have decided that to ease the pain of your father in the Purgatory. I will sell everything we have and will give it to the church, as the Reverend preached : “Give up your earthly goods for the peace and comfort of Heaven…” I will pray for your father’s soul … If you would like, you can come with me…and become a priest… You would be a good one.

YOUNG JOHN
No. I will be a philosopher.

The camera pulls to a close up of Mother with a hardened expression on her face.

MOTHER
You are sixteen… you can go your own way…

As her face fade into white the picture will change from color to black & white.

INT. IN THE SAME EXPANSION JOINT ROOM – MOMENTS LATER – B&W

As her face fades into white on the screen, from the background some noise comes through. It gets louder and louder.

As the camera focuses from the faded white face of the woman, the light bulb emerges, which John was staring at.

The noise becomes a strong snoring, and as the view pulls back, it turns and shows the close up face of Wino.

The picture changed back to B&W. from COLOR !!!

Wino is sleeping on the foam, revealed from John view. The camera angle change and shows a close up of John as he watches the sleeping man with an expression of understanding.

The view pulls back to a full shot as John sits up and slowly stands up. He walks over to the sleeping Wino. He takes the open bottle from his hand, closes it. He takes Wino’s coat from the floor and covers the sleeping body with it.

As he bends over to do this, his motion freezes for a second because he notices something on top of one of the pipes.

The view slowly moves in to John’s eye view as he is bend forward and looks at something very intensively.

The camera slowly focuses on the object . It is the barrel of a handgun. Only the round opening of the gun is on the screen.

It is a very important slow moving shot.

A hand reaches for the object. At the moment when it is taken out of the shadow of the pipes, that is when the viewer realizes what the object is.

There are only John’s hands and the gun are on the screen as the hands are turning the gun around.

The view pulls back to a medium shot and then pulls on to a close-up of the perplexed face of John. He lifts up the gun to his eye level and looks at the gun as he is turning it around in his hand. He lowers his hand as the view pulls back he stand there with the gun in his hand and just turning his shacking his head, like he does not know what to do with the gun. Then suddenly bends forward and slowly puts it back on the pipe.

He straiten-up, turns and slowly walks out of the place as the camera follows him.

But after some steps he stops.

He turns around and walks back into the camera.

This shot shall indicating that he is going back for the gun.

EXT. UNIVERSITY CAMPUS – SAME EVENING – B&W

Next scene is as John slowly walking outside on the Campus grounds under the evening lights. Nobody is on the street.

He gets to a building which has a sign on the front indicating that this building is housing the Philosophy Department.

EXT. FRONT OF A BIG UNIVERSITY BUILDING – SAME EVENING – B&W

He stops in front of the dark building and looks up at it. The camera moves around and shows him from the front in a full shot and slowly closes in for a close up.

Suddenly a hand appears in the air behind John and somebody puts a hand on his shoulder.

As John jumps in surprise a pleasant voice says ;

YOUNG MAN
“Professor Smith!!!”

The view changes as the viewer looks through John’s eye and sees a young man in his mid twenties in full shot.

YOUNG MAN
I know you, Prof.,

He nodes his head as he realizes that John do not recognizes him.

YOUNG MAN
… yes, you do not recognize me because you had a lot of students… oh, I loved your lectures.

JOHN
What are you doing here so late?

John’ voice comes from the back.

YOUNG MAN
I’m working on my Ph.D. and to support myself I work as an assistant in the department.

JOHN
What is your thesis?

John’s voice as the viewer till sees a close up of the Y.M.

YOUNG MAN
It is quite a difficult subject:
RELIGION THROUGH MASS COMMUNICATION.

The view changes and the camera pick up John’s surprised expression. From this close up of John the view pulls back to a full shot showing both men.

As the Young Man walks over to the front door of the building he pulls out a key from his pocket and opens the door.

YOUNG MAN
Would you like to come up to see the old place?

John just stands and watches the young fellow as he invitingly keeps the door open. After a second or two he decides to go with him.

INT. IN THE MOVING ELEVATOR – SAME EVENING – B&W

Next scene shows a close up of them in the elevator as they look up to the numbers lighting up indicating the levels.

YOUNG MAN
When was the last time you were here?

JOHN
Approximately two years ago.

INT. CORRIDOR – SAME EVENING – B&W

The view changes to the elevator door as it opens and two men walk through a narrow corridor.

YOUNG MAN
May I ask you a personal question Professor Smith?

INT. BIG LUNCH ROOM – SAME EVENING – B&W

The walk into an sizable lunch room and the view will show as they enter a sitting room.

John walks directly over to a pop-machine. He reaches into his pocket to buy a coke and at the same time he says ;

JOHN
I know, you would like to know why I have left the department!

YOUNG MAN
Yes… there were some rumors that… how shall I say…you went overboard.

JOHN
It was true… A personal tragedy landed me in a mental institute, for a few months.

YOUNG MAN
I know I’m a stranger to you …and I should not ask… but … studying human morals and characters… may I question your motives and the circumstances of your tragedy… May I ask what this tragedy was ?

In the meantime the Young Man notices that John has not found any money, so he walks over to him and throws some change into the pop-machine and gets two cokes.

YOUNG MAN
I’m sorry. I should not ask these questions…

as he realizes the depth of his question.

They sit down opposite one another and after the first sips of coke John start to talk;

JOHN
I will tell you because it may help you with your thesis… I was always close to my Mother…

As John starts to talk the camera pulls to a close up of John and as his close up gets closer and closer to his eyes and finally only his irises are on the screen, and pulling even closer to one of his eye further to his pupil.

From the blackness of his pupil three scenes fade in and out. The B&W. changes to COLOR….

JOHN
Although I was not the most important thing in her life. She was a deep believer of the church… to such an extent that she left the Anglican church and became one of the followers of Evangelist Clark … after my father’s death….She sold all of our possessions and gave all the money to the evangelist’s church… she joined the church … for him… I was only sixteen when we parted from each other…

INT. A RESTAURANT’S KITCHEN – FIFTEEN YEARS AGO – COLOR

A steamy kitchen where a young boy (the young John) is washing dishes.

The picture comes through the white fog of the steaming dishwashing bowl and show John’s sweating face and then it fades back to the fog.

His sweating face fades-in again, but he is older, it takes to the next scene.

EXT. AT A LANDSCAPE WORKING SITE – APPROXIMATLY TWELVE YEARS AGO – SUNNY DAY – COLOR

As the view pulls back from the older sweaty face the view shows the young John as he is pushing a wheel-barrel in a short pant, construction boots, t-shirt. He is well tanned, indicating that he has been working on this type of sites for a while.

