FADE IN:
INT. ROOM - NIGHT
A gnarled male hand holding a quill is painstakingly making marks on a parchment while, hushed voices are heard reciting scriptures. A lone candle provides the light. There is a hesitant knock on a door and the hand stops writing. The quill is placed on the parchment and the writer cups his hands over the candlelight. Someone calls from the darkness.
MAN (O.S.)
Who is it?
There is an answering voice from outside and the door is opened. Two male figures covered with shawls are briefly silhouetted against the evening light before the door is closed.
YOUNG MALE1 (O.S.)
God be with you.
MAN (O.S.)
And with you.
The hand picks up the quill and makes the final strokes to the parchment. One of the young men approaches the table.  The candlelight shows his robbing up to his lower chest.
WRITER (O.S.)
God be with you.
YOUNG MALE1 (O.S.)
And with you.
WRITER (O.S.)
Were you seen?
YOUNG MALE1 (O.S.)
No!
WRITER (O.S.)
It is wise to be cautious. The spies of the Pharaoh are like a disease.
The writer's hands roll up the scroll and place it into a clay jar. He hands it to the youth who puts it in a bag hidden under his robe.
WRITER (O.S.) (CONT'D)
There are more at the alter. You'd better take those as well.
The youth turns and goes to the other end of the dimly, candle lit room and exits through a curtained doorway.
INT. ALTER ROOM -- CONTINUOUS
Harsh shadows reveal little of the people kneeling in prayer in front of an alter. Youth 1 enters and Youth 2 passes him a scroll. He puts it into his bag.
YOUTH 2 (QUIETLY)
That is the last. We'd better go.
INT. ROOM -- CONTINUOUS
They emerge from the curtained prayer room and approach the unseen writer again.
YOUNG MALE1
We are done.
WRITER (O.S.)
Then go with God.
The writer cups the candle flame and blows it out plunging the room into darkness. 
The two open the door and are again briefly seen before they disappear into the street.
EXT. CITY STREET MONTAGE - NIGHT
SUPER THE WORD: GOMORRAH  ONE
Parties and orgies are seen in many of the buildings. Beggars lining the streets hold out their hands to passers-by. Soldiers laugh at them as they pass.  Exterior walls have flickering torches either side of the doorways.
INT. PUBLIC HOUSE - NIGHT
Decorated carved gold statues and idols break and reflect the light of the many tiny lamps that adorn the walls. Grunts and groans accompany a sea of copulating heaving bodies.
A man bursts through the open door way. 
A knife glints in his hand. 
His deep-set crazed eyes dart around the dark interior. 
He lurches forward. 
A male grunts in pain as he's stabbed. A woman screams and another laughs.
The preoccupied mass ignore the attacker as he drags the injured man outside. 
EXT. CITY STREET -- CONTINUOUS
The injured man is dumped on the dusty road and the attacker re-enters the building. 
Two soldiers approach. One bends to attend to the injured man.
SOLDIER 1
Who did this?
Dusty bare feet herald an old man in rags who shuffles up and stops at the scene. He raises a staff he carries.
OLD MAN
Repent! The end is nigh. God will punish the sinners.
The soldier looks up at him in annoyance.  
SOLDIER 1
Go away old man! 
The old man points at him.
OLD MAN
God will punish you! 
The soldier stands and the other approaches menacingly.
SOLDIER 1
What are saying old man?
The two young men watch. Young Male 1 hurries forward to the group.
He puts his hands on the old man's shoulders and pulls him away.
YOUNG MALE 2
Please forgive him, he is old and feeble. He doesn't know what he says. 
The soldiers hesitate before standing aside to let the youths move the old man away.
YOUNG MALE1
Come old man, The soldiers will help that man.
They hustle the old man away as the soldiers tend to the injured man. The old man looks confusedly at his comforter.
OLD MAN
The Lord will punish them.
YOUNG MALE1
Of course... but you must be careful, prophets are crucified.
EXT. CITY OUTSKIRTS - MOMENTS LATER
They stop and glance back. 
YOUNG MALE 2
You must take your leave now. Go with God. 
They leave the city lights behind.
EXT. MIDDLE EAST DESERT POS.1 - LATER
They move fugitively, protectively holding the bags under their shawls, constantly looking around for anybody following.
YOUNG MALE1
We were foolish. Approaching the soldiers like that. 
YOUNG MALE 2
We would have been crucified if they found the scriptures.
YOUNG MALE1
Not just us, all those in the city would be found and murdered. 
EXT. CAVE ENTRANCE -- LATER
The two look around one last time before going into the dark cave.
INT. CAVE -- CONTINUOUS
An ancient PROPHET sits at a makeshift table reading by the yellow glow of a torch burning from an attachment on the wall. He doesn't look up as the two enter.
YOUNG MALE1
Greetings reverent one. Are things well with you?
The old man nods his answer but continues to mouth the words he is reading from an unraveled leather parchment.
YOUNG MALE 2
We have more. So many are bringing their testimonials and prayers for safe keeping.
Youth 1 puts one scroll on the table. The old man looks up at them.
PROPHET
Good. There isn't much time.
Youth 2 places the new scrolls onto shelves on the wall.  
YOUNG MALE1
Time for what?
PROPHET
The almighty has warned of the downfall of the great Cities.
Young male 2 finishes and comes closer and joins young male 1 next to the prophet.
PROPHET (CONT'D)
The Earth will shake with a terrible force. Fire and brimstone shall rise from the ground.
The prophet stands and gets very animated. Gestating wildly. 
PROPHET (CONT'D)
The Cities will crumble. The sea will rise up and cover them and they shall all perish.
The two stand in awed silence and they flinch he starts again.
PROPHET (CONT'D)
Their evil bodies will foul the waters  and forever more it will be useless for drinking or for providing fish.
He stops and stares at nothing.
PROPHET (CONT'D)
A dead sea!
The Prophet turns and bumps the desk.  
The new scroll rolls off the table onto the floor.
Youth 1 stands back as the prophet heads in his direction.  
His foot knocks the scroll away unseen into the shadows.
PROPHET (CONT'D)
God alone knows who the righteous are and he shall protect them. He will send a savior.
YOUNG MALE 2
When? Will he save us?
YOUNG MALE1
What about the soldiers?
They follow the prophet to the cave entrance.
EXT. CAVE ENTRANCE -- CONTINUOUS
They exit the cave and gaze at the stars. 
PROPHET
A man child shall be born who will teach the world of right and wrong. He will spread the word of the Lord.
YOUNG MALE1
How do you know such things?
The Prophet waves vaguely to the air.
PROPHET
I had a vision. There is a parchment with important wording for the eyes of the savior only.
Young male 1 looks at the prophet with concern. 
YOUNG MALE1
Which one? There are so many and in just as many caves.
PROPHET
I do not know.
YOUNG MALE 1
How will the savior know?
PROPHET
When the time is right he will know.
The prophet enters the cave. The two young men look towards the city lights.
YOUNG MALE1
Do you believe him?
Young Male 2 sits down against the wall of the cave.
YOUNG MALE 2
No, but it's strange that the old man in the village also saw it.
YOUNG MALE 1
Maybe a disaster is the only way to punish the sinners.
EXT. CITY STREET - NIGHT
MONTAGE: 
The streets buzz with debauchery and drunkenness. Half naked women are entertaining males in doorways.  Women and children are propositioned. Poverty shows in many of the open doorways.
INT. PUBLIC HOUSE -- CONTINUOUS
A torch on the wall starts shaking unnoticed. The shaking gets suddenly stronger and more insistent. 
Some idols fall break. 
A torch falls onto some dirty cloth and sets it alight. 
More torches begin falling and people shout first in anger, then shock and finally in pain as they start burning.
EXT. CITY STREET -- CONTINUOUS
Buildings start crumbling, trapping burning people inside.  
Tremors knock many screaming people off their feet. 
Cracks spewing yellow sulfurous gas open up in the ground.
INT. HOUSE -- CONTINUOUS
Cracks with flames and gases open in the floor, searing and burning the skin off those close by.
EXT. CITY STREET -- CONTINUOUS
Screaming people, some in flames, are running through the   streets. Firelight shines through the dust and smoke.
EXT. CITY OUTSKIRTS LAKE SHORE -- MOMENTS LATER
Soldier 1 is delegating soldiers. A large number of people wearing  blackened burned clothing gather around him. 
Many are injured and cry and moan in pain.
SOLDIER 1
Gather round. I need able bodied people to make shelters. 
He points to a person in the crowd.
SOLDIER 1 (CONT'D)
You! We must warn the other cities. Take someone and warn SODOM.
The man runs off into the darkness. 
He looks to the fires in the ruined city
SOLDIER 1 (CONT'D)
Everyone keep close to the lake.
Soldier 2 approaches him. 
SOLDIER 2
I'll go to ZEBOIM to get help.
Soldier 1 taps him on the shoulder in agreement.
He runs into the towards his horse. Those remaining watch their city burn.
Suddenly the ground gives a huge lurch throwing many off balance. 
Soldier 1 on his knees looks up.
From out of the blackness a 300-foot wave bears down on them.  
They turn to flee the oncoming wall of water but the ground begins to tear. 
The shore moves towards the water taking the people with it.
EXT. CAVE ENTRANCE -- CONTINUOUS
The keepers of the scrolls run out of the cave. 
In the distance the city flames suddenly disappear. They hear a distant roar.
YOUNG MALE1
It's happening. Where's the savior? We'd better help them.
They run into the night. 
The prophet comes out the cave and  watches them.
PROPHET
Fire and Brimstone.
The earth shakes again tripping the prophet.
INT. CAVE -- CONTINUOUS
Sand and loose gravel falls and covers the room. 
At each tremor the scroll is more covered in dust.
SUPER : 2000 YEARS LATER
INT. CUSTODIAN COTTAGE -- MORNING
CYRUS NELSON is a small, elderly man. He finishes translating a sentence from a photograph in a book about the Dead Sea Scrolls then bends the pages in half and staples them together down the center. 
He goes over to a steel filing cabinet and opens a drawer. 
He removes a wad of thirty eight similarly bound papers. 
He adds the last one entitled MALACHI. Other titles are ZEPHANIA, HAGGAI, ZECHARIAH. 
He closes the drawer and places the collection in a smart cardboard folder which he binds closed with a smart golden thread.
He looks at it with pride. 
CYRUS NELSON
Sonny!
SONNY enters from the room dressed in a faded sweater and jeans. The twelve year old is slight of build with dark hair and brooding green eyes.
SONNY
You haven't rung the bell yet!
Cyrus holds out the folder and a birthday card with the number twelve on it. 
Sonny's face lights up with a broad smile. He takes the folder and card.
CYRUS NELSON
Happy Birthday!
SONNY
Thanks Cyrus. 
Cyrus smiles.
CYRUS NELSON
You're very welcome but I don't think you should take that to class. You can read it later.
Sonny smiles, puts on a coat. Cyrus picks up a bell as they head to the door.
EXT. SCHOOL -- MORNING
Cyrus rings the bell outside a small school building. Sonny waves and heads slowly to the main building.
Down the street two girls and two boys, average age 12, hunch up in their smart winter clothes as they enter the grounds.
Three older boys approach him menacingly. The bigger boy looks for support from his companions then snatches Sonny's bag. 
SONNY
(resignedly)
Please give it back.
The approaching group of four children see the tough kids  throw the bag amongst themselves. Susan, the smaller, youngest girl runs up. The others follow.
SUSAN
Leave him alone you big bully!
JASON, the oldest of the bunch quickly grabs her.
JASON
(nervously)
Shut up Suz!
Susan turns on him.
SUSAN
(taunting)
Why, you scared?
The bigger bully throws the bag away and starts towards the group, his friends follow.
BULLY
(snarls)
What did you say?
MICHAEL, Susan's bigger older brother, steps in front of her and steers the group in another direction. 
MICHAEL
She didn't say anything.
Then to her as they get out of earshot.
MICHAEL (CONT'D)
What you do that for? It's only Sonny!
Susan jerks her arm from his grip.
SUSAN
What's wrong with him? Why's everyone always picking on Sonny. 
MICHAEL
He's old and ugly enough to look after himself.
Michael looks back to see Sonny standing alone dusting off his book.
JASON
I heard he was left on the Chapel steps when he a baby.
They all turn to watch Sonny slowly make his way to the main school building.
CATHY
(conspires to Susan)
He's not so ugly.
Susan turns to her friend and they both giggle.
INT. SCHOOL -- MOMENTS LATER
The hallways are busy with kids of all descriptions. Dressing as outrageously as possible. Sonny is the exception.
INT. CLASSROOM -- MOMENTS LATER
The last kid enters as MRS DUROSE starts her lesson.
MRS. DUROSE
Who finished their assignment.
All avoid her eye.
MRS. DUROSE (CONT'D)
Anyone?
Sonny raises his hand accompanied by a low groan from the rest of the class.
MRS. DUROSE (CONT'D)
Settle down. Well done Sonny, I thought you might have.
She goes to his desk and holds out her hand. Sonny hands her a 15 page essay.
MRS. DUROSE (CONT'D)
You've certainly been busy.  As for the rest of you, I expect two extra  pages. That's 12 pages by tomorrow.
Moans and groans greet her announcement.
MRS. DUROSE (CONT'D)
That's enough now.
Michael and Jason sit next to each other at the back of the class.
MICHAEL
See! Now we've got to do more work! It's all his fault.
They turn to glare at Sonny, but see Susan smiling at him. 
Michael frowns at her. 
She pulls a tongue then turns to face the teacher.
MICHAEL (CONT'D)
I think Susan likes Sonny.
JASON
(annoyed loud whisper)
No!
All eyes swivel to Jason.
MRS. DUROSE
No what Jason? Have you decided you're not going to do it?
Jason turns to Michael and frowns at the teachers misunderstanding. Michael shrugs his shoulders.
Mrs Durose turns to the black board.
MRS. DUROSE (CONT'D)
And remember to put the subject as well as the date. 
She writes on the black board. MAJOR RELIGIONS. DECEMBER 26TH. 2016. She underlines the date and turns back to the class.
MRS. DUROSE (CONT'D)
Just five days to the 31st.
The kids cheer. 
MRS. DUROSE (CONT'D)
Okay, okay your vacation hasn't started yet. Can anyone name the major religions?
A few hands go up. Sonny is first. Mrs Durose points to another CHILD.
CHILD
Islam, Judaism, Buddhism.
MRS. DUROSE
Well done, so do you have an idea! Lets see some creative writing.
She hands out pamphlets to each child.
MRS. DUROSE (CONT'D)
Please remember to tell your parents that school closes at 12 noon on Friday for the start of the vacation.
INT. STAFF ROOM -- LATER
The teachers are having a coffee break. The loud talking stops as PASTOR CYRUS NELSON enters.
PASTOR NELSON
Excuse me fellow educators, but I have the problem of finding a suitable foster home for one of our flock for this New Years closure.
COACH WILSON wearing a base ball cap calls from a window seat.
COACH WILSON
I didn't know we were teaching sheep Father!
From the other side of the room amongst the laughter, another teacher retaliates.
TEACHER 2
You don't know my class!
More laughter. The Pastor smiles.
PASTOR NELSON
I'm sure you all understand my metaphor, but it is a rather an unfortunate situation I have on my hands.
MRS. DUROSE
I presume you're referring to Sonny again Father?
She sips from a cup. Cyrus nods.
PASTOR NELSON
Yes. Some of you might be aware that I have been summoned away on some rather pressing business this New Year.
He looks around at the teachers. An uneasy silence reigns. 
Some teachers make a show of continuing with their coffee or reading the newspaper.
COACH WILSON
Can't he can stay with friends?
Teacher 2 answers from behind a newspaper.
TEACHER 2
He doesn't have any.
PASTOR NELSON
I'm sure the boy has his fair share, but they are probably unaware of his predicament this year.
COACH WILSON
Yeah right!
(more to himself)
MRS. DUROSE
When will you be leaving?
PASTOR NELSON
I will be here until the 3rd of January. Why? Do you have someone in mind?
Mrs Durose takes her cup back to the table.
MRS. DUROSE
No, but I could include a note with the EOY flyer. Maybe one of the parents can spare a room!
Cyrus looks around at the faces looking blankly back at him
PASTOR NELSON
It seems we do not have an overabundance of compassion in this world. So thank you Shirley, I would like you to include a note from me to the parents.
He turns and leaves the room. There is an combined sigh of relief.
Coach Wilson forcefully loads his kit bag.
COACH WILSON
What's with the guilt trip he's laying on us. He's the Religious Guru with the compassion crap?
Shirley Durose looks sharply at him, another teacher notices.
TEACHER 2
Language, Jimmy. Ladies present.
The school bell sounds and they disperse.
INT. ROBSON HOUSE - TV ROOM -- EVENING
The Robson family are eating supper while watching the News on TV. Michael hands HELEN ROBSON a flyer 
She reads it.
