Need To Know 3rd Draft

“NEED TO KNOW” 
A screenplay by
Bill Hodge
Bill Hodge FINAL DRAFT

5/2 Dotterel Place March 16, 2011
Ingleburn, NSW, 2565 dvista@optusnet.com.au
Phone 61 402 858 447
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"NEED TO KNOW"
FADE IN:
EXT. FOREST ROAD. MID MORNING. BEAUTIFUL SUMMER DAY.
Specks of light shine across the screen as the image fades
in. The light looks like spirits rushing past the camera but
as the scene brightens it is the light shining through the
trees as seen from out of the sun roof of a moving car in mid
morning.
Light happy classical music covers the beautiful scene.
The car is driving through a verdant forest on a narrow
sealed country road. It glides along, the trip obviously
enjoyable.
DAVID STERN a middle-aged man is at the wheel, his father
Fredrick beside him half asleep humming in the warm sunshine.
The car negotiates the curves of the road against suddenly
appearing oncoming traffic having to half leave the narrow
strip of sealed road each time a car passes them going the
other way.
Enjoying driving David changes down gears as they come to a
steep decline. Music declines becoming more ominous as the
car moves down the slope. David changes up gears at the hills
base.
His hand suddenly shakes on the wheel. We see him begin to
seize in the midst of a heart attack. He fights hard to
regain his control in an all but silent battle. He is a
strong silent type. His father continues to hum eyes shut.
The car looses the road as David clutches at his chest
keeping one hand on the wheel. The attack strengthens David
calls out to this dad as he totally looses control.
FREDRICK STERN wakes to see the imminent collision; he
reaches for the steering wheel but is too late. He looks
across at his son in obvious agony.
The car slams into a massive Oak tree as David fails to make
the corner; the impact hits his old man’s side of the car.
David is left clutching at his chest as the camera revolves
up away from the scene looking down on the accident. Cars
come to a stop around them people getting out to help.
Sound of mobile phones calling for paramedics
SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES) CAMERA
MOVES ONTO NEW FRAME ZOOMS IN.
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INT. CAMERA FOLLOWS HOSPITAL TRAUMA CARTS THROUGH EMERGENCY
WARD. DAY.
David and Fredrick are taken by Paramedics into the unit.
Registrar takes over. Heart attack protocol is followed.
DISOLVE:
INT. HOSPITAL WAITING ROOM, DAY

GILLIAN STERN, a neatly dressed 37 years old, waits tearfully
in the room. The swing door opens and her mother MARY BUTLER
enters. Mary is about 60 years old, she has the look of a
pillar of strength. A matriarch.
MARY
Oh Gillian! (Seeing her
daughters distress)
GILLIAN
Mum. David’s in surgery. Mum
(beat)
His father’s dead.
Gillian hugs her mother who holds her no more words pass
between them. Gillian takes her support as always. Mary
shoulders her daughter’s grief.
INT. HOSPITAL INTENSIVE CARE, A CURTAIN SEPARATES DAVIDS BED
FROM THE OTHERS. – DAY LATE AFTERNOON
Gillian is sitting beside the bed. David is intubated after
surgery and not quite awake. Mary stands like a guardian at
the opening in the curtain. The nurses meekly excuse
themselves past her having finished David’s hourly check.
GILLIAN
Dave?
David looks toward her not totally aware because of the
drugs. He reaches his hand out past the tubes She holds it.
He nods her to talk, knowing her well and that she has
something important to say.
GILLIAN
Your dad …
(beat)
He’s …
(She can’t find the words)
David’s eyes close he knows what she is trying to say. He
grips her hand tighter. A tear rolls down his cheek.
MARY
You’re not to blame yourself
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David.
David clenches his eyelids to hold back the tears. He does
feel guilty.
LONG DISSOLVE:
EXT. FREDRICKS HOME. SUNDAY, OVERCAST MORNING
Gillian drives to a stop in front of Fredrick’s now vacant
home. David is still convalescing after surgery and cannot
drive yet. A shadow of sadness crosses his face as he looks
at the house. They plan to start clearing it out for sale.
DAVID
Thanks Gillian but I’m not sure
I can do this. 4 months since
he’s gone.
GILLIAN
We can come back later Dave you
don’t have to clear it out. We
don’t need to sell it.
DAVID
I know. Gill it was such a happy
place when mum was alive. When
he lost her well he changed.
GILLIAN
Your dad was one in a million.
(Smiles)
So are you.
DAVID
(Holding up the keys)Let’s have
a look anyway it’s been years
since I set foot inside. Dad
discouraged it, he just wanted
his monthly drive through the
forest. He called it his
recharge. (he closes his eyes in
sudden grief)
GILLIAN
Don’t think about it. Come on.
Taking the keys form her husband. Gillian gets out of the
car. David slowly follows her.
CAMERA MOVES with them as they walk up the stairs onto the
verandah.
GILLIAN
How old is this place?
DAVID
About 120 years, it’s classic
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really. I remember mum telling
real-estate agents to go to
hell. It’s been in her family
for generations.
GILLIAN
Tucked away on the back streets.
It’s quite beautiful, but in
need of attention. When did your
dad last do any work on it?
DAVID
Ah he kept it up, but he was
more of a professor of
philosophy than a maintenance
man. You know he fully expected
us to be the next family here.
GILLIAN
Well it would have been nice.
DAVID
Sorry honey that was
thoughtless. We’ve had a bad
year first with doctor telling
you your news then with Dad.
GILLIAN
Well at least we’ve got each
other. (She says in a small
voice)
INT. FREDRICKS HOME. MID-MORNING.

The house is beautiful but has an empty closed up feeling.
They feel as if they are intruding. David picks up an old
photo of his mother in her twenties. He smiles and tenderly
puts it back on the hall stand. Gillian looks on.
GILLIAN
Your Mum was so beautiful.
DAVID
(Moving down the hall, looking
about into other rooms)
It broke Dad’s heart when she
died. That’s 15 years ago.
GILLIAN
I wish I could have met her.
David walks into his father’s library without answering. If
the rest of the house feels empty the library is anything
but. There is even a light still burning on the reading table
where an old spiritualist text lies open. The room feels
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alive like someone was just there. David switches off the
reading lamp.
DAVID
It feels like he’s still around.
GILLIAN
(Standing in the doorway she
won’t enter the room)
Was this his inner sanctum?
DAVID
Fascinating feeling. (He rubs
his hand along the spines of his
father’s volumes pulling one
out) ‘Metamorphosing Reality’.
(He starts turning the pages)
Faint musical chimes are heard playing, as he looks trough
the book. Gillian watches him from the doorway still not
entering the room. A breeze flows past her from the open door
into the Library. She hugs herself. David is engrossed in
the book and doesn’t notice.
GILLIAN
Dave? Can we go? I’m getting
cold.
DAVID
What? (Pulls himself away from
the book) Oh, sorry. Go? Sure.
He puts the book carefully back in place. Has one last look
round the room and leaves.
Behind him, unseen, Fredrick smiles, switches on the light as
David leaves the room and continues reading. He takes out a
small black notebook (THE ORACLE) patting it against his
other hand. We hear the front door close as Gillian and David
make their exit. Fredrick’s ghost looks thoughtful.
FREDRICK
Good for you son it’s time you
got a new interest.
INT. KITCHEN; THE STERNS HOUSE – DAY LATE AFTERNOON
A small kitchen full of gadgets; rays from the low sun shines
across David as he washes dishes at the sink, his heart
surgery scar clearly healing under his loose shirt. He
concentrates on scrubbing; the dish suds splash lazily down
from the anxious brushing. Fredrick Stern shuffles into the
room. (Fred is portrayed as a solid person slightly brighter
than his surroundings). He goes to the full-length window
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beside the kitchen bench. He pushes aside the curtain and
studies the unseen exterior.
FRED
What’s wrong boy, beautiful day
out and you’re stuck doing
dishes. There are more important
things needing to be done.
David glances at his father; he seems about to answer but
turns away and continues scrubbing frantically.
FRED
Come on Junior, it’s too late
for that behavior. You should
enjoy this. I’m here to help. No
time I like better than the
present.
Fred gestures out the window. David suddenly stops his
scrubbing, and turns to his dad.
DAVID
Dad I can’t do this. You come
back here and I can see you.
I’ve done my exercise outside,
now I’ve got work to finish.
Gillian will be home soon. I’ve
got too finish.
FRED
You’ll miss out. (Kindly) You
have to see the bigger picture.
All this is just illusion boy,
so you might as well enjoy it.
Fred smiles at his son. He rests his hand on David’s shoulder

looking into his eyes. Fredrick tilts his head to the side
looks like he is hearing something we can’t.
FRED
Don’t waste it son. You can feel
me I’m real. Accept it.
There is the sound of a key in the door lock as Gillian lets
her self in. Gillian enters the room dressed for success; she
drops her bags on the counter. She is frazzled; running on
empty but is stunning none-the-less. She kisses David.
GILLIAN
Freaking traffic. I should have
been here half an hour ago.
She starts to unpack the shopping, going to and from the
fridge, as she talks to David. There is no sign of Fred.
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GILLIAN
How’s the jobhunt going, Honey?
Find anything I’d like?
She looks concerned when David mumbles. David mimes being an
HR person looking at an imaginary resume.
DAVID
I was thinking of becoming a
professional lay-about. Do you
know any places for stuck-at-
home geniuses, sick and tired of
recovery time?
She embraces him. He tries not to get foam on her business
clothes.
GILLIAN
Feeling that good, hey? Come on
lighten up, you’ll get there.
I’m sure Frank would give you
your old job back.
DAVID
I’m sick of computer science.
David looks into her eyes, working up the courage to talk. He
looks down at his right hand; there is a slight tremor in it.
DAVID
Dad was here again.
GILLIAN
(Looks at him questionably)
That’s not possible David. You
know that.
DAVID
He was right there. Told me not
to waste my life. I think
that’s what he meant. Wanted me
to go outside and enjoy the day.
Gillian steps back from her husband. She looks worried and
frazzled again. She looks at the spot David has pointed to;
there is no one there. She looks down at the empty shot glass
on the counter. David picks up on her unspoken question.
DAVID
I haven’t been drinking; that’s
from salad dressing I made for
lunch. Smell the glass if you
don’t believe me.
Gillian doesn’t pick up the glass. She just nods and looks at
David. She then returns to putting away the shopping. David’s
temper suddenly drops he has no choice but to return to the
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dishes.
GILLIAN
We’ll be OK, Dave. You just need
time to get better.
INT. DAVID’S STUDY, UPSTAIRS. LATE NIGHT.
A small book-lined room with a writing desk on which sits a

laptop that’s beeping incessantly. David sits at a small
table, writing letters. David is writing job applications by
hand not wanting to use the computer. The machine annoys him
with its noise. He flips it over and removes the battery and
takes its power cord out of the wall socket. The computer
dies.
DAVID
Beep Beep now, you bastard.
David is finishing a letter for yet another job application.

Other letters, in envelopes, lie on the table beside him.
From out of shot, behind David, we hear his father’s voice.

FRED
You write with a nice turn of
phrase boy. You’d get the job if
I were hiring. You will anyway
if you really want it.
DAVID
(Turns to his Dad, whispers
urgently) Dad this has to stop!
How can I concentrate if you’re
going to intrude all the time?
FRED
You were the one who had to KNOW
boy! But knowing is only a start
Davey, you have to believe. You
have to make it real.
DAVID
As real as you are? (Scornfully)
FRED
(Having the iron of self-belief
in his voice)
Yes. That’s right David, as real
as me. As real as what you feel!
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Just believe in yourself, in
what you know, in what you can
create!
DAVID
Dad, while I’m seeing and
talking to you, Gillian thinks
I’m going nuts. And I’m not sure
if she isn’t right. Why can’t
you be here when she is?
FRED
We can try, but her vibrations
will make it hard. She’s
somewhat overpowering.
DAVID
Yes, you can say that, twelve
years of marriage and I still
feel her power.
FRED
(Said with a smile) That’s
because you take after your old
man. Then again, if you did, you
should have kids by now.
DAVID
That’s not fair Dad. Gill can’t.
I told you that the last time
you tried to push the house on
us.
FRED
Lovely home for kids, you know.
Here she comes David. Just
believe in yourself junior.
Don’t sell the house. You’ll
need it. It’ll all be OK.
Fred fades out as Gillian opens the door; she feels a chill
in the air and rubs her arms.
GILLIAN
Hey, that’s some pile of letters
you’ve got there! Good going.
(She yawns) I’m going to bed,
monkey man.
At the pet name David goes into his ape act. He talks in a
low voice and makes mock threatening gestures towards his
mate, Gillian.
DAVID
Me great silver back gorilla, me
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take sexy lady to my mountain
nest!
GILLIAN
You big idiot, you’re a
recovering heart patient. Don’t
you dare try and pick me up.
CUT TO:
INT. STERNS HOUSE UPSTAIRS HALLWAY.

He chases Gillian to the bedroom, loping down the hall after
her, into the bedroom, making monkey noises. She is laughing
loudly. CAMERA FOLLOWS The scene closes with the bedroom
door slamming shut under the recovering strength of a silver-
backed David.
DISSOLVE:
EXT. STERNS HOUSE. GARAGE. FOLLOWING MORNING.
David opens the tilt-a-door garage. It is a dark, dreary
morning. David looks back at Gillian as she gets into her
company car. He looks energized. She smiles at him.
GILLIAN
Once you’ve delivered your
letters, you could always ride
over and see me for lunch. I
could use a silver back at work.
The other girls would be so
jealous.
DAVID
(Monkey noise) No public
performing, it’s against my
contract.
GILLIAN
I’ll see you this evening in
private then. Bye darling, I’ve
got to go.
Gillian drives off, while David gets his bicycle down from
the wall of the small garage. His father stands in the
shadows behind him, having surveyed the scene.
FRED
You’ve got a spring in your
step! Feel like going cycling?
Interesting, we don’t think you
have taken that bike down for,
well, ever …
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DAVID
Dad! I hope you weren’t watching
last night?
FRED
What, exercises on Monkey
Mountain? No, you have your
privacy, as soon as you want it.
DAVID
What about right now?
FRED
You don’t really want us to
leave. Otherwise we could not
stay. We would not want to.
DAVID
No, I don’t want you to go. But
I’ve got these letters to post.
FRED
Good lad! You could have got
Gillian to drop them for you,
but you decided to ride,
sensible. Good exercise helps
your stamina. We’ll come with
you.
DAVID
How? You want me to double you?
FRED
No need. Once you’ve been where
we’ve been, you can travel at
the speed of thought.
Fred vanishes, leaving David looking around for him. Fred
reappears instantly, in the mid-distance down the street.
FRED
Come on junior, what’s taking
you so long?
David groans and rides off after him. He hears his father’s
voice in his head.
EXT. STREET - MORNING

David rides along as Fred vanishes, and reappears, keeping
pace beside the bike.
FRED
You’ll get the hang of us son.
When you asked for guidance in
your life you didn’t think
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anyone was listening, did you?
(Laughs)
DAVID
Can anyone else see you?
FRED
Not the normal folk, junior. But
if we run into a half-decent
medium, then we’ll be noticed.
DAVID
The ‘Royal we’ hey?
FRED
No boy. While I’m your father
there are others, not only
myself here. We are a group-
mind, a collective, that’s the
only way for us to achieve
manifestation on your physical
plane.
DAVID
No kidding? Who’s with you?
FRED
Like attracts like boy, it’s a
universal law, even beyond your
world. Not so mixed up however.
DAVID
Mixed up? It’s just me who’s
mixed up Dad. But that’s my
fault. I think I’m feeling
guilty about killing you and so
you’re haunting me.
FRED
Communication was never meant to
be this hard. David, I’m not
here to blame you, I had a good
life. But things are mixed up.
DAVID
(David stops riding his Dad
appears in front of him)
What, Dad? What is mixed up?
FRED
Time and space are mixed up,
David. We have made a master of
that which was meant to serve
us. That’s what makes it so
hard for sustained contact to be
made, without a great deal of
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effort on the part of a great
number of souls.
DAVID
So if I accept you’re real, why
do I get this special treatment?
Why are you really here with
your committee?
FRED
Because everything has to be put
back in balance. Some doorways
need to be opened and a future
made manifest, a future that
will save everything. But, more
importantly, the bad doors need
to be closed.
DAVID
What do you want me to do?
Become some sort of white knight
and ride in and save the day on
my trusty steed? (He rings the
bicycle bell)
Am I your cosmic doorman?
FRED
In a manner of speaking, son,
yes. You need to change your
belief and to follow through,
once you know your new beliefs
to be true.
David frowns at the sound of “follow through”, as he never
was a quitter.
FRED
You are a key to the lock, you
might say. You can help sort it
out for the better. Make the map
for a new future.
David rides off shaking his head, having a hard time taking
it in. His father watches him go. There is a look of doubt
briefly on his father’s face.
FRED
He is not ready.
BERREL
(Disembodied speech)
He will be. Tell him to ask for
our help. We will be there.
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EXT. STREET, MAILBOX, MORNING
David goes to put the mail in the postbox. His father is
beside it. He indicates for David to wait.
FRED
Bless it son, and be grateful
for what you are to receive.
Just remember to receive it,
that’s the trick!
DAVID
Dad? How do I bless a letter?
FRED
Honestly? Feel and think.
Will it on its way. Bless it to
be able to act on your behalf.
Do it with love.
You don’t have to say it out
loud, but to ask is all.
DAVID
Bless my mail? People will think
I’m losing it.
FRED
It only matters that you believe
you are gaining it bless it.
Be grateful and receive. It’s
that simple.
DAVID
(Closing his eyes, he mutters
his blessing and then breathes
on the letters, before posting
them.)
May these letters have the
effect I need them to have and
I’ll gratefully receive that.
FRED
Good blessing. Let’s go.
EXT. CAFÉ. LUNCHTIME.

NAOMI STEWART walks into frame looking for Gillian. She is 34
years old a bright, charming single woman with a sense of
humor.
INT. CAFÉ. LUNCHTIME

Gillian waves to her friend, Naomi, from inside the cafe.
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Naomi approaches Gillian and Gillian’s mother, Mary Butler
who are already seated.
GILLIAN
Mum, you remember Naomi.
The women peck one another on the cheek.
NAOMI
Hi, Mrs. Butler, you’re looking
well.
MARY
Hello Naomi. Thank you. Is this
were you two have lunch? It
look’s expensive.
GILLIAN
Don’t worry, ma. I’ve got it
covered.
NAOMI
Yes, I have a trained waiter!
You think he’s got a crush on me?
Gillian Nods. Naomi and Gillian laugh.