The camera switches to John’s view, as he pushing wheel-barrel, it pans around and ends up on the green grass.

From that view of the green grass the next scene fades in.

EXT. UNIVERSITY CAMPUS – APPROXIMATELY TEN YEARS AGO – SUNNY DAY – COLOR

As the view pulls back from the green grass to a full shot, we are at the University Campus.

The graduating students are in their ceremonial gowns.

Parents, relatives and friends are surrounding all the graduating students, but one, the young man John who is a young adult by now.

He slowly moves through the crowd and as he walks away, he takes off his ceremonial gown.

During these three scenes John is slowly speaking.

JOHN
…Because she gave everything away… I had to work hard… to get through the high school and university years… Once in a while I visited her… It was a hard thing to see all my colleagues with their happy relatives at the graduation and not having anyone to share my happiness…

As the young John leaves the grounds of the Campus he turns back to look at his happy colleagues. The camera focuses on him. From his close up face the camera pulls back as John turns again and walks away slowly.

As the next scene fades in he is narrating;

JOHN
She was fully submerged in the preaching and holiness of the evangelist. But at the last time I have visited her something drastically had changed with her. It was two years ago…or so

INT. IN A SIDE CHAPEL OF A CHURCH – TWO YEARS AGO – DAY TIME – COLOR

The scene shows his mother, who has become noticeably older and has a very worried appearance.

She and her son are sitting in a small side chapel of the church and talking very softly. The sunlight comes through the lead-glass windows, giving a warm-soft feeling.

MOTHER
John… I have been mistaken…This Church is not the House of God…as I had first believed… She nervously looks around and almost in whispers continues… Reverend Clark is a fake!!… he is a swindler…I see and know things now … that you could not imagine,… He preaches water and drinks the wine…

She slows down as she shakes her head,

MOTHER
He has had many mistresses… One of them recently committed suicide when she heard about two others…He is misusing donations given to the Church… He blasphemies God name in-vane I would like to leave this place but I don’t have another one to go to …

The view changes to a close-up of the two and shows John as he caressing his mother’s weary face.

JOHN
Mother I will make some arrangements and you will come and live with me…

Mother’s face softens and she start kissing Johns hand.

MOTHER
I really should have known him …

She turns away from her son as she continues,

MOTHER
I have to tell you something before …. before… I can accept your help

During the following narration four scenes will come through(see scenes after narration)

MOTHER

I have known Reverend Clark since I was a small girl. We grew up together. He was… he was… my first love…

The Reverend, …Peter… and I were young and we were in love. We were madly in love. I came from a well-to-do family and my parents wanted me to marry someone worthy to me.

Peter came from a poor family his father worked at the mines and his mother has already passed away. Father’s sister was looking after Peter with her own three kids. Nobody knew about our relationship but one day we were cut kissing at the school.

My father was called by the school principle and was told that Peter and I have been cut kissing in the backstairs of the school.

The school principle wanted to make sure that this action will not continue at the school so he asks my father to talk to me.

When father has asked what would happen with the boy the principle told him that despite the fact that Peter was one of the smartest boy of the school, he must be spelled out. Your ground father, my father was a very considerate man. He has known that love is not that easily broken so he came up with a very innocent looking solution. He offered a scholarship for some one at school who will be sent to a seminary to improve his education. Because Peter was a good student he would be picked and having this irresistible offer Peter’s father will send him away. We did not see each other for many years and I did not know what happened with Peter. One day to the next he was gone. After I come back from a chrisms holiday with my family, he was gone. I could not get any information from his ant or father. He had the calling that was the answer. I was hart broken.

Years later I was introduced to John, your …your father, who was already a military man. He was a very attractive man and he cared about me. So to get away from home, when John asked me to marry him I was ready to go.

We were three years marred when Peter who in the meantime became a Catholic priest came back to the town to lead the flack. He was educated, handsome, caring, loving man and our long lost love could not be kept in place. When I had my first confession we realized that it was a cruel plan of my parents that he was ‘sent away’. During that confession we reveal our love to each other. Then on we renewed our relationship in secrete.

During this narrative the following scenes are rolling out;

INT. SCHOOL – STAIRWAY TWILIGHT – IN THE FIFTIES – COLOR

The two young people are hugging each other and timidly kissing. They do not notice the cleaning lady who opens the door and sees them. She coughs to indicate her presence and two young people jump apart.

INT. THE PRINCIPLE OFFICE – IN THE FIFTIES – COLOR

The principal sites at the desk as Mother’s father brought in by the principles’ secretary. The Principle stands up offer a hand. As the two sits down the principle cut right into the main point.

PRINCIPAL
Mr. Elliott the reason why I called you in is that your daughter and Peter Clarke have been cut kissing in the school. I do not know what is your take on this situation but I feel that your daughter and Peter are on some thing you may not like to encourage. Who knows where their relationship may lead, but they cannot carry on this type of activates the school. Would you please talk to your daughter to avoid this kind of activities at the school?

Father is sitting and quietly nodding with his head.

FATHER
I did not know anything about this, and yes this could tune out to be a very serious problem. I know from my own life experience love is not easily crunched.

What will happen with the boy?

PRINCIPAL
We cannot tolerate this kind of behavior. Although Peter is one of the best, if not the best student of our school, I will spell him out of our school.

Father leans back on the chair nodding with his head. Looking up around the room and then turn back to the principal and say;

FATHER
I have a better idea and may be all of us will gain from it. I am planning for a while to approach you, I would like to offer a scholarship to the best student of the school so that he or she could further his or her educated and become something more then their parents are. What would happen if Peter would be given this scholarship as the first student and sent to a seminary. In this case the youngsters would be separated and would not be seen that we interfered.

PRINCIPLE
It is a very noble of you. I think Mr. Clarke will be pleased and you give a second chance for Peter also.

FATHER
Please it cannot be known that the scholarship is sponsored by me. Let’s keep that anonymous.

INT. AT THE CATHOLIC CHURCH OF THE TOWN – MID SIXTIES – COLOR

The old Reverend stand at the pulpit and as a final act of his last ceremony he calls up the new, young priest who will replace him. The twenty plus years old Peter comes up to the pulpit.

OLD REVEREND
I know that some of you will recognize our own flesh and blood Father Clarke. He has grown up right here between us and excelled in his studies and offered his devotion to God. Please take him to your hart as he is the one who will help you in your needy times.

The camera pens the congregation and stops on Mary’s as she looks at the young priest as he would be the messiah himself.

INT. SAME CHURCH – SOME TIME LATER – COLOR

Mary walks into the church which is empty, she wears a hat with a veil, after taking the bow and the crossing, she walls to the confessional box. A top view shows Mary as she is waiting for the priest to arrive.