TELEVISION ANCHOR
A suicide bomber has claimed five more lives in New York today..
HELEN ROBSON
Oh that's sad.
GREG ROBSON
Yeah, damn terrorists!
HELEN ROBSON
No, I mean about this boy, Sonny, at the kids school.
Michael and Susan look at their mother.
SUSAN
What's it say?
HELEN ROBSON
He has nowhere to go. That's so sad. Do either of you know him?
MICHAEL
Yeah!
He looses interest and resumes watching television.
SUSAN
(excitedly)
He's in our class. He lives at the school and he's pretty clever.
MICHAEL INTERJECTS
MICHAEL
He's not SO smart!
SUSAN
He is so!
MICHAEL
Not!
SUSAN
Is!
MICHAEL
You just like him!
SUSAN
(without conviction)
Do not!
MICHAEL
Do so!
GREG ROBSON
I'm trying to watch TV.
Helen holds the letter to her husband but he ignores it.
HELEN ROBSON
There's a boy in the kid's class who needs to be taken in over the vacation time.
GREG ROBSON
Why you telling me?
HELEN ROBSON
Don't you think he could stay here? We've got room.
Susan climbs onto her fathers lap.
SUSAN
Please! Daddy! Please!
GREG ROBSON
OK, OK! Just get off.
Michael gets up in disgust and storms out of the room.
EXT. LOCAL STREET -- DAY
Michael and Jason ride down the road on their bikes.
JASON
You're NOT serious?
MICHAEL
Yeah!
JASON
No!
MICHAEL
He doesn't have to hang with us. We can go fishing or camping n' stuff. He can stay behind.
JASON
And Susan?
MICHAEL
Dunno, why?
JASON
We can't leave Sonny with her. That wouldn't be fair.
MICHAEL
She wants him there. She likes him.
Jason can be heard as they ride into the distance.
JASON
No she doesn't. Don't keep saying that!
INT. ROBSON HOUSE - LIBRARY -- MORNING
Greg is reading a book on reincarnation.
SUSAN (O.S.)
Breakfast is ready.
Greg puts the book away and leaves the room.
INT. ROBSON HOUSE - TV ROOM -- CONTINUOUS
Greg enters and switches on the Television using the remote. 
Scenes of desert warfare in the Middle East, change to an interview with a government official. 
Greg sits down and looks up as Sonny enters. Helen enters from the kitchen carrying a tray with two mugs.
TELEVISION ANCHOR
(background)
Oil is a big factor in the World Economy and of course everyone wants a share, but the United States recognizes the sovereignty of the Middle East and will continue to negotiate an acceptable business agreement.
HELEN ROBSON
Hello Sonny,  I thought you went with the boys?
SONNY
They let me sleep in.
HELEN ROBSON
Oh!
She puts the tray down.
HELEN ROBSON (CONT'D)
Would you like some juice?
Sonny wanders up to the couch and looks at the TV.
SONNY
No I'm good thanks.
GREG ROBSON
(jokingly)
So what is your regarded opinion about the recent spate of terrorist attacks?
SONNY
You mean apart from the oil factor?
Greg smiles.
GREG ROBSON
Sure! 
SONNY
I think the East doesn't accept the Wests' lack of Religious Faith. They think we're totally immoral.
He sits down next to Greg. Intrigued.
SONNY (CONT'D)
That's why innocent people are dying. Because of intolerance and ignorance.
Greg looks at Sonny speechlessly then looks back at Helen who apparently hadn't noticed anything unusual.
HELEN ROBSON
Are you hungry, how about some eggs for breakfast?
SONNY
No thanks, I'll get some cereal.
Sonny walks off to the kitchen. Greg is still in a state of amazement.
GREG ROBSON
Did you hear that?
HELEN ROBSON
That's so mean of Michael! To go off and leave Sonny by himself like that.
GREG ROBSON
I'm not surprised. The boy's definitely not interested in the same things as Michael. Hell! He has an opinion on politics.
HELEN ROBSON
Well I think they should at least make the effort to include him.
GREG ROBSON
They'll be back at school soon.
INT. ROBSON HOUSE - LIBRARY -- AFTERNOON
Sonny enters and looks at the collection of books. 
He scans the titles. Many are on reincarnation. He pulls one out and reads a few lines. 
Greg walks in as he replaces a book.
GREG ROBSON
You like reading?
SONNY
Yes Sir.
GREG ROBSON
Do you have a favourite book? Author?
SONNY
I've read nearly all the books in the school library, but my favorite is my own.
GREG ROBSON
Your own? You wrote a book?
Sonny laughs, he pulls out his home made book. 
SONNY
No, Father Nelson gave me a collection of 39 old scriptures taken from the Dead Sea Scrolls. I bound them together myself.
He hands it to Greg who takes it gingerly. 
GREG ROBSON
Oh, that's..Uh...very nice. Isn't it very religious though?
Sonny shrugs his shoulders 
SONNY
They do talk about higher a being, I like to read about all of them.
Greg scans it.
GREG ROBSON
Does it have a title?
He hands it back. Sonny puts it back in his pocket.
SONNY
Not yet but I think I'll call it THE WORD. 
Greg feels uncomfortable. He clears his throat and goes to the book shelf. 
He picks out the book Sonny had just replaced. 
He looks at the title.
GREG ROBSON
Do you believe in reincarnation?
SONNY
I don't know.
GREG ROBSON
Do you know what reincarnation is?
SONNY
Not really.
Greg pulls a few more books from the collection.
GREG ROBSON
I have to show you something.
EXT. ROBSON HOUSE -- EVENING
Michael and Jason drop their bikes at the back door and burst into the kitchen.
INT. ROBSON HOUSE - KITCHEN -- CONTINUOUS
Helen Robson puts a pan on the stove. She looks to the boys as they enter.
MICHAEL
Hi Mom! What's for supper?
HELEN ROBSON
Sausages and fries. Would you like to join us Jason? There's plenty.
JASON
No thanks Mrs. Robson I think we're having pizza tonight.
Michael opens the refrigerator and starts drinking from the milk carton, he stops and wipes his mouth with his sleeve.
MICHAEL
Where's Dad?
Michael takes the glass Helen hands him.
HELEN ROBSON
In the study with Sonny.
He looks up in annoyed surprise.
MICHAEL
With Sonny?
Michael puts the milk and unused glass away.  
HELEN ROBSON
They've been there all day looking at Dads' books.
(Sarcastically.)
Especially since he has no-one to play with.
MICHAEL
C'mon Jason.
He stalks off to the library. Jason follows.
INT. ROBSON HOUSE - LIBRARY -- CONTINUOUS
He stops at the doorway and watches his father and Sonny pouring over the books. 
Susan arrives and ignoring Michael and Jason, walks straight up to her father and sits down at the table with them.
She turns the page of the closet open book on the table.
GREG ROBSON
Hi Susie.
He sees the boys at the entrance.
GREG ROBSON (CONT'D)
So the whole family is home.
Michael walks in and stands close to his father. He makes a show of looking at the book Greg's holding.
MICHAEL
What's this about?
GREG ROBSON
I was just showing Sonny my books on reincarnation.
SUSAN
Re-incarlation, what's that?
GREG ROBSON
(laughingly)
No it's reincar-nation, it's the belief that people have lived before in another time, another life.
Susan's brow furrows.
GREG ROBSON (CONT'D)
Some people believe that they've lived long ago as someone else.
MICHAEL
Is that true, Dad?
Greg turns a few pages and mutters.
GREG ROBSON
I honestly don't know. 
Jason, who had been waiting at the door, comes into the room. 
He sits down.
JASON
You know ol' Mr Stevens in number 22? Well, he said he went to a fortune teller or something and they told him he used to be a Viking.
MICHAEL
Cool, I reckon I was also a Viking before.
SUSAN
And I was a Princess!
Sonny glances at the girl and smiles. She blushes. He looks down and shuffles his feet.
SUSAN (CONT'D)
What do you think you were before?
SONNY
I don't know.
MICHAEL
He was a sheep. Baa baaa.
Susan goes to Michael and pushes him.
SUSAN
Leave him alone! I bet you were a..a ..bull, a stupid ox.
GREG ROBSON
That's not nice, Micky besides, I don't think people were animals in their past lives.
MICHAEL
Then he I bet he was someone that lived in barn with the animals.
Jason pushes Michael.
JASON
Hey I'm gonna call you Bull.
Michael puts his fingers to his head like horns. 
He chases Jason around the room.
GREG ROBSON
Don't let him worry you Sonny.
He closes the book. 
GREG ROBSON (CONT'D)
Do you have any thoughts on what I've shown you?
SONNY
It's very interesting Mr Robson.
GREG ROBSON
So do you believe in it?
SONNY
I..
Before he can speak, Jason blurts out.
JASON
He believes in religious stuff!
They all look first at Jason then at Sonny. Greg gathers his composure first.
GREG ROBSON
If Sonny wants to believe in it that's his business. I'm sure there are still people who do.
MICHAEL
But religious people are terrorists!
Sonny puts a book he was holding back onto the table and looks at Greg. Without a word he heads for the door. 
Greg stands up and calls after him.
GREG ROBSON
I don't think he meant that you're a terrorist Sonny. I'm sure he didn't mean to offended you.
Sonny keeps walking and speaks without looking back. 
SONNY
I'm not offended Mr Robson...
At the door he turns to speak.
SONNY (CONT'D)
..but if there is a higher being, I can't speak for him.
Greg shakes his head and lets out a sigh.
GREG ROBSON
Strange kid, even though he seemed interested in my books.
Michael holds up his hand to do a 'High 5' slap with Jason.
JASON
Go Bull!
Jason moves over to Greg and picks up the book.
JASON (CONT'D)
Sonny's always weird. I'm interested in your books Mr. Robson. 
GREG ROBSON
Oh?
JASON
Sure. I'd like to travel in time.
INT. ROBSON HOUSE - LIBRARY -- NIGHT
One thirty in the morning and the study is in darkness. The fish tank light casts little enough light. 
A book on re-incarnation is opened. A boys head moves into the light as he turns the page. It's Sonny.
SUPER - MIDDLE EAST - 15 YEARS LATER
INT. HALL -- DAY
Robed hands pack machine guns and explosives into boxes.
Terrorist leader AMAL watches from the shadows, his face hidden. An insignia is prominently displayed on the walls.
Amal strides out the door. STABUL follows.
EXT. HALL -- CONTINUOUS
The exit the hall. They embrace. Amal's sleeve slides to expose his bracelet.
AMAL
Make sure it gets there safely. See you in America. 
EXT. MIDDLE EAST DESERT POS.1-- DAY
Amal and Stabul are viewed through binoculars.
The sun blazes down on the desert sands; the only sound is an almost audible buzz from the oppressive heat. 31-year-old Michael dressed in fatigues lies in the dust. Dust exaggerates the lines around his eyes as he squints into binoculars.
He turns to JEFF lying next to him.
MICHAEL
Okay that's him leaving. You're not going to get another chance.
His companion holds his breath and aims his rifle. His finger squeezes gently. 
Stabul's head blocks Amal in his sights. He exhales.
JEFF
I can't get a clear shot.
Michael watches with his binoculars.
MICHAEL
Take it when you can.
Jeff nods and sights again.
Amal bends to get into his car as Jeff shoots.
STREET 
Soldiers immediately return fire and start up the hill towards them.
HILL 
Michael pushes Jeff.
MICHAEL (CONT'D)
Go!
The two separate and run doubled over in opposite directions as bullets kick up the sand around their feet. 
Michael runs in a zig-zag motion to the back of a mound. 
With his back to the bank he sees Jeff running in from the left about 7 yards out. Bullets slams into his thighs. He screams and slides onto the sand face first.
MICHAEL (CONT'D)
Damn! Jeff can you hear me?
Jeff lies motionless. Michael wipes the sweat from his face.   The radio crackles.
RADIO
Bull this is Dingo, you OK?
MICHAEL
Jeff's down, I don't know his condition.
RADIO
Was he successful?
MICHAEL
Don't know. We had to leave.
He pokes his head over the mound. A bullet hits the dirt.
MICHAEL (CONT'D)
They're closing in. Can you get a fix on them?
RADIO
What's your position?
Michael wipes the sweat again.
MICHAEL
Hang on!
Jeff moans.
MICHAEL (CONT'D)
Dingo it's Bull, Jeff's alive, I'm bringing him in.
Michael darts out from behind cover and runs to Jeff. Bullets explode around him. 
He picks up the wounded man under the arms and drags him. A shell explodes into the bank, splattering him with shrapnel, killing Jeff instantly. Michael is thrown to the ground. 
Dust swirls. Michael sees his foot has broken through an opening in the bank. 
He scrambles to his knees, glances at a mutilated Jeff then  enlarges the opening with his boot. 
As soon as the opening is wide enough, he slides in headfirst.
INT. CAVE -- CONTINUOUS
He lands heavily on the floor. 
His boot to slips against the wall knocking loose the scroll. 
It rolls across the floor into a ray of sunlight. 
Michael pulls out his flashlight, bangs it a few times without any luck then puts it back into his pocket. He pulls out his knife and angles the blade into the sun. 
He reflects the light into the recesses of the cave.  
The walls have shelves stocked with urns. The scroll catches his attention and he stoops to pick it up. A shell goes off knocking a load of sand into the cave. Michael brushes sand from his face. 
MICHAEL
Shit.
He slips the scroll into his tunic. He hears whispering.
He ducks into the shadows and looks to the entrance.
A head blinded by the inner darkness appears in the hole. Michael sidles close and grabs him by the collar and pulls.  The man falls heavily onto his back, breaking other paraphernalia. 
Michael puts the gun into his captive's mouth and his finger to his lips. He gags. 
More soldiers appear at the hole and call. 
Michael indicates that his captive must tell them to leave. He gets a frightened nod from his prisoner and slowly removes the gun and holds it against his head. 
His prisoner shouts in Arabic and the voices fade. Michael picks up his the radio.
MICHAEL (CONT'D)
Dingo, Dingo this is Bull, do you read?
RADIO
This is Dingo Bull, where the hell are you? I can't see a damn thing.
MICHAEL
I'm in a cave, I've got one here but there are more outside. Can you do anything?
RADIO
I'll send a smoker. As soon as it hits, get the hell out.
MICHAEL
I'll be waiting.
He hears the distant thud of the smoke bomb being launched.
EXT. CAVE -- MOMENTS LATER
The smoke bomb explodes near the entrance of the cave.
INT. CAVE -- CONTINUOUS
He immediately hits his prisoner over the head knocking him out. He pulls off his turban and wraps it around his mouth.
EXT. CAVE ENTRANCE -- CONTINUOUS
Michael scrambles out of the entrance. 
He runs through the smoke. Bullets ricochet around him as he nears his base. He raises his hands while running.
MICHAEL
Hey guys, Bull coming in, don't shoot.
He flops down next to DINGO as he lets off another mortar. Michael peeks over the rise at the target.
MICHAEL (CONT'D)
Get them?
Dingo has a permanent dead cigar in his mouth and is dressed in desert fatigues. He lowers the mortar.
DINGO
Maybe! But I think we'd better move.
Michael leans back, slaps dust from his cap then jumps up and grabs a weapon and some ammunition.
Dingo hoists the mortar onto his shoulder. Bullets fly around them hitting the sand.
They run doubled over to a jeep and leap in. 
DINGO (CONT'D)
What if he's still alive?
MICHAEL
Jeff?
Dingo shakes his head. As Jason floors the accelerator.
Wheels spin in the sand.
Dingo climbs into the back with the gun and starts shooting back. 
DINGO
The target. 
MICHAEL
We'll know soon enough. 
A mortar explodes close the jeep as it disappears into the distance. 
EXT. ROBSON HOUSE -- DAY
Helen and Susan Robson pull up in Helen's car and enter the house.
INT. ROBSON HOUSE - TV ROOM -- CONTINUOUS
Susan, dressed fairly smartly, puts down her purse on the side board. Helen Robson goes into the kitchen. 
Susan goes to a picture of Greg Robson on the television.
It shows an elderly Greg Robson.
SUSAN
It's so peaceful at the cemetery.
She puts the photo back flops into the couch and turns on the TV with the remote. 
The screen opens with a picture of an explosion, followed by guerrillas with weapons running between war-damaged buildings. Helen Robson brings in a tray of tea and places it on the coffee table in front of them.
SUSAN (CONT'D)
Isn't that where Bull is Mom?
She peers at the images.
HELEN ROBSON
I wouldn't know where he is dear. Where is that?
SUSAN
I don't know, I missed it. Somewhere in the Middle East.
Susan pours some tea and sips it.
SUSAN (CONT'D)
When last did you hear from him?
HELEN ROBSON
About a month ago. I think he was somewhere near the Dead Sea.
