FADE IN:
Title Card: "ACT ONE: THE PRODUCTION"
EST. SKY - NIGHT
Jesus Christ Superstar Overture by Andrew Lloyd Webber plays faint in the background. It sounds like an old record complete with scratch blips and grinding dust.
We can see stars in the sky as the already faint music fades into a light wind blowing. The tree leaves bounce in the breeze.
EXT. FRONT YARD - NIGHT A security light illuminating a garage door. Dead leaves swirl on the driveway. Behind the garage door someone is whistling the Jesus Christ Superstar overture note for note. [Ref. Music: "Overture" - Whistling only]
INT. GARAGE STUDIO - NIGHT The inner workings of a Music Studio heavily decorated with a mixture of music icons from all generations and genres. Artwork, literature, artifacts, and instruments from an array of cultures adorn a corner of the studio. Artifact-like items from several different religions are scattered alongside the wall. The whistling continues.
KEYBOARD RISER Behind the Keyboards are posters of Yes, Stevie Wonder and Thelonius Monk. Pieces of Buddhist articles and an old tape machine sit atop a ledge.
DRUM RISER Iconic Muslim items outline the pictures of Public Enemy. TuPac and Aretha Franklin are side by side. Sketches of John Bonham and Neil Pert perfectly dress the opposite side. Art Blakey is in a special corner lit in a special light. 2.
BASS AMPS Disturbing pictures of the Holocaust drapes the side of one amp. Beautiful pictures of Jewish families in various countries dress the opposite side.
On the wall behind are posters of a local band on tour. The number twelve is plastered on all of them. One poster has a loose corner. Scotch tape flutters lightly from a small fan blowing back and forth.
DISSOLVE TO:
GUITAR SECTION A guitar case is covered with "THE TWELVE" bumper stickers. The station is donned with items of various new age posters and literature. Spiritual books both modern and antiquated are aligned on a mantle. Philosophical quotes are hap-hazardly organized on the wall behind the Bogner amplifier. The microphone stand is slightly bent to the left. Whistling continues as we hear typing on a keyboard and buttons being pressed. A MAN comes into view at his music workstation. He places a set of headphones on his ears then presses a button on the drum machine next to him. His whistling fades into... CUT TO BLACK: FADE IN: INT. ARENA STAGE (MONTAGE) - DAY [Ref. Music : "The Drum Beat for Heaven On Their Minds"- Crystal Method style] Hundreds of historical events and news worthy images of wars, sex, cult and the occult flash between the picture of the real life hustle and bustle on an ARENA stage. Stagehands are shuffling about getting ready for a concert. The images funnel abruptly to a workman carrying a 2 by 4 across an entrance. JUDE SCOTT, 40’s, in a very nice European suit stands with a scowl. 3.
His cuff links don the initials "J/S", as he holds the PDA up to his ear. The Rolex shines in the stage lights.
[Ref. Music: Heaven On Their Minds - Dance/Tech/Pop]
JUDE My mind is clearer now! At last, all too well I can see where we all soon will be!
He travels down a workman's pathway being as discreet as possible. Pulling the phone from his ear and buries it in his chest as a person walking past him.
He ducks into the elevator at a pathway intersection. The door closes.
INT. ELEVATOR - DAY
The elevator moves upward. It's empty. Jude speaks freely.
JUDE If you stripped away the myth from the man - you will see where we all soon will be.
We close in on his face as he snaps his PDA closed. He steps off the elevator into a large room.
INT. GREEN ROOM - DAY
JC, 30’s, short-haired and young-looking sits cross-legged on a mat in front of a single candle. The room is filled with other dimly lit candles and several meditation beads.
JUDE JESUS!
JC is annoyed but remains remarkably calm.
JUDE (CONT'D) You're starting to believe the things they say of you. You really do believe this talk of God is true?
JC blows out the candle, gets up and immediately rolls up his mat. He grabs the guitar case on the way to the elevator. He tries to get past Jude but he pulls JC face to face. 4.
JUDE (CONT'D) Then all the good you've done will soon get swept away. You've begun to matter more than the things you say!
They both step on the elevator. Door close.
CUT TO:
EXT. SIDEWALK IN FRONT OF THE ARENA - DAY
Jude catches up to JC walking out of the front doors to a parked limo at the curb. He motions to the driver to pop the trunk. Jude is in his ear as JC loads his bags in the car.
