Heaven Bound

By
Bob Ladrach

INT. HOSPITAL ROOM - DAY.

An oxygen breathing system and heart monitors can be heard.

JOE Harmond lies on a hospital bed. His family is with him
during his last moments alive.
From the POV of Joe, PEGGY Harmond, a woman in her late 60s
holds the off camera hand of her husband.
MIKE, Joes teenage son and his older daughter, SARAH, stand
behind their mother holding on to each other. Peggy looks
longingly into the camera, her eyes red and swollen from
constant crying. Her hair is messed up.
A grunting sound is heard as the camera POV swings up
wildly, then rolls over to his wife as she leans closely
into the camera. Sarah buries her head in the bosom of her
brother.
The heart monitor beeps rapidly then a steady tone howls.
Gurgling sounds can be heard as Joes lungs collapse. Air is
exhaled over an inordinate amount of time.
The camera view is rolled over to the ceiling. A DOCTOR
leans in and looks around.
DOCTOR
I think hes gone.
The light slowly fades as Peggy cries in a growing echo.
FADE OUT.
Wind can be heard and sand blowing.
FADE IN.
2

EXT. SEA OF GLASS - DAY.

Joseph Harmond, a thirty something young man, lies with his
face pasted in bleached white sand.
He opens his eyes, sand blows by his face. He sits up and
brushes the sand off of himself.
He stands on the sandy shore of a strange ocean. The shore
curves around behind him to infinity in the distance.
Tall sand dunes with sea grass blow in the wind. The ocean
is a deep aqua color but there are no waves. The surface of
the water is perfectly still like glass.

2.

The sky is a golden glow with a brightness reflected by high

slow moving clouds. Shafts of light move through the sky
changing constantly.
Joe looks down at where he was laying and his footprints and
body impression are the only indication of life on the
beach. There are no foot prints leading to his body, just
smooth sand.
Joe looks at his legs. Hes wearing white cotton boxers and
a t-shirt. Hes bare footed. He checks his belly and is
amazed. Hes trim and young.
He looks over his arms and rubs his hand along one. The
scabs are gone. He takes both hands and runs them up his
cheeks and through his hair. Hair? He has hair! His cheeks
arent drawn up as they were after his stroke.
He looks down at his legs, they arent swollen any more and
he stands. He can walk again!
He walks to the edge of the water an sees a mirror like
image of himself reflected in it. He stares and kneels
carefully not to disturb the surface. He looks in amazement
at his face. His hands pull at the skin under his eyes. They
are not swollen and baggy as he last remembers.
He reaches into the water toward his reflected image. The
ripples move out in ever increasing arcs growing farther and
farther apart.
He raises his hand and smells the water then drips a drop on
his tongue. He tastes it. Its salty. Joe stands back up. He
looks down the shoreline and a person is walking toward him
still a great distance away. With blurred and wispy effect,
the man is now approaching him within twenty feet.
Joes father, PHIL, wears sweatpants and a sweatshirt and
white running shoes. He leaves a trail of continuous foot
prints behind him. Phil also appears to be in his 30s with
similar features as Joes. As if they could be brothers. His
dad wears a huge smile.
JOE
Dad?
PHIL
Joe.
Joe hesitates for a second then rushes into his dads arms.
He laughs hard and picks Phil up and spins him around. He
starts to cry embracing his dad.

3.

JOE
I thought Id never see you again.
PHIL
Its all right.
Joe steps back and wipes the tears from his eyes.
JOE
Look at you. You look great! I mean
how is this possible? I thought you
were dead. I mean...
It finally dawns on Joe that hes dead.
JOE (CONTD)
Then that means Im...
PHIL
Its okay.
Joe looks around thinking as his mind jumps forward quickly.
JOE
Oh, that explains.... This...and
me.
Joe takes a deep breath and sighs. He looks out over the
water and in the distance the ripples still move away.
Phil puts his arm on Joes back and steps up next to him as
they both look out over the water.
PHIL
Its a little different than what
youre used to.
JOE
It seems like a dream.
PHIL
This?
JOE
No, my life. It seems like a
thought. Like something I remember,
but it faded away. I remember Peggy
and the kids, but some things are
fuzzy. Are they coming?
PHIL
Soon, but not yet.

4.

JOE
I cant wait to see them. How long?
PHIL
Time doesnt have any meaning here.
Theres only now. Only the moment.
JOE
How is it you look so much younger?
PHIL
This is my residual impression of
myself. The way you look is the way
you see yourself.
Phil walks over to the waters edge and looks in.
PHIL (CONTD)
This is your mental age. Even your
clothes are what you find most
comfortable.
Phil looks at Joes feet.
PHIL (CONTD)
I knew you liked to go barefoot.
Its a wonder youre wearing any
clothes are all.
Phil punches Joe in the arm and smiles.
JOE
All the pain is gone and I can walk
again. This is wonderful.
Joe dances around.
PHIL
No more problems. No more worries.
Its paradise.
Phil opens his arms.
JOE
Were is everyone?
PHIL
Theyre waiting for you.
JOE
They?

5.
PHIL
People that love you. Friends,
family, theyre all here. Its
usually best to meet someone close
to you at first.
JOE
I...I...Im so happy to see you
again.
PHIL
I know. Im happy to see you too
son. Ive been waiting for you.
Phil looks around like hes listening to a private
conversation. He shakes his head "yes" and looks back at
Joe.
PHIL (contd)
You ready to get going?
JOE
Sure.
PHIL
I want to show you something.
3

EXT. PEARLY GATES - DAY.

Snow falls with big fluffy flakes. Phil and Joe scrunch
through the snow but dont feel the cold.
They reach a small hillside. On the hill stands two stone
support columns and two decorative gates.
Gold scroll work decorates the stone columns. The two large
gates stand open. Carved flourettes and swirls wrap around a
carving in pearl of a symbolic scene of the tree of life.
Joe walks up to the gates and runs his fingers over the
carvings.
A roadway of golden bricks disappears into a forest glen.
Snow piles high on each side of the road but doesnt stick
to it. Pine and Cedar trees all wear their crowns of snow.
Phil walks ahead. In the distance is a mountain that sits
obscured in the upper altitudes by a band of smoke. Shafts
of light more through the smoke. Joe catches up.
JOE
Looks like something out of "The
Wizard of Oz."

6.

PHIL
Where do you think they got the
idea from?
4

EXT. GOLD ROAD - DAY.

Phil and Joe walk around a gurgling fountain of a large

rock. Water burbles off the top of the rock and falls off
the edge forming ice circles into a mostly frozen pool.
They continue walking down the road further into the forest.
JOE
So where is the Holy city?
PHIL
Youre in it.
Joe looks around a little perplexed.
JOE
Dad, Id been meaning to tell you
how much I love you.
PHIL
I love you too, son.
JOE
But I promised myself that if I
could ever make it up to you, I
would.
PHIL
What are you talking about?
Joe stops and Phil turns around toward him.
JOE
I didnt get to tell you before you
d...
PHIL
Died?
JOE
Yeah.
PHIL
(laughs)
Is that why youre so concerned?

7.

JOE
I felt pretty bad afterward.
PHIL
Theres no reason to.
JOE
But dad, I couldnt do it. I was
mad at you. And you died.
Phil takes Joe by the shoulders.
PHIL
Remember what I said about time?
The past is gone. We only have
whats present and whats coming.
We certainly dont know whats
coming, only God knows that. It
doesnt mean you have to forget the
past but theres no guilt
associated with it. Were free of
all that. Weve got a great future
ahead of us.
Joe takes a deep breath. Phil puts his arms around his son
and squeezes him to himself.
PHIL (contd)
Were together again.
They walk down the road and their voices trail off into an
echo in the forest.
JOE
They got fishing here?
PHIL
Sure! I know of this great place I
like to go sit and think. The fish
practically jump up on land.
Joe laughs.
5

EXT. COUNTRY ESTATE - DUSK.