SUSAN
I worry about him. 
HELEN ROBSON
I'm sure he's fine dear. How's Jason?
Susan switches off the television.
SUSAN
Doing well. He's convinced he's on the brink of a break through.
HELEN ROBSON
What exactly is he researching?
SUSAN
(exasperated)
Mom! He's in all the papers.
HELEN ROBSON
I don't read the papers much.
SUSAN
You should.
HELEN ROBSON
It's all bad news. It upsets me.
SUSAN
I know! But you can't shut yourself off from life, it's unhealthy!
HELEN ROBSON
I know dear... About Jason.
SUSAN
He researches re-incarnation with possible connotations to time travel  
Helen pours another cup.
HELEN ROBSON
He always was a dreamer. 
SUSAN
Mother!
Susan stands up and paces the floor.
SUSAN (CONT'D)
Did you know that Jason started his interest in re-incarnation because of Dad?
HELEN ROBSON
No I didn't actually. You did say time travel? 
Susan flops down on the couch next to Helen causing her to bounce and almost drop her cup.
SUSAN
Yes, he believes that it's possible to determine a time to be reborn!
HELEN ROBSON
Doesn't that mean you have to die first?
SUSAN
I s'pose so!
HELEN ROBSON
And how is he going to test his theory? Die? As I said...a dreamer!
Susan jumps up again and waves her arms. Helen drops down in the sofa cushion again.
HELEN ROBSON (CONT'D)
Stop doing that! 
SUSAN
I don't know how he's planning on proving it. I haven't been following his work that closely.
She stops at a calendar. Then turns quickly to Helen.
SUSAN (CONT'D)
Did you manage to find the top for my Uniting Dress?
Helen puts her cup down then collects a box from another part of the room which she hands to Susan. 
Susan opens it and holds up the top.
HELEN ROBSON
I could only find a synthetic thread. There just weren't any silk ones anywhere.
Susan shoves the top back into the box.
SUSAN
You know I can only wear silk!
HELEN ROBSON
I know dear, but..
SUSAN
(pleadingly)
Mom! The Uniting's on Saturday. Please take it back and find me a silk one.
Helen sighs. The phone rings and she answers.
HELEN ROBSON
Hello, Oh hello Jason, yes she's here, hold on.
Helen passes the phone to Susan and while she is speaking, she refolds the top. 
Susan replaces the phone and comes back to her mother and gives her a kiss on the cheek.
SUSAN
Thanks Mom you're the best.
She picks up her purse.
SUSAN (CONT'D)
I'm meeting Jason downtown. We're going to Peacedales.
HELEN ROBSON
The hospice?
Susan opens the front door.
SUSAN
Uh huh, don't ask mother.
She leaves and closes the door behind her.
EXT. PEACEDALE HOSPICE -- LATER
Streetlights shine through the sleet. Jason stands at the bottom of the stairs stamping his feet and clapping his hands. 
His breath misty in the cold. He checks his watch then looks to see Susan run up from the parking lot.
JASON
Where the hell have you been?
SUSAN
You said six o'clock.
JASON
It's after. This is going to be difficult enough as it is.
Jason turns and walks briskly to the entrance and goes through the doors.
INT. PEACEDALE HOSPICE -- CONTINUOUS
They stop in front of a notice board and find the office number for DR.DRISCOLL. 
They march off down the corridor. Susan checks her watch.
SUSAN
It's only five past. You don't need me anyway.
JASON
You handle the finances and I might have to persuade him.
INT. PEACEDALE HOSPICE CORRIDOR-- CONTINUOUS
They stop at an office and Jason confirms the office number.
JASON
Just follow my lead.
Through the door window he sees the Doctor at  his desk. He knocks.
DR.DRISCOLL (O.S.)
Come in.
Jason and Susan enter.
INT. DR.DRISCOLL OFFICE -- CONTINUOUS
Dr Driscoll, stands and offers his hand.
DR.DRISCOLL
Mr Laterby I believe?
He looks at Susan questioningly.
JASON
This is my fiancé and financial advisor, Susan Robson.
The doctor shakes Susan's hand.
DR.DRISCOLL
(laughs)
All in the family. Pleased to meet you. Please sit down.
They make themselves comfortable. Susan examines the room.
DR.DRISCOLL (CONT'D)
Now Mr. Laterby, I am a little confused as to why you wanted to see me. You didn't explain on the phone.
Jason fidgets in his seat, hesitates then leans forward.
JASON
Doctor Driscoll, I'll come straight to the point. I've been doing research on time travel and..
DR.DRISCOLL
Time travel?
The doctor is wary.
JASON
Yes, actually let me ask you first. Do you believe in re-incarnation?
The doctor leans back a little and folds his arms.
DR.DRISCOLL
Well I don't know, I've honestly never really given it much thought. 
JASON
Understandable,  but it's a fascinating subject as I will explain.
Dr.Driscoll unfolds his arms and leans forward.
DR.DRISCOLL
Please continue.
Susan looks around the office at the certificates on the walls. Her gaze continues around to the office door window. 
SONNY walks past in the corridor.
JASON
About ten years ago I started-
Susan stands up
SUSAN
I'm sorry, I need the washroom, please continue, I'll be right back.
She ignores Jason's glare and leaves the room.
INT. PEACEDALE HOSPICE CORRIDOR-- CONTINUOUS
She looks down the empty corridor. 
She walks down the corridor and glances into each office window until she reaches the wards. The first two have patients in either the beds or sitting by the windows. 
In the third a man sits at a bedside talking to a child. She waves at the window but he doesn't notice. She taps on the pane just as a nurse walks past.
NURSE
Can I help you?
SUSAN
No thanks I was, uh, never mind.
The nurse leaves a little uncertainly. Susan hesitates only a second before slowly opening the ward door. She squeezes in and closes it quietly behind her.
INT. PEACEDALE HOSPICE WARD -- CONTINUOUS
Sonny doesn't look up. He is comforting a young bald child. 
She waits at the door and watches. 
The Sun shining in from the window appears to form a halo over his head. Sonny feels Susan's gaze. He looks up.
SUSAN
(whispers)
Sonny!
He smiles and comes towards her holding out his hand.
SONNY
Susan, this is an unexpected surprise. What brings you here?
He indicates the bed behind him.
SONNY (CONT'D)
Do you know little JESSY?
SUSAN
(croaks)
No!
She clears her throat.
SUSAN (CONT'D)
No I'm here with my fiancee, Jason Laterby. You do remember Jason?
SONNY
Yes of course, how is he?
SUSAN
He's good, working hard, but what about you? What are you doing here? Jessy isn't your ...
Sonny shakes his head. She touches his arm in embarrassment.
SUSAN (CONT'D)
I'm sorry, I wasn't sure..
SONNY
(smiles)
No offence taken. No, Jessy is just one of the many unfortunate people here living out their final days. 
SUSAN
So why are you here?
Sonny looks back at Jessy.
SONNY
I volunteer my time..do what I can.
SUSAN
What about their families?
SONNY
You'd be surprised how many people feel uncomfortable around a dying person. They would rather not visit...not so much the children but definitely the older ones.
She looks at Sonny for a second or two.
SUSAN
You're a good man Sonny.
Sonny's embarrassed.  
SUSAN (CONT'D)
Do you have you a business card?
Sonny pats his pockets.
SONNY
No I ..
Susan takes out a card and pen from her purse.  She looks at her watch.
SUSAN
I have to go.  Do you mind if I contact you?
Susan writes the number and puts the card back in her purse.
SUSAN (CONT'D)
Great, I'll call you.  Sorry to have to run like this.  
She shakes his hand, turns and hurries out of the ward.  She waves through the window at Sonny then runs down the corridor. Sonny smiles for a second then turns back to Jessy.
INT. DR.DRISCOLL OFFICE -- MOMENTS LATER
Dr Driscol is standing as Susan enters.  He shakes his head. 
DR.DRISCOLL
I'm afraid I can't possibly allow my patients to be harassed at this -
JASON
- But they're as good as dead.  I'm offering them a chance to look ahead!
DR.DRISCOLL
According to you! Many of them are very despondent as it is. Some have  even attempted suicide.
JASON
Wouldn't that be better for them?
DR.DRISCOLL
I think this interview is over Mr Laterby.
JASON
Maybe if I spoke to just one..
Dr. Driscoll offers his hand.
DR.DRISCOLL
I don't think so. Thank you for dropping by.
He ushers them smartly to out the door. 
EXT. DR.DRISCOLL OFFICE -- CONTINUOUS
Jason storms off down the corridor with Susan scurrying behind. 
JASON
Damn idiot, he wouldn't even listen to me.
EXT. PEACEDALE HOSPICE -- CONTINUOUS
They exit the building into the late evening. 
JASON
Where the hell d' you go?
SUSAN
(apologetically)
I saw Sonny.
They reach the car. Jason stops abruptly and turns on her.
JASON
Sonny!
He unlocks the car. 
SUSAN
I just thought...
Jason holds up his hand.
JASON
No!  You didn't.
He gets in his car.  She's annoyed.  He's preoccupied.
JASON (CONT'D)
I'll talk to you later.  
She watches him drive away.
EXT. ROBSON HOUSE -- LATER
Susan pulls up in her car gets out and slams the door.
SUSAN
Idiot!
At the door, while she's getting her key, the phone rings.
SUSAN (CONT'D)
Damn, damn, damn!
She opens the door in time to hear the voice on the answering machine.
MICHAEL MACHINE (O.S.)
Hey Sis, Pick up.
Susan answers the phone and shrieks with excitement.
SUSAN
Bull, where are you?
INTERCUT TELEPHONE CONVERSATION - MICHAEL AND SUSAN.
INT. ROBSON HOUSE - LIBRARY -- CONTINUOUS
MICHAEL
Moms place.
Susan bounces like a little girl.
SUSAN
This is a wonderful surprise, where have you been?
MICHAEL
It's a long story Sis, Can't talk on the phone about it.  I just called to say I'll be at your Uniting.
SUSAN
That's great. There's a couple of people I want you to meet.
Michael has the scroll in his hand, he looks at it.
MICHAEL
I've even got a little  present for you and Jason. A souvenir I picked up overseas.
She laughs.
SUSAN
Can't wait to see you again.
She hangs up the phone and smiles.
EXT. ROBSON HOUSE -- DAY
The house is decorated for the Uniting. Early guests admire the flowers, coloured ribbons and bows. Jasons' car pulls into the drive. 
Susan hurriedly gets out and rushes up to Michael. They hug excitedly. Jason walks up to Michael and once Susan has let Michael go, Jason offers his hand.
JASON
It's been quite a while Bull. Where've you been hiding this last year?
Susan grabs Jason before Michael can answer.
SUSAN
Please excuse us Bull, right now Jason's got things to attend to. Get a refill. Mingle.
Susan pulls Jason to the house.
SUSAN (CONT'D)
You can catch up with Bull later.  We've got work to do!
INT. ROBSON HOUSE - TV ROOM -- LATER
A name tag 'DEBAR JONES: Unity Facilitator' is on the ample chest of an official looking woman. 
She stands behind a podium set up in front of about thirty seated people. 
Jason and Susan wait on the other side of the decorated room for their signal. 
The woman picks up a ceremonial bell and rings it once. The guests go quiet.  The couple walk ceremoniously to the podium.
DEBRA JONES
Ladies and gentlemen, welcome to the uniting of Jason Laterby and Susan Robson.
INT. ROBSON HOUSE - TV ROOM -- LATER
A Champagne cork pops.  And cake is cut. 
Michael and Jason leave the guests and exit the room.
INT. ROBSON HOUSE - LIBRARY -- CONTINUOUS
Michael goes to the refrigerator.
MICHAEL
Brewski?
JASON
Of course, but I should be in there with the rest of them.
Michael gives Jason the beer.
MICHAEL
Ah!  You've got the rest of your life to mingle with them. 
Michael walks around the room and stops at the bookshelf reads a title then turns to Jason.
MICHAEL (CONT'D)
Most Uniting these days are Donnys and Johnnies, nice to see an actual man and woman getting together. Didn't you have one stay here one break. 
Jason laughs and shakes his head.
JASON
You mean Sonny!
INT. ROBSON HOUSE - TV ROOM -- CONTINUOUS
Sonny arrives at the front door and is greeted by Susan.
SUSAN
Sonny! So glad you could make it.
INT. ROBSON HOUSE - LIBRARY -- CONTINUOUS
Michael sucks on a beer bottle.
MICHAEL
Yeah that's it, Sonny, I wonder what happened to that weirdo, he was pretty creepy, very ... uh.. Religious
JASON
You won't believe it. Susan invited him to the party.
MICHAEL
(annoyed)
Here! Why?
Jason shrugs his shoulders 
JASON
That's what I said. It wasn't as if he was a close friend
Michael slams down his beer. It froths.
MICHAEL
He didn't have any friends. Bloody religious freaks.
Jason pulls out a book on reincarnation 
JASON
I don't think he's that bad. You know, he indirectly got me started on my time travel research.
MICHAEL
You still into that crap?
JASON
Crap!
MICHAEL
C'mon Jason. Time travel!
JASON
It's possible.
Michael smiles and reaches into his jacket pocket. He brings out the still wrapped scroll.
MICHAEL
So you're still collecting old shit.
JASON
Ancient artifacts yes, Why?
Michael hands the scroll to Jason.
MICHAEL
Happy Uniting buddy.
Jason puts down his beer and accepts the gift.
JASON
And this?
MICHAEL
Something I found on my travels.
Jason unwraps it carefully. He's floored.
JASON
I don't believe it. Where did you find this? It is authentic isn't it?
He looks more closely at the scroll.
JASON (CONT'D)
This is priceless.
The two don't notice as Susan ushers Sonny into the library and are startled at her first words.
SUSAN
You remember Sonny!
Jason and Michael spin around and straighten up guiltily. 
Sonny smiles and strides towards Jason.
SONNY
Good evening gentlemen, Congratulations Jason, nice to see you again, it's been quite a while.
Jason shakes his hand.
JASON
Thanks. It certainly has been a while.
SONNY
Michael nice to see you. 
Sonny offers his hand. Michael obliges.
MICHAEL
Sonny. 
Jason attempts to discreetly hide the scroll on the seat under the desk.
JASON
Susan told me that we might see you this evening. What have you been doing with yourself these last, what, fifteen years?
SONNY
Yes it's about that.
SUSAN
Drink? Sonny.
SONNY
A light wine please.
While Sonny watches Susan pour the wine, Michael effeminately mimics him saying 'a light wine'.
SONNY (CONT'D)
I've been studying Religion and Archaeology as well as helping out at various medical institutions. And yourself?
Susan gives Sonny his wine.
SUSAN
You boys can talk, I've got to look beautiful for the other guests. 
Sh exits. Michael laughs.
MICHAEL
He's a budding time traveler.
Sonny raises his eyebrows questioningly.
JASON
Thanks Bull, let's all make fun of the scientist shall we.
He runs his hands along the books on reincarnation.
JASON (CONT'D)
I've been studying re-incarnation for the last ten years and I believe it's possible to predetermine when one would be born again.
MICHAEL
Like I said, a time traveler. Crazy huh?
SONNY
Maybe not, I've no idea if it's possible or not. But why would you want to travel forward in time?
JASON
Ultimately I'm hoping to find a way to go back.
SONNY
Back?
MICHAEL
Back?
JASON
Of course back. Imagine knowing what you know now. The positions of all the gold deposits, oil fields. Lottery numbers, the list is endless.
Michael takes another beer form the fridge.
MICHAEL
I'd like to get my hands on that asshole who started Al Qaeda. I'd bust his ass before he has a chance to start this damn religious anti American movement.
He looks intentionally at Sonny who doesn't respond.
MICHAEL (CONT'D)
And you?
SONNY
I must admit I haven't thought about it.
He walks over to the books on the shelf and reads one or two titles.
SONNY (CONT'D)
But I remember reading up on re-incarnation ages ago.
He takes one of the books off the shelf and pages through it. He turns to Michael.
SONNY (CONT'D)
As a matter of fact, your father introduced me to it in this very room.
MICHAEL
Is there anyone he didn't?.
Jason is surprised at Sonny's answer.
 
SONNY
I obviously haven't delved into it as much as you have, but I like to keep an open mind.
Jason walks back to the desk. 
H stands next to the seat with the hidden scroll.
JASON
You say you studied archaeology. How would you like to help me with a project?
INT. ROBSON HOUSE - TV ROOM -- NIGHT
The party is over, Helen and Susan are tidying up. Susan finds the television remote and absentmindedly turns it on. 
The anchor woman is reporting another suicide bombing. 
Helen switches the television off.
HELEN ROBSON
Do you mind Dear.
SUSAN
Sorry Mom.
HELEN ROBSON
What drives a person to suicide. I'm sure it wasn't as bad when I was young.