NAOMI
You girls ready to order? (They
nod) Good, I know what I want.
Waiter!
(She knows she has his attention
without the show, but obviously
loves taking advantage of the
situation)
Gillian and Mary observe as the waiter, WARREN, who has been
watching Naomi since she arrived, springs to her side.
NAOMI
Hello Warren. How are you?
WARREN
(Blushes) Good, Miss, the usual
then? (Naomi nods)
He looks at Gillian, who nods. Then he looks at Mary.
MARY
I’d like the poached seafood,
thank you, with a side salad.
He writes down their order and, with a last look at Naomi,
hurries away.
MARY
Good service. Polite, if a
17
little over-friendly.
(She smiles at Naomi, who raises
her eyebrows, enjoying it)
GILLIAN
(Changing the subject)
Thanks for coming, Mum. I really
need your advice, about David.
It’s hard to discuss, he’s been
getting stranger all the time
since the car accident.
MARY
Nothing unusual in that dear,
men measure themselves by what
they do. Having to take time off
to heal doesn’t appeal to him.
But he’s a strong one; so you
must keep him busy until he
mends.
GILLIAN
That’s just it Mum he keeps
himself very busy! He has no
interest in going back to
working with Frank in the
computer lab. He has churned
out applications, since I
suggested he look for another
job.
(beat)
Now he keeps telling me he’s
seeing his father’s ghost!
MARY
What? Old Fred?
(Chuckles)
GILLIAN
Mum, David says they talk to one
another.
MARY
I don’t know if it’s anything to
worry about dear. After your
father died I had some
(beat)
Interesting moments, believe me.
GILLIAN
But did you hear Dad and see
him? David tells me that he sees
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and hears Fred.
MARY (more serious now)
Gillian, have you considered if
David would talk with Father
Ryan, or see a doctor?
GILLIAN
You mean go to a psychiatrist?
MARY
Or to the dear Father, he’s a
wonderful person to talk to.
Up to you, dear. You’re the ones
who should make that decision.
Gillian looks down troubled, and Naomi, seeing this, puts her
hand over Gillian’s to comfort her.

INT. STERNS HOUSE. LOUNGE ROOM. LUNCH TIME.

SOUND IN BEFORE PICTURE. TV Newscast (V.O.)
CAMERA PULLS BACK from David’s Laptop in the Sterns’ living
room. The machine’s battery is lying beside it, laptop dead
as a doornail. David is watching the midday news while eating
his lunch.
The TV news coverage is about a terrorist attack on a sports
team in the Middle East. There is some talk of retaliation
against the country involved.
(V.O.)NEWSCAST
…With Trade embargoes now in
place there is a threat of the
situation leading to retaliation
against the Middle Eastern power…
DAVID
Bloody madness!
His father is suddenly sitting beside him.
FRED
You could change that. Make sure
there is no need for retaliation
and no escalation of the
problem. You could make it go
away.
DAVID
Come on dad, you must be joking.
I’ve no control over that. It’s
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horrible, but what can I do
about it?
FRED
Change the future, David. Open a
new door to a better future.
David temporarily chokes on what he is eating. He can’t
believe what he is hearing this again.
DAVID
Dad, or whoever you are. I’ve
got no way of changing the
future. I don’t even know what
it will bring. You’re making me
feel like I’m not quite sane and
that frightens me. Gillian’s
right! If you are a figment of
my over-active imagination, then
I’m in serious mental trouble.
Maybe I’ve got some sort of
tumor in my brain. Or maybe
something went wrong with my
surgery.
FRED
Junior there isn’t a tumor. I am
as real as you are. Let yourself
feel. You know this to be true.
You KNOW it. Trust your
feelings, your love.
DAVID
Love! What about my love for
Gillian? The longer this goes on
the more worried she becomes.
Dad you’re dead. And I’m going
insane.
FRED
Death is not the end David. You
need to remember. We will show
you.
DAVID
What now? You want to kill me?
FRED
No, but you can leave your body.
You have been able to since your
experience during heart surgery.
(continuing)FRED
Finish your food, because you
need to relax.
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David finishes eating and sits back with one eye half-open,
watching, but not trusting his Dad. He closes his eyes, tries
to relax, but opens them again.
DAVID
Dad? I’m not sure about this,
you make me feel like some big
kid! What if I can’t get back
into my body? It’s weird, it’s
impossible.
Fredrick touches the tips of his splayed fingers together
sending energy across his hands. Fred stands beside the
lounge.
FRED
Monroe was scared to. He first
popularized out-of-body back in
the 1960’s. You should read my
books. Look. Think of it as a
change of consciousness. That’s
all it is. Close your eyes,
gently.
David closes his eyes and his father starts humming. As the
sound of the hum rises in pitch, David rubs first his temples
then his forehead.
DAVID
I feel funny.
FRED
(humming tone continues behind Fred’s voice)
Relax; listen to the sound of
the tone. Think of something
small, a grain of sand. Remember
what it was like, as a child, to
swing back and forth on a swing.
David leans back on his seat, relaxing as much as he can. His
father waves his right palm over David’s forehead. A small
violet and white light flickers across his head, under his
father’s hand. David relaxes further into the lounge.
His father brings his left hand above David’s body. The tone
increases and starts to quaver.
We see David’s 2nd body slowly rise out of his physical one,
which seems asleep. Fredrick steps back as David’s 2nd body
settles, to stand beside him.
David’s 2nd Body looks itself over, front and back.
DAVID
Wow! Hey, I’ve still got my
clothes on. I feel kind of light.
21
David looks at his body sitting on the lounge chair. He talks
to his father as a voice over (to show telepathic speech.)
DAVID
Am I dead?
FRED
No. It’s just how you leave your
body each night to dream, only
this time you are conscious.
DAVID
Will my physical body be OK?
FRED
Yes boy, it will be fine. I’m
not going to take you to the
other side. Right away you need
to get your perspective first.
DAVID
Why?
FRED
To help you understand what the
nature of reality is and what
happens after you die. You need
to know.
David nods at this. They both float up and fade away from the
scene.
EXT. DAYTIME, JUST AFTER MID DAY ABOVE THE CITY.
David and Fredrick glide out-of-body over the buildings of
the city. They see earth-bound spirits clearly, but the
world itself is faint as if watched through gauze. David is
getting the hang of it and sails out of screen followed by
Fredrick. Fredrick then takes David’s hand. Fredrick’s hand
is phasing to a higher vibration rate.
FRED
I want you to raise your
frequency, David.
Do you feel a tingle in my touch?
DAVID
Yes Dad. Your hand is flowing
with energy.
FRED
Good, can you match the
vibration? Can you will yourself
to do it?
David raises his vibration and starts phasing energy across
22
his whole body. His astral body brightens.
FRED
Very good! Want to see something
special? (David smiles and nods)
Right, keep raising your
frequency.
David and Fredrick disappear in mid-air.
INT. SHOPPING MALL, DEPARTMENT STORE, AFTERNOON

Gillian and Mary shop in “Ladies Formal Fashions”. Gillian
holds an evening dress up to Mary’s slim frame. Naomi gets a
text on her cell phone, and looks annoyed as she reads the
message.
NAOMI
I’ve got to go. So sorry,
Gillian. Mary. They need me back
at the office.
GILLIAN
That’s fine Naomi; I’ll call you
later.
Mary smiles her farewell.
MARY
Bye, dear. It was lovely to see
you again; it’s been too long.
It’s very good Gillian has a
friend to keep her spirits up.
NAOMI
Mrs. Butler you know me! Just
don’t let the spirits get either
of you down! Especially the
scary ones that go bump in the
night. Love. Bye.
GILLIAN
(Laughs)
See you later, Naomi. (Holds the
dress up to Mary again)
GILLIAN
You’re still beautiful, mum.
MARY
Exercise helps me keep moving,
my dear, and hard work got me to
here. It’s lovely, what would
23
this cost?
(Inspects the tag, slightly
shocked)
What excuse would I have,
though? (Chuckles)
GILLIAN
It would suit you, Mum. Do we
need an excuse to buy it?
MARY
(Putting the dress back on the rack)
I think you should be the one
buying today, for yourself, to
cheer you up.
(Changes tone to a maternal instruction)
Father Ryan is a trained
counselor, if David won’t go,
perhaps you should see Father
for advice. Perhaps he can help
you, dear.
GILLIAN
Maybe. I’m wondering how David
will react. The heart attack has
hit him hard. Made worse by the
death of his Dad. He feels
guilty mum.
MARY
Well you two have known each
other a long time, it’s not
unusual to be aware of your
partners distress. It shows you
care.
GILLIAN
You’re right, our marriage has
lasted way past the average
these days. Mum, I know he loves
me. He still loves me…
MARY
Just let him know that you love
him too, he’s a strong
personality but he needs you to
be strong for him. He’s got to
stop blaming himself for the
accident. He’s worried about
letting you down, too, in his
career.
24
GILLIAN
Me?
MARY
David needs your help, Gillian.
He may not be able to get clear
of this without your
involvement. Be there for him.
Gillian looks down, wondering how she can approach him.
MOVES ONTO NEW SUPER BRIGHT FRAME ZOOMS IN.
EXT. A BEAUTIFUL SUN-LIT PARK. DAY

Blue sky and vivid green grass, the scene is surreally
bright. David and Fredrick walk over a slight hill towards
the camera. They stop at the top of the rise, looking out at
the view. A path leads down towards fabulous flower gardens
that have more color in them than is natural. There is light
music in the air that is coming from the plants below. David
breathes in deeply, joyously.
DAVID
What a wonderful feeling. Dad
we’re solid! I can feel the
spring in the grass! It feels
great! Wonderful! The view here
is … beautiful.
FRED
It’s set up for when people
first cross over.
DAVID
Where is here? Is this heaven?
FRED
No junior we’re in a way
station, a place people come to
rest after they leave the
physical.
DAVID
But we are physical, I feel
great. I haven’t felt this good
in years.
FRED
In a manner of speaking you are,
because our vibration matches
this place, and special
attention was given to this and
other way stations to
accommodate people’s old
25
physical biases. We call it the
park.
DAVID
So this is where we go after we
die?
FRED
Not everyone finds his or her
way here. There are areas more
suited to personal beliefs, if
you closely follow a particular
faith. Then there are the
Earth-bound spirits who were
beneath us before. Well they
won’t make it here, until they
allow themselves to break free
of whatever holds them to earth.
This is a place of convalescence
that helps people who pass
suddenly and have no religious
ties.
There is a bark behind them and over the hill comes a little
tan dog, he goes right for David.
DAVID
Teddy! It’s so good to see you,
boy. (Laughing) It must be 23
years.
TEDDY the dog jumps into David’s arms. Licking him on the
face crazily.
FRED
He couldn’t wait. (Raises
eyebrows and laughs)
David puts down his dog. Who wags his tail at him and prances
around him welcomingly. David suddenly realizes if Teddy can
be here, he should be able to see his mother.
DAVID
Mum? Is she here?
FRED
Doris? (Smiles) Let’s follow the
music. See the lights on the
next rise behind the trees?
That’s where they all are. There
is a concert in progress. Teddy
just had to be first to see you.
They walk towards the trees, the small dog running ahead and
26
then back to them, sniffing around.
EXT. CONCERT IN THE PARK. DAY

Above the trees a great shape is forming in thin air. It is a
collection of pastel and rainbow colors creating the surface
of a great glowing dome-like ethereal form. David looks up at
the lightform, as it billows and changes color and shape, in
a graceful dance. The movement responds to the music they can
hear coming from the same direction. As they walk through the
trees into a natural bowl in the ground, many people sit
watching the concert, its musicians in their midst. A
crescendo sets off a series of lights, like fireworks,
shooting skywards from the dome. The crowd gasps. The music
is fading, but the main form of the dome stays above the
people.
FRED
It will stay like that until it
looses its form and dissipates.
David you are not in the
physical world anymore, as you
now can see. But let’s find your
mother.
MOVES ONTO NEW FRAME.
INT. GILLIAN’S OFFICE. AFTERNOON
Gillian is worried, tapping pencil on her teeth and making up
her mind. She taps in a phone number.
GILLIAN
Hello, Yes, it’s Gillian Stern
here, I want to make an
appointment with your clinic.
It’s for my husband David.
(beat)
Oh, sorry, of course. Who should
I see about a referral? I see.
I’ve never done this kind of
thing before?
(beat)
I’m so worried about his mental
balance. He is recovering from
heart surgery. I’m frightened
how he might react towards me
for making this appointment.
(beat)
Can I? That’s so kind of you.
Hello, Doctor…
27
EXT. CONCERT AT THE PARK. DAY

David and his father walk up behind his mother, he gestures
for his dad not to say anything. Teddy runs around DORRIS
STERN and she turns about.
DORIS
You couldn’t sneak up on me
while I was physical, David, my
dear, what makes you think you
can now?
(She laughs, very glad to see
her son)
(To Teddy) Good boy Teddy you
found him!
DAVID
(Tears well up) Mum! I…
(beat)
I, it’s lovely to see you. You
look so well! (Doris looks 40
years younger than when she
passed over)
DORIS
It must be the carrot juice,
junior.
David hugs her, he then holds her at arm’s length, looking at
her.
DAVID
You look so young.
DORIS
(Laughs) Thanks!
The crowd is departing. David and his parents are left
respectfully alone to catch up.
DORIS
Come on David there’s someone I
want you to meet. We can walk.
It’s not far to the border. (She
turns to Fred) Does he know?
FRED
I left that to you, my dear.
DORIS
Typical. You’re still the same
28
man you always where, Fred
Stern. Haven’t changed at all.
FRED
That’s why you love me.
DORIS
I haven’t seen you since just
after you got here. Too busy
gallivanting with those guide
friends of yours.
FRED
(Smiles) It’s important work,
Doris.
DORIS
(She just looks at him)
Yes. OK, I’ll take charge; we
have to get over to Berrel’s.
She can get us through to you-
know-who.
DAVID
Who do you want me to meet Mum?
What’s this border you are
talking about?
DORIS
You’ll see. We can’t comfortably
cross the border unless we get
help from Berrel.
DAVID
Berrel Slocombe?
FRED
The one and only!
DAVID
That old witch, I didn’t think
she would be here.
MUM
Now David that’s no way to talk
about a gifted lady!
FRED
I was quite surprised myself,
junior. But listen to your
mother, she’s right as always.
As they banter as they walk. Teddy is hot on their heels.
SOUND IN: BEFORE IMAGE FADES IN FROM WHITENESS.
29
INT. STERNS HOUSE, LOUNGE ROOM.
Gillian has come home, after work, finds David in an out-of-
body trance. She is worried when she can’t wake David.
GILLIAN
David wake up! Honey? Come on,
you’re scaring me!
DAVID
(Groans) Berrel? Gillian? What’s
the matter?
GILLIAN
I couldn’t wake you! I thought
you were dead. Who’s Berrel?
DAVID
Berrel Slocombe, mum’s longtime
friend. She was just explaining
the transfer of energy to get
through the barrier.
GILLIAN
You’re not making sense David.
Berrel Slocombe died last year.
(beat)
It must have been a dream.
DAVID
A dream? No … Dad took me there.
GILLIAN
David, stop it, now! You need to
recognize your dad is gone. He’s
been dead for six months.
DAVID
Gillian, I need you to listen to
me. I’m not crazy. I know dad is
dead. But he’s still…
(beat)
around.
GILLIAN
David you need help.
DAVID
I’m fine, darling, really great
in fact, the things I’ve got to
tell you about.
(beat)
I really should be writing all
of it down.
David gets up off the couch; he embraces her, looking at her,
wanting to share his experience, but not knowing where to
30
start. He goes in search of a notepad and pen.
DAVID
Gillian, promise you will listen
to me so I can explain what
happened.
GILLIAN
(Looking at him skeptically, she
hugs herself, sighs) OK.
DAVID
I’ve been to the other side! I
was flying out of body with
dad’s help. It’s real, Gillian.
Dad mentioned some books he has
that make this clear. Lots of
people do it.
Gillian is shocked at the flying idea. She shakes her head
and swallows her desire to have him stop. He waits, then
continues.
DAVID
At any rate, Dad showed me how
fully the world is populated by
spirits, earth-bound ones stuck
here because they are so
addicted to physical life.
GILLIAN
Addicted to life? David what do
you mean.
DAVID
People get lost; they want money
or power, or have lost their
lives, but not the desire to be
here.
GILLIAN
Like your dad?
DAVID
No, Dad’s not like that at all.
He loves us, that’s for sure and
he still wants us to live in his
house.
GILLIAN
(This is something she can talk
about that is not crazy) David
it’s too big and out of the way.
DAVID
I don’t know about that. Dad’s
31
books would be very helpful to
me. I think we should move there!
GILLIAN
I’m not leaving my home to go
and live on the other side of
the city, away from work. You
must be mad.
Gillian storms out of the room into the kitchen. David
follows her. CAMERA FOLLOWS. He knows this is going badly,
now she’s openly hostile, but he still wants to tell her
about his experience. She is obviously not responsive.
Gillian starts to get food out of the freezer, smashing
frozen meat down on the counter. David looks at her as she
moves about with a worried anger that she won’t control. She
suddenly stops and looks at him.
GILLIAN
Mum wants you to go to see
Father Ryan with me.
She sticks meat in microwave, not really watching what she’s
doing.
DAVID
Why?
GILLIAN
(Turning back to him)
David we are worried about you.
You’re losing it!
DAVID
No I’m not! You should see what
I’ve seen Gillian.
GILLIAN
Dave! Don’t do this to me. You
need a doctor or a priest. This
is not real. I’m willing to
grant you Heaven exists, but you
go there when you die, not
before! It’s crazy talk.
DAVID
No it’s strange but it’s real.
Darling. I’ve seen it so
vividly! Not like a dream, but
like everyday life.
GILLIAN
(Angry – she shouts)
Everyday life! We haven’t had
everyday life around here for
months! I’ve had it! Why don’t
32
you go and live with your Dad at
his house with his weird books!
She storms out of the kitchen, slamming the door behind her.
David is shocked. He had not thought Gillian was under so
much stress. He wants to follow her, but is stopped by his
Dad appearing in front of him.
FRED
Let her cool down, David. That
didn’t go well. I’ll tell the
others. You’ve seen a lot. Would
you have accepted it without
experiencing it?
DAVID
No Dad.
FRED
Give Gillian time, she got a
fright not being able to wake
you up. You best write down what
you have seen while it is fresh
in your mind, so you can share
it with her later.
Fredrick vanishes. David makes to go after Gillian. Then
stops sighs and finds the notebook, he goes back to the
lounge room. He sits down and starts to write.
DISOLVE:
INT. STERNS HOUSE KITCHEN, NIGHT (2 HOURS LATER).