The two men stop in front of a large antebellum home. The
walkway up to the house begins under a gold scroll work
archway and is flanked on either side by trimmed hedges. A
large birdbath and gazebo sit in the yard. All are covered
with a thick blanket of snow.

8.

The clear side walk is lined with candle luminaries. The

porch at the house is also lined with candles. A large
decorative wreath hangs on the door.
Smoke rises from a chimney. A big bay window hides a
Christmas tree behind lace curtains. Flickering lights can
be seen on the tree.
As the two men walk closer to the house, the sound of voices
can been heard singing a Christmas carol. Boughs of fragrant
evergreen decorate the doors and windows.
6

INT. FRONT ROOM MOMS HOUSE - NIGHT.

A cozy front room has a large fireplace with a roaring fire.

An overstuffed sofa supports a sleeping white cat. The
Christmas tree has candles in tiny brass holders all over
it. A huge golden ribbon swirls around the tree ending in a
flowing bow at the top.
A staircase rises to the second floor. Pictures hang along
the wall.
Phil and Joe cautiously enter the room. The walk into the
dining room. A large chandelier with candles hangs over a
table. A woman in her early 30s sits playing a piano on the
opposite wall. A carved candle sits on the piano.
As the men approach she stops playing and folds her hands in
her lap and bows her head.
EMILY
(whispered)
Thank you Lord for bringing my son
home to me.
She pulls out a lace handkerchief and wipes her eyes. She
takes a deep breath, stands up and turns around. She smiles,
and begins to tear up. Joe looks at Phil and then walks up
to her.
JOE
Mom?
Emily shakes her head "yes" trying to hold back tears of
joy. Joe rushes up to her and hugs her. She holds on to him
tightly. She closes her eyes and breaths in smelling him as
she presses into his chest.
Joe relaxes his grip and Emily looks up into his eyes.

9.

JOE (contd)
You look great.
EMILY
Its good to see you.
JOE
Ive got grand kids mom.
EMILY
I know. Ive seen them. Theyre
beautiful. Chelsy looks just like
Sarah when she was a baby.
JOE
Some how I knew you were there mom.
EMILY
Im proud of you.
They hug again. Joe looks around the room as he takes her
hand.
JOE
This is a nice house you and dad
have.
Emily looks a little blushed and looks at Phil and smiles.
PHIL
Joe, this is Emilys house. I have
my own place.
JOE
But, what happened? I thought you
two were happily married.
EMILY
I love Phil very much and he has a
special place in my heart. We are
very close friends.
PHIL
There is no marriage here. During
our lives on earth that was for the
purpose of having a family.
Emily walks over and puts her arm around Phil and squeezes.
EMILY
Were still a family, but now a
much bigger family. Were all
brothers and sisters here.

10.

Joe shakes his head. He may not understand if fully but hes
getting the gist. He changes the subject.
JOE
I thought I heard other voices.
EMILY
You did. Wasnt it wonderful?
JOE
It was amazing. The Christmas tree,
the lights and you. Its all
amazing.
PHIL
You can see her any time you like.
We see each other often. Sometimes
she visits me or I come over here.
Speaking of which, you ready to see
your place?
JOE
My place?
PHIL
Your home.
JOE
I have a house?
PHIL
Its very nice, would you like to
see it?
Joe looks at his mom.
EMILY
Go.
JOE
I love you.
EMILY
You too. Well have plenty of time
to visit later.
Joe gives his mom a big hug and kiss. Phil walks up and
gives Emily a peck on the cheek.
PHIL
Ill take care of him and make sure
he doesnt get lost.

11.

Emily smiles and holds back a tear. Phil walks out the door
first. Joe follows and looks back at Emily. He smiles. She
waves. Joe closes the door. Emily watches them leave through
the window.
JESUS (V.O.)
Hes got your eyes.
A hand comes in and rests on Emilys shoulder. She doesnt
flinch but carries on the conversation as if shes known he
was there all along.
EMILY
I know, but hes got his fathers
smile.
She looks off screen. Smiles. Then looks back out the
window. She pats the hand on her shoulder.
7

EXT. WOODS - DAY.

Tall cedars and pines tower above them. Shadows cast
patterns through the undergrowth. A morning mist rises
behind them as they walk along a board walk trail through
the trees.
JOE
Everything is so beautiful here.
PHIL
Yes, it is.
JOE
The temperature always seems
comfortable.
PHIL
Its because you like it that way.
JOE
I wasnt the least bit cold in the
snow, and the seasons and the day
and night changes so quickly.
PHIL
Emily likes the snow. Its always
like that at her house.
JOE
She can control the weather?

12.

PHIL
Well, sort of. She prays for snow.
JOE
And it snows.
PHIL
Right.
JOE
Ah. So its light out now because
you prayed for daylight.
PHIL
I didnt pray for it. You did.
JOE
I did?
PHIL
Yep. This is your house.
JOE
My house?
Phil looks around and motions to everything around him.
PHIL
Your house.
Joe looks up into the trees.
JOE
Ive always enjoyed being in the
forest. Theres some thing very
special about it.
PHIL
Very spiritual?
JOE
Yeah, I still remember taking walks
in the woods with you. I always
felt closer to God on those walks.
It was like I belonged there.
PHIL
Well, this is yours.
JOE
I dont understand.

13.

PHIL
There is a place here for each
person. Your home. You make it what
you like. Emily loves Christmas and
her home is what she likes.
JOE
Its beautiful. I remember
Grandmas house during the
holidays. Very cozy.
PHIL
Uh, well. I think grandma did that
for the benefit of you kids and for
pop. Shes gone quite the other
way.
JOE
How so?
PHIL
Ultra modern, slightly cubist.
Actually, I think Scott did most of
the design for her.
JOE
Scott?
PHIL
Esher.
Phil smiles at Joe. They laugh hard.
JOE
Scott Esher designed grandmas
house?
Phil shakes his head yes. They laugh more.
JOE (CONTD)
I can imagine all the stair cases
and impossible doorways.
PHIL
Well, here theyre possible. Makes
me dizzy every time I visit. Youll
see.
Joe laughs again.
JOE
Id like to see Scotts house.

14.

PHIL
Its actually very simple.
Functional but simple.
JOE
Thats too much.
The two men walk along a wood path boardwalk. It opens out
to a wooden bridge built over a stream. Behind the bridge a
mountain cliff rises. A waterfall comes off of the cliff and
flows under the bridge.
The men stop on the bridge and look over the railing into
the stream below.
JOE (contd)
This is wonderful. Its
like....its like...
PHIL
Youve been here before.
JOE
Right, but thats not possible.
PHIL
Why not?
JOE
Im in Heaven, how can that be
possible?
PHIL
In your dreams.
JOE
I dont understand.
PHIL
When you sleep you close off the
conscious mind. All the noise of
the world goes silent. Its when
your spirit self can more easily
communicate with God.
JOE
What about nightmares?
PHIL
Well the enemy can also reach into
your mind. (beat) Sometimes you
might have a dream about events
that havent happened yet or
(MORE)

15.

PHIL (contd)
symbolic messages. Sometimes your
dreams lead you here. (beat) The
things that you like, the things
that you find comfortable take
tangible shape here. You built this
place in your dreams. This is part
of you.
JOE
If I built this then my house is...
Joe turns around with Phil and looks up the cliff. The
camera tilts up to reveal a large two story log cabin with a
high "A" frame roof and big windows above the waterfall.
8

INT. FRONT ROOM LOG CABIN - DAY.