SUSAN
It's a religious thing. They believe they'll meet their maker if they die trying to destroy 'evil' America.
HELEN ROBSON
I'm not talking about that dear. I'm talking about the average person in the street. There's been twenty  this year in New York alone.
Susan gives her mom a hug.
SUSAN
They're obviously depressed about something.
HELEN ROBSON
Mmmm. Who's the gentleman in the library with Jason?
SUSAN
Mom! You must remember Sonny?
HELEN ROBSON
Wasn't he the boy who stayed here that one New Years break? You were quite sweet on him.
Susan smiles.
SUSAN
Well he was a nice looking boy, and so mysterious.
Helen stops and looks at Susan questioningly.
SUSAN (CONT'D)
Mother! I've just got united.
EXT. JASON'S OFFICE -- MORNING
Numerous homeless are scavenging through the garbage. 
INT. JASON'S OFFICE -- CONTINUOUS
His office is dark. Mini spotlights highlight a substantial collection of artifacts housed in display cabinets. A blackboard with chalk markings overlooks the computer desk. 
The scroll with some broken parts lies on a worktable. A sunbeam streaming through the window creates a shadow in the shape of a cross on it.    
Jason sits at the desk looking intently at a computer screen. The doorbell breaks the silence. 
He opens the door.
SONNY
Hello Jason, Hope I'm not too early.
JASON
Not at all, come in.
Sonny follows him into his office and hangs up his coat. He wanders around awed at displays. 
JASON (CONT'D)
(proudly)
Impressed?
SONNY
Very!
JASON
It's taken a while.
Sonny stands in front of a display of a rusty dagger.
SONNY
These should be in a museum.
Jason saunters over to the cabinet and points to the dagger.
JASON
Some stuff, maybe, but most of these items are connected to re-carnation situations I've investigated.
Jason takes the knife out of the cabinet.
JASON (CONT'D)
Take this knife for example. The previous owner claimed she lived on a farm in the Cedar area one hundred and fifty years ago.
Sonny peers in at the dagger.
JASON (CONT'D)
Alone. As a man!
Sonny grunts in surprise.
JASON (CONT'D)
She told me that in her previous life she'd had a favorite knife, with her, or should I say his, initials carved on it.
Sonny follows Jason as he takes the knife to the light at the computer desk.
JASON (CONT'D)
She described it in detail. So one weekend we went camping to search for her past.
Sonny points to the knife.
JASON (CONT'D)
Buried in a pile of dirt next to a very old busted up log cabin. Miles from nowhere.
Jason replaces the knife back in the cabinet.
SONNY
Amazing.
Jason goes to his blackboard. 
JASON
You can understand my interest.
 
He points out headings on the board as he explains.
JASON (CONT'D)
I went further and decided to correlate all my information to try and find a common denominator.
 He wiggles his hands as if they where a bundle of spaghetti.
JASON (CONT'D)
Somewhere in this mishmash of data there must be reoccurring aspects. Something to formulate an equation.
SONNY
But that's still going forward in time.
JASON
Sure, but once that's accomplished, I'll work on how to reverse it. 
Sonny sits down and looks at Jason in silence.
JASON (CONT'D)
Of course it won't be easy. Most accounts of past lives are hazy at best. But!
He throws his hands in the air.
JASON (CONT'D)
All very time consuming, and damn difficult when talking to non believers.
The doorbell rings. He goes off to the door and brings back Michael who hangs up his coat. Sonny stands to greet him.
SONNY
Hello Michael.
MICHAEL
Bull!
JASON
I've just been telling Sonny about my theory.
MICHAEL
You have my sympathies.
Sonny laughs. 
SONNY
I can see how it would involve lot of research.
Michael walks over to the table with the scroll.
MICHAEL
I see you've started.
JASON
Only Just. I was reading up about it when Sonny arrived.
Sonny jumps up and quickly approaches the table.
SONNY
(whispers reverently)
You actually have a Dead Sea Scroll?
Sonny looks questioningly at Jason.
SONNY (CONT'D)
When you mentioned the project I had no idea that you had one!
MICHAEL
Yup, I found it in the Middle East. Thought Jason here would like it.
JASON
I was planning to do some research on it before contacting a museum.
MICHAEL
(violently)
No, no museums.
SONNY
I don't think he has an option.
Michael turns to Sonny then to Jason.
MICHAEL
No, I must insist. The whereabouts of the scroll must not be revealed to anyone. Is that clear?
Jason, taken aback by Michaels' outburst, nods in agreement.
JASON
Sure, but..
MICHAEL
No buts, that goes for you too Sonny. Do I have your word?
Sonny is dumfounded, he hesitates then nods.
JASON
Where the hell did you get it?
MICHAEL
From a rather sensitive area where the US does not have permission to be at present. Can you imagine if those terrorist bastards got wind of this?
He indicates the scroll emphatically. Then looks accusingly at Sonny.
MICHAEL (CONT'D)
You're not one of those fanatical  idiots are you?
SONNY
I'm not fanatical but I do pray!
MICHAEL
What's that supposed to mean?
SONNY
I'm not sure of the question?
Michael steps up to Sonny. His face inches from Sonny's.
MICHAEL
(rapidly)
Are you a sympathizer? Do you agree with what these terrorists are doing? Are you an undercover terrorist? Do you understand the question now?
Jason pushes Michael away and steps between them.
JASON
I'm sure Sonny is not a terrorist Bull. Not every person that prays is a terrorist, at least I don't think so.
MICHAEL
Yeah! Well you can't be too careful these days, they're everywhere.
SONNY
To answer your questions Bull. No I am not a terrorist. I do not believe in killing. I have lived according to what I have learned from previous scroll translations, and yes I have prayed to...
Michael waves him down and turns away disinterested.
MICHAEL
Yeah, yeah, whatever, just keep your mouth shut about the scroll. 
SONNY
You do realize that the air in the city could destroy the parchment very quickly unless you take preventative measures immediately.
JASON
I realize that but I don't exactly know what's required.
Sonny looks around his office.
SONNY
That's what concerns me, I don't have the knowledge or facilities for a job like this either.
Jason starts opening cupboards frantically.
MICHAEL
And now?
JASON
I'm looking for something I can keep it in till we can work this out.
SONNY
Good idea. You need something that will protect it from light and air. Preferably in a vacuum.
He looks around then heads to the kitchenette.
SONNY (CONT'D)
Do you have paper towels?
JASON
Above the stove.
Sonny returns with a few sheets. 
He drapes them carefully over the scroll.
SONNY
Hopefully this will protect it slightly for the moment.
Michael goes to the door, picks his coat off the peg and opens the door. He calls to them.
MICHAEL
I'm going for a beer. 
JASON
I'll get you later Bull.
Sonny waves. 
Michael ignores him and leaves.
JASON (CONT'D)
Sorry about that. You don't need to stay. I'll find a suitable receptacle  and contact you as soon as it's ready to decipher.
SONNY
Thank you.
Sonny  stops at the door.
SONNY (CONT'D)
I appreciate the chance to work on one. I've had a special interest in the Dead Sea Scrolls since childhood.
He leaves.
EXT. CITY STREET -- DAY
A busy intersection on a sunny yet breezy day. Homeless huddle under boxes and scraps of cloth; they occasionally approach strangers for handouts.
EXT. CAFE' -- CONTINUOUS
A newspaper headline "Cocaine Legalized" can be seen in the vending boxes.
INT. CAFE' -- CONTINUOUS
Susan, Jason and Sonny sit watching passers-by.  A server removes their dirty dishes. 
A vagrant stops in front of the window and holds out his hand. She shoos him away.
SUSAN
They shouldn't be allowed outside restaurants, they make me uncomfortable.
SONNY
I'm sure they'd rather to be somewhere else.
SUSAN
Aren't there hostels or something? We pay enough taxes.
EXT. STREET -- MOMENTS LATER
JASON
I'd like you to bring around something I've made.
JASON (CONT'D)
You made something?
SONNY
I think so but I need to see if it's suitable.
SUSAN
What are you talking about? 
JASON
Nothing.  Well bring it round and we can see.  By the way I've contacted a doctor claims to be able to confirm that certain people have knowledge of past lives.
They stop at a parking lot entrance.  
SONNY
How?
JASON
Hypnosis and life regression.
SUSAN
I don't trust that stuff.
JASON
He claims he can obtain information that they have no way of knowing. Either of you interested in coming along?
SONNY
Are you planning on going under?
Susan steals lingering glances at Sonny. 
JASON
I don't think so. Besides, it seems children are more susceptible to this type of research.
Susan touches Sonny's arm 
SUSAN
Why don't you go under?
Sonny laughs. 
SONNY
I don't think so.
SUSAN
You'd be a perfect candidate, considering your upbringing that is.
Sonny looks at Susan quizzically.
JASON
I think Susan is referring to the fact that you don't have any knowledge of your biological parents.
SONNY
I doubt that has anything to do with reincarnation.
SUSAN
I know but maybe the Doctor can help you find out where you came from.
JASON
Should I make an appointment for us?
Susan keeps her hand on Sonny's arm. 
Jason is a little annoyed, but ignores the implications.
SUSAN
Go on, go with Jason. You don't have to be hypnotized. I'm sure he'd like the support.
SONNY
If you don't mind I'll pass this time, maybe another time.
JASON
No problem.  Need a ride?
SONNY
No thanks I'm not far.
They are about to part. Susan walks away. Sonny turns back.  
SONNY (CONT'D)
Just so you know, I understands Bull's concern but it might be better if I took it home.
Jason rubs his face, undecided. Susan returns.
SUSAN
What are you talking about?
JASON
Hang on Suz. You won't be showing it to anybody will you?
SONNY
To be honest I might need help with the hieroglyphics. 
Jason is undecided.
JASON
I would like to meet your acquaintances before you actually show them the scroll.
SONNY
Of course. 
SUSAN
What scroll? What the hell are you talking about?
SONNY
I'll be around to collect it.
Sonny waves and leaves. Susan jabs Jason as they head into the parking lot. 
EXT. CITY STREET -- MOMENTS LATER
Sonny bumps into FIZAL.
SONNY
Fizal, what a coincidence. Just the man I'm looking for.
Fizal smiles blankly.
SONNY (CONT'D)
Where've you been these last few months?
FIZAL
Abroad, studying.
SONNY
This is lucky bumping into you like this. I have a project I was hoping you could help me with.
Fizal is preoccupied. He digs in his pocket and hands a business card to Sonny.
Sonny glances at the card, not recognizing the name Stabul Mohammed or his photo.
FIZAL
Forgive me Sonny, I cannot help you, but this man might. I was good to see you again. Praise Allah!
Fizal strides off. Sonny looks at the card then walks on, confused.
EXT. PUBLIC BUILDING -- CONTINUOUS
Fizal stands and looks dazedly around for a second then rips open the front of his jacket. He screams and detonates a bomb he has strapped to himself.
The windows in front of the building and the glass in the street lamps shatter with the force of the explosion.
A woman walking nearby has her suit instantly shredded along with much of her flesh.
Sonny, feels the heat from the blast and ducks instinctively. 
The dust swirls as people run in all directions. 
Sonny runs to an injured man whose face and arms are blacked. He has a piece of metal protruding from his chest. Sonny takes hold of the mans hand.
SONNY
Have courage. Help is on the way.
The man moans in pain and coughs up blood.
SONNY (CONT'D)
The ambulance is coming. 
Injured man coughs again.
INJURED MAN
I don't want to die.
SONNY
You're not going to die. What's your name?
INJURED MAN
Dave!
SONNY
Do you believe in God Dave?
INJURED MAN
What?
SONNY
Do you believe in the Almighty?
INJURED MAN
You're one of them. You did this!
A police officer runs over to them.
POLICEMAN
We'll take it from here.
Dave tries to sit up but coughs once more and dies. Sonny takes Dave head in his hand and gently closes his eyes. He starts a prayer. The policeman pushes Sonny roughly away.
POLICEMAN (CONT'D)
What the hell are you doing?
SONNY
I'm praying for his soul.
POLICEMAN
He doesn't need your prayers.
He points towards Dave.
POLICEMAN (CONT'D)
He's dead. Fat lot of good it'll do him now!
A brigade of police cars, fire engines and ambulances are arriving. 
Yellow cordoning tape is being erected around the bomb site.
Sonny stands slowly and walks dazedly away from the scene. Police stop many of the bystanders. 
Sonny evades them and moves through the gathering crowd.
INT. SONNY'S APARTMENT -- LATER
He closes the door to his modest apartment. It's tastefully, but sparsely, furnished. He sits down and holds his head in his hands for a minute before going to the sideboard. 
He picks up his well-worn bible. 
He stares at it for a while then gets down on his knees and starts praying.
INT. JASON'S OFFICE -- LATER
Jason is writing furiously on the blackboard. The phone rings and Susan answers.
SUSAN
Hello?
Susan's tone changes to pleased.
SUSAN (CONT'D)
Oh hello Sonny.
Susan looks up at Jason.
SUSAN (CONT'D)
Yes he's here, but wouldn't you rather talk to me?
Jason looks down at Susan with annoyance as she laughs.
He throws a board duster cloth at her then comes over and takes the phone.
JASON
Yes Sonny, all set up?
He listens, them plops down into the desk chair.
JASON (CONT'D)
No shit!
SUSAN
What?
Jason waves his hand at her to be quiet.
JASON
OK just take it easy for the moment. We'll come up with another plan. In the mean time don't mention the scroll to anyone.
Jason hangs up and turns on the television.
JASON (CONT'D)
There's been another bombing downtown.
EXT. JASON'S OFFICE -- AFTERNOON
Homeless people huddle from the cold wind in many of the doorways. Sonny drops a few coins into the open hand of a beggar in the entrance.
INT. JASON'S OFFICE -- CONTINUOUS
Jason is bends over the scroll. He jumps as the doorbell rings.
JASON
Damn!
He opens the door to let Sonny in.
JASON (CONT'D)
Hope no-one followed you.
He looks at the beggar in disgust.
JASON (CONT'D)
Get lost. Get a job!
He closes the door forcefully and goes back into his office. Sonny follows.
SONNY
You really should have a little more compassion for the less fortunate.
Jason ignores him. Sonny walks over to the scroll and puts a  container on the table.
SONNY (CONT'D)
What do you think? It should stop at least slow down the decomposition.
Jason looks at the container. He's skeptical.
JASON
Think it'll work?
SONNY
I think so, at least until we can find something better.
Sonny carefully picks up the scroll with some tissue paper and places it into the lined flask. 
He then picks up the broken pieces wraps them individually. 
He places them in a kitchenware canister and 'burps' it. 
Jason watches nervously.
JASON
Not exactly Hi tech!
SONNY
Maybe, but it's better than nothing.
Jason goes back to his desk and sits down.
JASON
I managed to see a little of the writing, but I've no idea what language it is.
SONNY
It's probably one of three; Greek, Aramaic or Hebrew. Once it's opened I'll have a better idea.
Sonny indicates the black board.
SONNY (CONT'D)
Find out anything at the hypnotist?
JASON
I canceled but I'm meeting a clairvoyant tomorrow. Hopefully I'll pick up something there.
Sonny picks up the scroll containers.
SONNY
If you don't mind, I'll take this back to my place and start.
JASON
You'll be careful, won't you?
Sonny holds the container like a baby.
SONNY
It holds secrets from thousands of years ago. Of course I'll be careful.
He turns to go.
SONNY (CONT'D)
Good luck with the clairvoyant.
Jason jumps up.
JASON
Like to come along?
Sonny stops near the window.
JASON (CONT'D)
She claims to be able to talk to restless souls.
Sonny looks out the window at the homeless people in the street.
SONNY
Imagine that. 
JASON
If she's legit I can get a better understanding of the after life.
Sonny turns back to him.
SONNY
You're planning to interview a ghost?
Jason looks sharply at him. Sonny lifts his eyebrows. Jason squirms.
JASON
Not exactly..maybe..I don't know.
He stands up and goes to his blackboard and taps it.
JASON (CONT'D)
How else do I find out if the dead have any way knowledge if they will be born again.
Sonny laughs, picks up the scroll and heads for the door.
SONNY
I don't know. Surely if they're ghosts Isn't it conclusive that they won't be born again?
He stops at the door, hand on the handle. 
SONNY (CONT'D)
Tell me where and when and I might meet you there.
Jason takes him a business card.
JASON
Six o'clock.
EXT.  CLAIRVOYANT HOUSE -- EVENING
The address on the business card in Jason's hand is the same as the graffiti covered old building. 
Jason pulls his collar over his scarf, checks his watch then looks up and down the road. 
The door opens before he has a chance to ring the bell. 
CHANCEY, an ageless woman with dark hair tied into a bun at the back of her head. A cigarette with an inch of ash sticks obscenely out of her thin lips. Her voice is low and raspy.
CHANCEY
Laterby?