Gillian enters the kitchen. She has been crying. She looks
around the room for David. He isn’t there. She decides to
continue with dinner. Checking the microwave, she sees the
meat is still semi-frozen. Instead of re-microwaving it, she
gets it out and starts hitting it with a meat mallet.
INT. STERNS HOUSE LOUNGE ROOM, NIGHT

David sits on a chair, still writing. David flinches at every
pound of the meat mallet. He chews his lower lip and puts
down his work. He gets up and walks to the kitchen doorway.
CAMERA TRAVELS with him into the Kitchen. Gillian, her back
to David continues to pound the meat.
DAVID
I think it’s dead.
GILLIAN
We have to eat.
33
DAVID
I’m sorry I didn’t mean to scare
you.
(He embraces her from behind)
GILLIAN
I’m sorry too David.
(Her head drops in shame)
I’m just so worried, how you’ve
changed.
DAVID
I know.
GILLIAN
Ever since the heart surgery
you’ve been moody, happy one
minute, then down the next.
Now, all this stuff.
DAVID
What do you want me to do?
GILLIAN
(she turns to him in the embrace)
Will you come and see Father
Ryan with me? He’s a trained
counselor. And you should get
your heart checked. It was like
you were dead when I came home.
DAVID
(he breaks the embrace)
No, Gillian, I don’t want to
talk to Ryan.
GILLIAN
You’ll get your heart checked?
DAVID
There’s nothing wrong with my
heart. I feel fine!
INT. DORIS’S SUMMERLAND HOUSE. ETHEREAL REALMS. DAY

Doris is arranging flowers. Teddy barks. She looks up outside
the window, Fredrick materializes. She smiles at him.
Gesturing to come in.
DORIS
Hello Fred. To what do I owe
this pleasure?
34
FRED
Hi. You’ve been here longer than
I, Doris.
Teddy wagging his tail madly takes advantage of Fred’s visit
for pats.
DORIS
Yes? (Doris gestures he sit down)
FRED
(Teddy jumps into his lap Fred
pats him absentmindedly)
I feel like I’m ruining our
son’s life. Gillian is so upset
with him.
DORIS
Throwing pans, like I used to?
FRED
No. But so angry, she’s confused
and frightened and there
something I can put my finger
on? (Teddy licks his face in
sympathy)
DORIS
She’ll get over it.
FRED
(to Teddy)Down Boy!
I’m not so sure. It felt like
the beginning of a breakup. I
know what he is going to do once
he sees the need. But what if
their relationship is ruined.
Teddy takes up the position for a back rub looking
appealingly at Fred. Fred complies.
DORIS
Having second thoughts about
your work, Fredrick? You knew it
was going to be hard. Running
Owl could do this. You know he
has the experience.
FRED
No David’s still my boy and I
won’t let him down. Maybe if she
is involved more?
DORIS
David’s my son and Gillian is
35
made of stronger stuff than you
realize. She will be fine.
INT. STERNS HOUSE, DINING ROOM, MID-EVENING.

David is finishing setting the table. He puts a vase of
paper flowers in the centre. Gillian walks in with their
meals.
GILLIAN
Where did you find that old
thing?
DAVID
Out in the garage, I dusted it
off. Good as new. Thought we
could use it. (He goes and puts
on soft, romantic music)
GILLIAN
(She smiles) You’re an old softy
really, aren’t you?
DAVID
I haven’t been thinking about
how all this was affecting you
Gillian.
GILLIAN
And more to the point, you still
want to tell me about it (raised
eyebrows) Dave. I’d rather just
eat.
DAVID
OK.
GILLIAN
If this is something you just
have to get out of your system
then we should seek counseling,
David. That’s if you want to
stay a couple. Come on, it’ll
get cold.
He pokes at his food, looking down at his plate. She does
the same. There is a sense of emotional divide as THE CAMERA
PULLS BACK.
DISOLVE:
INT. STERNS HOUSE, BEDROOM, MORNING

Gillian wakes to find the bed still neat on David’s side. He
36
hasn’t slept there. She frowns and gets up, throwing on a
robe against the cold. She walks from room to room. There is
no sign of David. She comes into the Kitchen there is a note
on the fridge door. She sits perched on the edge of a stool
reading it. Tears start to flow.
INT. FREDRICK’S HOME, ENTRY HALLWAY, LATE AFTERNOON.

David opens the front door. He brings his racing bike inside.
And leans it against the wall. The hall is getting dusty and
causes him to cough. He speaks to the empty house.
DAVID
Need to get you all cleaned up,
if I’m to stay here.
INT. FREDRICK’S HOME, LIBRAY ROOMS, LATE AFTERNOON.

He walks into the library, looking at his father’s books. The
shelves are packed. CAMERA TRACKS HIM. As he rounds the
corner of the room another room behind it has been filled to
the ceiling with books. He walks further in to yet another
room of books.
DAVID
This just got a whole lot harder
Dad. Where do I start?
A book on the far side of the room pulls out of the shelves,
flies to the table in the centre of the library, and lands
softly, opening mid-way.
DAVID
Thanks.
David picks up the book and retires to his father’s chair by
the reading table. The light comes on as he sits down. David
smiles, knowing he’s been taken care of, and starts to read.
INT. STERNS HOUSE, LOUNGE ROOM, LATE AFTERNOON.

Gillian lets herself in. The house is empty. She goes to the
phone. She calls her mum.
GILLIAN
Hey mum. I’m home.
No he’s not here, gone four days
now.
(beat)
No don’t come over, I’m going to
37
make some dinner and watch
tellie.
(beat)
I’m not good company at the
moment.
(beat)
No, he wouldn’t see Father Ryan.
(beat)
He says there is nothing wrong
with his heart.
(beat)
He wrote that he had to get his
spirit sorted out;
(beat)
No I don’t think he’s seeing
someone else. I’ve got to go.
(beat)
Yes, ring me later. That would
be nice.
She flicks on the television. The 6.30pm news is on. CAMERA
FOLLOWS HER as Gillian gets a box of plain crackers out of
the kitchen and settles down in front of the television.
Flicking through the channels, nothing interests her. There
is a news story about suitcase bomb threats against central
European cities. She watches.
GILLIAN
How bloody horrible.
She switches channels again, the doorbell rings.
INT. STERNS HOUSE, ENTRY HALL. LATE AFTERNOON

Gillian looks out the door spyglass. Sees Naomi poking out
her tongue.
GILLIAN
(Opens the door smiling)
Hello Naomi!
NAOMI
I just thought I’d call in to
see how you are.
GILLIAN
I’m fine, Naomi. I’m eating
crackers from the box, flicking
between TV stations.
NAOMI
(Smiles)
That good hey?
38
GILLIAN
At least I’ve left the chocolate
alone.
NAOMI
(mock shock)
God, woman, why do you want to
do that? I’ve got the heavy
ammunition right here!
Naomi hefts a big bag of goodies on Gillian.
GILLIAN
Thanks, Naomi. No Rocky Road,
OK? I over-indulged last night.
NAOMI
Really? That’s more like the
Gillian I know and love. No
Rocky Road. But I’ve got some
nice red wine.
Naomi brandishes the wine bottle. Gillian invites her friend
in. She walks back to the couch, moving the battery-less
laptop aside, to make room for the goodies Naomi has brought.
GILLIAN
I can’t help but feel like this
laptop. I’m part of his life
that’s been unplugged and left
powerless.
NAOMI
You’re never powerless, Gilly.
Have a Freckle! Feel the force
return.
GILLIAN
(She laughs accepting the freckle)
I love you Naomi, you’re an out-
and-out nut!
NAOMI
(Gives a little bow)
All part of the get Gilly Stern
to be less Stern! I’ll get the
glasses shall I?
(Big smile)
Naomi goes into the kitchen to get the glasses and comes back
with two wine glasses and a small black notebook(THE ORACLE).
NAOMI
Hey Gill. Look what I found on
these glasses in your cabinet.
David’s got a little black book!
39
Unless it belongs to you?
GILLIAN
What the hell? What’s in it?
Gillian takes the small book and Naomi pours the wine.
GILLIAN
This isn’t David’s. It’s belongs
to his Dad? Where did it come
from?
NAOMI
Woooooo, ghosts can apport stuff
you know. (she drains her glass)
GILLIAN
Stop that, silly. David must
have been here today, while I
was at work.
NAOMI
Or you’ve got a haunted house!
GILLIAN
Oh, stop it. (She starts looking
through the book) This is
strange, all sorts of diagrams
here, look.
NAOMI
Curiouser and curiouser. We’ll
be down a rabbit hole next.
GILLIAN
It doesn’t say “eat me” either,
silly.
(Gillian flips through the
pages) It’s mystical and quantum
science stuff. There’s a diary
of sorts here too.
NAOMI
Oh goodie, I love other people’s
diaries!
GILLIAN
(Looks at her) Should we read
it? It could be private.
NAOMI
Of course we should. This is
from the very man who is
haunting your husband. It may
give you some idea why.
40
GILLIAN
OK. It starts just after Doris’s
death.
NAOMI
Doris?
GILLIAN
Doris is David’s mother. She
died 15 years ago. There’s a
poem, then diary entries. The
poem is lovely. Listen to this.
Eternal mists I beseech thee
part,
Uncover the loss of my battered
heart,
Clear the way for me to pray
Upon that solemn lonely day,
My love abides on shores apart,
Why must we be lost to heart?
No contact, but would it were to
start.
NAOMI
Wow, did old Fred write that?
(she refills her glass)
GILLIAN
It’s in his handwriting. David
told me once he was quite a
poet. But more importantly, look
at the desire in it. He wants
to talk to her so badly. It’s
like he has had his heart ripped
out. (Gillian has a drink)
NAOMI
You know, in all of this we’ve
worried about David being crazy.
What if Fredrick really did find
a way back? Do you know what
that would mean?
GILLIAN
No and I don’t want to. Look
David is sold on this, but it
doesn’t mean I am. Naomi what I
haven’t told you is David
claimed he had been to the other
side.
NAOMI
(she fills Gillian’s glass)
Gill a chill just passed down my
41
spine. Would you like some more
wine? I’m a poet to. (she drinks
her wine)
GILLIAN
How many have you had Naomi?
NAOMI
Well to brave a very upset
Gillian Stern, who has been
deserted by her husband and was
eating crackers?
(beat)
Enough. But let’s not let that
stop us. (Smiles, she tops up
her glass)
(They giggle and clink glasses.)
The phones rings and scares them both. Gillian eventually
answers it.
GILLIAN
Hi mum, Naomi arrived out of the
blue.
(Naomi does a little dance)
She brought chocolate and found
a strange little notebook.
(Smiles at Naomi)
No, mum, I haven’t been drinking.
Gillian pulls a face at Naomi for gesturing she’s naughty for
lying to her mum
GILLIAN
Well, only a little bit. You
should be more concerned about
Naomi. What? The notebook?
Naomi feigns mock horror at being in trouble with Mrs Butler.
GILLIAN
It belonged to David’s Dad.
(beat)
No I haven’t seen it before.
Naomi thinks it’s an apport.
Naomi does spooky finger dancing, Gillian pushes her away.
GILLIAN
Yes, from the ghost.
(beat)
Yes, I told her it was silly.
(beat)
No, not yet. I’m seeing Father
Ryan tomorrow.
42
(beat)
I’m fine, mum. Take the notebook?
(beat)
Why? Do you think Naomi’s right?
Naomi does a little victory dance. Gillian shakes her head at
her - “you’re mad” is implied.
GILLIAN
It’s not very scientific. OK.
OK. Mum I’ll take it.
(beat)
No he hasn’t called.
He’s probably got his big nose
stuck in his father’s books.
You’re the only one I’ve talked
to tonight. Yes love you to.
Bye Bye. Yes. Bye, mum!
Gillian puts down the phone exhausted.
NAOMI
I love your mum! I told you, an
apport!
GILLIAN
Shut up, silly.
(They both laugh)
INT. CHURCH, AFTER MASS. MORNING

Gillian has walked into the church looking around for FATHER
THOMAS RYAN. She is clutching the notebook in her hand. Music
fills the church hall. The father enters from an
antechamber. He sees her and waves. The father is a
sprightly, elderly man with a warm smile.
FATHER RYAN
Hello, my child. Your mother
called me and brought me up to
speed, as they say.
GILLIAN
Thank you for seeing me Father
Ryan Father. I don’t know who
else I can turn to.
FATHER RYAN
Now, now, nothing is as bad as
that, Gillian. Let’s walk in the
garden.
They walk from the church out its side entrance the camera
43
follows them.
GILLIAN
I think something is haunting
David.
FATHER RYAN
Ghosts, yes, your mother said.
Well, if we believe in eternal
life that leaves the door open
to ghosts.
GILLIAN
Father, is that the point of
view of the church?
FATHER RYAN
There are stranger things than
heaven and hell, Gillian. Our
church has a point of view on
all things under the sun and
then some besides. My own view
may be somewhat more liberal.
GILLIAN
Do you believe in ghosts, Father
Ryan?
FATHER RYAN
Yes. I do. Now was David doing
anything caused by the influence
of the spirit?
GILLIAN
He told me about being out of
his body when I could not wake
him up. It was weird. I got him
to come to a few times, before
he finally regained full
consciousness.
FATHER RYAN
Did he say anything that was out
of character, while he was semi-
conscious?
GILLIAN
No not really, but he said he’d
been to the other side and I’d
interrupted him talking to
Berrel Slocombe.
FATHER RYAN
Berrel Slocombe died last year,
44
(beat)
not exactly the most devout
person I could think of, but she
was a good soul. Always helped
the orphanage across the road.
I had some very interesting
discussions with her.
GILLIAN
David used to call her an old
witch.
FATHER RYAN
Did he now? (Smiles)
Not very polite, but quite
possibly accurate.
GILLIAN
Father, would you consider
coming and seeing David at his
father’s house?
FATHER RYAN
With a chance to see Fredrick
Stern’s library? You don’t have
to ask twice.
GILLIAN
You knew Fredrick then?
FATHER RYAN
Oh yes. More his wife’s family,
they have always been good
Christians. It was said that
Doris’s father had the greatest
collections of Christian
esoteric books this side of the
pacific. Fredrick was pleased
that he had been able to round
out the collection. I’m not sure
which direction he took it after
Doris’s death and I’ve never
actually been back. But it is
renowned.
GILLIAN
Well David is reading his way
through it.
FATHER RYAN
Is he? How very interesting.
GILLIAN
And then there’s this,
45
She hands him the black notebook.
FATHER RYAN
My goodness, this is Fredrick’s
Oracle.
GILLIAN
You know it?
Father Ryan nods.
GILLIAN
My friend Naomi found it in our
wine cabinet, on top of the two
red wine glasses Father Ryan. I
haven’t seen it before last
night. And Naomi brought the
wine with her. I know it wasn’t
in the cupboard beforehand. And
Naomi may be silly, but she
wouldn’t play tricks on me like
that. She said it was an apport.
FATHER RYAN
Very interesting. I think we
had better go and see David
soon.
(he stares fixedly at her)
But I’d like to keep this if I
may?
GILLIAN
(Gillian nods after thinking)
Could you go this afternoon?
FATHER RYAN
It would be my pleasure.
GILLIAN
Thank you so much.
EXT. FREDRICK’S HOME. LATE AFTERNOON.

Gillian slows her car to a halt in front of the house. The
Father Ryan looks at the dwelling. He obviously is impressed
by what he sees.
FATHER RYAN
They don’t make them like this
anymore.
GILLIAN
I guess not. David knows we’re
coming he said he would leave
46
the door unlocked.
FATHER RYAN
Safe enough in this part of
town, I guess.
They exit the car and walk up the drive. Gillian rubs her
arms, feeling a chill again. Father Ryan takes note of this,
but does not comment. He looks towards the back of the house
where a large radio mast reaches into the sky. He stops to
look at it.
GILLIAN
Are you right, Father Ryan?
FATHER RYAN
Yes. (then under his breath)
It’s been a long time.
I’d forgotten he had that built.
David’s father was always
interested in the afterlife, but
his grandfather was obsessed
with it. That was supposed to be
a mast to talk to God, Gillian.
Nicolai Tesla designed it for
Fredrick’s father.
GILLIAN
How far back does this obsession
with the afterlife go, Father
Ryan?
FATHER RYAN
I don’t know Gillian. Let’s go
inside.
INT. FREDRICK’S HOME. LIBRARY ROOMS. LATE AFTERNOON.

Gillian calls David’s name as they walk into the hall. She
nervously stops at the threshold of the Library. The Father
Ryan however walks right in surveying the collection.
GILLIAN
David we’re here. Dave? David.
FATHER RYAN
Wondrous. This is magnificent.
You can still feel the history
in this place.
GILLIAN
Actually, it gives me the creeps.
47
FATHER RYAN
No, Gillian, think of it as a
treasure trove of the best kind…
knowledge.
David, book in hand, walks out of the hidden inner library.
DAVID
Hello Father Ryan. It’s been
along time. Gillian.
FATHER RYAN
Fifteen years to the day David.
Were you aware of that?
DAVID
No. You mean Mum died 15 years
ago today?
FATHER RYAN
Yes.
GILLIAN
You guys are freaking me out.
Father Ryan walks back to Gillian. He looks at her with a
steady gaze.
David walks mid-way, and stops not able to come any further.
FATHER RYAN
She needs you back, David, this
is not good for Gillian.
DAVID
I’m sorry, I can’t. I haven’t
found what I’m looking for yet.
FATHER RYAN
What makes you think you need
this knowledge, David? Do you
know why?
DAVID
Father Ryan, you might think
this is stupid, but I’m looking
for a way to change the future.
FATHER RYAN
Why, David?
DAVID
Look at the news, Father, look
at were we are going.
FATHER RYAN
The cause of these events is not
what you think David. Come with
48
us.
GILLIAN
David, I’ve got to leave.
I can’t stay here. I feel bad.
The Father takes a flying leap with Gillian. His age belies
his agility. He runs the length of the hall, half carrying
Gillian with him.
FATHER RYAN
David! Follow! Now!
EXT. FREDRICK’S HOME. VERANDAH AND SURROUNDS. LATE AFTERNOON.