The main entrance to the log cabin opens up to a huge front
room. At the rear is a large wood staircase going up to the
second floor.
On the first floor are several doors to other rooms. The
house has a cathedral feel to it. Exposed beams create a
vaulted ceiling thirty feet in the air. Tall windows let in
sunlight.
The stream runs physically through the front room of the
cabin. It starts from below the second floor, runs down a
wavy sheet of glass, pops up through a fountain in the
middle of the room, over flows and runs outside under the
large front windows.
JOE
This is my house?
PHIL
This is yours.
JOE
Its so perfect.
Joe walks through and looks around. He holds his hand under
a small waterfall in the stream and tastes the water.
JOE (contd)
I could spend an eternity here.
PHI;
This is only part of it. It gets
better.

16.

JOE
Im speechless. I thought we all
sat on clouds and played harps.
PHIL
Im sure there are some that do,
but Ive never tried. (beat) Just
not my thing. Although I do like
flying.
JOE
Flying?
PHIL
Flying. You know, birds, airplanes,
flying.
JOE
You can fly?
PHIL
So can you.
JOE
How?
PHIL
Just think.
JOE
Just think, huh? SO like Peter Pan,
I just close my eyes and think
about floating.
POV of Joe as his eyes close.
JOE (V.O.)
OK, Im thinking of flying. Im
light as a feather. I dont think
its working pop.
9

EXT. SKY ABOVE CABIN - DAY.

Joe floats in free sky. Phil floats next to him a few feet
away. POV Joe as he opens his eyes and sees Phil in same
position as before, only now there is sky behind him.
PHIL
Are you sure?

17.

JOE
Sure, Im sure....I
Joe looks down and sees the roof of the cabin far below
them. Joe starts swinging his arms back pedaling to regain
his center of gravity.
He yells, not in a scared way but of trying to control his
orientation. He starts to roll over until he is upside down.
He looks at Phil.
JOE
A little help, please?
PHIL
I thought you couldnt fly.
JOE
Not very funny.
PHIL
Looks like youre doing a great job
although Ive never tried it like
that.
JOE
Dad...
Phil drops down to come eye level with Joe.
PHIL
Hi...
Phil grins widely.
JOE
Pop?
PHIL
Sorry, just savoring the moment.
JOE
Are you done savoring?
PHIL
Just about.
Phil looks at Joe a moment longer. Joe crosses his arms.
PHIL (CONTD)
OK, Ive savored long enough.

18.
JOE
Good.
PHIL
First thing, the reason youre
upside down is because you think
youre upside down.
JOE
I dont think Im very good at
flying.
Immediately Joe drops out of sight. Phil reaches for him.
PHIL
Joe! Wait!
Joe falls towards the roof of the house. He screams all the
way down. He vanishes through the roof of the house.
10

INT. FRONT ROOM LOG CABIN - DAY.

10

Joe lies face down on the floor. Phil pops in and bends down
to help him up.
Joe shakes his head and dusts himself off. Phil smiles
broadly.
PHIL
You alright?
JOE
I think so, but how?
PHIL
When youre in your own house, what
you pray for or for that matter
speak, happens.
JOE
Gotta watch my mouth.
PHIL
Uh, yeah.
JOE
How did you just "pop" in here?
PHIL
I call it transfer. I think about
where I want to go, then I think
Im there and it happens.

19.
JOE
Thats cool. So why didnt we
"transfer" from the beach?
PHIL
We could have but sometimes I like
to take the scenic route.
Remember how I said you came here
in your dreams?
JOE
Yeah?
PHIL
Do you remember dreaming about
flying just above the ground?
JOE
Yes.
Phil holds out his hands. Joe shakes his head.
JOE (CONTD)
Ah, ha.
PHIL
So lets try again.
JOE
I dont know if Im ready for that.
PHIL
Just relax, I want you to think
about where we just were above your
house.
11

EXT. AIR ABOVE LOG CABIN - DAY.

11

Joe pops in and Phil arrives shortly afterward.

JOE
Aaa!
PHIL
Hold on to me if that helps.
Joe reaches out and grabs Phils arm to steady himself. Joe
looks down and back at Phil. A big smile builds.
JOE
Now this is cool!
They both start to float lower.

20.

JOE (CONTD)
How come I didnt make a big hole
in the roof.
PHIL
Why? Did you want to?
JOE
No!
PHIL
Then you didnt.
They both drop through the roof of the cabin as if it wasnt
there.
12

INT. JOES LOG CABIN - DAY.

12

The settle lightly to the floor.

JOE
That was fun, a little disturbing,
but fun. I think Ive had enough
flying for today.
PHIL
Thats fine, youll get used to it.
You hungry?
JOE
Youre kidding, right?
PHIL
No...
Phil walks around a corner and...
13

INT. KITCHEN LOG CABIN - DAY.

into a large kitchen with slate counters.
PHIL (CONTD)
This is your kitchen. Fully stocked
and ready. I know how you like to
cook.
Phil flips open a pantry door, glass containers labeled
flour, salt and corn meal are stocked on shelves. Joe
admires a spice rack and unscrews a spice jar and takes a
deep smell.

13

21.

JOE
Mmm, fresh. I love the smell of
mint. This is great but Im not
hungry.
PHIL
When you are, its here. We have a
big feast planned for you later,
but let me show you around first.
Phil closes the pantry door.
14

INT. FRONT ROOM LOG CABIN - DAY.

14

Joe walks behind a large sheet of wavy glass with water

running down it. Colors from the sun radiate and bounce over
the walls and ceiling of the room.
Phil walks over to a heavy oak door with brass handles. The
planet earth is carved in relief into the door.
Phil opens the door and walks in.
15

INT. EARTH LIBRARY - DAY.

15

Inside appears to be a private library you might find in an

old mansion. Large leather bound books with gilded lettering
are organized along shelves that cover most of the wall
space. A rolling ladder leans at the end of a row. A wood
desk sits in the middle of the room with an illuminated
reading lamp. A comfortable chair sits in another nook near
a colorful stained glass window.
PHIL
This is the earth library. Youll
find books covering every detail in
the history of the earth from its
beginning to the present. Take a
look.
Phil motions for Joe to take a book off the shelf. Joe looks
for a moment and passes all the ages of the dinosaurs, each
period encompassing several volumes.
He stops on the middle of the Jurassic. Joe admires the
heavy leather binding. Gold letters are raised on the spine
of the thick book. He pulls the book and places it on the
table in the middle of the room. He opens it. Beautiful
handwritten calligraphy in small tight columns fills the
pages.

22.

Photographs of plants, landscapes and dinosaurs are

inter-spaced with the text.
JOE
I always loved the movie.
PHIL
Touch a picture.
Joe reaches out and touches a landscape picture with large
dinosaurs roaming against a lush background. The image zooms
up filling the screen.
16

EXT. JURASSIC FOREST - DAY.

16

Large dinosaurs roam a dusty path. The camera pans and Joe
and Phil with the table, stand in the midst of lumbering
animals. The animals ignore the men.
PHIL
Now if you want to move around you
can simply point. Try it.
Joe puts his whole arm out to full extent and the world
scrolls by so fast trees, mountain ranges and fields fly by.
PHIL (contd)
Not the whole arm, just the finger.
Simply point.
Phil moves Joes arm back down and the world stops moving.
Joe holds out his finger and the world slowly moves by them.
JOE
This is the way the world looked
during the Jurassic?
PHIL
This is the world during the
Jurassic.
JOE
But that was a long time ago.
PHIL
Yes it was and this is it. This
isnt a recreation. Youre looking
at the real thing. Remember I said
that time doesnt have any meaning
here. In the earth library you can
visit any point in earths history.

23.