Reverend Clarke comes from the back enters the confession-box and sit down. He opens the gate and the view shows through the wire separation the silhouette of the young Mary as she sits and holds her hands up front of her face as she is praying. He just sites there and looks at the beautiful silhouette of his old love. Finally he breaks the silent.

REVEREND CLARKE
What can I do for you?

Mary turns and in the dark the light on her tears sparkles through the wire screen. She is like the Madonna on some of the old paintings.

MARY
Father I have sinned… I did not fight hard enough to find you… with deep sorrow I have accepted that you have left … run away from me… I’ve got married but I love you… Peter … I am a sinner… as I live in a loveless marriage…

The Reverend is taken by this burst of honest talk, he just sits and looks at Mary’s silhouette as he lifts his praying hands to his face.

REVEREND CLARKE
Mary I left your love for the love of God… he is our savior and though I though of you almost every day… I recommend that we carry our cross as we have it. It was God’s call that I left for the seminary…

MARY
No Peter, no, … I have found out that my father put-up the scholarship after he was called in to the principals office, that we were kissing and his request was that you will be given the first opportunity to study … and that is why we get separated…

The Reverend quietly looking at Mary as the camera picks up as tears flooding his eyes.

REVEREND CLARKE
It never downed on me that life cannot be so cruel…

Mary bends forward and places her lips on the wire sieve separating the two boxes. With closed eyes her lips and her whole face is squished against the wire.

The Reverend looks at the red and moist mouth and as the camera moves up, his face moves closer to the wire until the two lips become one.

The view fades out and fades in back to the church where John and Mother talking

MOTHER
I loved him more than anybody else. I’m ashamed of it now…

She rubs John hand, but she is not looking at John due to her shame.

MOTHER
I have to tell you my secret. This secret … nobody knows… nobody… not your father … not even Reverend Clark …
Your father is not… not the father… whom you think he is…

She looks up to John’s face,

MOTHER
YOU ARE, REVEREND CLARK’S SON…

The shock of his mother statement makes John look with confusion at his mother, who is starting to cry as she is rubbing Johns hands….

MOTHER
I was not a good mother or a good wife. I cheated on your …father …. and I let you go away… on your own…without my support… how could I do that? For whom???… For Reverend Clark??…

She shakes her head in shame, tears are rolling down on her face, as she looks at John.

MOTHER
I don’t deserve your love.

John hugs his mothers head affectionately as tears roll down his face.

JOHN
Mother, understand, .. You must know that I love you …. I will take you away from here.

As they quietly sit and cry, the camera slowly moves up so that the viewer can see the two people, mother and son, from above.

The camera slowly moves higher and higher as slowly starts to focus on the ornaments on the wall.

The view gets closer and closer to the ornament, so close that the viewer can notice a hole in the wall and in the hole an iris of an eye.

As it become clear that there was an eye, the eye slowly moves back and only the black hole remains on the screen among the ornaments.

They were spied on…

From this blackness of the close-up of the hole the next scene fades in at the funeral home as John is narrating the bridging.

JOHN
That was the last time I saw my mother alive… Two days later I received a telephone call that she had died… When I went to the church I was told by one of the administrator that her body had been taken to a funeral home and I should discuss the details with the manager at the funeral home…

INT. FUNERAL HOME OFFICE – TWO YEARS AGO – DAY TIME – COLOR

The funeral home manager is a good looking 30 plus blond lady.

She is very conservatively dressed and the office shows that the place is a well established funeral home. The camera focus is on Funeral Home Manager as she starts to talk.

FUNERAL HOME MANAGER
After you have chosen the coffin our flat fee is $950. That includes the preparation of the body for the viewing, the flowers, and the delivery to the cemetery if you have a plot. If you do not have one, then there are some more fees for the cremation here at the funeral home…

JOHN
I assume that there will be a church ceremony for her…

her facial expression should show her sudden discomfort as she was interrupted by John’s comment.

FUNERAL HOME MANAGER
I don’t know if there will be … any church ceremony in your mother’s case… you have to discuss this it with Reverend Clark.

The camera angle changes and the view is on John in his clean but very simple clothing as the camera slowly focuses on his expressionless face.

JOHN
What do you mean?…

Camera cuts back to Funeral Home Manager as she says.

FUNERAL HOME MANAGER
You know that if someone dies from unnatural courses … then that person cannot be blessed by the church…

JOHN
What do you mean..?

FUNERAL HOME MANAGER
You don’t know. You see.. your mother …took her own life…

JOHN
What do you mean?… She committed suicide??… No, I cannot believe that!!…

John jumps up as he is start talking to himself, his facial expression shows his confusion.

As Funeral Home Manager notices the shock on John, created by her statement of John’s mothers death, to get out of this awkward situation she stands up also and says;

FUNERAL HOME MANAGER
I am very sorry to have upset you… I thought you know about that …Let me take you to our show room.

The view shows Funeral Home Manager and John in a full shot as she goes to a side panel, pushes it and an entrance opens which leads down to the show room. She goes ahead and John follows her as he still talking to himself.

INT. COFFIN STORAGE ROOM – TWO YEARS AGO -COLOR

Next scene shows them as they stand at the bottom of the stairs. She turns to him and says:

FUNERAL HOME MANAGER
Take your time, you will find one which meets your approval.

She turns around and goes up.

The view becomes though John’s eyes as he looks around. he sits down and the view changes again to a full shot of John.

John sits down at the bottom of the stairs on the last steps, hugs his knees and start to rock back-and-forth. He is in disbelief as he talk to himself.

JOHN
What happened Mother… I told you I would take you from there.. why did you wait for me. I was working on the arrangements … What happened … you were so happy that we will be together finally…

John finally stands up and start to walk around in the big room with dozens of coffins.

John slowly moves and checks some of the price tags. The camera picks up his surprised face.

The prices are between $1,500 to $15,000. He almost gets lost. He looks like someone who is drowning.

He gets agitated, looks for the stairs leading out of the storage/show room. He stars walking upstairs.

INT. SAME FUNERAL HOME OFFICE – TWO YEARS AGO – DAY TIME – COLOR

Next cut starts as the panel door opens and John comes back to the room. He closes the door and looks at Funeral Home Manager.

The camera shows her questioning expression as she wonders which coffin John has chosen. But John just walks to the other side of the desk and without sitting down asks her, as the screen shows a full shot of them.

JOHN
Can I see her?

FUNERAL HOME MANAGER
Certainly…

With a surprised expression.

She opens the drover of the desk takes some keys, stands up from the desk and walks out as John follows her.