David follows them out of the building, but won’t leave the
verandah. The Father Ryan places Gillian on the steps and
then walks back to face David.
FATHER RYAN
Just what have you been
reciting, David?
DAVID
What are you accusing me of! I
would never hurt Gillian.
GILLIAN
Dave, you hurt me when you left.
FATHER RYAN
This site has a very long
history, David.
DAVID
Superstition? I grew up here.
Remember?… I didn’t think it was
a good idea to talk to you.
FATHER RYAN
You never told Gillian the value
of the collection? She didn’t
seam to know anything about it
when she invited me here.
DAVID
It was Dad’s. I never thought of
it as a dollar-and-cents thing.
FATHER RYAN
That’s not what I mean and you
know it. David your father was
the best wielder of magic I ever
saw. When he lost the only woman
he ever loved… it crippled him.
49
DAVID
What? He was a businessman who
dabbled in antique books. He
made his money on Wall Street,
Father Ryan.
FATHER RYAN
So you say. David, Gillian feels
your father is haunting you.
DAVID
No, you’ve got that wrong. He is
around. He’s not earth-bound. He
is here to help.
FATHER RYAN
‘He’ may not be your father.
People don’t come back David,
they move on.
DAVID
Normally I’d agree with you
Father Ryan. But this is
different. (He cranes his neck
to see Gillian behind Father
Ryan) Gillian, honey, I’m sorry,
but I can’t leave yet. Please
take Father Ryan and go.
FATHER RYAN
I hope you know what you’re
doing. You are very close to
repeating the past.
DAVID
No father, it’s the future. It’s
got to be the future.
David turns and walks back into the house. He hovers at the
doorway his back to them, feeling Gillian’s need for him.
GILLIAN
Take care of yourself David!
He continues through and closes the door. They hear the door
lock.
GILLIAN
He’s locked himself in, Father.
FATHER RYAN
I’ll need to talk to the Bishop.
Maybe he can bring some light to
bear here. Don’t worry. David is
in no danger. His father is
protecting him.
50
Father Ryan helps Gillian stand and walks her back to her car.
GILLIAN
You mean God?
FATHER RYAN
No, I mean Fredrick Stern.
INT. BERREL’S COTTAGE ON THE EDGE OF THE PARK. BROAD DAYLIGHT.
BERREL SLOCOMB, Doris and RUNNING OWL listen as Fredrick
tells them what has happened. Running Owl sits, passively
listening to the story. Doris is painting a picture, which
appears magically under her hand.
FRED
So our ‘friend’ Father Ryan has
the oracle. And David and
Gillian are more at odds than
ever.
DORIS
Thomas Ryan is a good man.
FRED
He might not allow it to be used.
BERREL
Well Fred, there is nothing we
can do now. Their relationship
is under real strain.
DORIS
I still think you all
underestimate Gillian. She is
more like her mother than she
knows.
RUNNING OWL
She is young, she is resourceful
and she has our help.
FRED
Really? I don’t seem to have
been much help to her.
RUNNING OWL
The oracle was a good apport
Fredrick, a clever placement. It
will do its work.
FRED
And she left it with Father
Ryan. He made sure of that.
51
DORIS
Why didn’t you just give it to
David?
BERREL
He was acting on my advice,
Doris. I thought if Gillian gave
David the oracle that it would
bond them again.
DORIS
But she gave it to Thomas Ryan…
RUNNING OWL
Ryan knows more about David’s
father than any one else on the
Earth plain.
Running Owl glides to the centre of the gathering. He looks
at them each in turn before he speaks.
RUNNING OWL
Come my friends. Our actions are
good, but the rising vibration
has increased the earthly
disquiet.
BERREL
Doris, you are a good judge of
character. Will Father Ryan help?
DORIS
Berrel. I’m not sure. He has
Free Will. He is a good man.
BERREL
It’s the turn of events. Running
Owl is right. As the vibrations
rise, we can be sure it will get
more difficult.
FRED
All is not lost. The priest is a
good man.
DORIS
Fred, what are the chances you
could get Thomas to give the
oracle to David?
FRED
I doubt Thomas would trust me
with it. He is not lost in
doctrine, but I think Gillian
will have a better chance of
52
getting it back. He would
consider that Gillian had
custody of it to begin with.
There is a quiet in the group as they look at each other.
Running Owl looks about them.
RUNNING OWL
The sprit of the bird people
will help. There is still hope.
INT. FREDRICK STERN’S LIBRARY, INNER ROOM.

David sits, his back to the shelves on the floor with opened
books spread around him. He looks down at an image of an
archaic magic ritual. It shows a triangle in the center of a
spiral. At points of each apex stands a person or spirit. He
looks at the figure in the centre, rising on a tower of
energy. His father materializes at the reading table. David
gets up and walks over with hollow sounding footsteps.
FRED
David?
DAVID
(Looks up) Dad. Gillian was
here. She got upset. I didn’t
want to talk to Father Ryan, but
they came anyway.
FRED
I could have warned you.
DAVID
She was really scared. I’ve
hurt her Dad. I never wanted
to. What am I doing here?
FRED
What you must, to learn, to
change your beliefs, to discover
who you are.
DAVID
What is that, Dad? Father Ryan
said today you were the best
practitioner of magic he ever
saw!
(beat)
My dad, the businessman.
(beat)
Who are you?
53
FRED
I’m your father, and I need your
help. I’ve made a mistake.
DAVID
You’ve made a mistake? What
mistake? Dad, you had me so
revved up. I thought you were
free of mistakes.
FRED
I’m still only human David. It’s
not impossible, but what I’ve
asked you to do just got a lot
harder.
DAVID
Why?
FRED
I gave Gillian my Oracle, so she
could give it to you.
DAVID
I don’t understand.
FRED
She gave it to Thomas. It’s a
small black book, intensely
magical.
DAVID
Magical? All these books relate
to special knowledge. What do we
need it for?
FRED
Not special knowledge, David,
sacred knowledge. I hope she
comes back. I don’t think Thomas
will trust anyone else with it.
I developed it over years of
research. The power in it could
really help you.
DAVID
Who’s Thomas?
FRED
Father Thomas Ryan.
DAVID
Can’t we just get it back from
him?
FRED
After what happened, I doubt the
54
Father would trust you to have
it.
DAVID
You mean he wouldn’t trust my
character?
FRED
David, the truth is you’re so
much like me. You mind your own
business and you have forged
your own course. Ryan stood
there looking you in the eye.
(beat)
I taught him to do that! He was
once my good friend and a
willing pupil.
DAVID
So he really knew you? I thought
he was our family Priest.
FRED
We had a falling out. He
believed I was going in the
wrong direction after Doris died.
DAVID
Where you?
FRED
It was semantics, David. We
merely disagreed.
DAVID
What did you do to Father Ryan?
FRED
I cut him loose. He felt…
abandoned.
(beat)
I was mourning the loss of your
mother, boy.
DAVID
Father Ryan wasn’t the only one
you abandoned. You closed up.
You never came to us for help.
You even discouraged me from
visiting. You just pushed
everyone away. You lost more
than Mum.
55
FRED
I’m asking you for help now,
aren’t I?
DAVID
Dad. Look at us! This would
normally be too late. You would
be dead and I’d be grieving.
Feeling like I lost my chance.
Why did you think I was so ready
to listen to you?
FRED
(Putting one hand on David’s
shoulder)
I can only say I’m sorry, son.
DAVID
So what are we going to do about
this book?
EXT. MARY BUTLER’S APARTMENT, INNER CITY.EARLY EVENING.

Gillian rings the doorbell. Her mother answers the door. They
kiss. Gillian is depressed. She has come to ask advice of her
mother.
MARY
Come on inside, dear. I’ve made
tea. Earl Grey?
GILLIAN
Lovely, mum, thanks.
They move into the living room and Mary gestures for her
daughter to sit. The radio news is playing in the background
with a story about the increase of inner city violence
against women. Mary exits to get the tea while talking. She
notices the broadcast with some distaste at the subject
matter.
MARY
I don’t think we need to dwell
on that.
(Switches off the radio)
So you saw Father Ryan?
GILLIAN
Mum, we went to see David.
Father Ryan knows a lot about
his family. Did you know he was
so keen to see the books?
56
MARY
Really? What did he advise
David to do?
GILLIAN
It was strange. They talked more
about it being the anniversary
of the death of David’s mother.
MARY
Pardon me? Did you say David’s
mother?
GILLIAN
Father Ryan said they were
family friends, but I got the
feeling it was something more.
MARY
What about the situation with
David’s apparition?
GILLIAN
Mum, did you know Father Ryan
believes in ghosts?
MARY
Well, I told him about David’s
problem. He said he would help.
GILLIAN
He thinks ghosts are real.
MARY
So could he help?
GILLIAN
He’s talking to his Bishop. He
actually said that David’s dad
would look after David.
(beat)
I think I would have been better
off getting him to a doctor.
MARY
He’s still in the old place then?
GILLIAN
Mum, I don’t want to go back
there. I use to like it, but it
feels wrong now.
MARY
You’re letting your upset
feeling over David cloud your
judgment.
57
GILLIAN
Maybe, but I’m not going back he
can come home. You split up with
dad. What did you do to get back
together?
MARY
It was a lot of little things.
It was hard to trust him again,
but over time we thought it best
for you actually.
GILLIAN
Me? That’s stupid. Didn’t you
love him still?
MARY
Gillian, it’s a long time ago.
You were three years’ old and I
was pregnant with your brother.
I was mad as hell at first, but
he made promises and kept to
them. It was never the same, but
we managed.
GILLIAN
But, you loved him?
MARY
It was a different world then.
The church wouldn’t allow
divorce.
GILLIAN
Mum, I never realized that you
didn’t love him.
MARY
I wouldn’t say that. We grew
comfortable after a time.
GILLIAN
That’s incredibly sad.
MARY
No dear, that’s life. You make
your decisions and you stick by
them. You should tell David to
come home.
EXT. STREET NEAR FREDRICK STERNS HOME, NIGHT

A hooded cloaked figure moves silently from shadow to shadow
58
along the street front, reaching Fredrick’s house it slips
down the sideway onto the property.
CUT TO:
INT. FREDRICK STERNS HOME, 3RD LIBRARY ROOM, LATE NIGHT.

David has collected a pile of books on the table. He has his
back to the blind covered windows. He is unkempt. He has
failed to clean up the house and spends all his time in the
Library rooms. His father is looking at range of books
muttering to him self.
FRED
It simply will take too long
David. It’s all here, yes, but
so many volumes were combined to
become the oracle. It was a
dangerous operation to do once
and I was in the physical at
that time.
DAVID
You’ve got me for the physical
side, don’t forget dad.
FRED
(Turning to his son, with
sadness in his eyes)
I haven’t forgotten, David.
Believe me, if we can get the
volume back it would be much
safer.
DAVID
You think Gillian will get it
for me? She still thinks I’m out
to lunch.
FRED
I can’t think of any other way.
Thomas has bound it, so I can’t
apport it away. I really think
he feels it’s his. I doubt you
could open it now anyway,
without his willful help.
DAVID
How did Thomas know what it was?
(beat)
Dad, were you making the Oracle
when you were training Thomas?
(His father nods)
So, he was helping you.
59
FRED
At first he did.
Fredrick puts his hand up to his lips for silence.
David goes quiet, Fredrick moves towards the edge of the
window. He suddenly triggers the blind, which flies up
revealing the startled, hooded face of Father Ryan.
FRED
It’s not nice to spy on people,
Thomas!
David runs from the room to catch the priest outside.
CUT TO:
EXT. FREDRICK’S HOME, PATH BESIDE HOUSE.

Thomas runs for the street front, but is suddenly blocked by
the awesome sight of Running Owl in the midst of an ethereal
glow. Thomas doubles back. David catches him as he tries to
get out by the back lane. The sight of Running Owl also
transfixes David. Running Owl smiles and bows to David and
is gone.
DAVID
Who was that?
FATHER RYAN
I didn’t stop to ask.
Fredrick walks onto the rear porch. He glowers at Father Ryan.
FRED
I think you had best come
inside, Thomas. It seems your
own curiosity may have solved
our problem.
DAVID
Won’t you come in, Father Ryan?
FATHER RYAN
You aren’t really giving me a
choice are you?
DAVID
No. (He pushes the Priest in the
back)
FRED
Easy David, Thomas is an old
friend. (Said with an
undercurrent of mistrust)
David walks Father Ryan into the house. Fredrick closes, and
locks, the door behind them.
60
EXT. DARKENED STREET SCAPE IN A RUNDOWN INDUSTRIAL AREA.

TWO MEN walk along in front of a factory. One knocks twice on
the corrugated corner and they continue down the far side of
the building, THE CAMERA FOLLOWS SMOOTHLY AFTER THEM AS IF
WATCHING. The two wait at a tall wire fence. A GUARD with a
submachine gun walks slowly out to meet them. He obviously
knows them but is ever watchful. THE CAMERA continues to
close on the group as he shoulders his gun and lets them in.
He stops suddenly. Then issues them in quickly.
GUARD
You’re late.
1ST TERRORIST
We had to be sure we were not
under suspicion. They watch
everywhere.
2ND TERRORIST
Then we will give them something
to look at, yes?
The three enter the building laughing roughly. THE CAMERA
continues to move through the fence as if it isn’t there and
into the building through the wall (THE CAMERA REPRESENTS
REMOTE VIEWING). Inside the old shell of the factory is a
second building, super modern in design. A long metal table
holds the remnants of outdated Soviet weapons boxes and
discards from building suitcase bombs. The men join 5 other
terrorists, who carefully work on more than 10 suitcases. The
1st Terrorist, the cell leader, is pleased with what he sees.
1ST TERRORIST
You have done well, my brothers.
They will see they can’t take
our country without paying a
great price.
The men nod in agreement.
THE CAMERA CRUISES PAST THE BOMBS.
CUT TO:
INT. REMOTE VIEWING LAB, FORT WORTH, TEXAS, USA.

The lab is a closed-off room, one window that of the
observation room, a quiet and controlled environment. At a
table, TWO MEN sit facing one another. One talks and writes,
then begins to draw. A sealed envelope sits between them on
the table. It is only identified with an alphanumeric code.
61
REMOTE VIEWER
I believe I have the envelope’s
co-ordinates.
MONITOR
Good. Now go to the most recent
event of import.
REMOTE VIEWER
Right. I’m seeing a long
building, running north to
south. It’s not in good shape.
But there is something strange
about it.
MONITOR
Specify?
REMOTE VIEWER
Its roof is covered in
corrosion. It looks a lot like
the others in the area,
industrial, and mostly disused.
Our target is different, however.
MONITOR
How?
REMOTE VIEWER
I’m sensing a shell. The
exterior is just a front. There
is a second, cloaked building
underneath. We could not
penetrate it with sensors if we
tried.
MONITOR
Can you see inside?
REMOTE VIEWER
I’ll try a walk-in with the
others.
MONITOR
How many?
REMOTE
I’m following three. One senses
me.
MONITOR
Time to bug out?
REMOTE VIEWER
No. He’s very good though, a
wise choice for a guard. It’s OK
he’s relaxed again, as much as
62
he can.
MONITOR
How’s our main man?
REMOTE VIEWER
He’s on edge too. I’m following
them. I’m inside.
MONITOR
OK, you’re inside the real
building? What do you sense
about the purpose of the place.
REMOTE VIEWER
This is it. We’ve got them. I
get 9, no, 10 dirty nukes. Feels
like old Soviet stuff, thank God.
MONITOR
How do you mean?
REMOTE VIEWER
The last time they got to this
stage, they were using our own
material.
MONITOR
Not relevant, stay with the site.
REMOTE VIEWER
OK. Well we got ourselves a
happy little cell of bastards.
MONITOR
Any details? Times? Tactics?
REMOTE VIEWER
Soon, I think it will be time we
get the President’s approval,
General, to go in and pay these
guys a goodwill call.
CUT TO:
INT. OBSERVATION ROOM, FORT WORTH, TEXAS
The 5 STAR GENERAL and HIS AIDE have been watching the remote
viewer work.
GENERAL
Major, how the hell did he know
I was here?
MAJOR
He’s a psychic sir.
GENERAL
Don’t give me any of that crap,
Bob. Your last commander may
63
have accepted all this mumbo
jumbo, but I can close you down
if I see fit.
MAJOR
He is 96% accurate with the
intelligence, sir.
GENERAL
Is he now? What’s the budget
for this holiday camp Major?
MAJOR
It’s all there in black and
white sir.
The General puts on his glasses (He hates showing this
weakness) He looks at the Major over the top of them, after
reviewing the figures. He signs off on the budget.
GENERAL
I want 100% accuracy Major.
Deliver that and “Project Grill
Flame” will continue to be
financed by the US Army.
MAJOR
Yes, Sir.
INT. FREDRICK STERN’S HOME.

Father Ryan is sitting on the edge of one of the library
chairs.
David is leaning against the table in front of him.
Fredrick paces back and forth an anxious ghost.
FATHER RYAN
How did you do it, Fredrick?
FRED
(Stops pacing) Pardon?
FATHER RYAN
Corporeal manifestation. You
have been able to hold your
human form for hours.
FRED
I’ve got help from above.
FATHER RYAN
Interesting.
64
FRED
Necessary. If nothing else, that
should tell you I’m being
honest. Thomas, you must at
least admit that we are going to
a lot of trouble just for a
little stage show, as you called
it.
FATHER RYAN
You always were a showman
Fredrick, that’s why Doris fell
for you and not me.
DAVID
Stop it, you two! We’re not
getting anywhere. Father Ryan,
will you not give me the book?
FATHER RYAN
That depends.
DAVID
Depends on what?
FATHER RYAN
It depends, young man, on how
you intend to use it.
(He looks intently at Fredrick)
FRED
That’s up to David.
FATHER RYAN
Shut up, you’re dead.
(Smiles)
David, what do you plan to do?
DAVID
This is all Dads’ idea. I want
to stop the bad stuff. God, I’m
not sure.
FATHER RYAN
Be careful how you talk to our
Heavenly Father, lad. Think
carefully about this David. Fred
is not playing with his life. He
never does. He’s playing with
yours.
FRED
I never discounted the danger,
Thomas, neither then nor now.
65
FATHER RYAN
Then you were run by your
negative ego, Mr Stern. You went
off like a bull at a gate, with
no concern for anyone. Not even
Doris.
FRED
(Threatening)
Shut it, Thomas, or so help me
I’ll not protect you again.
Shall we finish what we started
all those years ago?
FATHER RYAN
Well that’s proof that character
survives after death. You are
still as egotistical idiot.
David, your mother lost her life
in a situation very like this.
FRED
Because you chickened out!
FATHER RYAN
Anyone who is sane would have.
FRED
You little weasel, after all the
training I gave you. You would
have been perfectly safe!
FATHER RYAN
Do you mean as safe as Doris?
FRED
That’s not fair.
FATHER RYAN
No, but it’s true. David, when I
wouldn’t do his bidding,
Fredrick put Doris in my place,
and went ahead and bound the
Oracle to the Earth plane.
FRED
If you hadn’t gone behind my
back, she would have been fine.
FATHER RYAN
Is that what you truly think?
Fredrick Stern, if you are not
already in hell, then you are on
your way there!
66
FRED
There’s no such place and you
know it!
FATHER RYAN
No, we make our own, don’t we
Fredrick.
DAVID
Stop it! You two are acting like
fools.
(beat)
Father Ryan, believe me, I know
the danger. If you don’t want me
to use the book I won’t.
FRED
Pardon me?
DAVID
I’ve made up my mind Dad. It
sounds like the Oracle is too
dangerous. If it did kill Mum,
I’ll have nothing to do with it.
FATHER RYAN
Good lad! Some things come at
too high a price.
FRED
You don’t know what you’re
doing, either of you.
DAVID
I know what I’m not willing to
do. Dad, why did you give it to
Gillian? Were you mad?
FATHER RYAN
David he most likely thought she
would give it to you. When I saw
it I felt I had been given a
chance to somehow help you both.
I knew if anyone could ever come
back it was likely Fredrick
would find a way. After Mrs
Butler told me about his
possible apparition, I knew I
couldn’t ignore it.
FRED
I was never a bad man.
FATHER RYAN
You only got to the garden
67
didn’t you Fred, to the
convalescence area? Didn’t that
tell you anything, or are you
too blind to see?
DAVID
I’m going home. Gillian needs me.
FATHER RYAN
Good for you! I’ll give you a
lift.
FRED
I’m not a bad man!
DAVID
(Turns to face his father as he
collects his duffle bag)
No dad, you’re not. I’m sure
I’ll be seeing you now Father
Ryan can confirm I’m not mad.
But I’ve got to take care of
Gillian.
Father Ryan and David leave the library. Fredrick shakes his
head. He can’t believe it. Running Owl materializes beside
him and puts a hand on his shoulder.
RUNNING OWL
Come home, honorable warrior,
the corn here is not ready for
harvesting.
Fredrick looks sadly at the guide, he nods and they fade away.
EXT. ETERNAL INDIAN HUNTING GROUNDS: A BRIGHT SUNNY DAY.