JOE
Can I see in the future?
PHIL
The closest we can see is right
now. Only the Father knows whats
to come and when. When youre ready
to see something else, you can
touch a different picture or you
can close the book.
Joe closes the book.
The background of the Jurassic landscape fades away and is
replaced by the library.
PHIL (CONTD)
Of course you dont have to use the
books at all. They are just for you
reference. Cmon.
Phil puts the book back on the shelf and they walk out of
the library. Joe looks around the room before he walks out.
17

INT. FRONT ROOM LOG CABIN - DAY.

17

Phil stops outside another ornate wood door. A profile

silhouette of a young boy is carved in relief with arched
gilded letters of "Joseph Elias Harmond".
18

INT. JOES LIFE ROOM - DAY.

18

Phil opens the door and walks inside. The interior lighting
of the room is subdued with with spotlights illuminating two
rows of spaced pedestals.
On the walls are antique gold frames with pictures of
various points in Joes life. On shelves and the illuminated
columns sit mementos and things from Joes most memorable
experiences.
A baseball glove sits on a pedestal closest to him. Joe
walks over and picks it up.
JOE
This is my little league glove.
A plaque engraved in bronze says "Minneset Little League
1977." A picture of a little league team squatting for the
camera hangs below.

24.

Joe puts on the glove and smacks his fist in it. He turns it
over and written on the back in black marker is "Joey." He
turns it over looks at the seams and smells it.
JOE (contd)
I remember that year so clearly.
PHIL
I was very proud of you son. Im
sorry I didnt get to see many of
the games.
JOE
I know and somehow I was alright
with it. I know you couldnt help
it, but thats not important now.
PHIL
No its not. I have a room just like
this. I didnt think Id spend much
time here, but I did. You see those
glasses over there?
Joe looks and sitting on a velvet display box is a pair of
antique reading glasses.
JOE
Yes.
PHIL
Try wearing the glasses when you do
some of the exploring in here. Its
sure to give you a different
perspective.
Phil motions for Joe to come out the door. Joe puts the
glove back on the pedestal.
19

INT. FRONT ROOM LOG CABIN - DAY.

19

Phil and Joe walk over to the last door leading from the
front room. The sun is starting to do down giving the room a
golden glow.
PHIL
Its getting late. Ive got to go
get ready in a little bit.
JOE
Okay...

25.
Phil stands near the door. Its a larger door than the
others, made of beautiful dark cherry wood. In the middle of
the center panel is a raised relief of a spiral galaxy.
PHIL
The entire universe is behind this
door.
JOE
Huh?
Phil swings the door wide. The room is much smaller than the
others. Everything is dark in the room.
20

INT. UNIVERSE ROOM - NIGHT.

20

Phil and Joe step into the room. In front of them a bright
cloud of dust illuminates their faces. The door behind them
closes and all indications of walls or floors are gone.
The cloud of dust slowly rotates. Every now and then small
flashes of light appear.
Strange harmonic music is heard like semitones of chimes.
The two men stand marveling at the lights.
PHIL
This is Gods creation.
Joe looks on.
PHIL (CONTD)
Each one of those specs of dust is
a galaxy. You can explore all of it
just by touching.
Phil reaches out and touches in the vicinity of a swirl of
dust. The particles get larger and zoom up filling the room
around them.
Joe and Phil look closely at several galaxies, several
others spin passing close to the camera.
JOE
Wow!
PHIL
You try it.
Joe reaches out and touches a specific galaxy. The galaxy
zooms up and spins slowly in front of them. Bright lights
show novas and pulsars.

26.

Joe touches a particular area. Stars zoom up hanging like

Christmas lights around them. Joe touches a specific star. A
solar system zooms up with the "sun" in the middle of the
room and planets orbiting it.
Joe touches a strange looking purple planet. It zooms up to
take up the center of the room. Purple clouds swirl in
surface storms. Electrical activity can be seen through the
most dense clouds.
Phil reaches his hand into the planet. He spins the planet
around the center point of the room.
PHIL (CONTD)
You can see any side of the planet
you want just by grabbing the
planet and rotating it.
Phil spins it around to the day side. The rest of the solar
system spins wildly around them.
PHIL (CONTD) (contd)
You can make the planet larger just
by grabbing it with both hands and
stretching it.
Phil holds both of his hands near the edge and "grabs" the
planet and pulls his arms apart. The planet grows to the
size of a car.
PHIL (CONTD) (contd)
If you want to see a particular
spot, just touch it.
Joe reaches toward a mountain ridge. He taps it and it fills
the entire room as the scale zooms up.
21

EXT. PURPLE PLANET SURFACE Phil and Joe now stand on the surface of an alien world.
Wind whistles across a rocky plain. A cliff looms near
them. The sun is high in the sky.
Orange moss seems to grow sporadically between puddles of
tar.
Phil holds his hand out and "grabs" the world and rotates
his body and hand around the center point of the room. The
room spins quickly around them. Phil stops when he has
successfully placed them on a high cliff.

21

27.

Now clouds float by below them and the wind blows hard on
the cliff. A valley rolls out before them with a black river
flowing in the middle.
JOE
Makes me a little dizzy.
PHIL
It takes some getting used to. You
dont have to do it this way if you
dont want to. Hold out your hand.
Joe reaches out his hand.
PHIL (CONTD)
Now think of the place you would
most like to visit.
The world slowly backs away to the view of entire planet.
Then the solar system, galaxy and finally many galaxies zoom
by the camera.
PHIL (CONTD) (contd)
Concentrate on where you want to
go. What youd like to see.
A swirl of dust like galaxies whirls by them. The milky way
spiral galaxy tumbles into view all the while zooming in on
a particular arm. A cluster of stars becomes visible.
Finally one particular star gets larger and for a second we
can see our entire solar system in orbit around the sun in
the center of the center of the room.
Mercury clicks by, then Venus and finally the Earth, which
starts growing in scale. The Earth rotates but the view
spins one way around then reverses and we fly around the
other side to North America. The view zooms into the North
Eastern U.S. Lights from cities become visible and zoom up
constantly to one city. We fly down a row of lights, finally
seeing houses and we turn toward a particular house while it
grows and expands to fill the entire space.
22

INT. JOES HOUSE - NIGHT.

22

Around Joe and Phil is a front room. Joes wife Peggy sits
in a chair sipping a cup of coffee. His daughter brings in a
tray of blueberry muffins. She walks right by Joe who sniffs
them and makes a pleased smile.
JOE
Mmmm...

28.

Joes son-in-law sits petting their dog. His son sits with
his granddaughter playing a board game.
PEGGY
Its like Im still waiting for him
to walk in the door. I guess the
shock hasnt quiet set in.
Peggy takes a muffin. KAREN sits the tray down.
KAREN
Its hard to believe hes gone. I
miss him.
Karen starts to cry and Peggy walks over and hugs her. She
cries on Emilys shoulder.
PEGGY
Its Okay.
Peggy brushes her hair with her hand.
PEGGY (CONTD)
Yesterday we were talking about a
trip to the mountains for our
anniversary.
Joe nears them but they cant see him. Joe watches but shows
no sadness. Peggy gives Karen a handkerchief to wipe her
eyes.
KAREN
Hes in a better place.
PEGGY
I love him so much.
KAREN
I know, I love him too. I wonder if
he can see us?
Joe shakes his head and walks up close to Peggy.
JOE
I can. I love you.
Joe reaches out his hand and it passes through Peggys body.
Emily looks up suddenly and around the room. She takes a
deep breath and closes her eyes. She smiles.
PEGGY
I can feel him.

29.