EXT. SIDE YARD OF THE FUNERAL HOME – TWO YEARS AGO – DAY TIME – COLOR

They cross the backyard of the funeral home and go to a smaller building. She opens the door with a key and says as they enter the building.

FUNERAL HOME MANAGER
It is a bit cold in here.

INT. STORAGE, COLD HOUSE – TWO YEARS AGO – COLOR

Once inside she goes to one of the drawers and pulls it out. She pulls back the white sheet and steps back.

The camera picks up John’s loving sad face. Camera pulls back and shows as John caresses the face of his mother.

He pulls the white sheet a bit lower and some blue marks are revealed around his mother’s neck (indicating that she has committed suicide … or someone strangulated her…)

The camera pulls to a close up of John as he is facing down, he says quietly

JOHN
Mother, why didn’t you wait for me?…

After a few moments he looks up, turns to Funeral Home Manager who is looking at him from a distance, and he asks her;

JOHN
What happens to the body if someone can’t come up with the money?

FUNERAL HOME MANAGER
A… tho…those are very rare cases…

With a surprised expression she stutters;

FUNERAL HOME MANAGER

But if it ha-ha-pens… usually the body is do-do-donated to a University for scientific purposes.

JOHN
I see…How much time do I have to come up with the money?

FUNERAL HOME MANAGER
You have time…

As she makes a hand gesture,

FUNERAL HOME MANAGER
Though it costs $ 200 for a week refrigeration.

John looks once more at his mother face then with a sudden move he covers her face. He looks a the Funeral Home Manager, he agreeing-ly shakes his head and leaves the room saying a short,

JOHN
Goodby.

The Manager stands beside the open drawer, glancing after the departing John.

EXT. STREET – DAYTIME – TWO YEARS AGO – COLOR

As John leaves the funeral home he walks aimlessly on the streets. He suddenly finds himself in front of the Evangelist Clarke’s church. He stands there for a while than with straight steps he walks into the church.

(During these two sequences his voice comes through as he talks to the Young Man.)

JOHN
I did not know what to do as I walked out of the funeral home … I was confused … I could not understand why my mother had committed suicide… She was so happy when she knew that I would take her away…I did not foresee any reason for her to commit suicide… I wanted to get some answer to my question, “Why, why… why”… Without realizing I found myself in front of Evangelist Clark’s church. I did not go there consciously. I was standing out side of the church for awhile … and then from nowhere I felt the urge to go in and talk to the Evangelist.

INT. CHURCH – DAYTIME – TWO YEARS AGO – COLOR

The camera moves with John as he goes through the church almost aimlessly to find the Evangelist’s office.

John’s narration continuous.

JOHN
I did know how to get to his private room at the back of the church, I did not know if he was there at all…Nobody noticed me as I went through the church to the back chapel door and … finally I found myself in front of the Evangelist door … I wanted to knock on the door but something just forced me to open the door without knocking …

INT. THE EVAN. CLARKE’S PRIVATE ROOM – DAYTIME -TWO YEARS BEFORE – COLOR

As John silently opens the door, he finds the Evangelist sitting in a big comfortable chair with his right side to the door his head turned so that his half profile could be seen . His eyes are closed as he mutters a forgiveness psalm.

As John looks at the half profile of the Evangelist the evangelists voice changes, his breathing gets heavier, his facial expression changes.

As the camera slowly moves back from the head of the Evangelist the view reveals that the Evangelist is experiencing a “blow job”.

The Evangelist reaches his climax, his praying hand breaks apart and his voice increases as he prays for forgiveness and places his hand on the young girl head. He does not notice John.

The camera turns to John’s bewildered face standing in the door.

John, with disgust, slowly pulls close the door.

During this sequence John’s voice comes through as he talks to the Young Man. John is so embarrassed by the Evangelist act that he is lying to the Young Man by saying,

JOHN
I did not find Reverend Clarke … I don’t know how I got home… But later that night it came to me what I needed to do;… what in fact I had to do…

The camera angle change to a close-up on John’s sweating face as he leans against the corridor wall, than slowly starts to walk out in the dark corridor.

The view fades into darkness of the corridor.

EXT. SAME SIDE YARD OF THE FUNERAL HOME MIDNIGHT TWO YEARS BEFORE – COLOR

The view slowly fades-in from the darkness and from this darkness the siluate of a car appears, with the lights turned off. It is driving into the parking lot of the funeral home during the night.

John gets out of the car, looks around goes to the other side of the car and opens the back door, takes a crowbar out of the car, then with determined strides, goes to the storehouse, kneels down, and starts to pry open the door.

He looks around and steps through the door.

The door opens again and John’s head pops out. He looks around again, the head disappears, then John comes out carrying a body in a white sheet.

He heads to the car with the back seat where the door is open and he places the body with great care on the seat. Closes the door. He opens the front door, sits in, starts the car and without turning the light on, the car rolls out of the parking lot.

The screen almost gets dark when in the distance the car’s light comes on as John turns on the car lights, leaving the funeral home.

EXT.INT. FROM THE CAR, FROM OUT SIDE OF THE CAR – TWO YEARS AGO – LATE NIGHT HOURS – COLOR

The next roll of the picture should indicate that John is driving out of the city.

At first he is driving on the city highway, then out in the country side and then on a densely treed road. It is still pitch dark.

The on-coming car’s headlights throw light on his face. His face shows acceptance of the act he is doing.

The music is the same Gregorian Chants.

The car slows down and drives into the forest on a gravel road.

EXT. IN A CLEARING OF THE FOREST – TWO YEARS AGO – LATER NIGHT HOURS – COLOR

Next cut shows John as he is building a funeral pyre by the lights of the car.

He pulls big logs and assembles them neatly. He takes some gasoline from the back of the car and pours some of it on the pile.

He goes to the car, opens all the doors, turns on the tape-recorder, which is to play the same Gregorian chants the movie started with. He takes out the white cloth covered body. He carries it to the pyre, kneels down on one of his knees.

He holds the body in the same position as Michelangelo’s “Pieta” but in a reversed setting – he is holding his Mother.

He opens the cover so we can see his mother’s very relaxed face.

The picture becomes blurry indicating that John’s eyes are getting cloudy from the tears in his eyes.

The view changes to a full shot as John stands up and places the body onto the pyre.

From the same viewpoint the viewer can see as he lights a match and throws it on the pyre which right away starts to burn.

John frightened from the flames, moves back a few steps, then sits down and looks up.

EXT. FROM A HELICOPTER ABOVE THE FOREST – TWO YEARS AGO – EARLY MORNING – COLOR

The next view is from high above the forest.

The camera picks up the rays of the rising but unseen sun at a distant horizon. Then the view slowly turns down towards the earth/forest where everything is in dark. There is one little light in the darkness.