Running Owl walks with Fredrick by his side. They are not
hunting. We see the guide in all his majesty giving aid to a
much-loved son.
RUNNING OWL
I sense your deep sadness,
Fredrick.
FRED
He just up and quit.
RUNNING OWL
I do not think so.
FRED
Quit is quit. He left.
68
RUNNING OWL
Your son is smart and powerful.
He has not quit. It is not your
son who troubles me.
FRED
It’s me?
RUNNING OWL
You have doubts that what Thomas
said is true.
FRED
(Beat) Yes
RUNNING OWL
And so?
FRED
Is it true I’m convalescing?
I don’t belong at that
vibration? With Doris and Berrel
and everyone.
RUNNING OWL
What if it is true, Fredrick?
Your death was sudden. You would
earn the right to time at the
way station by that alone.
FRED
So if I don’t belong, then where
should I be?
RUNNING OWL
You should be doing what you are
doing. Helping souls less
fortunate.
FRED
What about the plan to change
the future?
RUNNING OWL
That is David’s plan now.
FRED
So I can’t go back?
RUNNING OWL
That is not what I said. While
the plan must be David’s quest
he will need his father’s
guidance and friendship.
FRED
I understand. Give aid but don’t
69
direct, only guide.
RUNNING OWL
Yes, as a mighty river does.
Remember all that matters is
love. If we are to build a
better future, we need to free
ourselves from the past. Not to
forget it, but not to let the
past guide our actions.
FRED
Running Owl, you are a wise man.
RUNNING OWL
Perhaps.
INT. FATHER RYAN’S OLD UTE. LATE EVENING.

Father Ryan behind the wheel. David looks moody, he looks out
the window away from the priest. He is lost in thought.
FATHER RYAN
David? A penny for your thoughts.
DAVID
(Looks down; plays with his bag,
preoccupied)
What if he’s right?
FATHER RYAN
Your father seems to think the
fate of world rests on your
shoulders alone, David. It does
not.
DAVID
He is strongly convinced that I
can do something about our bleak
future. I’m not talking about
heroics here, father.
FATHER RYAN
No, you’re talking about using
magic.
DAVID
We create our own reality. The
physical world is just another
form of energy, read your
quantum science.
70
FATHER RYAN
Where do you think they got
their ideas from, David?
DAVID
From Unified field theory?
(beat)
From Spiritually?
FATHER RYAN
Ideas create the world we build,
I’ll agree with you there.
Science is yet to fully
understand what Einstein’s
search for the unified field was
all about.
DAVID
God?
FATHER RYAN
You believe in a creator?
DAVID
Yes.
FATHER RYAN
And you’re a computer scientist.
DAVID
I used to be. I’m more
interesting in what we are
talking about now.
FATHER RYAN
OK, think about this. What kind
of world do you want to create?
DAVID
That’s easy, a better world.
FATHER RYAN
If you believe in miracles, as
your father did, then it’s
possible to use magic.
DAVID
Then you don’t think it’s crazy
talk.
FATHER RYAN
Miracles happen, by the grace of
God, David.
DAVID
You weren’t religious when you
worked with him, were you?
71
FATHER RYAN
I held certain beliefs. After
your mother died, I joined the
church. I kept in contact with
Fredrick. Eventually, I became
the family priest.
Though Fredrick very rarely came
to church. He was never happy
with my decision. But he had
very few real friends.
They come to a halt at David’s house. Gillian looks out the
window, hearing the car pull up. She opens the front door and
walks quickly to the priest’s vehicle as David alights. Ryan
stays in the Utility with the motor running.
GILLIAN
Father Ryan, I don’t know how
you worked this miracle, but
thank you.
FATHER RYAN
It’s not a miracle Gillian, just
a pickup and delivery service.
DAVID
I’ve just seen the error of my
ways, and wanted to be home with
you.
FATHER RYAN
Take care of each other, you
two. You are always welcome at
the church.
GILLIAN
Bless you, Father Ryan.
FATHER RYAN
And David, if you ever want to
talk, I’m always there.
Father Ryan drives off.
GILLIAN
Mum was right about him. I was
beginning to have my doubts.
DAVID
About Father Ryan?
GILLIAN
I thought he wasn’t the man for
the job.
72
DAVID
He talks sense.
GILLIAN
Sure he does, he believes in
ghosts!
DAVID
So, he convinced you?
GILLIAN
No, Dave. He got you home that’s
all that matters. Come in, I’ll
make a cup of tea while you have
a shower.
DAVID
I smell that bad, hey? (Laughs)
GILLIAN
I don’t care monkey man, but
I’ve just changed the sheets. I
must have sensed you were coming.
David lopes into the house like an ape, Gillian follows
laughing.
GILLIAN
It’s good to have you home.
She turns at the front door, after a brief look outside, but
nothing is there. She closes and locks the door. A man stands
on the far corner. It is Running Owl, in casual street
clothes. He turns and leaves.
DISOLVE:
INT. DAVID AND GILLIAN’S HOME. DAY TIME, (FOLLOWING DAY).
David waves goodbye to his wife as she leaves for work. She
is chewing on a piece of toast as she rushes out the door.
GILLIAN
Love you…(crunch) bye, you’ve
made me late!
DAVID
That’s right, blame me, I’m a
man, I can take it. (Growls)
GILLIAN
You’re a naughty monkey. (Car
key in car door) (Beat) Dave?
(She looks at him directly, the
silliness gone)
Please be here when I get home.
No more trips to you father’s
73
house.
DAVID
OK. I’ll be here.
Gillian smiles; jumps into the car and is gone. David walks
back into the house tapping on the kitchen bench. It is quiet
and lonely. There is a heap of dirty washing-up waiting for
him. He sighs as he looks at it.
DAVID
Well, I guess that’s one way of
saying I need you.
He starts to fill the kitchen sink. The phone rings, David
shuts off the water, expecting it’s Gillian. David answers
the phone in a silly voice.
DAVID
Monkey Man Escorts, bending our
bananas is our specialty.
MARY
Oh David, I thought I got a
wrong number for a moment.
DAVID
Pardon me, Mrs Butler, I thought
you were Gillian.
MARY
It doesn’t matter, David. The
main thing is that you are back.
You are back, aren’t you?
DAVID
Yes, Mrs Butler, I’m back.
MARY
That’s so good! Call me Mary.
Father Ryan is a wonderful man.
I knew he would help.
DAVID
Mary?
MARY
Yes dear?
DAVID
Did you know father Ryan was an
old friend of my father’s?
MARY
What do you think, David?
74
DAVID
You did a very nice thing asking
him to help.
MARY
She’s my only daughter, David.
Please take care of her.
DAVID
Yes I will. I think our family
has had enough shocks this year.
Mary?
MARY
Yes?
DAVID
Thanks.
MARY
Yes. I must go. But I am very
glad you’re back. You two must
come over for dinner.
DAVID
That would be lovely. Goodbye,
Mrs Butler … Mary.
MARY
Goodbye, David. God bless.
David hangs up the phone. He shakes he head.
DAVID
Bending our bananas. Gillian is
going to hear about that one for
sure…
He walks back to the sink. Continues filling it. Goes back to
work. He looks around expecting his father to appear.
Fredrick is nowhere to be seen. David continues the washing
up.
INT. REMOTE VIEWING LAB, FORT WORTH, TEXAS.

The remote viewer is looking very tired. The monitor is
alert, but also showing signs of emotional wear and tear.
They have 17 alphanumeric envelopes on the table.
REMOTE VIEWER
That’s it! Twenty-fourth
confirmed site. We got 82 bombs
75
this time. Heaven help us.
MONITOR
Remain on site. Eighty-two
warheads, or eighty-two suitcase
units?
REMOTE VIEWER
There’s enough material for 246
suitcases. That’s if they split
the cones.
MONITOR
Move on to the next envelope.
REMOTE VIEWER
OK, but they must have Soviet
backing for this, or something
has gone horribly wrong in
Moscow.
MONITOR
Speculation. Stay focused. We
have 24 sites to go.
REMOTE VEIWER
They got enough to put us back
into the Stone Age. It makes it
hard to concentrate.
MONITOR
We have to finish this lot. They
are the last.
REMOTE VEIWER
You’re not meant to tell me
that. It affects my accuracy if
I know.
MONITOR
I want to get out of here too,
Joe. Let’s continue.
REMOTE VIEWER
OK, it isn’t going to get any
easier. Next is Site 94;
envelope number 13 by my count.
Looking for co-ordinates. OK,
got them. It’s a school site,
primary school on top. Something
underground… Maybe it’s an old
Cold War shelter underneath.
Yes. Supplies. Generators. This
is strange. There is some sort
of commercial operation, some
76
sort of craft. No nukes …
Wait, no, we got them. Bombs.
Jesus H. Christ!
The remote viewer pulls back from the table upset.
REMOTE VIEWER
It is either a US installation,
or they have our flag all over
the place.
MONITOR
It’s OK. It is one of ours. The
General is just keeping you
primed. Let’s continue.
They continue the work, against the clock. Knowing that the
lives of millions rest on the accuracy of uncovering the
terrorist plan.
INT. DAVID AND GILLIAN’S HOME, LOUNGE ROOM, MIDDAY

David is doing househusband work. He enters the lounge room
carrying a basket of neatly folded towels. He walks past the
powerless laptop on the coffee table. The computer is still
unplugged. It lies beside its battery. As David passes,
however, the power light comes on. CAMERA FOLLOWS David as he
walks upstairs and puts the towels in the bathroom. He is
coming back downstairs when he hears the computer’s startup
noise. This is followed by the beep, beep of an incoming
message. He looks at the machine. The lid is still closed. He
sees the cord running over the edge of the table he pulls it,
expecting to pull out the plug on the annoying beeping. He
finds the power cords plug isn’t plugged in. He frowns at it,
the battery lies beside the machine still, but he lifts the
case to check the battery compartment. It is empty. He puts
the machine down, with great care.
DAVID
Dad? Are you doing this?
There is no answer to his question. The computer continues
to beep. David moves back from it, watching it from the floor
where he sits.
DAVID
Beep, beep, you bastard?
He is reaching for the machine, when its screen starts
opening by itself. It is glowing softly as it loads software.
DAVID
How the hell are you doing this?
77
Telekinesis?
He looks around the room for his father, Fredrick is nowhere
to be seen. The screen is suddenly deep blue with strange
shapes moving in it, like half-seen faces. One face resolves
into the middle of the screen the TECHNICIAN, it is still
indistinct its features only vaguely human.
TECHNICIAN
Hello, David.
David moves back from the machine, in shock, holding his
chest and abdomen.
TECHNICIAN
Can you see me? Hear me? Are we
getting through? Please respond,
we have no visual this side.
DAVID
Dad?
TECHNICIAN
Good day, David. We are not with
your father.
DAVID
Who are you?
TECHNICIAN
One of the seven, you can call
me Technician. I make the
equipment work.
DAVID
Where are you?
TECHNICIAN
We are with you David. Close,
but on a different frequency.
DAVID
How are you doing this?
TECHNICIAN
I.T.C. - Instrumental
Transcommunication.
We are here to help you.
DAVID
Help with dad?
TECHNICIAN
We’re at a higher level, David.
But you can talk to Fredrick
here as well.
78
DAVID
I don’t know, I feel sort of
sick. Drained.
TECHNICAIN
You need sleep that’s all. You
have not rested properly since
your visit to Fredrick’s home.
DAVID
Can I speak to dad?
TECHICAIN
Wait one moment.
DAVID
Dad?
FRED
Yes, David?
DAVID
(Seeing just vague shapes)
I can’t see you, Dad.
FRED
I’m here, son. (Image clears a
little, but is still just out of
focus) Is that better?
DAVID
A little. Why are you using the
computer?
FRED
We tried before, but you
unplugged it. We had to rework
the field energy your end to
work with you.
DAVID
Is it taking energy from me?
FRED
Indirectly. It’s taking it from
your environment.
DAVID
I feel a little lightheaded.
FRED
That should pass.
This is easier for us to send.
Thomas was right, it takes a lot
of energy to manifest a heavy-
body spirit. This is more
elegant.
79
DAVID
I’m tired Dad, the other guy was
right about me needing sleep.
FRED
OK, son, we’ll go catch some
rest and then come back. We’ll
be here. Oh, David, I can show
you some of the possible futures
or, more correctly, the
Technician can.
DAVID
See them before they happen?
FRED
Possibly happen, nothing is set
in stone. We have free will,
David. Never forget that.
DAVID
Ok. Dad, are you OK if I leave?
FRED
It’s your quest now, son.
DAVID
Quest?
FRED
That’s what Running Owl called
it. He’s one of my guides here.
DAVID
Is he a Native American?
FRED
He’s a very special soul, David.
DAVID
I think I’ve met him before.
FRED
He calls you a great spirit.
I’ll let you rest, son.
The connection is broken. The machine shuts down suddenly. It
ejects a DVD disc from its drive. David lifts the DVD up to
the light. It has small faces all over it.
He walks over to the Home entertainment centre and puts it in
the DVD player. The disk has the contents of the whole
conversation recorded on it. David can’t help yawning, he
can’t break his exhausted feeling.
DAVID
Sleep, must sleep.
80
He exits the scene, heading up the stairs to bed.
INT. DAVID AND GILLIAN’S BEDROOM AFTERNOON

David is sleeping. He is troubled in his sleep.
WAVEY DISOLVE:
DREAM SEQUENCE: DAVID’S DREAM EXT. FOREST ROAD

David is driving through the forest, his father sleeping
beside him. David shifts gears down as they descend a slope.
Music is ominous. David sees a car flying at him, from the
other side of the road. He panics, as the car is about to hit
he covers his eyes with his arm. He is suddenly out of his
body above his speeding car. The car gets faster and faster
as the heartbeat speeds up. We see his body having a fit in
the car, below as it convulses in the heart attack. His
father, suddenly bolt upright, angrily screams in his face.
FRED
You killed me!
INT. DAVID AND GILLIAN’S BEDROOM AFTERNOON

David startled awake, his face drenched from sweat running
down his brow.
DAVID
No! It was an accident…
He wipes sweat out of his eyes, and holds his forehead. He
looks pale and weak. The CAMREA FOLLOWS We watch him stumble
out of bed and stagger to the bathroom, splash water on his
face. It’s not enough. He turns on the shower and steps in.
He leans against the shower wall as the water pours over him
(washing away the bad dream). He finally stands upright and
walks out of the shower, grabbing one towel from many. He
looks at himself in the mirror. He doesn’t like what he sees.
He still looks too pale.
DAVID
Shit, I look like a ghost myself.
FRED
Or like you’ve seen one.
Fredrick stands outside the bathroom, looking on, concerned.
DAVID
Just a bad dream, Dad, about the
accident, and you screamed at me.
FRED
Guilt. David you still feel
guilty. It wasn’t your fault.
81
You have to forgive yourself.
DAVID
I can’t seem to shake it Dad.
That dream makes me feel
terrible. I’ve had it before.
FRED
I know. David I think you need
to look at what really happened.
DAVID
What?
FRED
Visit the accident, in the
astral. You’ll be able to see
much more. It may help give you
closure.
DAVID
I don’t know if I’m up to it,
Dad.
FRED
Try anyway. The worst thing is
that you could fall asleep.
Fredrick fades away. CAMERA FOLLOWS David back to the bedroom
His side of the bed is soaked in sweat. He lies down on
Gillian’s side. He relaxes and soon his 2nd body is rising out
of his physical one. His astral body looks around the room.
He concentrates, eyes closed, and is gone.
EXT. FOREST ROAD, DAY OF THE ACCIDENT: DAY

Astral David flies over the scene of the car on the day of
the crash. He watches himself drive. He floats down towards
the speeding vehicle about to have the accident. He sees his
physical body start to have a fit. Calling out to his Dad as
he looses control of the car. His father looks up in time to
see the oncoming tree. There is no accusation of death, he
sees his father reach for the steering wheel too late. His
father’s concern is with David’s condition. David sees a
violet healing light pass from his father to David’s physical
body, only the instant before his father’s spirit is pulled
out of harm’s way by Running Owl.
David watches as the two spirits clear the accident. David’s
own body still clings to life with the help of his father’s
healing energy. The car impacts and compacts on Fredrick’s
vacant body. Astral David settles beside his father’s spirit
82
at Running Owls beckon.
RUNNING OWL
Forgive my actions Fredrick. I
could not let you hit head-on.
FRED
My boy is having a heart attack.
We must do something! (He sees
Astral David and is shocked at
first)
AUSTRAL DAVID
Dad, I survive, you are the one
who is lost.
RUNNING OWL
Not lost, dreaming.
He will be tended. He will
return to you, but not as you
know him here.
Watch! Fredrick and Astral
Questing one look to the car.
The car is suddenly surrounded by light from above as a host
of spirits and guides work to keep David’s physical body
alive. Physical drivers are pulling over to help. Phone
calls are made. David’s body, still breathing, is taken from
the car by one overzealous man who has seen too many
Hollywood films and expects the car to ignite.
It doesn’t.
RUNNING OWL
I will take your father where he
can rest. (He bows deeply) It is
an honor to meet you. Do not
fret. He will be taken care of
David.
Running Owl takes Fred by the arm, but not before Fredrick
puts one hand on Astral David’s shoulder.
FRED
I’m so glad you survived, David!
Weep not, I will return.
DAVID
I know you will, or have. Dad
you saved my life with that
energy, it stopped me leaving
permanently.
FRED
I’m so glad. I love you, son.
83
DAVID
I love you.
INT. DAVID AND GILLIAN’S BEDROOM. DAY.