Joe closes his eyes and the view backs away to neighborhood,
county, earth, solar system, milky way, galaxy, many
galaxies and finally the spinning dust cloud that was in the
room originally.
JOE
I was there with her.
PHIL
You were. While we cant cross
over, we can watch.
JOE
But she couldnt hear me.
PHIL
She couldnt hear you, but Gods
presence in you and her connect you
as one.
JOE
Can I go back?
PHIL
Any time you like. Everything in
this room across the universe is
happening right now. I love
exploring distant stars and
planets. Ive only been able to
look at a handful and Ive got all
these to go.
Phil holds out his hands toward the clouds.
23

EXT. BACK PORCH LOG CABIN - NIGHT.

Crickets sing and fireflies flash in the darkness. An
illuminated trail through the woods curves out of sight
behind trees. Tiny lights are interspersed in all the tree
tops bringing depth to the forest.
Phil and Joe walk out onto the large wood deck.
JOE
I have a question.
PHIL
Sure.
JOE
Why?

23

30.

PHIL
Why what?
JOE
Why all of this? Why not let it
end?
PHIL
There is no end.
JOE
But wouldnt it be easier?
PHIL
You mean, you die and "poof" no
more you?
JOE
Right.
PHIL
Ive thought of that before. Kind
of pessimistic, isnt it? I mean we
spend our lives learning who we are
and how to get along on Earth and
then nothingness? If that were true
there wouldnt be any need for us.
JOE
Because it would all end anyway.
PHIL
Right. But thank God thats not the
case. Hes got bigger plans for us.
JOE
Plans? I thought we were done
working jobs.
PHIL
In some respects you are, in others
youre just getting started.
JOE
I dont understand.
PHIL
Life is...life is your proving
ground. Your education. Your
testing.

31.

JOE
So Im a student of life?
PHIL
You were, now youre a graduate.
JOE
Do I get a diploma?
PHIL
Something better... but wait until
the party.
JOE
Party?
PHIL
Tonight! Youre the guest of honor.
Everyones looking forward to
seeing you.
JOE
Im a little nervous.
PHIL
Dont be. Everyone else has already
had their own party. Youre the
most recent inductee.
JOE
How many people?
PHIL
Lets see. Your immediate family.
You old friends and some special
guests. No way to tell but its
usually a lot of people.
JOE
I didnt know that many people knew
me.
PHIL
They do and youre going to meet
many, many more.
JOE
So how many people are here..(beat)
in heaven?
Phil walks over to the rail thinking. He starts to say
something but catches himself. He takes a deep breath.

32.

PHIL
Its easier, if I show you. I think
youd better hold on to me.
Phil extends his hand. Joe takes it. Phil looks up and
slightly jumps.
24

EXT. SKY HEAVEN - NIGHT.

24

The world drops away from them as they fly straight up into
the air. Both, Phil and Joe, look up as Joes cabin gets
smaller behind them.
Edges to Joes "world" appear flanked by other cube shaped
"worlds". Each world has different weather and seasonal
attributes. They continue to climb higher revealing a grid
pattern that becomes more complex as it trails off in all
directions.
By now each grid looks like a bunch of dots.
Phil stops and Joe gains his balance a little unsteadily.
PHIL
Each one of those dots is a
mansion. Each mansion is exactly
the way that person wants it. You
can change it to be whatever you
like. Its your home. Some people
have made their homes very simple.
Some are marvels of architecture,
like your grandmothers home. Ive
seen houses in the desert, on other
planets, even under water. Youre
only limited by your imagination.
JOE
Thats a lot of mansions.
PHIL
Yep. Cmon.
Phil closes his eyes.
25

EXT. DECK LOG CABIN - NIGHT.

Phil and Joe pop back on the back porch.
JOE
Thats a neat trick.

25

33.

PHIL
Youll get the hang of it soon
enough. Hey, I gotta go get ready.
Your clothes are up stairs. Ill be
back to get you in a little while.
JOE
Do I have time to look around?
Phil looks at him with the "you should know better" look and
smiles.
Both walk back in the house. Its getting windy outside.
26

INT. FRONT ROOM LOG CABIN - NIGHT.

26

Phil walks to the front door.

PHIL
Ill be back later.
JOE
See you. Thanks dad.
Joe holds out his hand and Phil grabs it then hugs his son.
Phil walks out the door.
Joe walks over to the large bay window. Overlooking the
bridge and stream. He sees Phil walk across the bridge. He
looks around then back out the window and Phil is gone.
27

INT. KITCHEN LOG CABIN - NIGHT.

Joe walks in the kitchen. He walks over to the fridge and
opens it up. He pauses to read a logo on the freezer box.
JOE (TO HIMSELF)
Didnt know they had G.E. in
heaven.
Inside the fridge are several glass pitchers filled with
different colored juices. He reaches in and picks up the
orange juice and smells it.
He pours some into a glass and tastes it. He makes a face
that is surprised at how good it tastes. He pours a full
glass.

27

34.

28

INT. FRONT ROOM LOG CABIN - NIGHT.

28

Joe walks back into the front room. He grabs an apple from a
basket full of apples sitting nearby. He looks at it.
JOE (TO HIMSELF)
Wonder if I could find a pear?
He takes a bite of the apple and starts to walk away. The
"apple" of a sudden tastes like a pear. He turns back around
to the basket and its full of pears.
He looks down in his hand and its a pear with a bite taken
out of it.
Joe makes a quizzical face and takes another bite. He looks
around the front room.
He looks up to the second floor balcony. He looks down and
closes his eyes.
29

INT. SECOND FLOOR BALCONY LOG CABIN - NIGHT.

29

Joe pops in on the second floor. Hes jarred and spills his
orange juice.
He breathes hard and looks down over the balcony. He smiles
to himself. He looks down and the spilled orange juice
dissolves away into the tiled floor.
He walks carefully around the spill and to his room.
30

INT. JOES BEDROOM - NIGHT.

30

Inside is a large king sized bed with an ornately carved

headboard. One a nightstand nearby sits several bottles of
cologne. He unscrews one and smells it.
A chest of drawers stands nearby. He opens it. Socks,
underwear and t-shirts are all folded neatly.
He takes a last bite of his pear and tosses it in a rubbish
bin near a writing desk. He pauses and goes over to look in
it. The pear core is gone.
He walks over to a door and opens it.

35.

31

INT. WALK IN CLOSET - NIGHT.

31

Soft diffuse light illuminates the room. A huge mirror

covers the rear wall. Its the first clear time Joes seen
himself. He stares for a bit. He gets closer and look at his
eyes. He opens his mouth and looks at perfect teeth.
He backs up and takes off his shirt. His muscular form seems
alien to him. He poses in several body builder forms. In his
last one he speaks in an Austrian accent.
JOE
Yah. Gud.
He laughs at himself. He looks over to a side and sees a dry
cleaning bag. He takes it out and reads "Heavens Rain
Cleaners." He smiles. A note written by his dad is attached
to it. It reads party clothes for tonight. Dont be late.
Dad."
He looks around at some shoes. There are rows of several
different kinds of shoes. He grabs a pair of black leather
Italian loafers and smells them. He throws the suit bag
over his arm and walks back into the main room.
32

INT. JOES BEDROOM - NIGHT.

32

He takes a black suit out of the bag and lays it on the bed.
He sits the shoes on the floor.
He walks over to another door and opens it, slowly. The
bathroom is huge.
33

INT. JOES BEDROOM BATHROOM - NIGHT.

33

The stream flows into the interior of the stream which flows
over a large flat bronze plate and drops into a large
jacuzzi type pool. The water then flows from there to a hole
in the floor.
Mosaic tiles depict scenes of dolphins, fish and sea
creatures. Theres no toilet. Large plush light blue
monogrammed towels hang near a carved sea shell shaped sink.
He walks up to the "tub" and there is a dial which has a sun
symbol and a snowman symbol. He turns the dial toward the
sun and blue flame licks out under the bronze plate the
stream runs over.

36.

34

INT. JOES BEDROOM BATHROOM - LATER.