The camera is slowly focusing on this light.

As the view is getting closer and closer to this light source, the viewer can now see that it is the flame of the funeral pyre. The flames are engulfing the clothed body in white sheet.

The camera pulls closer right into the flames.

From the flickering flames the camera slowly pulls back and it reviles that it is one of the pupils of John’s eyes.

As the camera pulls back a very close up shows John’s face as tears are flowing down his cheeks.

The fire’s light is flickering on his face.

His eyes slowly turn up looking at the sky, tears are pouring from his eyes as the camera moves up showing his eye movement as it turning toward to the dark sky.

INT. SAME LUNCH ROOM AT THE UNIVERSITY – PRESENT DAY – LATE EVENING – B&W

From this darkness of the sky the next scene turns from COLOR to B&W. and jumps from the past back to the present.

The camera starts from the darkness’ of John’s eye. The view pulls back form this close up of John’ burning eyes.

Tears are swelling up in John’s eyes and as he turns away, the viewer can see his tears rolling down on his face.

The view changes to catch a close up of Young Man as he covers up his tormented face with his hands.

The view pulls back and shows the two men sit facing each other but looking in the opposite direction.

John stands up and he says,

JOHN
When they found out that my Mother’s body…was missing … they easily figured out that it was me…it should not be surprise that I ended up in a mental hospital…

The two men looks at each other as both of them shacking their heads in an approving manner.

JOHN
I better go.. Good night!

He rushes out the way they came in.

EXT. AT JOHNS BASEMENT APARTMENT – PRESENT DAY – LATE EVENING – B&W

The next cut shows John as he gets home and starts walking down to his basement apartment. There is only one light bulb above the stairway.

A window is right above the stairway and as John walks slowly down the curtain moves and somebody looks out, then opens the window and leaning out and says

FRANK
John, is that you?…

From the accent the viewer can detect that this is an Italian family.

JOHN
Yes Frank, it is me.

As he stops and turns his head up toward the window.

FRANK
Come up for a minute, I’d like to show you something.

JOHN
Ok Frank, I am coming…

John turns back and walks around the corner as Frank closes the window and pulls back the curtain.

INT. TYPICAL ITALIAN HOME – PRESENT DAY – LATE EVENING – B&W

The next scene shows the interior of typical working class Italian home, lots of religious ornaments all over but in a very neat fashion.

The viewer can see that the lady of the home is watching a big color TV as the Evangelist, the one whose photo was on the cover-page of the paper, is preaching.

She is devotedly watching him.

The door opens and Frank walks into the picture. The owner of the house warmly greets John who forces a smiling face.

FRANK
John, I made a new brandy, you must taste it.

Frank pushing a glass into John’s hand.

JOHN
You know Frank…I should not drink… I don’t think so.

FRANK
But you have to taste my new brandy…

Frank insisting, in a friendly manner.

In the background the TV Evangelist’s voice can be heard as he asks for help for the poor.

FRANK’S WIFE
Oh, Frank he is so right … We have no problem.. and seeing all that suffering around the world… I feel we must help him…

FRANK
Comm’on Francesca what can we do for all those people?

Turning to his wife with a straight face.

FRANK’S WIFE
We can send some money. We can spare a few dollars.

With an enthusiastic expression.

As she speaks the camera scans John’s mesmerized face who is watching the TV and slowly lifts up the glass and drinks the brandy.

Frank notices the empty glass and pours another one into Johns glass. John doesn’t even notice it. Suddenly he tears his eyes away from the TV, looks at the glass and gulps the second drink down.

Saying a few nice words about the new brandy he says good night and tries to leave, but not before Frank gives him a small bottle to take with him.

JOHN
It is very good Frank, though it is strong for me.

John grasps for air as Frank proudly smiles.

JOHN
I’d better leave… I am getting drank from this.

FRANK
Take this little extra taster with you, John.

John takes the bottle and leaves the room.

INT. THE SAME APARTMENT WHERE THE FILM STARTED – PRESENT DAY – LATE EVENING – B&W

As John steps out of Frank’s home, he steps into his basement apartment. The music is the same Gregorian chants as he left on in the morning.

He goes over to the tape recorder and turns it off. He turns the TV on and as he stands there slowly switches from one channel to the next.

In the meantime he takes a few sips from the bottle which he still holds in his hand.

Typical American game shows, some horror movies, rock music, then it flips to the channel where the TV Evangelist is preaching.

He leaves the TV on this channel and walks to his unmade bed. He stops for a moment to look at the two photographs of his parents.

On the glass of his mother’s picture the viewer can see the reflection of the TV Evangelist. The voice of the TV dies down and John’s broken voice comes through.

JOHN
Mother…why didn’t you wait for me? I would have taken you out of there …

The view shows John from the back, and the photos with the reflection of the TV.

John turns towards the camera to watch the TV. The viewer can see that his eyes are tearful.

All this time he holds the bottle in his hands. He slowly sits down and drinks some more of the brandy.

He pulls his leg under him.

As the voice of the TV Evangelist gets stronger again the camera focuses on John as he grows increasingly agitated.

The TV Evangelist’s voice is getting louder and more provocative.

John makes gestures with his hands and mumbles something. He lies down on one side of the bed and starts to cry.

As he starts to shake he notices something in his pocket. He pulls it out and looks at it. It is the GUN he took from the Wino.

He talks in half sentences. He is worked up!

JOHN
I don’t want to… live any more… Why didn’t you wait for me…?

He realizes that is a gun in his hand, he throws it down to the bed with fright. He looks at the gun on the bed and repeatedly says,

JOHN
Why..?. Why..?

His cry ceases for a moment, looks at the gun and reaches for it.

He picks up the gun, he tries to commit suicide.

He puts the gun against his temple but his hand is shaking so badly that he puts the gun into his mouth, but it is still shaking uncontrollably.

(The noise can be heard as his teeth and the gun are clattering together.)

The TV Evangelist’s voice is getting more intrusive from the background and the viewer can see that soma foam is coming out of John’s mouth as he still bites the barrel of the gun.

He sits up, pulls out the gun from his mouth and waving the gun at the TV evangelist and screams:

JOHN
I know…he killed you!!!

The view changes and shows John as he puts the gun back to his mouth.

He gets more agitated, his eyes starts to roll, the typical signs of an epileptic seizure.

The TV Evangelist words are getting mumbled the camera view pulls up to John as he lays back on the bed.

He takes the gun out of his mouth and start talking to the TV screen.

The camera view turns and starts to focus on the black & white TV.

(This scene and next scene should give the impression that John will commit suicide.