David sits on the edge of the bed weeping with relief and
sadness, cleared of his guilt - his father saved from the
crushing end he had previously thought. David pulls himself
together. He picks up the phone.
DAVID
Father Ryan? I need to talk to
you.
DISOLVE:
INT. LOUNGE ROOM DAVID AND GILLIAN’S HOME: LATE AFTERNOON.

Father Ryan watches the DVD of the ITC event. He is amazed.
FATHER RYAN
David, this is wondrous. I’ve
read accounts of other worldly
voices on radio and the German
couple who got still pictures,
but this is a whole other story.
DAVID
Father, I trust Dad and I guess
the Technician is OK, but it
means we can contact them
anytime.
FATHER RYAN
David, this is without precedent.
I believe Rome has tried to
achieve this… They hushed it up,
but I don’t think it got this
far.
DAVID
What do you think it means?
FATHER RYAN
It could be your link with your
father. It could be a natural
ability, David. I just don’t
know. But it’s important. We
need to talk to the Bishop.
DAVID
He’ll know what to do?
84
FATHER RYAN
Can you make a copy or two of
the disc?
DAVID
Sure. You want to send it to
Rome?
FATHER RYAN
I’ll leave that up to the
Bishop. But he will need proof.
David goes to the laptop to make a copy but thinks better of
it. He gestures for the Father to follow him to Gillian’s
office up stairs. THE CAMERA FOLLOWS. David copies the disc
on her company machine.
FATHER RYAN
David, Gillian isn’t going to be
very happy about this
development.
DAVID
It proves I’m not mad.
FATHER RYAN
That’s not what I mean. She
could feel her home has been
invaded. She doesn’t take well
to the supernatural.
DAVID
Father I must tell her.
FATHER RYAN
You should break it to her
gently, my boy.
FRED
Thomas, he’s not your son!
Fred has appeared in Father Ryan’s face, Father Ryan is
forced to step back and the ghost advances as the priest
backs away.
INT. DAVID AND GILLIAN’S HOME. TOP OF STAIRCASE. DAY

Father Ryan stands his ground at the top of the stairs. There
is a feeling that Fredrick would not mind if Ryan fell down
them.
FATHER RYAN
Fredrick, I don’t mean to
intrude on your relationship
with your son. But he needs help.
85
FRED
Thomas, he’s got help.
Fredrick forces Father Ryan down two stairs. He holds fast
again, David follows, worried, behind the ghost.
FATHER RYAN
Fred, please this is what we
need.
FRED
Thomas, I don’t doubt it! But
this isn’t set up for Rome’s
benefit.
He pushes forward again. Father Ryan retreats down a few more
stairs, backwards.
FATHER RYAN
They will want to know Fredrick.
You know that!
FRED
You have free will Thomas, use
it as you see fit. But let
David alone. He needs time and
it’s running out. Go now, before
I change my mind.
Fredrick moves menacingly forward again. David walks down the
stairs, between the Priest and his father’s ghost.
DAVID
Father Ryan is welcome to the
disc, Dad. I think you are
letting your past cloud your
judgement.
Fredrick is seething angry. He rises into the air but is
blocked by his son’s immoveable form.
FRED
We’ll see. Go Thomas. I want to
talk to my son, alone.
David gestures that he is OK with this, and that Father Ryan
best leave. Thomas smiles and blesses him and makes a quick
exit.
FRED
He always stuck his nose in
where it wasn’t wanted.
DAVID
I asked him to see this, Dad.
(Gestures to the computer.) He
86
was my guest.
FRED
That doesn’t make it right in my
book. And he’s still got my
book, if you have forgotten.
DAVID
Calm down, Dad. It will be fine.
I doubt Father Ryan wants to
show your book to the Bishop.
You can’t expect something like
this to go unnoticed.
FRED
Not when you advertise it to
them. No! This is for you, David!
David looks at the computer, sitting idle. He smiles at his
Dad.
DAVID
This is huge, Dad!
FRED
It has a purpose. It is not a
tourist stop. You have to be
very careful who you involve.
Disharmony can disrupt it, or
even stop it from working.
DAVID
I’m sure Thomas is OK. I
wouldn’t have called him here
otherwise.
FRED
(Grudgingly) Well, he’s OK. He’s
our family priest still I guess.
DAVID
He is also your friend.
EXT. BOATS IN HARBOUR. EARLY MORNING.

The fishing boat comes into dock. It is an old trawler, but
in good condition, a totally professional craft with a
terrorist aboard. The crew moor the boat and leave of the
vessel. There is a brief milling around and slapping of backs
as the crew farewell one member. The Captain, still in the
wheelhouse, watches as the man parts from the group and walks
alone to a white fishmonger’s van. The Captain looks at his
watch, pulls out his log recorder and makes a verbal note.
87
CAPTAIN
6.30 George left the boat. He
will be missed, weather cool and
clear. It was a good run, the
catch unloaded at Morrissey
Cannery. It’s been a useful week
at sea with the salvage of the
cargo boat as a bonus. It’s good
to be home.
The refrigerated van’s driver greets George like a brother.
He is smiling broadly as George puts a suitcase bomb into the
back of the van. It is stowed in a covered compartment under
the floor hidden beneath the boxes of fresh fish.
CREWMAN (GEORGE)
It has all gone to plan.
DRIVER
It is good to see you brother.
Do the crew expect anything?
CREWMAN
Yes, it is good to see you.
The Captain claimed salvage
rights to the cargo ship as we
expected. They wished me well.
They know nothing. (He smiles
slyly) I made a big fuss of
taking spoils, while packing the
“suitcase”. They thought I was
just like them, taking advantage
of the situation. I swapped it
before we left the floating
wreck.
DRIVER
His greed will be his undoing.
CREWMAN
(Buckling his seat belt)
He will have a lot of explaining
to do if they ever manage to
track us.
DRIVER
We have escaped detection so far.
CREWMAN
(He looks back at the crew
dispersing)
There is no need to kill them,
since they are all implicated.
88
DRIVER
They are your good friends!
(They both laugh)
Well, time to go. It’s a long
way to London.
The driver turns on the engine, engages the motor and they
leave sedately, nothing unusual just another fishmonger’s van
with a load of “fish” for market.
INT. DAVID AND GILLIAN’S HOME, LOUNGEROOM, LATE AFTERNOON.

David sits in front of the computer screen showing images
many horrible, a few verdant and soft. He is looking worn
out. We hear Gillian enter, off camera.
GILLIAN
Hey honey, I’m home.
David mumbles a greeting.
DAVID
I’m in the lounge.
INT. DAVID AND GILLIAN’S HOME, ENTRY HALL, LATE AFTERNOON.

Gillian’s POV we can see David with his back to the hall
leading to the lounge. Gillian walks past THE CAMERA, down
the hall, CAMERA FOLLOWS she walks in, kisses his head and
sees the computer monitor.
GILLIAN
Hey, Dave, it’s good to see you
at a computer again. I thought
you had discarded it entirely.
When I was mad with you I almost
threw it in the trash.
DAVID
I’m glad you didn’t.
GILLIAN
Well it looked like you couldn’t
get it going. You had the
battery out and it was unplugged.
She notices the computer battery, still beside it. David
lifts the cord. It is still unplugged. He looks up at her for
her reaction.
GILLIAN
How are you doing that?
89
DAVID
I’m not. It is.
GILLIAN
(She looks at him, smiles)
Very funny, you got a new
battery hey?
DAVID
Nope. It still has no physical
power source.
GILLIAN
Right. (She looks at him waiting
for the joke to play out)
OK, you can keep your computer
science secrets to yourself, but
you should take a break now, you
look like you could use one.
DAVID
Coffee? (Smiles)
He’s thinking how he is going to return to the subject of the
computer, but gives up and goes to stand up. Gillian catches
him as he topples over.
GILLIAN
Easy, big fellow! You must get
up slowly after you’ve been
sitting on the floor.
David frowns, he is not use to losing his balance when
standing up.
DAVID
Gillian, I feel weird.
GILLIAN
When did you last drink anything?
DAVID
A while ago I guess.
GILLIAN
Electrolytes, Dave! You need to
be more careful with yourself.
You aren’t totally recovered yet.
David walks away from the computer towards the kitchen to get
an energy drink. Gillian sees the computers screen die as
David walks away.
GILLIAN
Well, it seams your computer
energy thingy is also at a low
ebb.
90
David inspects the machine, a worried look on his face.

DAVID
Gillian, come away from it.
It may be a bit unstable. Let’s
get that drink.
She looks at the machine, distrustfully.
GILLIAN
Is it dangerous, this new power
thing?
DAVID
It shouldn’t be, but you’re
right, I need a break.
She walks past him away from the machine and into the kitchen.
GILLIAN
OK, I don’t suppose my mad
scientist has done anything
about dinner?
THE CAMERA FOLLOWS them into the kitchen. David guzzles an
energy drink from the fridge and turns to her,
apologetically.
GILLIAN
I know it’s in your contract.
You have a need-to-know clause
in that document. “Need to Know
item 1: Be sure to make dinner
for hungry wife, who has been
doing hard slog all day!”
DAVID
Sorry, I never read the fine
print. (He hugs her. They kiss)
GILLIAN
Ignorance is no excuse. (Laughs)
They start to prepare dinner together.

DISOLVE:
INT. DAVID AND GILLIAN’S BEDROOM.LATE NIGHT (2AM)

Gillian is sleeping in the bed alone, but David’s side has
been slept on. There is a rush of lights into the room. The
orbs form into Fredrick, he is using all his power to
manifest to her. Fredrick is distressed.
91
FRED
Gillian. Gillian wake up!
Gillian is suddenly totally awake and shocked at what she
sees. Fredrick backs off.
FRED
David! David needs your help.
The ghost leaves the room, trailing orbs. Gillian jumps out
of bed, she is in a sheer nightgown and runs downstairs,
following Fredrick.
GILLIAN
Dave? David?
She rushes through the house looking for him. He is slumped
over backwards. He has emptied every energy drink in the
fridge and has collapsed, with a heart attack.
GILLIAN
No! Dave.
He doesn’t answer, but is obviously in great pain. She grabs
the phone off the wall, ringing the ambulance.
GILLIAN
My husband is having a heart
attack!
OPERATOR (VOICE OVER)
We have your address from the
phone, ma’am, we’ll have a unit
there in five minutes.
GILLIAN
What do I do? (Gillian kneels
beside David, who is calming
down)
Does he have a history of
arresting?
GILLIAN
One major attack, ten months
ago, he was in a car crash that
killed his father. (She’s
looking at the ghost,
terrified). Also, he had another
attack when they were operating
on him. (Fred encourages her to
continue, which frightens her
more)
Try and stay calm, Ma’am. Can
92
you see a cause for this event?
GILLIAN
There are empty energy drink
cans on the floor beside him.
He doesn’t normally guzzle so
much of the stuff.
OK, that could be it, if his
heart is in a weakened state.
GILLIAN
Why did you drink so much, Dave?
(She starts to cry)
Stay calm. The unit is almost
there. You should hear the siren
soon.
A siren is heard in the background.
GILLIAN
I can hear them. He’s calmed
down, but he’s sweating heavily.
His body has been overloaded. He
will sweat. That’s normal.
GILLIAN
I’ve got to open the door.
(She drops the phone not hanging
up)
She admits the paramedics, who check David’s condition. We
see the view from Astral David’s POV, above them, from
ceiling height. Fredrick looks on. He sees David is out-of-
body. He motions to Gillian to look up. She does and sees
Astral David calmly floating above the scene. The TWO
PARAMEDICS don’t notice any of this, their attention on
saving David’s life. They can’t see Astral David.
GILLIAN
Dave, don’t leave me, please!
FRED
She can see you, son.
Astral David floats down to Gillian, he lovingly strokes her
hair, she feels it.
GILLIAN
Please.
(beat)
Fred, don’t let him leave.
93
The Paramedics look at each other, neither being named Fred.
They think she is becoming hysterical.
PARAMEDIC
(To Gillian)
It’ll be OK. We have to take him
to hospital.
GILLIAN
(Turning to the paramedic) Yes
of course. That’s not what I
meant!
They put David’s physical body on the gurney. And carefully
negotiate backwards down the hall. Gillian follows behind.
EXT. DAVID AND GILLIAN’S HOME, NIGHT

She watches the otherwise unseen Astral David float out after
them. Fred takes the rear, unseen by the paramedics.
PARAMEDIC
You need to get dressed, Ma’am.
We’re taking him to the General,
to the Emergency Room. Will you
be OK?
They load David’s body into the ambulance. He is breathing.
Astral David sits beside him, and gestures to Gillian it will
be OK.
GILLIAN
Yes, I’ll follow in the car…
after I dress.
PARAMEDIC
Maybe you would like to ring any
family, or friends, to meet you
at the hospital.
The paramedics close up and leave. Gillian watches the truck
go as Fredrick stands behind her. She turns around. She looks
at him, not scared but amazed.
GILLIAN
Thanks. (She doesn’t know what
to say) I got to go.
FRED
Take care, Gillian, phone your
mother and … Father Ryan.
GILLIAN
We won’t need a priest will we?
FRED
No, not like that. As much as I
94
hate to admit it, David will
find comfort in his presence.
Gillian walks quickly back into the house.
INT. HOSPITAL WAITING ROOM. EMERGENCY UNIT.

Mary holds Gillian. Father Ryan feels like “a spare part” but
waits with them.
FATHER RYAN
Would anyone like coffee?
GILLIAN
Not for me, what about you, Mum?
MARY
That would be lovely, Father, if
it isn’t too much trouble.
(She fishes in her purse)
FATHER RYAN
No need Mary, this one is on me.
MARY
You’re wonderful to come out at
this hour, Father.
GILLIAN
So are you, Mum.
FATHER RYAN
I’ll be back soon. All part of
the service (He smiles)
Father Ryan leaves to find the best coffee he can.
EXT. A BRIGHT SUNNY DAY, HIGH IN THE SKY AMID CLOUDS.

Astral David flies away from the ground going higher and
higher. Fredrick and Running Owl zoom to intercept him. They
block his path and he slows, to stop and hover before them.
FRED
David, you can’t let go!
RUNNING OWL
You need to go and return Young
Warrior, like the last time.
Remember, at the hospital, after
the first accident?
David vanishes.
95
FRED
Where has he gone now?
RUNNING OWL
It is a question of when,
Fredrick.
INT. HOSPITAL EMERGENCY THEATRE, AFTER THE CAR ACCIDENT.

FLASH BACK:
David lays on the operating table his body in bad shape, rib
cage open as the surgeon operates. Astral David stands
behind the medics as they hurry to save him on the operating
table. He watches as his spirit issues from his physical body
to float near the ceiling. The theatre life-support alarms
start ringing. The SURGEON looks hurriedly for what has gone
wrong. The body is in the grip of another brief attack.
SURGEON
We’re losing him. I’m going to
try cardiac massage.
He reaches into the opening of David’s chest, palpating the
heart, to try and recover a rhythm. The spirit above the bed
leaves, through the ceiling. Austral David follows behind his
earlier body, waiting to see what happens.
MOVES ONTO NEW SUPER BRIGHT FRAME ZOOM IN.
EXT. THE TUNNEL TO HEAVEN/AFTERLIFE BRIDGE.

They are no longer in the physical: Astral David follows his
spirit as it heads for a lighted tunnel. We see the spirit’s
point of view as it heads to the light at the tunnel’s end.
Suddenly, a great blazing star, a spirit of extreme inner
power, floods the tunnel, blocking David’s spirit. His astral
body catches up. The point of view of David’s spirit looks to
his future self, as we see his astral body takes on a
glorious glow, like the one that has come down the tunnel.
The point of view changes to that of David’s Astral body. We
see the normal astral characters as they have been portrayed
throughout the film. David’s Astral body is slightly behind
his spirit and in front of David’s spirit stands Running Owl.
RUNNING OWL
I am so pleased to see you
Astral Warrior. I do not
believe I have the power to turn
your spirit back.
96
ASTRAL DAVID
Then we will do it together,
friend.
Astral David takes up a position in front of his spirit body
beside Running Owl.
RUNNING OWL
It is good to hear you address
me so, David. Your eternal
memory is returning.
ASTRAL DAVID
Yes. I know who you are, my
friend. I know who I really am.
They take hold of his spirit and they heal its pain and start
to transport it back.
From David’s spirit’s memory of the event we see two giant
star-cluster spirits, wheeling with great healing waves of
energy. David’s spirit brightens as the two giant spirits
descend.
MOVES ONTO NEW FRAME ZOOM IN.
INT. HOSPITAL EMERGENCY THEATRE, AFTER THE CAR ACCIDENT, DAY

Astral David and Running Owl help David’s spirit attach to
his physical body. The emergency alarms stop and David’s body
stabilizes, under the surgeon’s care.
SURGEON
God, that was close. OK we’re
going to seal him up.
The surgery continues on David. Running Owl and Astral David
stand in the background, in case their talent is needed.
RUNNING OWL
We are done here. You are a
great healer, David.
DAVID
I believe I had the best teacher
as I remember it. Thank you.
They bow to each other.
DAVID
I look forward to more nights on
the prairie.
RUNNING OWL
You are welcome.
They vanish.
97
MOVES ONTO NEW SUPER BRIGHT FRAME.
EXT. ASTRAL DAVID’S JOURNEY

Astral David floats above a vast range of future
possibilities. Each has its own time-stream, each slightly or
vastly divergent. He moves lower, to observe the time-
streams, until he sees the one he wants, and then dives into
it.
INT. BERREL’S COTTAGE, ON THE EDGE OF THE PARK, DAY
Astral David lands and walks to the cottage door. He knocks.
Berrel lets him in.
BERREL
Hello, David. Come in. What can
I do for you? Your mother’s here
by the way. So is your father…
DAVID
Thank you, Berrel. I’ve come to
see Dad.
DORIS
Hello love, your dad isn’t
really conscious David, he’s
still deep in a trance after his
shock crossing.
DAVID
Hi mum. I don’t need to talk to
him. I just need to see him, to
help him.
BERREL
He’s comfortable David. He’s
resting out the back.
DAVID
May I see him?
DORIS
Of course you can, dear.
(Looking hard at Berrel)
David? We don’t know what
happened, he’s just collapsed
against Berrel’s door. He has
been unconscious ever since he
appeared.
Astral David walks behind Berrel and sees his father sleeping
fitfully. David stands before him and raises his hands.
98
DAVID
This is for your love, Dad. It’s
the best I can give.
David washes his father in healing energy, depleting himself
willfully (It is unlike any other energy transference effect
in the film David is permanently raising Fredrick’s
frequency.)
BERREL
David, I’ve only ever seen
someone do that once before.
Where did you learn it?
DAVID
From the one who you saw.
BERREL
Really? That’s not possible.
They went beyond.
DAVID
Berrel, you were always so keen
to tell me time is an illusion.
Well, you’re right, it is.
DORIS
Son, where have you been?
DAVID
Mum. (Grief in his voice) I love
you, but I can’t tell you, it
would change events, change
everything.
Running Owl walks into the room. He surveys the scene. Seeing
Fredrick is sleeping peacefully, he looks to David.
DAVID
I’ve done all I can, Running
Owl. It’s up to him now.
RUNNING OWL
He will be well. The event is
upon us David. We must go.
BERREL
We will be ready when you are!
RUNNING OWL
Good. (He turns and leaves,
after David)
DAVID
Bye, mum! Berrel don’t worry, it
will all be OK.
They leave and the women look at each other.
99
BERREL
I don’t think a little pride in
your son would be misplaced at
this time, Doris.
DORIS
He wouldn’t want it. But I’m
glad he came. I’m glad he loves
Fredrick, even if he isn’t his
father.
BERREL
For all intents and purposes,
Fred is.
DORIS
It always has been a battle for
them. Fredrick knowing, but not
accepting and David never really
feeling sure.
BERREL
Until now that is.
Standing in the doorway, David looks back at his mother.
DAVID
You’re wrong about that mum, Dad
never knew for sure. I never
told Dad when Father Ryan
finally broke his silence. They
both loved you. They are both
good men. When you next see me,
I won’t know any of this.
DORIS
Yes.
David leaves.
INT. DAVID AND GILLIAN’S HOME. DAYTIME.