34

The camera tracks around Joe lounging in the pool with steam
rising from the hot water. Hes got a glass of red juice and
sips it slowly. A rag lays across his face. An angelic choir
sings from an unseen source.
TRANSITION
35

EXT. ROOF LOG CABIN - NIGHT

35

Joe sits dressed in a black suit on the very pinnacle of his

cabin looking out at the woods.
A voice behind him makes him turn.
PHIL (V.O.)
Its really pretty isnt it?
Phil sits down next to him in a black formal tuxedo.
JOE
I was just thinking how happy I
was.
PHIL
Me too. I see you figured out how
to transfer.
JOE
Not easily. I just got tired of
ending up where I shouldnt be. By
the way, mom says "hi".
Both laugh.
PHIL
You clean up pretty good. You
ready?
JOE
Lets go.
Both men vanish.
36

EXT. BANYAN TREE HALL - NIGHT.

36

A huge Banyan tree stretches its branches out in a

semi-circular ring. Root trunks drop from arching limbs
creating windows. The branches meet in the middle in a high
arching doorway.

37.
Vines grow over the windows with light softly glowing behind
dense leaves. From inside, incidental orchestra music drifts
out into the night air.
Phil and Joe walk into the hall.
37

INT. BANYAN TREE HALL - NIGHT.

37

Branches arch from one side of the room across to the other.
Vines intertwine across the ceiling. Suspended from them
hang round Chinese style lanterns. The main tree trunk sits
at the front of the room and supports a platform. A dance
floor sits before the platform, the orchestra plays
inbetween two support roots.
A large tables runs the length of the room with chairs down
each side. Guests wearing formal tuxedos and ball gowns sit,
talk or stand. Everyone appears to be in their mid twenties
and thirties. All look trim and are mixed races.
Name cards engraved on gold plaques sit in front of each
seat.
When Joe walks in people nearest the entrance stand first
and start applauding. As a wave, people stand and applaud.
Some people point him out and others shake their heads in
recognition.
Joe doesnt know what to do and just smiles and waves
sheepishly. He looks back at Phil and speaks softly.
JOE
I dont know any of them.
PHIL
Sure you do, they all know you.
Phil gently pushes Joe into the room. His mom walks up to
him and gives him a big hug and kiss. Shes dressed in a
beautiful gown.
EMILY
You look sharp.
JOE
You look great.
EMILY
Cmon there are lots of people
waiting to see you.
She grabs Joes arm and starts dragging him through the
crowd. People say "Hi Joe" or "Hello, Joe" as he walks by.

38.

Joe politely says "hello" as hes pulled along by Emily.

Several people pat him on the back then return to their
conversations.
Emily walks up behind a gentleman speaking with several
others. She touches him on the shoulder. The man turns
around and smiles brightly.
GRANDPA
Emily! Give me a hug. Joseph, its
good to see you again.
Grandpa grabs Joes hand and shakes it. Joe is slightly
taken back as he doesnt recognize him
TRANSITION
38

EXT. BIRTHDAY PARTY - DAY.

38

Grandpa, in his early 50s, is looking into the camera. A

colorful "Happy Birthday" banner hangs behind him. The
effect is a little dreamy.
GRANDPA (FILTERED)
Joey youre getting so big.
TRANSITION
39

INT. GRANDPAS FRONT ROOM - NIGHT

39

Grandpa, in his 60s, is sitting on a couch helping Joey do

his homework. Joey is 10. Grandpa has reading glasses on and
is making a quizzical face.
He looks up toward the kitchen. A shadow moves washing
dishes.
GRANDPA
I dont know. Honey I think I need
some help with this one.
TRANSITION
40

EXT. MOUNTAIN TRAIL - DAY.

40

Grandpa pauses to take a deep breath. Hes in his 70s. Hes

leaning on a rough hewn walking stick.
He looks up at the camera.

39.

GRANDPA
Gotta catch my breath. Hold on.
TRANSITION
41

INT. BANYAN TREE HALL - NIGHT.

41

Joe is still shaking hands with grandpa. The shock from the
sequential flashbacks startles him a little.
He looks closely at Grandpas face.
JOE
Grandpa?
GRANDPA
In the flesh.
JOE
I didnt recognize you.
GRANDPA
Youve never seen me like this.
JOE
You look good.
EMILY
Dad I gotta keep moving.
Emily pecks Grandpa on the cheek.
GRANDPA
Its good seeing you. Hey I know
where theres a great fishing hole.
JOE
Dad told me. Well have to go. See
you later.
Emily yanks Joe along.
Emily moves through the crowd of people with Joe in tow. She
stops near another young woman. Emily touches her on the
shoulder. She turns around. Joe recognizes her.
JOE (contd)
Sis?
SIS
Joe!

40.

Joe hugs her and kisses her. He wont let go of her. He

cries with her.
JOE
I thought Id never see you again.
SIS
Of course youd see me again. You
still owe me money, and I dont
forget.
JOE
No you dont. Its good to see you.
He holds her hands.
JOE (CONTD)
I didnt know what to do. I blamed
myself. I got depressed. I just
withdrew. It was so sudden. You
were gone.
SIS
Brother, that was a different time,
a different reality. Youre here
and Im here, just like before, and
well never be apart again.
They hug.
JOE
I missed you so much.
SIS
Me too.
The lights go down and Phil walks up on a riser in front of
the room.
Phil holds up his hands and everyone quiets down.
PHIL
We are so very honored that you
came to our sons graduation. I
have to be honest with you. I
wasnt quiet sure hed make it.
Polite giggles all around.
PHIL (CONTD)
We are gathered here to celebrate
an ending and a new beginning. The
end of the former carnal things,
(MORE)

41.
PHIL (CONTD) (contd)
and the birth of the eternal.
Welcome Joseph Harmon to your
eternal rest.
Everyone enthusiastically cheers and applauds.
PHIL (CONTD) (contd)
We are your friends, your family
and those of us in which youve had
an impact in our lives. This is a
unique gathering that will only
happen once, but you have all
eternity to get to know us again as
individuals. Not just us but the
entire host of heaven and all the
splendors of creation. From us to
you. (beat) Welcome.
Cheers and applause. Phil smiles and Joe looks around and
nods.
PHIL (CONTD) (contd)
As tradition has it, the first
dance of the evening goes out to
Joe and his beautiful mother,
Emily.
More applause. The band starts playing a waltz. Joe looks a
little shocked.
Emily grabs Joe by the hand and drags him out onto the dance
floor where the lights dim and a spotlight focuses on them.
The jewelery Emily is wearing sparkles with shafts of light.
Joe is still worried.
JOE
But mom, I dont know how to dance.
EMILY
Everyone can dance. Youre going to
have to get used to it. Just relax
and flow with me.
Emily steps first and Joe trips. The music stops.
JOE
Im sorry mom, I cant dance.
EMILY
Yes you can. I want you to close
your eyes and imagine us dancing
smoothly and fluidly to the music.

42.

JOE
Mom?
EMILY
Try it.
Joe closes his eyes. Emily looks over at Phil who nods off
camera and the music starts up again.
EMILY (CONTD)
Ready?
JOE
I guess so.
EMILY
Okay, step with me.
Emily steps and Joe follows. They move slowly at first. Joe
steps on Emilys foot but quickly recovers. She guides him
in timing with her voice.
EMILY (contd)
One, two, three. one, two, three.
Thats it.
Joe starts relaxing and smiles again. His movements become
more fluid. Hes not so jerky and starts to lead the
movements.
EMILY (CONTD)
Open you eyes.
Joe opens his eyes and looks around. Hes dancing smoothly
and elegantly. The couple flows around the room. Their spins
mesmerize the crowd. They dance in wider arcs and a glow
surrounds them.
JOE
Thanks mom.
EMILY
Youre welcome.
When the camera cuts back to a wide shot, the couple is
dancing high above the floor. The other couples fall in
under them dancing in spinning circles.