Jason checks the card again. The word Clairvoyant has new meaning.
JASON
Yes!
The apparition returns into the apartment, Jason enters.
INT. CLAIRVOYANT HOUSE LOUNGE -- CONTINUOUS
He finds himself in a cluttered living room. An unshaven youth slouches in a dirty chair gives him a doleful glance.
Chancey goes down some dark narrow stairs.
INT. CLAIRVOYANT HOUSE BASEMENT -- CONTINUOUS
She waits at the bottom of the stairs for a nervous Jason.
JASON
I'm expecting a colleague to join us
He taps his watch nervously.
CHANCEY
Daryl will bring him though when he gets here. Come.
It's a dark room, lit only by a ring of candles on a small table. Chancey sits on the floor near the table and indicates that Jason should sit opposite.
CHANCEY (CONT'D)
(monotone)
Who do want to contact?
Jason can feel the hair rise on his neck and arms.
JASON
Well, no one in particular, just someone who might be able to help in my research.
CHANCEY
Don't you have any dead relatives?
JASON
My friends father. Will he do?
Chancey replies in a matter of fact, disinterested manner.
CHANCEY
What's his name?
Jason sits down carefully.
JASON
Greg Robson, you see I'm, uh...
Chancey squints at him through cigarette smoke.
JASON (CONT'D)
...I'm trying to gather information about reincarnation.
She waits a few seconds.
CHANCEY
From me or Greg Robson?
Jason leans over the table.
JASON
Greg...you see he believed in   reincarnation.
Chancey suddenly leans close to the candle. Her pinched dry lips hardly cover her stained teeth as she croaks.
CHANCEY
I've had previous lives. I'm reincarnated.
Jason raises his eyebrows nervously.
JASON
Oh!
She leans back and removes the cigarette. Slowly she puts her head back, closes her eyes and starts rocking.
She mumbles Greg's name softly while Jason looks around.
The candle smoke forms an unwavering thin line upwards. BANG a book falls beside him.
The candle on the table begins to flicker. The clairvoyant suddenly sits up with closed eyes.
CHANCEY
Who calls me?
Perspiration forms on Jason's forehead. Chancey repeats herself in a more irritated voice.
CHANCEY (CONT'D)
Who calls me?
Jason leans toward her as if talking into a microphone.
JASON
Jason.
CHANCEY
Hello Jason!
Jason looks around then talks back to Chancey.
JASON
Hello, uh is that Mr. Robson?
CHANCEY
What is it you want?
Jason jumps as the ashtray slides across the table at him.
CHANCEY (CONT'D)
What do you want?
JASON
I..uh, I need to know if you will be reborn?
She remains silent.
JASON (CONT'D)
(hesitantly)
Hello!
She remains silent.
Suddenly she grabs his hand in a vice like grip.
She breath rasps and undistinguishable words and hisses escape her mouth. Jason tries to loosen her grip.
He stands up knocking the table. A few candles fall over.
Chancey's other hand grips Jason's throat cutting off his air. He can't release her grip.
A white light appears at the top of the stairs Sonny enters the room. He has a white aura emanating from him.
Chancey releases Jason with a shout of pain the collapses half on the table. A candle rolls against her.
Sonny rushes to the table and moves it away.
JASON (CONT'D)
Sonny. Man am I happy to see you!
SONNY
I think we'd better leave.
Chancey moans as she regains consciousness. 
INT. CLAIRVOYANT HOUSE -- CONTINUOUS
They run up the stairs knocking the boy flying as he comes down to investigate.
EXT. CLAIRVOYANT HOUSE -- CONTINUOUS
The men burst out of the house. 
They stop to catch their breath. Jason straightens his clothes. He looks back.
JASON
Man! That was hell.
SONNY
Probably.
INT. JASON'S HOUSE -- NIGHT
Michael and Jason drink beer and Susan puts down a finished cup of tea.
JASON
I'm telling you he had an aura.  A sort of white glow around him.
Michael belches.
MICHAEL
What are you on about?
JASON
This morning at the clairvoyant.  Sonny had an aura. 
MICHAEL
I'm beginning to wonder about you.
SUSAN
I've heard about that. Don't they mean that the person is good or something?
Jason glances up from a book he is reading.
MICHAEL
You just got the 'hots' for him.
SUSAN
Oh please.
Susan sighs in annoyance and exits to the kitchen.
MICHAEL
You'd better watch him!
JASON
Man! It was freaky.  By the way he's taken the scroll home to deciphered it.
MICHAEL
That was stupid, giving it to him!
Jason looks at Michael questioningly.
MICHAEL (CONT'D)
I don't trust him.  There's something about him I can't quite figure out. 
Jason stands up and gets another beer.
JASON
He's weird sure, but I don't see him belonging to a terrorist group, or any group...he's a loner.
EXT. SONNYS APARTMENT -- LATER
Feeble suns rays poke through the wispy clouds. Breath of passers-by turns to steam. 
INT. SONNYS APARTMENT -- CONTINUOUS
Sunlight shines through the window onto Sonny's head creating a halo as he kneels in prayer. He finishes, stands up and backs away from the window as if from an Alter.
He enters a room furnished with only a glass-topped desk, a lamp, and a few cupboards.
He opens a cupboard and takes out a box and  takes it to the desk.
He removes the lid to expose Cyrus Nelson's original papers on the Dead Sea Scrolls. He pulls one sheaf out and dusts it off reverently.
He places the open papers on the desk then picks up the flask containing the scroll. 
He studies it then gently breaks the seal of the vessel and exhales after hearing the hiss of the air replacing the vacuum. 
He unfolds a thin, clean white cloth it onto the table before sliding out the scroll onto it.
Pulling on a pair of latex gloves, he carefully picks up the scroll. The parchment starts unrolling the pull of gravity. Sonny stares at it in amazement.
He unravels the scroll effortlessly on the table. 
He sets up digital camera equipment and takes photos of the inscriptions. 
Certain sections are smudged and illegible.
Sonny connects the camera to the computer. 
He gazes at the numerous high resolution hieroglyphics. 
He puts his gloves on and to carefully lifts the scroll. 
It cracks between his fingers. He lays it back down. 
He sits down and puts his head in his hands.
INT. JASON'S HOUSE -- EVENING
Empty beer bottles are lined up. Michael points at Jason.
MICHAEL
Why don't you call the faggot an' see what he's up to.
JASON
Good idea!
Jason staggers to the phone and picks up the hand piece.
JASON (CONT'D)
I'll ask him what's happening with the scroll.
Jason waits for an answer.
INT. SONNYS APARTMENT -- CONTINUOUS
Sonny still has his head in his hands when the phone rings. He turns and looks drearily at instrument on the other side of the room. He stands slowly and crosses the room.
SONNY
Hello?
JASON
Sonny!  Listen Sonny, we've..., I've been thinking, maybe you'd better bring the scroll back.
SONNY
Oh?
INTERCUT - INT. JASON'S HOUSE / SONNYS APARTMENT-- PHONE
JASON
It might be safer here, just in case someone from the outside gets wind of it. You know what I mean?
Michael nods in agreement and raises his beer.
Sonny hesitates. He looks at the dust on his hands then at the damaged corner of the scroll.
JASON (CONT'D)
Sonny! Hello, you still there?
Michael comes up behind Jason and pokes his finger excitedly at the phone.
MICHAEL
See! See! I told you. He's stalling.  Bloody terrorist.
Jason flaps his hand at him to keep quiet.
SONNY
Yes I'm here, it's just that I've started already and to stop and prepare it again for transit...  Maybe it's not such a good idea.
JASON
Can't you just put it back into the flask?
SONNY
(hesitantly)
It's not that simple. I've managed to unravel it and take some photos, but...I don't want to damage it by trying to put it back into the flask.
JASON
Oh!
MICHAEL
What?
Jason flaps his hand again at him to be quiet.
JASON
Well it seems like you've got everything under control. Maybe we'd better leave it with you until you've finished whatever needs to be done.
Michael turns away in frustration spilling his beer.
SONNY
I think that would be best at the moment. I'll let you know as soon as I have some news.
JASON
Good idea. 
SONNY
Sure.  We could meet soon and go over the photos.
JASON
Great!  I'll give you a call.
He puts the phone down and turns to Michael.
JASON (CONT'D)
It's all okay, he's already got it open and taken photographs.
MICHAEL
So why can't he bring it back?
JASON
The parchment could get damaged when he rolls it up again.
He puts down his beer and snatches up his jacket.
MICHAEL
Yeah right!  You're spineless.  I knew you'd back down.
Jason feels a little crushed
JASON
I'm going to interview someone about reincarnation tomorrow.  Why don't you join me?
Michael pauses. 
MICHAEL
Could be fun.  I've just got a few things to clear up first. 
EXT. RTI BUILDING -- DAY
Sign out side the building. RELIGIOUS TERRORIST INVESTIGATION. Michael goes up the steps and into the foyer.
INT. RTI BUILDING -- CONTINUOUS
Into the elevator.  He pushes number 15.  
He exists the elevator and walks down a corridor.
INT. RTI OFFICE -- MOMENTS LATER
An attractive female SHANNON sits behind the desk. A gold desk tag has Shannon Jones on it. She looks up as Michael enters.
SHANNON
Bull! How was the East?
MICHAEL
Nice weather but I can't say if the operation was a success. Any word?
He sits down and she hands him a folder. He opens it and takes out a paper with a full face photograph of Amal.
SHANNON
It wasn't. He's here...sneaked in a few days ago. It's possible the last hit might be the start of a new wave of attacks he's orchestrating.
Michael gives back the file.
MICHAEL
Do we know where to find him?
SHANNON
Not yet, but we're working on it.
Michael waits for instructions. 
Shannon smiles and lifts an eyebrow. 
Michael slaps the desk and stands up.
MICHAEL
Okay then if that's it, I'll be on my way. You'll obviously keep me posted.
He smiles and exits as a clerk knocks and enters with an envelope with Confidential stamped on it.
Shannon takes it and waits for the clerk to leave. She opens it. She pulls out a document with Stabul's photo attached.
INT. LIBRARY -- CONTINUOUS
Stabul's photo is on his business card.
Sonny holds the card. He stands and leaves a desk covered with open scientific books on Dead Sea Scrolls. 
Sonny uses a public telephone. He holds the card in his hand and dials.
INT. WAREHOUSE -- CONTINUOUS
Amal stands over an open case next to ten others piled up. The phone rings. Behind Amal is a large city map attached to the wall with circles around ten subway station locations.
AMAL
Get that!
Stabul exits the room.
Amal presses a remote in hand. Devices in all the cases click. 
INT. SHOP FRONT -- CONTINUOUS
Stabul enters a room filled with pawn items. He answers the phone.
INT. LIBRARY -- CONTINUOUS
SONNY
Good afternoon, Mr Mohammed you don't know me but I was given your name by a friend, Fizal. He said you might be able to help me. 
INT. JASON'S OFFICE -- DAY
Susan enters. Jason is marking a date on a Caesarean  calendar.
Susan puts her purse down and sits on the edge of the desk.
SUSAN
Any luck?
Jason puts the chalk down and opens a diary. 
JASON
I'm meeting a woman who has apparently met her children from a past life. I persuaded Bull to come. 
SUSAN
You gotta be kidding!
Jason holds up a paper.
JASON
Her so-called 'kids' back her up even though they are at least twice her age.
SUSAN
Oh man! That's just freaky!
Jason puts down the paper and gets his coat.
JASON
I'm also planning to stop in to see how Sonny's doing with the scroll.
SUSAN
You going there now?
JASON
Yeah why, you want to come? 
Susan stands up quickly and grabs her purse.
As she passes a mirror she stops and adjusts her hair and lipstick.
SUSAN
I need some fresh air. 
INT. CORRIDOR OUTSIDE SONNYS APARTMENT -- MOMENTS LATER
Susan looks around with distaste while Jason knocks impatiently on the door.
JASON
Damn! Where the hell is he?
SUSAN
He does have a life you know. We should have called.
JASON
He should be working.
SUSAN
(jokingly)
Maybe doing something clandestine?
Jason bangs once more on the door. 
SUSAN (CONT'D)
I think you're hoping he'll do something wrong just to prove Michael right. 
Jason ruffles her hair.
JASON
And I think you're a little too pro Sonny. C'mon let's get some coffee.
They get in the car.
SUSAN
I don't really feel like any coffee, why don't you drop me off then pick up Bull?
Jason looks at his watch before driving into the traffic.  
JASON
It's early, but if that's what you want. 
EXT. HOUSE -- AFTERNOON
Jason and Michael arrive at a door and Jason rings the bell. It's answered by a 30 year old woman DOROTHY. They enter.
INT. HOUSE -- CONTINUOUS
Jason and Michael enter and look around.
DOROTHY
Can I get you anything?
They decline. She indicates that they should sit and they do.
Jason pulls a few pages from his briefcase.
JASON
Dorothy I'm going to ask you to tell me your story in your own words then I'll ask you questions to fill in the blanks. How does that sound?
Dorothy picks up photo album and hands it to him.
DOROTHY
Maybe I'll start with these.
Jason opens the first page to see ancient photos of a group of young boys standing next to a woman.
DOROTHY (CONT'D)
That's me with my family...forty years ago.
Michael points to the woman in the picture.
MICHAEL
That's you?
Jason sits back and picks up his paper and pencil.
JASON
I'm all ears.
INT. HOUSE -- LATER
There are empty tea cups on the table.
Michael walks around the room looking at photos displayed. Jason asks Dorothy questions in the back ground.
JASON
Were you left or right handed?
DOROTHY
Left.
JASON
Are you aware if this was the only instance of reincarnation.
DOROTHY
I think it was my second..
EXT. HOUSE -- LATER
Jason and Michael wave to Dorothy as they get into the car. 
Michael shakes his head with a smile as they pull away.
INT. JASON'S CAR -- CONTINUOUS
JASON
What do you think.
MICHAEL
Okay, Okay, there might be something. But I wouldn't put my cock on a block! What's next?
Jason smiles smugly.
EXT. CITY OUTSKIRTS -- MOMENTS LATER
They head towards the grey buildings of the city.
Jason looks at Michael sitting sullenly.
JASON
I still need to find someone who can remember things immediately after dying.
MICHAEL
You should use a medium.
JASON
The last one scared the crap outta me! 
EXT. CITY STREET -- CONTINUOUS
STABUL dressed in casual clothes, waits on a corner. A group of youths skateboarding nearby turn and go directly at him. 
He moves out of the way and as they pass they laugh and shout.
Sonny approaches nervously and holds out his hand.
SONNY
Mr. Mohammed
STABUL
Mr...Sonny.
Sonny is apprehensive.
SONNY
Thank you for meeting me.  I..uh it might be best if I explain the situation to you?
Sonny looks around nervously.
SONNY (CONT'D)
Would you mind if we went somewhere more private?
STABUL
Of course. Please follow me.
They start walking.
SONNY
I suppose I should ascertain whether you can in fact help me.
EXT. ALLEY OUTSIDE STABUL'S SHOP -- CONTINUOUS
The shadowed alley is dark and strewn with garbage. Addicts and the homeless stumble around in a daze.  They enter the shop.
INT. STABUL'S SHOP -- CONTINUOUS
Amal enters from the back and sees Sonny.  He says something angrily in Arabic.  He goes back and closes the door to the back then walks past Sonny.  
He glares at Stabul then leaves. 
Stabul indicates a chair.
STABUL
I'm intrigued.  Why would you know Fizal?
SONNY
We were in college together.
Sonny opens the photos of the hieroglyphics and puts them on the desk.
SONNY (CONT'D)
I've exhausted my resources, maybe you can help?
EXT. CITY STREET -- MOMENTS LATER
As Amal approaches a corner to an alley, Bull and Jason's car waits at the traffic lights.
INT. JASON'S CAR -- CONTINUOUS
Bull idly watches the pedestrians.  He sees Amal.
MICHAEL
Shit!
The lights change and Jason drive on.
Michael opens the glove compartment and scratches frantically.
MICHAEL (CONT'D)
Stop, stop.
Jason gets a fright and pulls over.
EXT. CITY STREET -- CONTINUOUS
The vehicle ramps the sidewalk.  Amal stops, ready to run.
INT. JASON'S CAR -- CONTINUOUS
JASON
What?  What are you looking for?
MICHAEL
A bloody gun.  Shit!
Michael jumps out the vehicle.
JASON
Where..?
EXT. CITY STREET -- CONTINUOUS
Michael runs towards Amal.  Amal immediately runs off.  Michael gives chase.
MONTAGE:
Chase through busy street. 
EXT. SIDEWALK CAFE' -- MOMENTS LATER
It's lunchtime. A mother and daughter enter with a stroller and sit next to a group of businessmen.
From around the corner, Amal runs into the cafe.  He peers through the window.
Michael runs up and stops outside.  He looks around.