Father Ryan and Gillian are looking at the Computer. It is
silent without David.
GILLIAN
Fredrick woke me, his ghost I
mean. It’s real.
FATHER RYAN
Yes Gillian. He’s real. We have
eternal souls. We all go on.
10
0
GILLIAN
If he hadn’t been, David would
have died here, in front of this
thing. (Indicates computer)
FATHER RYAN
David is lucky. He’s got a good
team of people behind him.
GILLAIN
Father will you take the
machine? You’re looking after
the book. Could you keep this
safe as well?
FATHER RYAN
Gillian, Fredrick isn’t all ego,
you know. He has a reason for
the machine to be here, for
David.
GILLIAN
I would feel better if it
wasn’t. After all we have been
though car accidents, death,
heart attacks. I would rather it
gone.
FATHER RYAN
I wouldn’t feel right about
keeping it. David knows it’s
important. Fredrick said there
is a purpose for it. Gillian
I’ve read that any I.T.C.
communication is delicate and
aligned to the person who works
with it. Disharmony can stop it.
GILLIAN
Well, if disharmony stops it
from working, it won’t be doing
anything around me.
Father Ryan walks up to the computer and it powers up,
drawing on his energy. It blinks out as he stands back.
FATHER RYAN
(Putting his arm forward,
testing)
Interesting. I think it knows
the answer to something I’ve
wondered about for years.
GILLIAN
What do you mean?
10
1
Father Ryan steps back, he gestures for Gillian to step
forward. Nothing happens, the computer stays quiet. The
father gestures for her to step back. She does, he steps
towards the machine again. It powers up.
FATHER RYAN
Very interesting! It seams I
must have some trait in common
with David.
GILLIAN
I don’t like this at all,
Father, but if it responds to
you, then it must be OK, I guess.
FATHER RYAN
“We make our own reality”, David
said to me. That’s something
that his father, hum, Fredrick,
told him, I guess. I didn’t
agree.
GILLIAN
You want the machine to work, so
it does. I don’t want it to work
so it doesn’t.
FATHER RYAN
I think it is very responsive in
an immediate way. What it
responds to might just be belief.
GILLIAN
I’ve seen it working when David
was using it. He had all sorts
of images crossing over the
screen. It’s like a
documentary. Some of them were
horrible.
FATHER RYAN
He showed me a DVD that was like
some sort of pre-transmission
test. We copied it on the
computer upstairs.
GILLIAN
Nice of David to ask me.
FATHER RYAN
I’m sure he didn’t mean to annoy
you.
10
2
GILLIAN
I’m not upset with David,
Father. We better get back. I
just wanted to know if the
computer could have caused his
attack, after what David had
shown you earlier.
FATHER RYAN
Now you know what I know about
it.
GILLIAN
Well, I can’t ask David, can I?
Come on. Mum will have all the
nurses singing choruses by now.
FATHER RYAN
You have an amazing mother,
Gillian. She has a lot of faith.
GILLIAN
Enough for all of us, Father.
They leave.
EXT. PARIS, UNDER THE EIFFEL TOWER. 20 MINUTES TO MIDAY.

A small dark man stands with a bomb bag directly under the
Eiffel Tower. He is in the uniform of a janitor, “unseen” by
the tourists as they admire the attraction. He goes about
with his barrow, and the bag, cleaning up rubbish from the
crowd and muttering, in French.
EXT. THE PARK. DAVID WALKS WITH BERREL, FREDRICK AND DORIS.
David looks at the beautiful flower gardens, fresher than
when we last saw him. It is his earlier self. More relaxed,
still a novice astral traveler.
DAVID
So, time is an illusion?
BERREL
Oh yes David, so is space. But
we need them to experience what
we create.
FRED
We create reality, boy.
10
3
DORIS
Fred here should know.
FRED
Quite so.
DAVID
Mum, go easy on him.
DORIS
It’s good to see him, David,
looking so chipper. Believe me
you have no idea how Fredrick
was the last time I saw him.
DAVID
Berrel, we should leave them to
work it out. (They all laugh)
BERREL
Well, back to the subject at
hand.
DAVID
Time?
BERREL
Yes. Time our servant that
enslaved us, or almost did. If
you raise your vibrational
frequency high enough you can be
clear of time’s effects.
DAVID
So you can travel in time in the
non-physical?
BERREL
Yes and no.
FRED
Yes and yes. With magic you can
affect the Future in the Future,
to build a better present by
aligning possibilities into
probabilities. Arrange for the
best possible outcome.
DORIS
For yourself.
FRED
(Hurt) For everyone.
DAVID
And it’s best to change your
vibrational frequency in the air.
10
4
BERREL
Anything you touch you can take
with you. It’s best to travel
light or you create paradoxes.
DAVID
How do you get back to the
present?
FRED
In your case, the silver cord.
Just think of your physical body.
David suddenly vanishes.
BERREL
No time like the present.
FRED
He has gone back, hey.
DORIS
Well, he must have thought of
his body, Fredrick.
FRED
My son’s got talent.
DORIS
David’s got talent.
FRED
I don’t want to start that again.
DORIS
Did you ever tell Thomas?
FRED
He’s my son, Doris.
DORIS
Maybe.
Fred leaves in a huff.
BERREL
You shouldn’t be so hard on him.
He loves you, you know.
DORIS
I’m sorry, Berrel, it all seems
like it was just yesterday. He
just brings it out in me.
BERREL
Not very highly evolved, are you?
DORIS
Don’t you start! (They laugh)
10
5
SFX: SCENE RECIEDES INTO A MAZE OF IMAGES (TIME LINES)
CAMERA MOVES ONTO NEW FRAME ZOOM IN.
INT. HOSPITAL WAITING ROOM. 3AM IN THE MORNING.

Gillian and Father Ryan return from looking at the computer
at Gillian’s. Her mother is talking to Naomi.
GILLIAN
Hi Naomi. How did you know? This
is Father Ryan.
NAOMI
I was out clubbing and I got a
message from you to call. Your
mum had your phone. So I came
ASAP. You feel you need a
priest? I thought he was stable.
FATHER RYAN
Not like that. I’m pleased to
meet you, Naomi.
GILLIAN
I didn’t send a message? Did
you, Mum?
MARY
No dear, but I was glad of
Naomi’s company.
NAOMI
Curiouser and curiouser, said
Alice.
GILLIAN
Dumber and dumber, said Naomi.
NAOMI
See what I mean, Mary. She needs
me. She’s a passive aggressive.
She can take it out on me and be
all lovely again.
GILLIAN
I get it from mother.
FATHER RYAN
That’s quite enough, Gillian.
GILLIAN
Sorry.
MARY
I’m not worried by it, Father.
She actually gets it from her
Father.
10
6
GILLIAN
I do not. I don’t get anything
from him!
MARY
You’re just worried about David,
my dear.
NAOMI
(To Gillian)
You’re just spoiled rotten by
everyone, because they’re all
scared of you.
GILLIAN
That’s not true! Take it back.
NAOMI
Nope.
MARY
Act your age, you two. (The
nonsense evaporates)
NAOMI
Oops. (Whispers to Father Ryan)
See what I mean?
He just shakes his head. Mary and Father Ryan exchange
glances, (children you can’t live with them and you can’t
drown them at birth.) The registrar walks out to their group.
REGISTRAR
Excuse me, Gillian? The doctor
needs to see you now about your
husband.
GILLIAN
(Little voice) Is he OK?
REGISTRAR
Come this way, please.
EXT. THE PARK. SUMMERLAND. CLOSE TO BERREL’S COTTAGE.

TIMELESS.
Berrel and David are walking in the gardens. He stops to
examine a small musical brook, as it gurgles its way
downstream.
DAVID
So Berrel, you say the future
self can help the present self.
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7
BERREL
Yes, if you astral-traveled back
to when you were aged five or
six, you would become your
future self.
DAVID
What good would that do?
BERREL
It can do an immense amount of
good. You can be the person
that’s needed. Many kids don’t
feel like they fit in at home,
they don’t feel enough love.
DAVID
I was fine. Dad and Mum both
love me.
BERREL
I’m sure you’re right, but we
push those dark childhood
feelings down if we experience
negatives and these effect us
all our lives.
DAVID
So you travel back and help them
feel wanted?
BERREL
Basically. There’s more to it
than that. You can travel
forward as well to meet your own
future self.
DAVID
Is that a paradox?
BERREL
Yes, but it works, you’re mother
and I studied long and hard on
this. It’s not easy.
DAVID
I get that. I go back to be my
future self is just as much a
paradox. If you go forward to
see your own future self they
know more?
BERREL
Well that’s the point, isn’t it?
You then have access to
10
8
experience learned before you
even get into a bad situation.
You need experience to be able
to create more powerfully. Use
your magic there and effect the
present. You can meditate on
that.
DAVID
Berrel, I owe you an apology.
BERREL
Why David? I really am a crazy
old witch. (She laughs)
DAVID
There is a lot of love in you.
BERREL
Keep it our secret. (Smiles)
INT. FORT WORTH, TEXAS. MEETING ROOM.

The room is in an uproar. So many conventional and remote
viewing leads are coming in, that aides fall over themselves
to program the updates onto the military intelligence world
map. A 5-Star General walks into the hive of activity. He
surveys the scene, unnoticed.
GENERAL
Attention!
The war room snaps to attention. The General’s Aide hurries
in (as if just made aware of the General’s presence).
GENERAL’S AIDE
Sorry sir, I didn’t know you
were on the base.
GENERAL
If I wanted you to know, I would
have told you, Major.
GENERAL’S AIDE
Yes, sir.
GENERAL
Where’s this hotshot remote
viewer, the one I’ve heard so
much about?
The remote viewer’s Monitor stands up at the back of the room.
MONITOR
Joe is sleeping sir, he’s just
10
9
worked 28 hours’ straight. He
was exhausted.
GENERAL
Well get him up and showered and
report to me. We have the
President winging his way here
now for a personal appraisal of
the bomb threat soldier. You
guys had better get your act
together.
MONITOR
Yes, sir!
The monitor leaves at the double.
GENERAL
Right, Major. Fill me in. Where
are we?
The Major brings the latest information up on the map. The
world is covered in a web of trouble.
GENERAL
OK… We need the dampeners and we
need them now! Show deployment.
The map changes. About one third of the sites are still red
the others blocked in green.
GENERAL’S AIDE
Are these acceptable losses, Sir?
GENERAL
No, sir, they are not! In two
hours I want them all covered.
That’s an order, Major.
GENERAL’S AIDE
Yes, Sir!
INT. HOSPITAL EMERGENCY: EARLY MORNING

David lies in bed. He is in a coma. The Doctor talks with
Gillian at the observation window. David is seen hooked up to
machines, his breathing shallow and he looks pale. The others
stand apart from Gillian and the Doctor.
DOCTOR
We have got him comfortable, but
he hasn’t regained
consciousness.
11
0
GILLIAN
I don’t know how long he was
unconscious before I found him.
DOCTOR
We can’t be sure until he will
regain consciousness. He
suffered a loss of blood to the
brain. He may have some brain
damage.
GILLIAN
I see.
DOCTOR
You should go home and rest.
We’ll let you know as soon as
there is a change. He’s in good
hands.
GILLIAN
Yes, I can see that doctor.
Gillian sees David’s room is full of spirits. Running Owl
stands to one side of David’s head, Fredrick at the other.
Energy pours from them into David’s unconscious body. Berrel
looks up from her ministrations at David’s side. Gillian
catches her eye. Something unspoken passes between them.
Doris stands at the foot of the bed, energy flowing to David.
She sees Berrel looking and looks herself. We see from
Doris’s point of view. Gillian’s radiant energy is flowing
from her to David.
DORIS
Good for you, child, I knew you
had it in you!
(Berrel attracts her attention)
I see it, Berrel.
BERREL
She shines! It’s not often you
get two extraordinary talents
under one roof.
DORIS
Surely that is enough to be
proud of, Berrel? (Smiles)
RUNNING OWL
(Eyes closed)
Our young warrior is far in his
future. Come back, David.
11
1
EXT. THE CITY ARIAL VIEW.
The city stretches out below. Astral David flies on. Not one
person is seen below, a place of destruction. The central
railway station is gone, a crater where it stood. Astral
David flies on. He comes to the hill on the edge of town
above their home. He sees his Future Self sitting on a rocky
overhang. He lands beside his Future Self.
ASTRAL DAVID
Umm, I don’t know what to call
you.
FUTURE SELF
How about David? (He smiles, a
tight, grim smile)
ASTRAL DAVID
What happened here?
FUTURE SELF
We can’t always stop them,
David. This time it was dirty
nukes, suitcase bombs. But the
government didn’t use remote
viewing. It was out of favor.
The extremists had a field day.
ASTRAL DAVID
No one did anything to stop
them?
FUTURE SELF
This is a bad one, that’s why I
wanted you to see it, so we can
block it. Close the door. Make
sure remote viewing doesn’t get
discredited. We need it, it’s
the best surveillance we have.
ASTRAL DAVID
So this is possible, not
definite.
FUTURE SELF
That’s right, but there is a
better way. Dad was right.
ASTRAL DAVID
Thomas?
FUTURE SELF
No, Fredrick. Fred raised you.
ASTRAL DAVID
Yes, I guess the answer is magic
in the future, to change the
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2
future.
FUTURE SELF
And fix the present. Yes. You
have studied the field of play
ritual? (Astral David nods) You
need to create the site.
However, it must be big enough
to change the world.
ASTRAL DAVID
To stop the end of the world?
FUTURE SELF
No, that isn’t going to happen.
Just give it a better chance to
be as good as it can be.
ASTRAL DAVID
Where does the site have to go?
FUTURE SELF
High up. Let’s talk about it.
You need a foundation and a
temple for the ritual. (Smiles)
Where you can make a huge
magical standing wave.
ASTRAL DAVID
Use its resonance to release the
good energy into the past
(beat)
sorry present.
FUTURE SELF
That’s right you’re getting it.
(Looks thoughtful)
And I know the best place!
INT. GILLIAN AND DAVID’S HOME, MID-MORNING.

Gillian is walking through the house. CAMERA TRACKS WITH
HER. She feels cold and alone, even with Naomi, her Mother
and Father Ryan for company.
INT. GILLIAN AND DAVID’S HOME KITCHEN, MID-MORNING

She returns to her Mother’s side they are seated around the
kitchen bench. Naomi is also rubbing her arms.
11
3
GILLIAN
It doesn’t feel the same.
Maybe it’s me, but I feel cold.
MARY
My dear, you have been at the
hospital half of the night.
That is enough to make anyone
feel strange.
NAOMI
It’s like a freezer in here.
FATHER RYAN
I think she’s right, it doesn’t
feel cold to me, but different.
When we came back here to see
the machine, it wasn’t like this.
MARY
I’ve been meaning to mention
that, Father. I think it should
be shut off.
FATHER RYAN
Why Mary? We could learn so much.
MARY
I just want things to go back to
normal.
GILLIAN
I don’t think that’s possible
for me now, Mum.
Suddenly there is a loud bag from the lounge room. The house
shakes and light floods forth from the computer.
CUT TO:
INT. GILLIAN AND DAVID’S HOME, LOUNGE, MID-MORNING

The lounge room is full of blue light, it distorts under
waves of power. Gillian stops at the door. Her mother is
behind her. Naomi walks into the room.
NAOMI
This is way cool, Gillian!
GILLIAN
Naomi! Come back here!
Father Ryan walks out to Naomi starts to bring her back.
Gillian and her mother walk toward the others. The blue light
ripples across the walls of the room. They begin to buckle
inwards towards the computer. Suddenly, the Technician
stands before them. The tall ethereal being points behind
11
4
them. Gillian and Naomi look at the gentle face and is
mesmerized by the deep eyes. Father Ryan and Mary turn round
to see a message on the wall. “Bring the oracle to the
hospital quickly” shines over the wall. They look from the
message back to the Technician. He waves his hand and the
message changes “Must hurry, David” The computer goes dark.
The room is dark. Naomi screams. Nothing happens.
NAOMI
Sorry! Who the hell was that?
GILLIAN
Father! David needs the book!
MARY
OK. The Father and I will get
the book.
GILLIAN
I’m going back to the Hospital.
NAOMI
Me too, I’ll drive. You look
like you need a rest.
GILLIAN
Thanks.
They all rush out, except Father Ryan. He looks deeply
troubled. Mary looks back at him.
MARY
Come on, Father, we have just
been asked to do something by a
force greater than us and we
will do it.
FATHER RYAN
OK, I’m not sure that was a
message from God, but it sure
was a message from David.
MARY
You sound possessive, even proud?
FATHER RYAN
It’s a long story, Mary. David
is my son.
It’s Mary’s turn to be shocked. Father Thomas Ryan smiles at
her.
FATHER RYAN
I wasn’t always a priest, you
know.
11
5
He takes her by the hand and they exit.
EXT. AN AMERICAN MID-WESTERN TOWN.