43.
42

INT. BANYAN BALLROOM - NIGHT LATER.

42

A young man stands up in front of the room speaking while

people are seated.
BRAIN
Joe took the bill from me and paid
for the car repair. I tried to pay
him back later but he wouldnt take
it. Im proud to call him friend.
Hes always been an inspiration to
me. Thank you Joe.
People applaud. A Spanish woman steps up. MARIA speaks with
a heavy accent.
MARIA
I met Joe. I call him Jos, in
Colombia at an orphanage. He was a
contractor working in one of the
fincas nearby. We had problems with
out electricity generator. Jos
drove all the way back to town and
bought spare parts and fixed our
generator for us. Another time he
drove a sick little girl - Isabella
to a hospital. The doctor said that
if she got there any later she
would have died.
Maria starts crying.
MARIA (contd)
Im sorry, Joe is very special to
me. Isabella grew up to run a
mission home in one of the poorest
barrios. Isabella has taught the
gospel to hundreds of people. Some
are here because of what Jos did
that night for little Isabella.
Maria motions and about twenty people stand up.
People applaud.
MARIA
Isabella is still teaching people
about the good news. Thank you
Jos.
People continue to applaud as the group sits down. Joe sits
at the front table.
Phil steps back up on the platform while Maria steps down.

44.
PHIL
Weve come to the most important
part of the evening. Joe would you
come up here?
Applause again. Joe makes his way to the platform. He stands
next to Phil as they look at the audience.
PHIL (CONTD)
There is one more person wed like
you to meet.
Behind Joe now stands JESUS. Hes wearing a white robe with
gold trim. Several people smile and point drawing their
neighbors attention. Joe doesnt notice him.
PHIL (CONTD) (contd)
This man has known Joe all his
life. He met Joe for the first time
when he was 26. Joe had to attend
church to keep his girlfriend
company, her father wouldnt allow
her to date any non-christian.
Jesus looks at Joe, rumples his eyebrows and stands in a
Jack Benny pose. The audience laughs.
PHIL (CONTD) (contd)
Joe not only became a christian
that night, he also proposed
marriage to his new fianc but her
dad was still uncertain.
Jesus wags his finger at Joe and the audience laughs again.
PHIL (CONTD) (contd)
Without further delays, please
welcome Jesus, our Christ and
savior.
People all stand to their feet applauding. Joe turns and
looks right into Jesuss eyes.
Joe stands for a moment and his knees buckle. He drops to
the floor. Jesus picks him up and smiles while Joe gets his
footing.
Joe grabs Jesus in a big hug. Jesus is slightly surprised
and hugs him back. Joe cries on his shoulder. Jesus rocks
back and forth with him and a tear rolls down his face also.
Joe separates and Jesus holds him by his arms. Jesus turns
Joe to the group and puts his arm on his back. Jesus motions
for people to be seated. Joe sniffles.

45.

JESUS (TO JOE)

Your friends and family are here
because they love you and you had a
direct impact on their lives. These
people represent a small portion of
your new family.
Jesus motions to the side and a wood box is brought out by a
young lady wearing a white robe. She stands and holds the
box up to Jesus.
Jesus lifts up the lid and takes out a simple crown of gold
and holds it above Joes head.
Joe bows his head and closes his eyes.
JESUS (CONTD)
Joseph Elias Harmond. I give you
eternal life and a new name.
Jesus places the crown on his head and reaches back into the
box and pulls out a smooth white stone. He gives it to Joe.
Joe rotates the stone in his hand. When he turns it once
there is some Hebrew writing, he turns it again and the
English pronunciation, Tzadic. He turns the stone again and
it says: faithful. He turns it again and it says: righteous.
When we see Joe again his suit has changed to be completely
white.
JESUS (CONTD)
Welcome good and faithful servant.
Come into you Fathers rest.
Jesus rotates Joe around to the audience and everyone
stands. He raises Joes arm and shakes it in the air above
their heads. Jesus smiles.
TRANSITION
43

EXT. LOG CABIN BACK PORCH - MORNING.

43

Joe sits in a chair tilted back on two legs with his feet
propped up on the railing. Hes drinking a cup of hot coffee
which steams in the cool air.
Joe takes a sip and watches the trees blow in the wind.
He hears "Joseph" in a whisper through the trees. He listens
again not sure he heard it.

46.

Again he hears a breathy "Joseph". Joe sits the coffee cup

down and sits up.
JOE
Yes Lord?
Jesus walks up the trail and the back steps smiling. Hes
wearing a simple white garment.
JESUS
Good morning.
JOE
Good morning. Coffee?
JESUS
No thanks. I came to see how you
were doing.
JOE
I was sitting here thinking about
last night. I never knew I had
touched so many peoples lives.
JESUS
The things we do on earth have
eternal significance. The simple
act of loving your brother, being
concerned for their well being can
change peoples lives forever.
JOE
The stories just kept going and
going. I was deeply moved.
JESUS
Your impact on peoples lives is
still going on. There will be many
more generations where your good
works will indirectly lead them
here.
JOE
Its like as I helped more people.
I grew spiritually. The more I
helped others, the more I wanted to
help. I noticed that I stopped
looking at their current situation
and began looking at their
potential.

47.
JESUS
You began to see them as I see
them. Its your calling.
JOE
It was incredible. I started seeing
miracles in peoples lives.
Complete transformations. Hope
where there was none before.
Jesus smiles.
JESUS
I do have one question I have to
ask you.
JOE
Yes?
JESUS
Your wife Peggy. She has asked that
I return you to her. Im willing to
do this because I love her but not
without your permission.
Joe sits there for a second and looks around. He runs his
hand through his hair and looks back at Jesus.
JOE
My Lord, I love my wife and I
appreciate her even more now that
Im here. I want to be with her but
if she only knew the joy I have
here, she would never want me to go
back to that body of death and
decay. I look forward to the day
when I can show her the wonders of
this place.
JESUS
I thought so.
Jesus turns to leave.
JOE
Lord?
JESUS
Yes?
JOE
Where is the throne of grace and
the angels?

48.

JESUS
Listen for the trumpet and come.
JOE
Okay.
JESUS
Ill see you then.
JOE
Okay.
Jesus smiles and walks down the steps and off on the trail.
Joe leans back in his chair and takes another sip of coffee.
44

EXT. BAR ALLEY - NIGHT.

44

Joe and Peggy in their mid 40s walk down a dark alley
toward their car. A rough looking man steps out from behind
a dumpster with a gun pulled.
ROBBER
All right, time to pay the piper.
Give me your wallet and her purse.
Peggy startled, grabs on to Joe.
JOE
Ive got a $20 bill, you can have
that. She doesnt have any money.
The robber reaches up and tears a gold chain off Peggys
neck. Peggy screams sharply and Joe shoves the robber back.
The robber lifts the gun slowly.
ROBBER
Wrong choice buddy.
The hammer comes back on the revolver and slams forward but
the gun doesnt go off.
The robber looks at the gun and pulls the trigger again. The
gun doesnt go off.
By now Joe and Peggy are running down the alley.
The robber aims again with Joe directly in his sights and
pulls the trigger. The gun fires.
The bullet hits the wall next to Joe as they escape around
the corner.

49.

45

INT. LIBRARY OF JOES LIFE - NIGHT.