INT. CAFE' -- CONTINUOUS
A server holding a tray approaches Amal.
SERVER
Table for one?
Michael sees the movement and sees him. 
Amal pulls a small automatic from under his coat and shoots at him shattering the window.  He runs as he shoots.
The gun bucks in his hands. 
Bullets explode coffee cups, milk shakes and lunches.
Holes appear in the side of the stroller and the little girl is thrown off her seat with the force of a bullet.
Patrons try to stand up and run but are spun around almost in slow motion as they are hit.
Michael runs bend over into the cafe. He sees Amal jump through a window smashing the glass and running away. He tries to run after but trips on the shot server.
He feels for a non existent pulse then looks up. Amal has disappeared. He sees Jason outside looking for him.
EXT. CAFE PATIO -- MOMENTS LATER
Michael comes up to Jason, he puts his arm on his shoulder.
MICHAEL
C'mon let's go. I need to make a call.
They walk away as sirens approach.
MICHAEL (CONT'D)
Do me a favor. Get a bloody gun. 
INT. STABUL'S SHOP -- MOMENTS LATER
The wail of police and ambulance sirens are almost muffled. 
STABUL
This is fascinating, its much like an ancient version of the scribes I'm familiar with.
Amal bursts into the room.
They both look at him. Amal storms up to Stabul and whispers fiercely. Stabul is shocked, he looks at Sonny.
Stabul returns to the table.
STABUL (CONT'D)
There has been an accident. We will have to carry on another time.
Sonny rolls up the paper. He looks with concern at Amal who glares at him before exiting to the back.
SONNY
Maybe we could meet at the library perhaps? 
Stabul rushes Sonny.
STABUL
Yes, yes, I'll call you.
Sonny holds out his hand but Amal's shout checks Stabul
STABUL (CONT'D)
Go, go. 
The door slams shut behind Sonny.
EXT. CITY STREET -- MOMENTS LATER
He enters the main street. A large portion of the street is  cordoned off by police tape. Flashing emergency lights are combined with the crackle of police radios.
He walks slowly past a television news team. 
INT. JASON'S HOUSE -- CONTINUOUS
Susan watches the news on television about the shooting. Jason and Bull enter and glanced at the screen. Jason puts down his brief case.
JASON
Hey you won't believe...
Before Susan can answer. He looks the screen.
JASON (CONT'D)
We were just there!
EXT. CAFE' -- MOMENTS LATER
Sonny's transfixed by the sight of the torn stroller and the little covered body next to it. Paramedics attend to the mother nearby.
Sonny inches his way through the crowds and kneels next to the child' body. He begins to pray.
A policeman rushes over to him and pulls him up by his collar.
POLICEMAN
What are you doing?
He shoves him roughly to the other side of the police tape.
POLICEMAN (CONT'D)
This side buddy.
INT. JASON'S HOUSE -- CONTINUOUS
Susan hits Jason's arm as he is about to take a gulp of his opened beer, it spills over his face and shirt.
JASON
Hey!
The television cameras have picked up on the altercation between the policeman and Sonny. The camera zooms in.
Susan and Jason lean closer to the screen. Jason points.
JASON (CONT'D)
Isn't that Sonny?
SUSAN
No shit Sherlock!
Jason watches with concern.
JASON
What if Michael's right? 
INT. JASON'S HOUSE -- NIGHT
Susan and Jason lie in bed. Susan moves her hand under the covers down his body. Jason moves away.
JASON
Not now Suz!
Pulls her hand away abruptly.
SUSAN
Sor-ry!
Jason sits up against the backboard. 
JASON
What do you think I should do?
SUSAN
About?
JASON
I think Bull might be right about Sonny. I need to get the scroll back.
SUSAN
He wasn't doing anything wrong.
JASON
How do you know?
SUSAN
I don't..C'mon it's Sonny. He's harmless.
JASON
But why was he there?
SUSAN
I don't know, something quite innocent I'm sure.
Susan gets up and goes to the bathroom. She shouts.
SUSAN (O.S.) (CONT'D)
What's the big deal with the scroll anyway?
JASON
If that's discovered here it could start a war between the East and us.
SUSAN (O.S.)
That's a big deal.
JASON
Yeah no kidding. 
Jason picks up a newspaper. The front page headlines: ANOTHER TERRORIST ATTACK. The toilet flushes and Susan returns.
SUSAN
So ask him to give it back.
JASON
I did but he said he was having a problem putting it back into the container.
Jason turns to the inside pages 
SUSAN
If you're so worried about it, why did you give it to him in the first place?
JASON
Because he knows more about it than I do.
SUSAN
And you can't take it to a regular expert because..
She lets the statement hang. They lie in silence for a while.
JASON
Listen to this: "A couple of gay brothers have been given the green light to be united. They plan to adopt a child soon."
He throws the paper on the floor in disgust. 
JASON (CONT'D)
Where does it stop with the damn equality rights?
He leans over to her. 
JASON (CONT'D)
What is it about gays that attracts women?
Susan is surprised.
SUSAN
What are you talking about?  
JASON
Well you're quite sweet on Sonny aren't you?
She sits up and looks at him in indignation.
SUSAN
Where did that come from? Besides what makes you think he's gay?
JASON
Guys know. Anyway you've always said you liked him, even at school.
Susan lies back again.
SUSAN
We were just kids.
JASON
Then you invited him to our Uniting.
SUSAN
Sure, and I also invited many of your friends, does that mean I'm 'sweet' on them too?
JASON
You know what I mean.
Susan folds her arms.
SUSAN
I'm sure I don't, what's on your mind?
JASON
Maybe you can get a bit closer to him? You know! See what he's up to.
She sits up in indignation again.
SUSAN
You mean spy on him?
He turns to her. 
JASON
No! Not really, sort of, well maybe a little. Just visit him, you know, like a friend.
SUSAN
He is a friend!
JASON
Exactly!
SUSAN
That's all he is.
JASON
I know.
SUSAN
So why don't you visit him? Aren't you partners or something?
JASON
Yes and no, besides I've just asked him to return it. If I go over now It'll seem like I don't trust him.
SUSAN
You don't!
JASON
Besides, I have a lot of catching up to do with my reincarnation research.
Susan lays back and contemplates for a while. She smiles
SUSAN
I'll have to think about it.
He puts his hands behind his ahead and says proudly.
JASON
NWBC got wind of my project and want to interview me.
SUSAN
My husband the TV star, when?
JASON
25th
SUSAN
Of?
JASON
Now! This month, December.
SUSAN
Friday. Not long before the year end vacations start. I can't wait.
Jason turns off the light, grabs her hand and pulls it under the covers.
JASON
Whatever. Let's go back in time.
INT. SONNYS APARTMENT -- DAY
Sonny finishes a prayer, gets off his knees and goes to the scroll lying open on the glass top table. The phone rings and he answers it.
SONNY
Hello? Ah Stabul!
He turns to look at the scroll and the phone falls under the table.
SONNY (CONT'D)
Here? Uh..don't you think it would be better if...Sure, why not. You have my address. Good bye.
He leans against he wall. He slides down into a sitting position on the floor. He bends under the table to retrieve the telephone set. 
He bangs his head coming back out. Rubbing it he looks up at the table.
The underside of the scroll can be seen through the bottom of the glass table top. 
He looks closer. The missing markings are on the underside.
Sonny gets his camera and takes photos from the underside.
EXT. FIELD WAR ZONE -- DAY
The air is thick with the smoke of muskets; soldiers in ancient uniforms are running around screaming in pain and terror. 
Suddenly a mud splattered face with an evil grimace charges forward with the bayonet raised to face level and stabs.
INT.  JASONS OFFICE -- CONTINUOUS
Jason sits up with a start, screaming. The HYPNOTIST leans close to Jason's ear.
HYPNOTIST
..2,3
He snaps his fingers. Jason wet with sweat, stops shouting and looks around in a daze. He pants.
JASON
What happened?
HYPNOTIST
I took you back into your subconscious. You obviously had a very vivid experience.
JASON
That was too bloody real for me.
The hypnotist looks at the black board.
HYPNOTIST
I'm sure it did seem real. It's possible that was the way you died,  in that lifetime.
JASON
So I was a soldier?
The hypnotist shrugs his shoulders.
JASON (CONT'D)
But I don't remember who I was, which nationality, or even which year.
HYPNOTIST
I could take you deeper.
There's a knock at the door, Jason stands shakily and offers his hand.
JASON
Another time.
They shake hands. The hypnotist collects his belongings and they both go to the door. 
Michael enters and gives the hypnotist a close look as he passes by. He signs the question: Who's that?
MICHAEL
What happened to you? Looks like you've been in the wars?
JASON
I have.
MICHAEL
Yeah?
JASON
He hypnotized me. It appears I was a soldier in my previous life.
Michael playfully hits Jason on the back.
MICHAEL
So you do have some spunk after all, even if it was a thousand years ago.
JASON
Who knows? According to my resources there are 637 people who claim to have been the King of France.
MICHAEL
Maybe he was a 'schizo', and all his personas have come back as separate people!
JASON
It would be funny if it didn't blow such a big hole in my theories.
Michael goes to the office refrigerator, takes out two beers and gives one to Jason.
MICHAEL
How's it going with that?
JASON
Susan's finding out how far he's got.
MICHAEL
Susan? Why don't you ask him?
JASON
I did, he said there was a problem transporting it.
He points his finger in Jason's face.
MICHAEL
That's crap! That bastard's up to no good.
Jason swipes Michael finger away. Michael takes a slurp of beer and wipes his mouth on his arm.
MICHAEL (CONT'D)
If they come asking questions about the scroll with a machine gun pointing at your face, don't mention my name.
JASON
That's not funny Bull. Especially after yesterday.
MICHAEL
Wasn't meant to be.
JASON
Did you know Sonny was there, we saw him on TV... 
EXT. SONNYS APARTMENT -- LATER
Amal and Stabul stop their intense conversation as Susan walks past and into the building. 
AMAL
Are you prepared?
Stabul reveals a dagger under his cloak.
STABUL
But I think we're going to far.
Amal looks around.
AMAL
He saw me. It's too close to Jihad. Go, do what you must.
Stabul starts up the stairs. Amal waits.
INT. SONNY'S APARTMENT -- CONTINUOUS
Susan stands at the table with the scroll.
SUSAN
So this is the famous scroll?
Sonny comes over and stands close.  She enjoys his nearness.  He feels her stare and turns to her. She looks back to the scroll.
SONNY
What brings you here?
Susan saunters away and sits down.
Her car keys fall out her purse between the cushions. 
SUSAN
I was in the neighborhood so I thought I'd say hello. You don't mind do you?
She smiles seductively.
SONNY
No, no, not at all. It's just that, well I'm expecting someone.
Susan stands up.
SUSAN
I'm so sorry.  Of course a handsome man like yourself would have a busy social life.
Sonny smiles embarrassingly.
SONNY
No it's nothing like that, it's just someone to help me with the scroll.
SUSAN
Oh!  Does Jason or Bull know?
Sonny picks up a photo of the hieroglyphics.
SONNY
Jason knows I'm enlisting some help with the translations. 
She picks up her purse. 
EXT. SONNY'S APARTMENT -- CONTINUOUS
Stabul is about to open the door, he hears voices. 
INT. SONNY'S APARTMENT -- CONTINUOUS
Susan is at the door.
SONNY
Please forgive me, I must appear very rude, but ...
She puts her hand on his and leaves it there.
SUSAN
Sonny please don't apologize. I just want you to know that I'm here if you ever need to talk.
Sonny moves his hand away and opens the door.
SONNY
Thank you Susan, I really appreciate your friendship!
EXT. SONNY'S APARTMENT -- CONTINUOUS
Susan exits the apartment and swaggers past Stabul. She calls over her shoulder.
SUSAN
Just as long as you to know.
Sonny shakes Stabul's hand and they enter the apartment.  Sonny checks the passage then closes the door.
Sonny sees Stabul leaning over the opened scroll.
His shoulders droop, he takes a deep breath and approaches. 
STABUL
You have the scroll!  How do you manage to have such a rare item in your possession?
Sonny laughs. 
SONNY
It's not actually mine...it belongs to an acquaintance.
STABUL
Did he say where he got it?  
Sonny picks up a photo and a magnifying glass and places them closer to Stabul.
SONNY
I believe it's from about twelve miles south of Masada.  I was thinking possibly a Hebrew dialect.
Stabul takes the magnifying glass and leans closer.
SONNY (CONT'D)
Do you think the Essenes?
STABUL
Essenes!
SONNY
There seems to be a distinct sectarian feel.  I think it mentions some sort of apocalyptic happening.
He leans over and points out a section of writing. Stabul steps back out of sight.
He pulls out the dagger and raises it.
SONNY (CONT'D)
Unfortunately the date has been smudged but I....
Sonny turns and side step as the knife plunges down.  
It shatters the glass desk top and the scroll into thousands of glistening fragments.
Sonny runs to the other side of the room and looks with despair at the destroyed scroll.  
Stabul charges screaming at Sonny with the dagger raised.
Sonny runs around him to the mess on the floor. 
He grasps at some scraps of parchment glass cuts his hands.  
Stabul charges him. Sonny gets up with his hand raised. Stabul hits him with a force that flings him against the wall.
EXT. STREET OUTSIDE SONNY'S APARTMENT -- CONTINUOUS
Susan stands beside her car and scratches through her purse. She sighs, looks up at the apartment and heads to it.
INT. SONNY'S APARTMENT -- CONTINUOUS
Amal appears at the doorway and looks around. He shouts.
Stabul turns and Sonny rushes at him knocking him onto the broken table. A shard of glass pierces his neck. 
Sonny rushes to the window and shouts for help. 
Amal runs up and pushes him.
EXT. SONNY'S APARTMENT -- CONTINUOUS
He catches hold of the window ledge and hangs three floors up.
EXT. CORRIDOR OUTSIDE SONNY'S APARTMENT -- CONTINUOUS
Susan approaches the apartment door.
INT. SONNY'S APARTMENT -- CONTINUOUS
Amal sees Sonny's hands holding onto the windowsill. He rushes back to the window and stabs first one hand and then the other.
EXT. SONNY'S APARTMENT -- CONTINUOUS
Sonny grimaces in pain and starts praying. Blood drips from his hands into his face.
INT. SONNY'S APARTMENT -- CONTINUOUS
Susan appears at the door and gasps. 
Amal turns to her. She screams and runs.
He starts to chase her but stops next to Stabul. He sees the scroll. 
He picks a portion the destroyed scroll, and examines it. And runs out door.
EXT. CORRIDOR OUTSIDE SONNY'S APARTMENT -- CONTINUOUS
Amal looks up and down the corridor then walks away. 
Susan peers around the corner from the opposite end. She rushes back to Sonny's apartment.
INT. SONNY'S APARTMENT -- CONTINUOUS
Susan enters the room and rushes to Stabul and sighs with relief. She hears a noise from the window. She rushes over.
Susan grabs Sonny's arms and helps him into the apartment. 
EXT. HOSPITAL -- MOMENTS LATER
The lights of the city sparkle in evening light. 
Susan and Sonny exit the hospital. His hands are covered with bandages. Only the ends of his fingers are visible. 
SUSAN
You poor thing, it must be so painful!
SONNY
At least it's only my hands. I'm just so thankful that you came back.
SUSAN
Who are they? Do you know them?
She puts her arm around his waist to help him walk as if he were an invalid.
SONNY
I'm fine thanks. Yes, well no not really. I had invited the one-
INT. SUSAN'S CAR -- CONTINUOUS
They get into her car. Susan closes Sonny's door before getting in herself.
SONNY
-the dead one around to see the scroll. I don't know why he went crazy like that. 
They drive away.
SUSAN
Well at least you're alive. Your place?
Sonny sits quietly for a second or two.
SONNY
I could do with a coffee.
She smiles to herself.
SUSAN
I know just the place.
EXT. CAFE PATIO -- MOMENTS LATER
The cafe over looks the river.
Susan and Sonny are seated at a quiet outside table. The server lights the a lantern on the table. 
SUSAN
An Irish please, and make it a double.
Sonny glances at her then to the server.
SONNY
Latte please!
SUSAN
Have an Irish, it'll do you good.
SONNY
Latte's good for now thanks.
He leans back and looks at his hands.
Susan leans over and touches one.
SUSAN
You're safe now. Try to relax.
Sonny removes his hand. He shakes his head.
SUSAN (CONT'D)
If you're worried about your safety You could always stay with us until-
He shakes his head. 
SONNY
It's not that. The scroll is destroyed.
SUSAN
That's not your false. You were being attacked. Jason will understand.
Their order arrives. Sonny takes a sip and watches a ferry crossing the river.
SONNY
There's so much beauty in the world. Why can't people love each other?
SUSAN
Some of us do.
SONNY
You're a good friend Susan. If it weren't for you I'd be dead right now.