A redneck’s pickup truck speeds through the early morning
streets. Two white American men, driving like fools, almost
slam into the side of a white van with a telecommunications
logo on the side. They shake their fists at the driver, when
the near accident has been their own fault. The other driver
doesn’t react at all, just quietly drives on past a sign that
reads Phoenix. (Another suitcase bomb carrier)
INT. HOSPITAL EMERGENCY THEATRE:

David is suffering another heart attack on the hospital bed.
Alarms ring, nurses come running. He’s convulsing. Around him
and the nurses is the mass of spirits, helping him stay alive.
EXT. HOSPITAL CAR PARK.

Gillian and Naomi rush into the hospital car park. They stop
the car. Fredrick materializes at Gillian’s car window.
FRED
He needs the book, the Oracle.
GILLIAN
We know. Father Ryan and my
mother are getting it.
FRED
Hurry, he’s having another
attack.
Fredrick vanishes and is gone. Naomi gets out of the car and
runs behind Gillian, who isn’t waiting.
NAOMI
Were you just talking to a ghost?
GILLIAN
Yeah, all the time! He said
David’s having an attack!
NAOMI
I just want to see one and you
get to talk to them. It’s not
fair!
GILLIAN
Shut it, silly. After what you
11
6
just witnessed you shouldn’t
need to see a ghost!
Gillian and Naomi run into emergency, looking for David.
Fredrick appears at each corner, showing Gillian which way to
go.
GILLIAN
Hey, Naomi, you can add ghostly
guidance to my skills too.
NAOMI
Show-off!
They run on, almost collecting the Heart Surgeon coming
through the surgery doors. He narrowly misses getting mowed
down. They finally see David on the trolley being wheeled
towards them and the surgery. They slow down and try and
regain their composure. David is awake, but in agony.
DAVID
Gillian! I’ve had another
attack. (He stops as another
bout of pain wracks his body)
GILLIAN
I know, your Dad told me.
DAVID
Thomas?
GILLIAN
Fredrick.
DAVID
Bless him, but he’s not my dad.
Thomas is, mum told me.
GILLIAN
Right, what a strange family.
(Nods)
NAOMI
Two Dads, cool. And one’s a
ghost, even betterer.
GILLIAN
How old are you, Naomi?
NAOMI
Twelve!
GILLIAN
(To David)
Well, you’re real dad is getting
the book, David.
11
7
DOCTOR
Sorry, ladies, this is as far as
you can go. He has to go into
theatre. (He bars their way as
David is wheeled inside.)
There’s a waiting room down the
hall.
Gillian is suddenly deflated. Naomi sees a darkened
observation room door. She grabs Gillian and pulls her after
her. They enter the observation room unnoticed. Naomi puts
one hand up to her lips, then points out to Gillian the
lights going on in the theatre where David is wheeled into
place. Gillian mimes “Naughty girl”. Naomi smiles. They watch.
INT. EMERGENCY THEATRE HOSPITAL. LATE MORNING.

David is dieing. The spirits around him, try as they might,
can’t stop it this time. Running Owl looks at Fredrick, who
is heart-broken. Fredrick prays for his son to stay put, but
David meets his eyes one last time, as his spirit leaves his
body to hang above it.
FRED
David, no! Not yet, Thomas is on
his way, you must hold fast.
DAVID
Dad, I can’t stop this, I love
you like a son. You can’t follow
me, Dad, don’t try.
FRED
I raised you. You’re better than
this. Use your magic.
DAVID
No Dad, I’ve a greater use for
that in mind. Tell Gillian I
love her.
FRED
Tell her yourself, look.
Gillian is shiningly beautiful and in absolute agony. She
throws her energy at him, all the love she has. David sadly
looks on.
DAVID
I’m so sorry! (He floats higher)
As his frequency blasts higher than ever before, all the
spirits, except Fredrick, stand back in awe. He is a blazing
light in their midst and then he is gone. The doctors and
nurses have seen his soul fully manifest to.
11
8
FRED AND GILLIAN (IN UNISON)
No!
Gillian collapses, Naomi holds her weeping friend. Fred
stands separate in the theatre, not giving ground while
David’s soul exploded into full power. Fred suddenly senses
Thomas’s approach and vanishes.
INT. HOSPITAL CORRIDOR, NIGHT

Mary leads Father Ryan quickly down the corridor. Fredrick is
suddenly at Father Ryan’s side.
FRED
You’re too late, Thomas. He’s
gone into the future.
FATHER RYAN
I’m late … damn. (Stops)
MARY
Father Ryan, why have you
stopped? Oh, I see. Hello, Fred.
FRED
Hello, Mary. Nothing phases you,
does it? (She smiles)
FATHER RYAN
What can David do without the
book?
FRED
I think he can do a whole lot of
good, but he should have help.
FATHER RYAN
(He agonizes for a second)
Here, you take it to him!
FRED
(Won’t take the Oracle)
I don’t think I can Thomas; he’s
stronger than I am.
FATHER RYAN
So the great Fredrick Stern is
finally going to give up. I have
hoped all my life I’d live to
see this day. But now I wish I
hadn’t.
11
9
FRED
Sorry to let you down, Thomas.
I really am.
FATHER RYAN
Come on Fred. Take it. It’s at
least worth a try.
Fredrick looks at and takes the book steeling himself.

FRED
What the hell, no one lives
forever.
Fred’s frequency builds brightly, though not as bright as
David’s. The book glows up extremely brightly. He vanishes.
FATHER RYAN
Good luck, Fred! May the Lord be
with you!
EXT. TIME/SPACE, ON THE EDGE OF THE FIELD OF POSSIBLE

FUTURES. A MAZE OF TIME LINES.
The futures weave in and out of being. David’s soul floats
high above the strands, searching for the best possible one
to use. He slowly regains human form as he looks. He dives
into a future stream, back into time and space.
EXT. HIGH EARTH ORBIT, ABOVE THE PACIFIC OCEAN, DAY.

David is high above the world, which is a beautiful blue and
peaceful. He flies lower, looking for his Future Self.
Hovering over the deep blue sea, he sees his Future Self.
FUTURE SELF
Good to see you, David!
DAVID
Likewise. We are going to have
to work without the book.
FUTURE SELF
It would have been good, but
we’ll be fine. Come, we go to
the field of play.
THE CAMERA FOLLOWS. They fly over the water until they come
to a great mountain rising out of the sea. Its top has been
leveled and a vast dome sits in the midst of the field of
play. They land outside the structure.
12
0
INT. FIELD OF PLAY, TEMPLE, DAY
Walking within, David sees a huge copy of the ornate book
illustration he saw in Fredrick’s Library has been carved
into the floor.
DAVID
WOW! So you did all this with
magic?
FUTURE SELF
God made the mountain. I just
modified it.
DAVID
Amazing! This is huge.
Sparks of energy run around inside the dome, when they enter
it.
FUTURE SELF
David? You have no silver cord?
How can you get back to your
body?
DAVID
This isn’t just my astral body
either. We’re not going back.
FUTURE SELF
Hmm… Suit yourself, hey?
DAVID
Yes, do you have a physical body?
FUTURE SELF
You should know. Win some. Loose
some.
David walks to the middle of the triangle etched into the
ground. He stands at the centre and turns about looking at
the runes, etc, on the floor.
DAVID
(Smiles) We need others to make
this magic work.
FUTURE SELF
Or phases of your self … Spirit
for one.
FRED
That would be me!
Fredrick walks in behind them. Toughly pleased with himself.
DAVID
(Turns about surprised)
Dad … Fredrick.
12
1
FUTURE SELF
Don’t be like that, David, he’s
your father. He raised you.
DAVID
Sorry, Dad.
FRED
You are a hard act to follow,
son.
DAVID
So were you!
FUTURE SELF
You were always the white
knight, riding to the rescue,
Fred.
FRED
I an egotistical old fool who
lost the people I loved! I can
only try to make amends.
Fred stands on the point of the triangle, representing the
spiritual self.
DAVID
We still need two more.
There is a loud clap of thunder and Berrel materializes with
Gillian inside the dome above their heads. Berrel looks about
her, interested in the design.
FUTURE SELF
Wow!
BERREL
(Lands with Gillian shining
brightly overjoyed to see David)
A lovely Field of Play. I have
never seen one quite this size,
mind you. (She nods her
appreciation to David’s Future
Self and turns to Gillian)
BERREL
Gillian, my dear, would you care
to take the spot in front of
your husband? That is the point
of love and there is no one
better qualified to stand there.
Berrel points to the apex of the triangle before David.
Gillian walks to the point smiling at David. Berrel nods to
David’s Future Self again.
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2
BERREL
Hello David, this is quite a
spot you have made manifest, it
shines with potential.
Berrel walks full-circle around the group, arriving at the
final unfilled point of the triangle.
BERREL
I guess that makes me the Earth!
(She coos)
David’s Future Self bows to her.
FUTURE SELF
Perhaps you would like to
explain the concept, Berrel.
BERREL
It’s your party and you better
be the teacher.
David’s Future Self complies.
FUTURE SELF
David, Gillian? Do you know how
to run energy?
DAVID
Yes.
Gillian looks unsure.
FUTURE SELF
OK. I’ll help Gillian
Berrel stands; as do the others; facing David.
FUTURE SELF
Project from the power you
represent to David.
Berrel and Fred immediately let the energy flow through them
into David. Gillian looks helplessly at David’s Future self.
He walks behind her. Places a hand on her shoulder.
FUTURE SELF
Relax, and let your love for him
reach forth.
The power of love is soon flowing from Gillian to David. The
3 beams converge and David starts to glow again with light.
The wave builds and energy flows out of David around the room
it swirls back underneath him. Energy builds beneath David,
until he is lifted on a magical standing wave.
He rises out of the dome’s centre on the wave, with his
Future Self floating up beside him. Berrel, Fred and Gillian
are left standing, shrouded by pink bubbles shielding them in
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3
the power of the standing wave. A higher octave is reached.
The energy wave shoots up like a blinding beam of light.
David comes to rest high above the globe. His future self
appears alongside him.
FUTURE SELF
Release energy to Earth’s
trouble spots.
Beams zoom out over the globe, back into David’s past, to the
trouble spots.
FUTURE SELF
Good David! Now channel energy
to the world.
This time the standing wave surges under him, and David
spreads his arms so energy sheets out over the world
dissolving –into the past and the present.
The Future builds a new matrix, changing the present.
All standing-wave energy spent, David’s Future Self catches
him as the last of the energy leaves to circle the globe.
FUTURE SELF
I couldn’t have done any better
myself. (Smiles)
They descend to the field of play.
EXT. PARIS, EIFFEL TOWER, MID-DAY.

Gendarmes surround the bomber. A US Soldiers with a dampener
approach the bomb, they place it into the discharge device.
It is neutralized.
EXT. LONDON, LESTER SQUARE, MID-DAY.

British Secret Service and the police has surrounded the Fish
Mongers Van.
SAS specialists bring the dampener in beside the bomb
courier. The sergeant finds the bomb inside the truck
operating of remote viewing intelligence. He lifts it out and
encloses it in the dampener. The green light is given. The
driver and crewman are lead away in cuffs.
12
4
EXT. NEW YORK, CRYSLER BUILDING, MID-DAY.

FBI have the suitcase bomber out of his Telecommunications
Van. Spread eagle they frisk him. He makes a lunge for his
manual detonator mobile phone and is shot in the head.
US Army troops rush into the underground car park they remove
the bomb and enclose it in the dampener. The green light is
given.
EXT. SYDNEY, AUSTRALIA, THE OPERA HOUSE. MID-DAY

Armed NSW Police surround an Ice cream van parked below the
opera houses stairs. An Australian Army Rapid Response Unit
pulls up beside the van. Soldiers waste no time finding the
Bomb and enclosing it in the US Dampener. Green light is
given. A shoulder starts handing out the ice-cream, they all
laugh it is a hot summer day. All are much relieved.
EXT. FIELD OF PLAY, MOUNTAIN TOP, PACIFIC OCEAN, FUTURE, DAY

David hangs limp in his Future Self’s arms. Gillian runs to
him, unaffected by her channeling. David’s Future Self looks
at emotion crossing her face. Gillian takes hold of “her”
husband.
GILLIAN
(Tenderly but tired)
I wish Naomi was here. She’ll
never believe me.
Berrel smiles at David
BERREL
(To David)
You’re lucky you know for
someone who is talented.
FUTURE SELF
It’s not usual to have another
talented psychic in your own
home.
BERREL
Gillian, dear, it’s time we take
him back.
12
5
Gillian’s silver cord is intact and David sees she is his
rescue line.
DAVID
I love you.
GILLIAN
(Weary)
Ditto.
Berrel takes Gillian’s hand, turning to Fred.
BERREL
You coming, or do you want to
risk becoming non-existent out
here when things get better?
Fred laughs. David looks at his Future Self.
FUTURE SELF
Don’t worry about me. Just don’t
lose the vibe and I’ll be fine.
Fred clears his trout. He turns to David’s Future Self.
FRED
I’m staying. Think of all the
things you can teach me.
FUTURE SELF
Your passion for magic will be
your undoing Dad. OK, stay, I’ll
show you what I know before you
go home. And you will go home.
Teddy needs his back scratched
and I can’t do it all the time.
(they all laugh)
David’s Future Self and Fredrick wave farewell. Berrel

supplies the magic and she Gillian’s Husband follow Gillian’s
silver lead, to return to their present.

INT. HOSPITAL WARD:

The doctor doing rounds looks at David’s charts.
DOCTOR
You’re doing well, Mr Stern.
DAVID
Thank you. Call me David.
12
6
DOCTOR
Well at this rate you will be
out of here tomorrow.
Gillian walks into David’s private room
GILLIAN
That’s great news, doc. He’s got
some training to do.
DOCTOR
Nothing too strenuous I hope?
GILLIAN
No, he’s just got to show me how
to use a very special computer.
DAVID
I’m glad you’ve changed your
mind. (Smiles)
INT. GILLIAN AND DAVID’S HOME. AFTERMATH.

Father Ryan and Mary are looking at the computer working off
the Father’s energy. The computer is still without power,
but shows a beautiful scene.
MARY
This is all so beautiful and
it’s the future?
I feel we’ve been blessed.
FATHER RYAN
Yes.
As they both look at the screen, the Priest picks up the end
of the computer’s power cord, while looking at Mary. He
sighs and risks plugging it into the wall, then switches the
normal electricity on.
They look intently at the screen. It flickers as it changes
power sources. Then a little girl runs into the scene,
turning to Mary.
EVE
Thank you, Grandma and Grandpa.
My dad, David, got the best
possible future! Mum did too!
They got me!
MARY
But Gillian can’t have children.
EVE
She can now! Oh and Grandpa here
will christen me as well, Gran.
Love you. Got to go.
12
7
The child skips out of the scene. Mary is left speechlessly

happy, Father Ryan looks thoughtful.
FATHER RYAN
Sometimes our prays are
answered, Mary.
THE END
ROLL CREDITS.
12
8

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“NEED TO KNOW” 

Bill Hodge FINAL DRAFT

INT. HOSPITAL WAITING ROOM, DAY

INT. FREDRICKS HOME. MID-MORNING.

Fred smiles at his son. He rests his hand on David’s shoulder

INT. DAVID’S STUDY, UPSTAIRS. LATE NIGHT.

A small book-lined room with a writing desk on which sits a

David is finishing a letter for yet another job application.

From out of shot, behind David, we hear his father’s voice.

INT. STERNS HOUSE UPSTAIRS HALLWAY.

EXT. STREET - MORNING

EXT. CAFÉ. LUNCHTIME.

INT. CAFÉ. LUNCHTIME

Gillian Nods. Naomi and Gillian laugh.

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

INT. STERNS HOUSE. LOUNGE ROOM. LUNCH TIME.

INT. SHOPPING MALL, DEPARTMENT STORE, AFTERNOON

EXT. A BEAUTIFUL SUN-LIT PARK. DAY

EXT. CONCERT IN THE PARK. DAY

EXT. CONCERT AT THE PARK. DAY

INT. STERNS HOUSE KITCHEN, NIGHT (2 HOURS LATER).

INT. STERNS HOUSE LOUNGE ROOM, NIGHT

INT. DORIS’S SUMMERLAND HOUSE. ETHEREAL REALMS. DAY

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

INT. STERNS HOUSE, BEDROOM, MORNING

INT. FREDRICK’S HOME, ENTRY HALLWAY, LATE AFTERNOON.

INT. FREDRICK’S HOME, LIBRAY ROOMS, LATE AFTERNOON.

INT. STERNS HOUSE, LOUNGE ROOM, LATE AFTERNOON.

INT. STERNS HOUSE, ENTRY HALL. LATE AFTERNOON

INT. CHURCH, AFTER MASS. MORNING

EXT. FREDRICK’S HOME. LATE AFTERNOON.

INT. FREDRICK’S HOME. LIBRARY ROOMS. LATE AFTERNOON.

EXT. FREDRICK’S HOME. VERANDAH AND SURROUNDS. LATE AFTERNOON.

INT. FREDRICK STERN’S LIBRARY, INNER ROOM.

EXT. MARY BUTLER’S APARTMENT, INNER CITY.EARLY EVENING.

EXT. STREET NEAR FREDRICK STERNS HOME, NIGHT

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

EXT. FREDRICK’S HOME, PATH BESIDE HOUSE.

EXT. DARKENED STREET SCAPE IN A RUNDOWN INDUSTRIAL AREA.

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

INT. FREDRICK STERN’S HOME.

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

INT. FATHER RYAN’S OLD UTE. LATE EVENING.

INT. REMOTE VIEWING LAB, FORT WORTH, TEXAS.

INT. DAVID AND GILLIAN’S HOME, LOUNGE ROOM, MIDDAY

INT. DAVID AND GILLIAN’S BEDROOM AFTERNOON

DREAM SEQUENCE: DAVID’S DREAM EXT. FOREST ROAD

INT. DAVID AND GILLIAN’S BEDROOM AFTERNOON

EXT. FOREST ROAD, DAY OF THE ACCIDENT: DAY

INT. DAVID AND GILLIAN’S BEDROOM. DAY.

INT. LOUNGE ROOM DAVID AND GILLIAN’S HOME: LATE AFTERNOON.

INT. DAVID AND GILLIAN’S HOME. TOP OF STAIRCASE. DAY

EXT. BOATS IN HARBOUR. EARLY MORNING.

INT. DAVID AND GILLIAN’S HOME, LOUNGEROOM, LATE AFTERNOON.

INT. DAVID AND GILLIAN’S HOME, ENTRY HALL, LATE AFTERNOON.

David inspects the machine, a worried look on his face.

They start to prepare dinner together.

INT. DAVID AND GILLIAN’S BEDROOM.LATE NIGHT (2AM)

EXT. DAVID AND GILLIAN’S HOME, NIGHT

INT. HOSPITAL WAITING ROOM. EMERGENCY UNIT.