Moving from B&W to COLOR at the end of the next scene and the gunshot noise are the only indication that the suicide may happed … or rather the REVELATION has begun!)

INT. A CONGREGATION HALL (ON A B&W. TV SCREEN) – PRESENT DAY – B&W

Only the black & white TV screen is on the whole movie screen. The Evangelist asks for more money the picture starts to distort and from the background John’s voice comes through…

JOHN
You got killed my mother! … You got killed my mother!!

The TV’s view pull’s back and shows as the TV Evangelist asking some people to come forward. He has promised to heal some of them. Some people are walking towards the preacher.

One of these persons walking to the preacher is very closely resembles John. It is not obvious to the viewers who the young man is the camera doesn’t show the young man from the front, only from the back.

From the background John stuttering voice comes through:

JOHN
You you, you killed my mother. I don’t want to live …

The TV Evangelist voice gets stronger. He goes from one to the other, putting his hand on their heads and howls:

TV EVANGELIST
Jesus…remove the pain.. of this lamb of mine…

Pushing violently a middle aged black lady back by her head as two of his assistants catch her falling flat on her back.

She falls on her knees and with open arms star to praise the Evangelist.

The TV Evangelist steps to an older man leaning on two crutches.

He grabs the crutches violently from the man, throws them away, turns the old man around and then with full force, tosses the old man forward, shouting into the microphone;

TV EVANGELIST
Walk! Walk!! Like HE walked on water!!

The old man at first stumbles down the aisle but his steps are getting stronger step by step.

John voice from the background:

JOHN
Mother, I don’t want to live …

from all the audience in the hall hysterical ovation…

“Haaallee luuujaaa, Haaallllleeee lllujjjaaa….”

The TV Evangelist steps in front of the young man, questioning him condescendingly:

TV EVANGELIST
What is your problem…my son ?

The camera changes to a middle shot of the Evangelist. His face changes and with a surprised face and a trembling voice he ask,

TV EVANGELIST
Do I know you..?

The young man reaches into his pocket and as the evangelist holds the microphone to the young man’s mouth, the young man who, now the viewer can see, turns out to be John says into the microphone with a tense but clear voice :

JOHN
Yes!!… You should have known me more than you did…I am your son…! But my mother never told you…

TV EVANGELIST
John…is that you…

He tries to embrace the John, but John steps back,

JOHN
What happened with my mother..?

The TV.EV. (or Rev. Clark) appears confused and agitated at the same time. He wants to talk but he only can stutter the words. He try to lie but his body language gives him away.

TV EVANGELIST
I don’t know …

John pulls the gun out of his pocket and lifts it up into the Evangelists face

JOHN
Did you kill my Mother?

As the Evangelist stand still and cannot say a word. his mouth is moving but no voice comes out. his expression speaks for hi.

the view pulls back to show both of them as John shoots the Evangelist in his forehead and shouting it into the microphone which is in the outstretched hand of the Evangelist…

JOHN
You killed my mother …

The view changes to a slowly closing up shot of the Evangelist.

(This all scene is still on the enlarged black and white TV screen.)

Finally the only thing on the movie screen is the black&white TV screen with the TV Evangelist close-up and a black hole on his forehead. The back hole changes to a red hole on the TV Evangelist forehead.

The camera pulls back and slowly changes from the black & white to color.

The evangelist is still standing as slowly red blood starts flowing down on his face.

The noise of the shot vibrate in the air.

INT. CONGREGATION HALL – PRESENT DAY – COLOR

The camera pulls back from the face of the TV evangelist. Blood comes out of his mouth and he slowly collapses with open eyes looking into the camera questioningly.

The whole congregation brake into commotion and screams.

The camera pulls back further so the viewer can see John with the gun in his hand and the Evangelist on the floor.

The view is moving higher up, shows as the people running up to the scene forming a circle around John and the dead TV Evangelist.

John stands tall with the gun in his hand.

The people who get close to John stop screaming and like they were mesmerized just look at John with almost in piety.

They keep some distance around them.

John looks around, shows no remorse.

The camera pans around and shows the spellbind faces of the congregation around him.

One of the man turns to the woman beside him and asks quietly;

CONGREGATION MAN #1
Did he say that Evangelist Clarke was his father …

CONGREGATION WOMAN #1
Yes, and he has executed his Father for murdering his Mother… if I understand correctly …

She whispers back;

The view pulls up higher and shows that some police arrives.

John drops the gun as the policemen break through the circle.

John places his hand together, kind of asking for the handcuffs, but as the police looks at John and he does not pull out the handcuffs just places his hand on John solder and says;

POLICE MAN
Let’s go…

The police men take him away while the circle is quietly opening up in front of them.

INT. IN THE JAIL – PRESENT DAY – COLOR

The next scene starts to roll from the eye of the man, who will turn out to be the prison psychiatrist.

In this close-up of the eye the interior of a interviewing room and a sitting person should be reflected.

As the camera pulls back and shows the two standing doctors, the viewer could look inside the interviewing room through the one-way mirror.

John is sitting at a desk.

During these camera movement the following conversation is being carried on between the two doctors;

YOUNG DOCTOR
He looks unrepentant…

From this Young Doctor’s eye was, where the scene started to roll.

OLD DOCTOR
He appears to be a super intelligent man… How could he become a killer?

YOUNG DOCTOR
There are no motives, according to the inspector… He does not have any criminal record. What has made him snap?

OLD DOCTOR
I don’t think he could stand a trial. He has withdrawn completely. He has not spoken to anyone yet… not since the time of his arrest… He just sits and keeps quiet. The inspector could not get anything out of him.

OLD DOCTOR
He is just sitting as if nobody existed around him. He behaves like a sleep walker.

YOUNG DOCTOR
Let’s see if he will talk to me… It will depend on this interview if he can stand trial or not.

The Young Doctor leaves the room to enter the interviewing room.

INT. INTERROGATION OFFICE – PRESENT DAY – COLOR

The next scene will be a dialogue between the prison psychiatrist and John. It takes place in an empty interrogation room which has only one table and two chairs.

The viewer can see through a one-way mirror, as the older doctor analyses the main character sitting at the table and the Young Doctor leaves to the interview.

The camera goes from behind the old doctor through the window to a close-up of the John, whose eyes are closed.

The view pulls back to a full shot of the interrogation room. As John opens his eyes the door opens and the younger doctor enters the room. He comes to the table, sits down and looks into the camera.

YOUNG DOCTOR
I am the institution’s psychiatrist. I must interview you to evaluate your mental state… do you understand me…

The view changes back-and-forth from the doctor’s close-up to Johns close-up.