They are both silent for a few moments, sipping their steaming drinks. 
Susan openly admires Sonny's profile. She doesn't look away when turns to her.
He smiles. She doesn't.
SUSAN
You're an intriguing man Sonny.
He looks at her while sipping his coffee.
SUSAN (CONT'D)
This religion thing? Don't you feel a little left out? Uneasy?
SONNY
Sometimes. Other times no. I think everyone needs to believe in a higher power at some point in their lives. 
SUSAN
What about the Middle Eastern religions. They seem revolve around destroying the Western world. 
SONNY
They take their religion to another level. I believe there is a high being that looks after us. A kind spirit. A God that stands for love and forgiveness, for...
Susan finishes her drink, she interrupts him.
SUSAN
Don't tell me you forgive those ass holes who attacked you tonight?
SONNY
Who else can a person forgive? If no-one has done you wrong why would you need to forgive them?
SUSAN
(Exasperated)
But why would you want to do that?
Susan waves her empty glass at the server. 
SONNY
I don't know. Maybe if we all truly forgave each other, there wouldn't be anyone to hate and we could all get on with living, instead of killing.
SUSAN
That's a lovely thought but I think you're going to have a huge job trying to convince the rest of mankind.
SONNY
One day at a time.
SUSAN
(mutters)
Don't hold your breath.
They sit quietly for a second.
SUSAN (CONT'D)
What are you going to tell Jason?
SONNY
I don't know. Whatever was left of the scroll has disappeared. 
Susan sits up looking at him. The server arrives with her drink. 
SUSAN
Better bring a couple of double scotches.
She walks around to behind Sonny leans over him and puts her arms around his shoulders to comfort him.
SUSAN (CONT'D)
Don't worry I'm sure we'll get it back, Bull must have contacts.
Sonny stands up and walks away from Susan to the railings.
SONNY
Bull! That's another pandoras box! 
He looks down at the black water splashing against the wooden pole below. He shakes his head.
SONNY (CONT'D)
I don't think that's an option.
SUSAN
But he's with the Government.
Sonny keeps looking down and mumbles.
SONNY
Even more reason not to get him involved. Besides it's destroyed, what's to find?
She goes back to her chair and flops down as the server brings the drinks. 
SUSAN
I think you could do with one of these. It'll make you feel better.
Sonny looks at her. He shakes his head.
Susan sits silently looking at him.
SUSAN (CONT'D)
Is it totally destroyed?
He nods his head dejectedly.
SUSAN (CONT'D)
What's done is done, forget it.
Sonny leans with his back against the railing.
Susan eyes out the second glass of whiskey. Her hand reaches for it. 
EXT. CITY STREET -- CONTINUOUS
Michael and Jason drive down the road.
INT. JASON'S CAR -- CONTINUOUS
MICHAEL
I don't buy the theory that our spirit starts as a vegetable and ends as a person.  
JASON
It makes some sense.
MICHAEL
I'm really trying to get my head around your reincarnation crap. Don't push it.
Their car approaches the riverside cafe.
JASON
Keen for a quick brew?
INT. CAFE' -- CONTINUOUS
Susan stands up and takes Sonny's hand.
SUSAN
Come! I insist you stay at our place. I'll take care of Jason.
Sonny gently pulls his hands from her.
SONNY
I don't think that's such a good idea. I'll be fine at home.
SUSAN
Nonsense, Come.
She drops some money on the table. 
She steers him through the café.
EXT. CAFE' INT JASON'S CAR -- CONTINUOUS
Michael and Jason see Susan and Sonny emerge from the cafe. They watch as she unlocks the car door for him.
EXT. SUSAN'S CAR -- CONTINUOUS
She stands up she comes up intimately close to his face. With a second's hesitation, she pulls him close and kisses him passionately. He lifts his hand to push her away but she grabs it and pulls it to her breast.
Sonny pushes her away.
SONNY
No Susan, No.
SUSAN
Damn you Sonny, what's wrong with you, don't you like me.
Sonny moves away from her.
SONNY
I don't think you should've had that last whiskey.
SUSAN
Maybe but I've always loved you. It's just given me the courage to tell you.
Sonny stands uncomfortably.
SONNY
I'm flattered and I owe you my life Susan, but I can't return your love. 
SUSAN
Oh no! Jason must be right. You prefer men!
SONNY
No, not at all. I am physically attracted to you but-  
P.O.V. JASON'S CAR -- CONTINUOUS
The two men are shocked at what they see. They can't hear the conversation.
Susan gets in the car and drives away with spinning wheels. Sonny stands alone in the parking lot and watches it disappear.
INT. JASON'S HOUSE BEDROOM -- MORNING
Susan rolls over and squints against the streaming light. 
JASON (O.S.)
Susan!
Susan groans and pulls a pillow over her head. 
Jason enters the room.
JASON (CONT'D)
(sarcastically)
Have fun last night?
Susan groans. Jason rips the pillow off her head.
JASON (CONT'D)
Drinking with your mates?
SUSAN
I had one or two.
JASON
One or two what?
SUSAN
Drinks. What else?
JASON
With the girls?
Susan hesitates. She puts the pillow behind her head.
SUSAN
I saw Sonny last night, Okay.
JASON
What were you doing seeing Sonny?
SUSAN
S'cuse me! You told me to. Remember! 
Jason bends over and puts his face close to hers. She pushes him away.
JASON
To find out about the scroll, nothing else.
SUSAN
That's what I did! We went to a coffee shop to talk.
JASON
(sarcastically)
And you got high on caffeine?
SUSAN
I had a few drinks, but it was all above board. 
JASON
Looked more like mouth to mouth resuscitation to me!
Jason storms out the room. 
Susan stares at the door.
INT. JASON'S HOUSE LIVING ROOM -- CONTINUOUS
Jason holds the phone to his ear. He picks up a calendar that has 25th of December ringed with NWBC written over it.
Jason puts the calendar down as Michael answers
JASON
Bull, I'm going to Sonny's. You keen?
EXT. SONNY'S APARTMENT -- LATER
The suns rays, split by impending storm clouds, spot light parts of the city horizon.. Winds buffet the homeless.
INT. SONNY'S APARTMENT -- CONTINUOUS
Sonny is still in the clothes from the night before. He sits reading his Bible at the window. 
He gets up and walks to the mess on the floor and gently picks up fragments of the scroll. He looks at it dejectedly.
He goes through to his bedroom and packs clothes and toiletries into a suitcase. 
Lastly he rolls up the prints of the scroll, puts it into a cardboard tube. 
He leaves the apartment.
INT. ROOM -- AFTERNOON
Amal stands in front of a group of men and woman. Behind him is attached to the wall is a map of the city underground.  To the side is a pile of open cases.
AMAL
You are all assigned equally important targets. You will make sure the case is in position by 7 on Friday 25th of December. I will do the rest.  
He points to a woman.
AMAL (CONT'D)
Majida, you will place yours here.
He points to a point on the map. MAJIDA stands collects a case.
AMAL (CONT'D)
Remember, it is your choice to make the ultimate sacrifice.   
She exits the room with it. Amal points to another person.  
EXT. STREET SONNY'S APARTMENT -- CONTINUOUS
Jason pulls into an empty spot. They get out and look around at the vagrants and kids roaming the street.
MICHAEL
Not the best area.
EXT. SONNY'S APARTMENT -- CONTINUOUS
The two men stop outside the apartment.
MICHAEL
You gonna knock?
Jason hesitates. Michael pushes him out of the way and bangs on the door. No answer. Michael tries the door. It's locked.
MICHAEL (CONT'D)
He's gone. Skipped town!
Jason looks despondent. Michael pats him on the back as they leave.
JASON
I got friends. We'll get him.
EXT. CITY OUTSKIRTS -- AFTERNOON
Helen Robson and Susan drive into a large cemetery. 
They pass a section that has hundreds of uniformly laid out small oblong head stones. The clouds thicken up.
INT. SUSAN'S CAR
Susan notices Helen sadly watching them pass by. 
HELEN ROBSON
Wars are such a tragedy, nobody wins.
EXT. CEMETERY -- CONTINUOUS
Susan parks the car. They get out and walk through a variety of gravestones all devoid of crosses. In the distance a family is burying someone. There are no religious people present.
SUSAN
Do you still miss him?
HELEN ROBSON
Of course Dear.
SUSAN
Did you ever feel that you married the wrong person?
Helen stops and looks at her daughter.
HELEN ROBSON
Why? Are you having second thoughts already?
Susan who had also stopped starts walking again.
SUSAN
No. Of course not.
EXT. GREG ROBSON'S GRAVE -- CONTINUOUS
Helen puts down a posy on the head stone and stands up.
SUSAN
You remember Sonny?
Helen remains looking at the grave then looks into the distance.
SUSAN (CONT'D)
Mom!
HELEN ROBSON
Yes of course I remember Sonny. 
They walk to a bench a little way away in silence. They sit.
HELEN ROBSON (CONT'D)
What about him?
Susan looks at the city in the distance.
SUSAN
I had a drink with him last night.
Helen remains silent.
SUSAN (CONT'D)
The whole time I was with him I felt.. I don't know, somehow different, peaceful, infatuated. Is that wrong?
HELEN ROBSON
No. Not good but not wrong.
SUSAN
He was in trouble and I felt I had to protect him.
Susan waits awhile then stands, looks at the town and says very quietly almost to herself.
SUSAN (CONT'D)
I tried to seduce him.
She turns quickly to her mother.
SUSAN (CONT'D)
I'd been drinking, he was hurt.. 
HELEN ROBSON
What happened?
Susan sits down again.
SUSAN
Nothing. He was the perfect gentleman of course. I was the one behaving inappropriately. I drove away and left him standing there all alone.
HELEN ROBSON
So now you're embarrassed. I think he deserves an apology. You could ask for forgiveness.
Susan was quiet for a while then almost to herself.
SUSAN
I s'pose that would be the answer. He's big on that.
They stand up and walk back. The rain starts to fall. 
HELEN ROBSON
Big on what dear?
They get in the car and as it drives away Susan replies.
SUSAN
Forgiveness!
INT. ROOM -- EVENING
Amal sits in the dark room at a desk with a small light.
He puts the finishing touches to an explosive device and lays it next to a portion of the scroll. 
EXT. SCHOOL -- NIGHT
Sonny's car pulls into his old school yard and drives up to what used to be the chapel. 
With his suitcase he knocks on the old wooden door.  A uniformed NURSE answers.
NURSE
Can I help you?
SONNY
My name is Sonny, I used to live here with Pastor John Nelson.
NURSE
I believe he died.
SONNY
I know.  I was hoping to rent a room.  Is that possible?
She looks behind into the building. 
NURSE
Well as a Safey, it's really reserved for the destitute.  
SONNY
Safey?
NURSE
It's a government financed place for addicts.  They provide their drug of choice and clean facilities.
SONNY
It's legal?
The nurse shrugs.
NURSE
It's a social program.  It keeps them off the street.
Sonny looks down disappointedly.
NURSE (CONT'D)
If you're not fussy, you could probably use the stock room.
There's a distant roll of thunder and a few rain drops hit Sonny in the face. He looks at the impending storm.
SONNY
Do you mind if I see the room?
The nurse turns and goes inside, Sonny follows.
INT. CHAPEL -- CONTINUOUS
She leads Sonny through an area divided into cubicles with people in various states of inebriation.  The air is blue with smoke.    Nurses attend to some addicts injecting themselves.
They arrive at his old room in the back.
INT.CHAPEL BACK ROOM -- CONTINUOUS
The nurse unlocks the door and stands back.
NURSE
It's not the Ritz but it's dry.
Sonny puts his case down.  
Boxes of syringes and drug taking paraphernalia are piled up against each wall.  There's a dusty, stained glass window at the top of one wall of boxes.
His old broken bed stands against a wall.
SONNY
(mutters)
This was a place of worship.
NURSE
So?
SONNY
I'll take it.
Sonny moves some boxes around, exposing the stain glass window in time to see large drops of rain starting to splatter on the outside. A low rumble of thunder accompanies the drops.
He uses a box as a make shift desk.  
He finds a power point,  plugs in an old lamp with no shade and an electric clock, which he sets to two o'clock. 
He checks a letter he's addressed to Susan, folds it, places it in his bible and puts that into his coat pocket.
He unrolls the prints and starts the translations.
The clock numbers show four fifteen.  The rain roars down. 
He reads what he has written down.
LEGEND:
From Darkness (or Death) to or (shall became) Light (or Life) to show (or teach) or comfort forever as witnessed by all Ano Domini 251220311927.
He leans back.  His eyes close slowly and his head drops as he falls asleep. 
EXT. NWBC TELEVISION STUDIO CAR PARK -- EVENING
Amal drives up and parks his car.
INT. AMAL'S CAR -- CONTINUOUS
Amal closes his jacket over a bomb strapped to his waist.  He is dressed as a television camera person with rain gear.
EXT. AMAL'S CAR -- MOMENTS LATER
He opens the trunk and takes out a television camera.  
He splashes through the parking lot up to the NWBC studios.
Amal walks past the security guard at the entrance to the building.
GUARD
Hey!
Stabul pulls back his plastic hood and says cheerfully.
AMAL
Hi!
GUARD
I haven't seen you before. 
AMAL
I haven't been here before. I'm a new freelancer.
The guard looks at his notice board.
GUARD
I don't have any notice about it.  Do you have any ID?
Amal puts down the camera and digs in his pocket to pull out a card.  He hands it to the guard. 
AMAL
Apparently it's a last minute recording. I presume the regulars aren't available.
GUARD
Typical. I'm always the last to know.
The guard hands Amal a clipboard.
GUARD (CONT'D)
Just sign in here.
Amal signs and hands back the board.  
GUARD (CONT'D)
Do you know where to go?
Amal waves cheerfully as he leaves.
AMAL
I'll find it, thanks.
Unseen, his smile disappears.
EXT. JASON'S HOUSE -- NIGHT
Thunder and lightning accompany heavy rain.
INT. JASON'S HOUSE BATHROOM -- MOMENTS LATER
Michael admires himself in the mirror.  Jason walks in at that moment adjusting his tie.
JASON
I'm the one that has to look good.
Jason checks his tie in the mirror.
JASON (CONT'D)
C'mon lets go.
EXT. JASON'S HOUSE -- MOMENTS LATER
They exit the house and run to the car.
MICHAEL
Where's Susan?
JASON
Visiting your fathers grave with your mom.
Jason opens the locks with the remote. 
MICHAEL
Oh shit, December 25th. Dad died on this day.
INT. JASON'S CAR -- CONTINUOUS
He slaps the water off of his clothes.
MICHAEL
They probably got washed out anyway. 
JASON
I think Susan wanted to have a little 'girl talk' with your mom.
The windshield wipers battle to keep the view clear.
EXT. NWBC TELEVISION STUDIO CAR PARK -- CONTINUOUS
They arrive at NWBC studios.  
They approach the entrance.  
The security guard hands them the clipboard.  Jason signs it and returns it.
The guard checks the name.
GUARD
Ah Mr. Laterby.  Studio 5, They're expecting you. 
INT. NWBC TELEVISION STUDIO -- CONTINUOUS
They look around in awe as they enter the foyer. PATSY DEVON   approaches them with a brilliant smile. She holds out her hand to Jason. Michael still admires the decor.
PATSY
Mr. Laterby, Right on time. I'm Patsy Devon, Assistant Producer. Thank you for coming. 
Jason taps Michael on the shoulder and he turns to her.
JASON
My colleague, Michael Robson, Is it okay if he watches?
They shake hands. 
PATSY
Absolutely, this way please gentlemen.
Patsy turns and indicates a direction.
Patsy leads the way.  As they approach the studio a FLOOR MANAGER wearing a headset greets them and takes them onto the actual set.
INT. NWBC TELEVISION STUDIO 5 -- CONTINUOUS
Various studio crew prepare the set.  They do not notice Amal pretending to work with them.
The Floor Manager indicates a chair.
FLOOR MANAGER
Mr. Laterby if you could sit here that would be perfect.
She points to a camera in front of Jason.
FLOOR MANAGER (CONT'D)
And that will be your camera. JENNY will be here shortly.
Amal watches from a distance as Jason is made up and wired. 
He opens his shirt slightly to check the bomb. He pulls a detonator his pocket and checks the red flashing LED then returns it to his pocket.
Michael saunters to a door between the studios.  He looks through into the NEWS STUDIO next door. 
A makeup artist powders the News ANCHOR.
INT. CHAPEL BACK ROOM -- MOMENTS LATER
A sudden flash and clap of thunder awakens Sonny.
Without lifting his head, his eyes focus slowly.  Firstly on the calendar where he sees the day number 25 then the month number 12 followed almost immediately by the year 2031. Just behind the calendar the clock is still slightly out of focus in the background. The luminous figures show 18:34 He reads the numbers he sees from left to right.