45

Joe takes his hand back off of a photo of Joe, Peggy and the
Robber. The caption above several pictures says "Near
misses". Below that picture is one of a mangled car wrapped
around a telephone pole
Joe stands in the center of a room with an open scrap book
in front of him.
He looks a little perplexed. He looks over his shoulder at
the reading glasses sitting on the velvet pillow.
Joe walks over and picks them up, examining them.
He carries them back over to the scrap book with the "near
misses" caption.
He puts on the glasses and looks at the page. As his eyes
focus, the words "God works" appear.
He lifts the glasses, reads, then puts them back down again.
He cautiously touches the picture again.
46

EXT. BAR ALLEY - NIGHT.

46

Joe and Peggy are walking down a dark alley.

The same rough looking man robber steps out from behind a
dumpster with his gun pulled.
ROBBER
All right, time to pay the piper.
Give me your wallet and her purse.
Peggy startled, grabs on to Joe.
JOE
Ive got a $20 bill, you can have
that. She doesnt have any money.
The robber reaches up and tears a gold chain off Peggys
neck. Peggy screams sharply and Joe shoves the robber back.
ROBBER
Wrong choice buddy.
In slow motion the hammer comes back on the revolver and a
finger comes between the hammer and the body of the gun. The
trigger slams forward but hits the finger.

50.

The robber looks at the gun and pulls the trigger again.
Jesus is standing next to the robber with his finger in
front of the hammer again.
Jesus looks at the couple.
JESUS
Run!
The couple takes off running.
The robber aims his gun at Joe and pulls the trigger again.
As the hammer falls a hand comes into frame and pushes the
gun slightly away.
The gun fires. The bullet hits the wall next to Joe as they
escape around the corner.
Jesus stands next to the robber with his hands still
outstretched.
The robber takes off in slow motion as Jesus looks in the
direction of Joes escape.
47

INT. JOES WORLD LIBRARY - NIGHT.

47

Joe takes off the glasses. He thinks for a moment looking at

the scrap book.
JOE (SOFTLY)
You were there.
JESUS (V.O.)
Yes.
JOE
Youve always been there.
Joe turns around and Jesus appears in the room.
JESUS
Yes. Ive been with you all your
life.
JOE
But way didnt you stop me all
those other times? You know I dont
deserve this.
JESUS
I know.

51.

JOE
But why?
JESUS
Because I was waiting for you. When
you drew near to me, I could help
you. Even when you were far from
me, the circumstances were always
there to bring you back. All the
things that you experienced were
preparing you for the work I called
you to do. Without those
experiences you would never have
understood my grace.
JOE
Im sorry.
JESUS
Your sins were forgiven long ago.
In the distance a rams horn blows. Music is heard with
voices singing praise.
SLOW TRANSITION
48

EXT. THRONE OF GRACE GATHERING.

48

The camera pushes through a crowd of people all standing in

rows. Bright lights in front of the crowd create shafts of
light around their bodies. Distant music plays. People are
clapping in time and worshiping.
A loud muffled voice praises God in song and a call response
comes back from the crowd.
The camera lifts up and floats up above the crowd. Other
people float up at the same time dancing and spinning.
Tens of thousands of people stand in a bowl shaped coliseum.
People disappear beyond the illumination from the center
past the view of the camera. In the center is a raised round
platform. Lights stream out illuminating the crowd.
Huge banners held by people proclaim "Jesus is the Lord" in
several languages around the hall. Large illuminated balls
bounce around the tops of the crowd or float spinning above
them.
Large triangular silk flags blow in an abreeze. Some flags
are orange with a lions face, some are white with the head
of a lamb on them.

52.

A parade of men and women with flowing robes circle the

platform. 60 men in the front blow shofars in unison. Many
people behind carry twelve flags and each flag carries a
crest.
Female dancers spin and twirl around the parade sending
incredibly complex twirling ribbons swirling after. Large
drums are pounded by teams of people.
Emily, Phil and Joe stand near the front and clap and sing.
The cacophony builds louder and faster and then sharply
stops.
The echo of the sound takes several seconds to roll away
like the sound of distant thunder.
No one moves, there is no sound for several seconds. The
lights go off except for a central spotlight focused on the
middle of the stage. A young woman walks up dressed in a
simple white gown and begins to sing. Her voice carries
through the great hall with a pure clarity. Her face is
angelic with large soulful eyes.
Her song finishes the main verse and she sings a simple
chorus of praise to God.
The crowd now joins in the chorus in unison singing the
melody together.
Instruments join in the song as she sings the second verse.
A large round curtain rises behind her in the center of the
round platform. The curtain has paintings of ancient
renderings of the stories of the Bible. The curtain begins
to rotate and the renderings come to life animating. The
parting of the red sea, people entering the temple, Jesus on
the mount, Jesuss transfiguration.
As the renderings rotate, sparkles of light flow and chase
along the characters in the stories.
When the chorus starts again Jesuss face from the shroud of
Turin is repeated all around the huge curtain. At a high
point the curtain drops and a huge golden throne is
revealed. Lights pours from the throne reflecting over the
audience.
Lighting arcs and flashes off of the throne to the platform
all around. Jesus sits on the throne wearing a simple crown.
Light comes from his body as the throne begins to rotate. He
has a simple shepards crook in his hand.

53.

On the repeat of the chorus the voices break into harmony.

24 smaller thrones rise in a circle around the center
throne. On them are men dressed in white robes with ornate
crowns, each different. They rise facing away from the
center toward the audience.
Seven angels walk in bringing seven torches. The angels are
very tall and their white wings are folded neatly behind
them.
The angels march in and stand in a semicircle before the
throne of Jesus. They place the torches in holders on the
floor and stand behind them.
The song reaches the end and on the last note the angels
unfurl their wings so that they are standing wing tip to
wing tip and raise their arms.
The crowd goes wild with cheers. The angels jump and fly in
circles above the platform.
A shofar is blown that starts off as a single trumpet like
note. Four winged creatures are revealed standing and rising
around the throne. Each with many eyes all over their body.
Each creature has six wings that wraps around their bodies.
One creature has the face of a lion, one a calf, one a
human, and one an eagle.
The thrones with the 24 elders rotate toward the center
throne. The elders stand and step forward. They shout in
unison "Holy is the Lamb". They throw down their crowns and
repeat "Holy is the Lamb". They fall prostate on the floor
of the platform. The crowd starts chanting "Holy is the
Lamb."
The shofar note gets louder and grows. The throne of Jesus
rises into the air. A light emanating from him gets brighter
with each chant.
The shofar note becomes deafening. It takes on very low
under tones that vibrate the floor. Lightning jumps from the
throne of grace to the 24 smaller thrones.
Jesus lifts up into the air as if being lifted by his chest.
An explosion of white light comes from him and like an atom
bomb rolls over the crowd. Pulses of light and waves of
white energy flow to every one.
FADE TO WHITE.
FADE IN.

54.

49

EST. SEA OF GLASS - DAY.

49

Wind can be heard and sand blowing .

A young man, thirty something, lies with his face pasted in
bleached white sand. He opens his eyes, sand blows by his
face. He sits up and brushes the sand off of himself.
He stands on the shore of a strange ocean. The shore curves
around into infinity behind him.
Tall sand dunes with sea grass blow in the wind. The surface
of the sea is perfectly still.
The man looks down where he was laying and his footprints
and body impression are the only indication of any life on
the beach. There are no footprints leading to his body. Just
smooth sand.
He looks at his hands and touches his body. Hes wearing a
loose single color flannel shirt and shorts.
He looks down the shoreline and a man is approaching a great
distance away. Through quick transitions the man is much
closer and his footprints trail off behind him. The man
approaching is Joe. Joe is wearing boxers and a white
T-shirt and is barefoot. He approaches the young man.
Joe stops before him. The young man could almost be Joes
brother. The young man stares into Joes eyes astonished. He
parts his dry lips to speak but hesitates. Then he speaks.
YOUNG MAN
Dad?
JOE
Hi son.
They embrace.
THE END.