Johns eyes are penetrating the young doctor. He does not say a word but his expression appear to approve.

The camera pulls back to a medium shot as shows both men sitting at the opposite side of the table.

YOUNG DOCTOR
Why did you kill Evangelist Clark?

John with penetrating eyes looks at the Doctor and slowly starts to talk.

JOHN
I cannot explain it properly! In one moment it became clear to me that I had to do it… That, it was my destiny. or… may be my mission.

YOUNG DOCTOR
Are you a religious man?

JOHN
What is religion?

YOUNG DOCTOR
Shall we say…

The doctor does not want to talk but he is forced to talk by the riveting eyes of John.

YOUNG DOCTOR
That,that congregations of people…

He tries to stop talking, but can not break the spell.

YOUNG DOCTOR
…worshipping God.

John pauses for a second or so as he looks above young Doctor’s head.

JOHN
I believe, that the people who would like to worship God …cannot belong to any religion… So to answer your question I am not a religious man!

YOUNG DOCTOR
O,so, Are you an atheist?

The doctor grabs on the opportunity that John started to talk.

JOHN
Who is an atheist?

YOUNG DOCTOR
One who denies the existence of God.

As he is shaking his head;

JOHN
No, I do not deny the existence of some super intelligent being… In this case I am not an atheist.

The camera rests on the doctor’s puzzled face.

YOUNG DOCTOR
Do you believe in the existence of God?

JOHN
Yes, I believe that there is a force…

John stops, than agreeing-ly shaking his head and continues.

JOHN
…a supernatural force that started life in the universe …because the chances to bring together all the necessary elements to result in organic material is astronomically impossible and this supernatural force created intelligent beings homoseapians… on our planet…and most probably other planets all across the Universe… But I do not believe in a white bearded old man sitting on a golden throne…judging us … our every move…

John stops again like weighting the words he would say,

JOHN
… I think that the mental power of a healthy, reasoning human brain is the ultimate manifestation of the existence of a divine intelligence…God…

The dazed doctor looks at the patient.

YOUNG DOCTOR
Would you expand on this manifestation a bit more.

JOHN
When someone refuses to raise a gun and go to war to kill somebody like himself… another human being: God has revealed himself to that one…
One who questions the righteousness of the church to bless the guns to destroy life… of his own species: God has revealed himself to that one…
To those who stand up and question the right’s of any leadership which does not represent the aim and needs of the people… who elected them, …but represent the interests of some small group or individuals, whom sequentially…

John carries himself away and work himself up,

JOHN
…exploits everything and anything…
…not concerned with the hardship they create for Nature and to other human beings…what will happen with the workers and their families when they take their jobs… away… turning the old peoples hardly earned savings to mud…and all these are done in the name of profit…. To those… to those who question this acts;…God has already revealed himself!!!

YOUNG DOCTOR
You sound like a communist! … Are you one?

JOHN
Should someone be a communist to raise these questions? Or rather HE shall be called:… The man from Nazareth… HE said it first, that human beings were equal … HE was the ONE… the first one… who turned his face instead of hitting back… the ONE who through out the dealer-wailer, hucksters from the house of God… ending HIS life on the cross fore these!!

With smile on his face he continues.

JOHN
If HE would be here HE would raise now the questions that nobody asks…HE would ask for the right to work to support ones family… He would punish the ones who steal the old peoples retirement money…
HE would question the unquestionable questions …HE would be …HE would be called an agitator or terrorist… HE would be arrested… HE would be called a communist…and HE would be crucified again…

John slows down and looks at the doctor and continues;

JOHN
To answer your question I am not a communist…
I am just a responsible human being as many, many are out there!

YOUNG DOCTOR
What…

With a surprised expression on his face

YOUNG DOCTOR
What… responsible… So, if you are a responsible human being how is it that you killed Evangelist Clark..?

JOHN
Did you know Evangelist Clark?

YOUNG DOCTOR
Yes…I guess so… and he is forced to continue by John’s silence; He was a great preacher. A man with divine power to heal the ill, who gave comfort to millions and … guided their way to God… A man with a spotless life, who gave faith to the young, power to the old, food and clothing to the poor…

JOHN
I see… you know only the showbiz side of Evangelist Clark… Do you know that every year a few dozen people commit suicide because they give all their belongings to his church in the hope of helping the needy… And after many years when they need the help, they find out that they have been cheated…They feel deserted they lost their belief in God… Do you know that the bulk of the donated money goes to his secret bank account? Did you know that he had three children born out of wedlock, from three different girls some of them were underage..?
Do you know that I am his son…

YOUNG DOCTOR
Yes, the witnesses to the murder told us that you made this claim but these are not a reason to kill a man…

JOHN
You are right… these are not the reason … but any one who intentionally kills an another human being … has forfeited his human conscience…
He can no longer considered a human anymore… my reason was, that he killed my mother…

YOUNG DOCTOR
That is horrifying accusation… how would you know… that he killed your mother? I cannot believe you!

With a kind of smile on his face.

JOHN
You will see! during the trial… that I know … I know everything … Then remember what I have said.

YOUNG DOCTOR
You have a derailed mind.

With a hesitant expression on his face.

YOUNG DOCTOR
You want to put the establishment on trial … not yourself… I do not think I can sign the release forms that allows you to stand trial…

After a bit of thinking,

You can’t not go… public.

JOHN
You do what your conscience dictates… and that, you must do. Doctor!!!

The camera pulls up to a close up, shows John’s eyes as they are penetratingly focusing on the doctor.

The doctor stands up with a troubled expression on his face and starts to walk out. At the door he stops, turns back, confusedly shakes his head, than walks out.

INT. SAME COURT BUILDING LOBBY – DAY TIME – PRESENT DAY – COLOR

Next scene start with the same reporter who at the beginning of the film announced the start of the court proceedings.

TV REPORTER
The courtroom is packed and the security is beefed up…the only question is; where is Prof. John?…
Will he show up or not?

He looks at his watch,

TV REPORTER
After the professor left the courtroom the whole city police force was alerted but they could not find him…he just vanished. The question lingers who is this man? Here is with me Dr. Kiss the Court physiologist who was evaluated the mental state of the Professor before he get to the court. What can you say about the accused?

Dr. Kiss is the young doctor who did not want to allow this trial by realizing that something was not normal with John.

YOUNG DOCTOR
Something is unexplainable about this individual. Now, looking back, I did not want him to stand trial but I did sign the release form. Almost like against my better judgment.

TV REPORTER
Do you say that you did not want him to stand trial?