SONNY
Numbers, numbers. We are slave to numbers.  Twenty-five, twelve, two thousand and thirty one, eighteen thirty-four.
He jerks up. Grabs his transcription of the scroll and hits the paper.  He mutters to himself.
SONNY (CONT'D)
That's it! That's it!  251220311927 Day, Month, Year, Hours, Minutes. 
He reads his transcript again.
SONNY (CONT'D)
Which makes it.
He points to the clock trying to do the mental math.
SONNY (CONT'D)
Seven twenty seven.  Fifty seven minutes from now!...But what?
He puts the copy down again and looks around desperately.
SONNY (CONT'D)
Phone, phone..
INT. NWBC TELEVISION STUDIO CORRIDOR -- CONTINUOUS
Amal looks at his watch, it shows 18:35.
EXT. CITY STREET - SUBWAY ENTRANCE-- CONTINUOUS
It's 18:35 on a wrist watch of a woman.
She enters a subway carrying a case. 
EXT. SUBWAY STATION
A public clock shows 18:37.  A man carrying a case sees the time and  hurries into a subway entrance.
INT. NEWS STUDIO -- CONTINUOUS
A man with a headset suddenly shouts out.
MAN
Twenty five minutes to show.
The news presenters check their scripts.
Amal wipes perspiration from his brow. 
EXT. JASON'S HOUSE -- CONTINUOUS
The phone can just be heard over the roar of the rain.
INT. JASON'S HOUSE -- CONTINUOUS
The phone rings jarringly. Susan answers.
SUSAN
Hello?
INTERCUT INT. JASON'S HOUSE / PHONE BOOTH-- CONTINUOUS
SONNY
Susan.  It's Sonny. I must speak to Jason urgently.
SUSAN
He's not here right now. He's at the TV station.  I'm on my way to meet him.  Listen, Sonny I'm sorry about...
SONNY
It's already forgotten. Which station?
Sonny looks at his watch and mutters.
SONNY (CONT'D)
NWBC, downtown, fifty minutes...
(aloud)
Gotta go, bye!
He hastily slams the phone back on the hook.
INT. JASON'S HOUSE -- CONTINUOUS
Susan pulls the phone from her ear, looks at it with a puzzled expression then replaces the headset.
EXT. SCHOOL - INT PHONE BOOTH -- CONTINUOUS
Sonny scrambles for the phone book.  The connecting chain only has the cover attached. He throws it back in frustration.
EXT. SCHOOL -- CONTINUOUS
He gets into his car and races away.
INT. SONNY'S CAR -- MOMENTS LATER
The bandages on his hands are lose.  He tries to rip them off while manipulating the evening rush hour traffic.
INT. SUSAN'S CAR -- CONTINUOUS
She's in the traffic.  She mumbles.
SUSAN
He mustn't tell Jason.
INT. SUBWAY STATION -- CONTINUOUS
The woman smiles as she sits next to a young couple. She puts the case on her lap and sets a combination code on one of the locks. 
Puts the case on the floor by her feet and check the clock.  
It's 18:50  
INT. NWBC TELEVISION STUDIO 5 -- CONTINUOUS
Jason sit uncomfortably squinting at the bright lights.  
The interviewer lean back going paging through a clipboard.
The floor manager starts counting backwards using her fingers as she calls.
LADY
Coming to you in Ten, nine, eight, seven, six.
At five she only indicates the time with her fingers. At zero she points to the interviewer.
EXT. CITY STREET - NIGHT
Sonny's car narrowly misses pedestrians getting off a bus.
INT. NWBC TELEVISION STUDIO SET-- CONTINUOUS
Amal hears the News room floor manager.  He looks into the news studio.
FLOOR MANAGER
Five minutes to show.
HIS WATCH SHOWS 18:55
INT. SONNY'S CAR -- CONTINUOUS
The light is red.  An agitated Sonny checks his watch.
INT. SUBWAY STATION -- CONTINUOUS
A case is unattended next to a pillar.  A man stands a distance away watching a public television.
INT. SUSAN'S CAR -- CONTINUOUS
Susan speeds up.
EXT. CITY STREET -- CONTINUOUS
Her tires displace large waves of rain water.
INT. NWBC TELEVISION NEWS STUDIO -- CONTINUOUS
The clock on the studio wall shows two minutes to seven.  The presenters smile at the camera.
INT. SONNY'S CAR -- CONTINUOUS
Sonny peers at the buildings through his side windows.
SONNY
NWBC, NWBC. Of course! NWBC Television; witnessed by all, It's going to happen on TV.
The Studios are in sight.
EXT. CITY STREET -- CONTINUOUS
He bumps cars as he speeds down the road. People shout at him as he flies by.
INT. NWBC TELEVISION NEWS PRODUCTION ROOM -- CONTINUOUS
The director points to a screen in a wall of many.
DIRECTOR
Roll music, up on Intro!
INT. JASON'S STUDIO -- CONTINUOUS
INTERVIEWER
Is it possible to determine if and when you will be reincarnated?
JASON
It's all about being at the right place at the right time, or wrong time depending how you look at it.
Jason chuckles.
INT. NEWS STUDIO -- CONTINUOUS
Stabul says a silent prayer. 
He bursts onto the News set, runs up and grabs the anchor lady with one arm and pulls her to her feet. The other screams  presenter falls over her chair.
Amal opens his coat to reveal the bomb attached to him.
AMAL
Keep shooting! Keep shooting!
INT. PRODUCTION ROOM -- CONTINUOUS
Everyone sits speechless. 
A camera picks up the bomb.  
Everyone rushes to get out the room.
INT. NWBC NEWS STUDIO -- CONTINUOUS
Amal pushes the Presenter into the chair. She shrieks
AMAL
Shut up!
She sobs hysterically. Amal slaps her face hard.
AMAL (CONT'D)
Shut up! I said.
The anchor sobs quietly. Stabul looks for the camera with the red tally light and goes up to it.
AMAL (CONT'D)
I am here in the name of Allah to revenge...
INT. PRODUCTION ROOM -- CONTINUOUS
The director watches Amal hold the remnants of the scroll to the camera. He slowly sits down and dials 911.
INT. NWBC TELEVISION STUDIO 5 -- CONTINUOUS
News studio staff run onto the set shouting.
STAFF MEMBER
Bomb! Bomb!
The interviewer stands up. Jason looks around in bewilderment. 
Michael grabs a fleeing person.
MICHAEL
Where's the bomb?
The person points to the News studio and continues running.
STAFF MEMBER
There's a terrorist with a bomb!
Jason hears this, jumps up and starts to run but hesitates to call to Michael.
JASON
For shits sake Bull c'mon, let's get outta here.
MICHAEL
You go, get out of here. This is what I do.
Michael turns to the News Studio connecting door.
JASON
No way, Man, this has got nothing to do with us.
Michael ignores him and peers into the News Studio. Jason comes up behind. Amal is looking towards the camera. Michael enters the studio quietly.
INT. NEWS STUDIO -- CONTINUOUS
He runs quietly doubled over to behind the set. 
Michael lies down against the backdrop. He slowly peaks over the riser under the desk. 
Stabul shouts with frustration.
STABUL
You up there, Focus the camera.
Michael sees the Anchor is terrified. He sits up against the wall out of sight. Contemplating his move.
EXT. SUBWAY STATION -- CONTINUOUS
People gather around a public television watching the chaos. 
A suit case remains unnoticed. 
EXT. NWBC TELEVISION STUDIO CAR PARK -- CONTINUOUS
Sonny drives his car straight past the waving guard. Stops and runs up the stairs past the fleeing people. Police and ambulance sirens can be heard.
INT. NWBC TELEVISION ENTRANCE -- CONTINUOUS
Sonny runs inside and looks at all the signs.  
One points to the studios. 
He runs down the passage in that direction.
INT. NWBC NEWS STUDIO -- CONTINUOUS
Michael takes a deep breath, gets up and walks onto the set.
INT. NWBC TELEVISION STUDIO 5 -- CONTINUOUS
Jason almost has a heart attack but stays hidden.
INT. NWBC NEWS STUDIO -- CONTINUOUS
Amal turns to him.
AMAL
Who are you?
Michael goes over to a camera.
MICHAEL
Cameraman.
Sonny's calm voice comes from the main entrance to the Studio.
SONNY
It's okay Bull. I'll handle this.
Amal swings around to see Sonny walking into the Studio. 
He waves the parchment at him. Michael recognizes it.
AMAL
You stole this from the Holy land, It's fitting that you will be punished.
He points at the anchor woman.
AMAL (CONT'D)
Take her!
MICHAEL
But!
Amal grabs the anchor woman and drags her to Michael and pushes her into him. 
Sonny gets close to the group. 
He puts his hand in his pocket and takes out his old book of scriptures. 
Amal snatches it from his hand.
STABUL
What is this?
SONNY
My strength.
STABUL
What does a non-believer know about strength? Or scriptures?
Sonny takes back the book and hands it to Michael.
SONNY
Please give this to Susan.
Michael hesitantly takes it and puts it in his pocket. Amal pushes the presenter.
STABUL
Go, before I change my mind.
The presenter screams at Michael.
PRESENTER
Let's go. 
She starts going to the exit. Michael stays.
AMAL
Come back!
She stops.
AMAL (CONT'D)
I said come back. Now before I blow us all up.
She turns slowly and returns. Crying.
SONNY
Let them go. I'm all you need.
Amal saunters over to the Presenter and startles her as he rips off the lapel microphone.
AMAL
He's right, go now!
Amal puts the mic on the desk. Michael slowly follows the presenter. He stops at the door and turns to look at Sonny. 
He stands to attention and salutes. 
Sonny smiles and nods in acknowledgment.
INT. NWBC TELEVISION STUDIO 5 -- CONTINUOUS
Michael passes Jason waiting in the doorway. They hurry out.
JASON
What happened?
INT. NWBC TELEVISION STUDIO CORRIDOR -- MOMENTS LATER
They run down the corridor towards the exit.
MICHAEL
I think he's going to blow the building. I think Sonny's saved my life.
EXT. NWBC TELEVISION STUDIO CAR PARK -- CONTINUOUS
Susan side swipes a remote TV vehicle as she stops. 
Rain soaked Police, FBI and RTI set up barrier tape. A TV crew set themselves up. 
A reporter puts in an earpiece.
Susan is forced back from the police line. 
Jason and Michael run out with the news director following. 
An RTI agent meets them. Michael is debriefed. 
Jason hugs Susan. He looks back to the building. Near them a windswept remote TV REPORTER stands with her finger holding the earpiece.  
She holds up two fingers to the cameraman.
REPORTER
Two minutes. We're crossing at 19:25
INT. ANOTHER SUBWAY STATION -- CONTINUOUS
Someone knocks an abandoned suitcase as they push to get a better view of the television set.
INT. NWBC NEWS STUDIO -- CONTINUOUS
The clock on the wall quickly approaches 19:27.
Amal stalks around like a caged animal. Sonny follows his pacing with the camera. He stops at the desk and takes the remote from his pocket.
He puts it next to the microphone on the desk.
AMAL
Is it not enough that you live with no honor, but you also steal a priceless window to our past.
Amal holds up the parchment.
And Sonny focuses on it.
AMAL (CONT'D)
This is proof that we are mortals. 
Suddenly Amal grabs Sonny and drags him to the front of the camera.
AMAL (CONT'D)
It is time to pay to our maker. Bow down and beg for mercy.
Sonny pushes him away.
SONNY
You say you are a mere mortal why  would I bow to you?
He looks at the clock on the Studio wall. 
It is 20 seconds to 19:27. 
Sonny puts his hands together and begins praying. Amal tries to knock Sonny's hands down but he stands firm.
EXT. NWBC TELEVISION STUDIO CAR PARK -- CONTINUOUS
Susan sees Sonny on a portable TV set.
SUSAN
Sonny! 
She leaves Jason and breaks through the police line and runs up the stairs into the building. Jason and Michael run after her.
JASON
Susan don't..
INT. NWBC NEWS STUDIO -- CONTINUOUS
Amal picks up the microphone and holds the remote close to it. He screams.
MONTAGE:
Flash shots of various cases in different subways surrounded by people. 
INT. NWBC NEWS STUDIO -- CONTINUOUS
Sonny sees Amal holding the remote next to the microphone. 
He realizes the implications and dives at Amal.
Sonny wrenches the microphone from his hand.  
Amal pushes the remote.
EXT. NWBC TELEVISION STUDIO -- CONTINUOUS
There is a second brilliant white explosion. Susan is blown through the plate glass windows. 
INT. HOSPITAL -- DAY
A ray of sunlight shines through a crack of the closed curtains. There's a distant sound of Christmas music.
Susan blinks at the array of blinking lights and dials on the life support systems attached to her. 
She tries to sit up but can't. She pushes a button next to her head.  
A NURSE hurries in.
NURSE
Hello sleepy head, how you feeling?
SUSAN
What happened?
NURSE
You've been out for a week, just relax! I'll call the doctor.
The nurse pulls back the curtain. Sunlight fills the room. Susan hears people singing carols. The nurse leaves.
Slowly Susan sits up.
The DOCTOR enters and checks her pupil response.
DOCTOR
How you feeling?
SUSAN
Sore!
DOCTOR
That's expected. You should feel a whole lot better in a couple of weeks.
SUSAN
What happened?
DOCTOR
You were in an explosion.
SUSAN
An explosion?
DOCTOR
It's in all the papers.
He hands her a newspaper.
HEADLINES:
NWBC STUDIOS ROCKED BY EXPLOSION. LIGHTNING SUSPECTED. 
He stands back and fills in her chart at the end of the bed.
DOCTOR (CONT'D)
I'll call your mother, she's been very worried about you.
The nurse pushes in a wheel chair and changes her intravenous drip to a portable. 
She helps Susan into the chair.
NURSE
There! Now you're mobile.
Susan rolls over to the window and looks out over the street at the brightly colored Christmas decorations. A little group of carol sings serenade people at a bus stop.
She explores the CORRIDORS passing different rooms She stops at one. 
Inside crying people stand around a bed while a minister gives last rites. 
He makes a sign of a cross.
HELEN ROBSON
Susan! 
Her mother runs to her with her arms outstretched. Jason follows closely behind.
They embrace emotionally.
MICHAEL
Hello Susan!
Michael stands in front of her dressed as a minister.
Susan's world swirls and she faints. 
EXT. CEMETERY -- AFTERNOON
The spinning wheel of the car brushes away the colorful leaves. 
It moves slowly down the lane.
INT. HELEN'S CAR -- CONTINUOUS
Susan looks out at rows and rows of crosses.
SUSAN
What's with the crosses?
HELEN ROBSON
They're graves dear.
SUSAN
I know that mother, but crosses?
Michael, sits in the back, he leans forward and pats his sister gently on the shoulder.
MICHAEL
Don't worry sis, it'll come back to you eventually.
He sits back, feels a lump in his pocket and pulls out a home made book. He opens it. A letter falls out.
MICHAEL (CONT'D)
This yours? Looks like some kind of home made Old Testament.
Susan takes the book; 
She opens the letter and reads it.
INSERT LETTER. Starts with Susan's voice then changes to Sonny's
SUSAN (V.O.)
Dear Susan, Please forgive me if I hurt you that night at the cafe. Please also apologize to Michael and Jason for the loss of the scroll and wish him luck with his reincarnation studies. He once asked me what I thought of time travel. I think it can only be done at the bidding of a higher being. If the opportunity presented itself to me; I hope it
Susan wipes her eyes and continues. 
SUSAN (V.O.) (CONT'D)
Would be in my power to GIVE COMFORT IN TIMES OF SORROW, GUIDANCE IN TIMES OF INDECISION, AND COURAGE IN TIMES OF ADVERSITY TO THE YOUNG AND OLD, RICH OR POOR, MALE OR FEMALE, OF EVERY GROUP ON EARTH. Thank you for the life I have shared with you so far and I pray that you will one day understand what I believe in. Your friend for life and forever after,  Sonny.
Susan wipes her eyes.
SUSAN (CONT'D)
This was Sonny's.
HELEN ROBSON
Sonny who Dear? Do I know his him?
EXT. CEMETERY -- MOMENTS LATER
The car pulls up and they get out.
The four stand over Greg Robson's grave. In the distance a church bell starts ringing.
SUSAN
I can't believe you don't know Sonny. Bull you hated him! 
Susan looks up and sees Christmas Lights and Church steeples with crosses.
SUSAN (CONT'D)
Again with the crosses, and what's with the bells?
Michael puts his arm around Susan.
MICHAEL
I don't know anyone called Sonny Sis, and I don't know why you've started calling me Bull, but I do know about Jesus. 
Susan Michael and Helen walk down the road. Michael points out a large crucifix. 
FADE TO BLACK 
Suggested song to end. John Lennon; 'So this is Christmas'