YOUNG DOCTOR
Yes, I felt that this trial will not be about Professor Smith but rather about our current way of life… he would point out the mockery of the political, economical and religious system… His views, he has expressed during the interrogation, were the most unorthodox…during the evaluation I had the sensation that I was confronted something bigger then a MAN… He was acting like a PROPHET if may use this expression.

The camera angle changes to shows the commentator, the doctor and the TV camera man with the camera on his shoulder.

The angel is such that the camera man is shown from the back of the new angel and will be shown as he will walk between the two men when John appears.

TV REPORTER
Did you say a PROPHET whit some smile on his face, So will this PROPHET show up as he promised yesterday?

YOUNG DOCTOR
I am afraid so… and I really hope, he will not…

As the Dr. Kiss talks, John appears in the background between the two men, walking towards the door of the courtroom.

The camera man recognizes John and picks up John’s appearance and walking through/between the TV. R. and Dr. K. he follows John movements leaving the commentator and the doctor speechless.

They turn after the cameraman, they recognize the situation and follow the cameraman as John opens the courtroom door.

INT. INSIDE THE COURT ROOM – SAME MORNING PRESENT DAY – COLOR

Next scene starts as John stands front of the courtroom door. The doors is pushed open by John hand and the viewer can see the whole courtroom full of people.

The judge who was already sitting at his chair automatically stands up and leans forward as he sees John entering the room.

All the people in the courtroom stand up slowly and turn towards John who walks down the aisle and sits down at the accused box.

The courtroom is dead silent while everybody takes its seat again.

The camera view switches back to John’s eye view. The camera slowly turns and shows that the jurors seats are empty, there is no one there.

John turns back to the judge.

The judge looks nervous and hands over a statement to the courtroom administrator to read it. The clerk starts to read the statement.

CLERK
Due to the very unusual circumstances of this case, the higher court had an emergency meeting last night where it was decided that there would not be a jury on this trial. The honorable Judge Buzinsky will carry on with the proceedings.

The courtroom administrator sits down, the judge cleans his throat and on a faint voice he asks;

JUDGE
Are you pleading guilty or not?

John stands up, looks at the judge while he lifts his finger pointing at him:

JOHN
You cannot make a judgment over me…

As he says this the camera closing on the judge’s sweating face.

JOHN
You are guilty on more than one count…
You have accepted bribes to give reduced sentences to drug dealers …

Just before you enter this courtroom you sniffed some drugs…

At that moment the judge automatically reaches toward his nose to wipe off some residue … WHICH WAS NOT THERE… but this move gives him away… he tries to say something but no voice comes out of his mouth.

JOHN
You are a filthy hypocrite… You are elevated up to this position to keep up the basic laws of GOD to ensure that TRUTH is victorious… instead of that… you can be bought… You sit on the chair of integrity… but you just bring disgrace on it…

The view changes to a medium shot, shows John turning to the policeman beside him.

John pulls the gun out of the policeman’s gun-holder who is frozen stiff.

The camera pulls back to open the view of the court room. Everybody looks at the events with disbelief and horror but nobody can move.

None of the policemen can move, they are and everybody else is paralyzed.

As the camera pans around the room and then pulls back shows the bewildered faces. Ends on the judge who is sinking slowly down on his chair.

John with the gun in his hand walks into the centre of the courtroom turns around to face the packed courtroom. All eyes are on him.

The view changes to John’s eyes’ view.

He slowly turns his head and looks at people and then with a thunderous voice starts speaking.

The camera angle changes to show a close-up of John’ face.

JOHN
None of you can cast a stone at me…because you are all… guilty!!!

The camera slowly pulls back and shows John as he with his left hand points at the people.

The camera pulls back again to show the people with a close-up through John’s eyes, as his voice resonate in the court room.

JOHN
Yes, all of you are guilty … and I am guilty too…. because I did not stand up earlier to clean the name of my master… God…
from the parasite like … Evangelist Clark. Nobody can pass judgment over me… but me…

The camera slowly pulls back from John’s close up as he speaks.

JOHN
Now… I am taking all your sins away from you. From now on… all of you… are accountable… for what is happening… on this Blue Pearl of GOD on your planet.
By you, the creation of … GOD!!!

He looks around at the courtroom slowly, adding weight to his statement, then he lifts up the gun and without any hesitation he shoots himself in the head at the temple.

As the body slowly falls down the camera picks up the horror on the people’s faces in the courtroom. They’ve just realized that he was the long-awaited PROPHET!!!

Some people start crying, some just look at the scene with wide open eyes, some cover their faces with their hands, etc. but nobody leaves their sit.

This goes on and on as the camera moves round.

Finally the view ends-up on John’s body. The camera starts zooming in on John’s head and as it is getting closer and closer it focuses finally on his eyes.

When only his eyes are on the screen in colour the film changes back from COLOR to B&W.

It should happen so smoothly that it can hardly be noticed. The film changes from Color to B&W.

INT. JOHN BASEMENT APARTMENT – LATE NIGHTEARLY MORNING – B&W

John’s eyelids, which are the only things on the screen, are start moving. (They don’t open yet!)

The camera slowly pulls back at floor level that the viewer can see John’s face as his mouth is moving, showing some residue of the epilepsy attack.

His eyes start opening up as though he is waking from a deep sleep. There isn’t much light in the room, only one clamp-on lamp on the bookshelf.

The camera pulls back to a higher angle and the viewer can see John’s body lying on the floor in the same pose as he has fallen in the court room.

The camera slowly pans around the room and the viewer just realize that we are back in John’s basement apartment.

The empty bottle is on the floor, the bed cover is wrinkled, and the TV. set is shattered from a gun shot. After this rotation of the camera it finally sink back to John’s eye level again with a close up on his eyes as he is opening his eyes now.

He does not move his head only his eyes move around… at one moment his eyes move back to and start to focus on something.

The camera angle changes to his eye view.

That something, which got his attention, slowly sharpens and it becomes the barrel of the Winos gun.

The camera angle changes, pulls to a high level within the room again and shows John on the floor and the gun only an arm length away.

He slowly moves his hand and reaches out for the gun.

After reaching it, he starts pressing himself up from the floor.

He stands up somewhat wobbly but noticeably gaining strength.

He holds the gun, looks at it as he slowly turns it in his hand around. He puts it into his pocket!!

By-now he stands solidly on his feet, as the camera angle is slowly sinking to his eye level. The camera angle changes, the viewer can see through John’s eyes.

He looks around slowly in his apartment he looks at the books and finally his eyes rest on the leather binder of the HOLY BIBLE.., The camera angle changes and shows John as he goes to the bookshelf pulls out the BIBLE, press the tape recorder button and music starts again the same Gregorian chant as earlier.

He walks to the door and turning once more back as he look around, he opens the door and leaves the room.

END