JUDE Listen, Jesus I don't like what I see. All I ask is that you listen to me. Please remember I've been your right hand man all along.
JC slams the trunk closed. Jude points to the large crowd of protesters and news reporters across the street. Crazed fans are waiting on line.
JUDE (CONT'D) You have set them all on fire. They think they've found the new Messiah. And they'll hurt you when they find they're wrong!
JC angrily moves past Jude to get in the limo.
CUT TO:
INT. HOTEL LOBBY - DAY
A few tourists recognize the superstar and point fingers. Jude follows JC through the registration waiting area. They walk toward the entrance of the garden area.
EXT. HOTEL COURTYARD ENTRANCE AREA - DAY
Dozens of paparazzi and press members mix with fans waiting for autographs.
JUDE I remember when this whole thing began. (MORE) 5. JUDE (CONT'D) No talk of God then, we called you a man. And believe me, my admiration for you hasn't died.
JC tries to continue on. Jude grabs his arm closer.
JUDE (CONT'D) But every word you say today gets twisted 'round some other way. And they'll kill you if they think you've lied!
JC breaks free.
Crowds begin to form in a semi-organized fashion. Reporters are vying for position as the fans get their autographs signed one by one.
JC stands with a smile. Jude gets lost in the melee and falls back.
JUDE (CONT'D) Nazareth your famous son should have stayed a great unknown. Like his father carving wood. He'd have made good.
JC walks on toward the hotel suite entrance. Jude turns to a reporter to finish his thought.
JUDE (CONT'D) (To Reporter) Tables chairs and oaken chests would have suited Jesus best. He'd have caused nobody harm. No one alarmed!
CUT TO:
INT. HOTEL ESCALATORS - DAY
Jude catches up to JC at the foot of the escalators. They both ascend to the second floor.
JUDE Listen Jesus do you care for your race? Can't you see we must keep in our place? We are up too high, have you forgotten how far down we are? 6.
They step off the escalators and pass by the railing where JC waves to the crowd one more time. Jude speaks under his breath.
JUDE (CONT'D) I am frightened by the crowd, for we are getting much too loud. And they'll crush us if we go too far--
JC moves on annoyed more than ever now. Jude calls after.
JUDE (CONT'D) --If we go too FAR!
EXT: HOTEL (MONTAGE) - DAY
[Ref. Music: Musical Break - Original arrangement]
Reporters are feverishly jabbering away in front of cameras, reading notes and fighting the wind. Fans multiply in front of the hotel by the dozens.
INT: HOTEL (MONTAGE CONT.) - DAY
Police and hotel security, rush to the front lobby. They stop, look at each other then back at the front doors. It's completely blocked by fans.
Hotel security, bell hops and the Registration manager are facing the police with a "what do we do now" look.
EXT. STREET AT THE ARENA (MONTAGE CONT.) - DAY
Roadblocks are set up as traffic is being diverted. Fans out number the authorities. The protesters are civil but are more dominant. They pump their fists at the crowd waiting in line.
On all sides of the street, signs of atheism, Islamic statements, Hebrew and other non Christians slander the arrival via posters and signs.
CUT TO:
INT. HOTEL HALLWAY PENTHOUSE FLOOR - DAY
Jude leads JC to the penthouse suite. He has the security key to get in. 7.
JUDE Listen Jesus to this warning I give! Can't you see that I want us live? But it's sad to see our chances weakening with every hour!
The door is open.
INT. HOTEL PENTHOUSE SUITE - DAY
The rest of the band and crew are scattered in several spots around the suite. JC turns back into the room. Jude explodes.
JUDE All your followers are BLIND!
[Ref. Music: No music]
BOMBSHELL! Everything is silent except for the sound of the live MTV News update on the plasma TV.
MTV NEWS --Meanwhile congress is trying to pass a bill where it will soon be legal to charge some recording artists a fine for select content in their lyrics. The academy of recording arts and sciences said that today’s raunch culture initiated the new law. But the growing concern over religious content in song lyrics is actually a bigger issue. Our entertainment correspondent--
Peter quickly grabs the remote and hits the mute button. The band is stunned at the outburst and look at each other around the room.
Jude forces his tone to a lower level. JC is unaffected.
JUDE Too much Heaven on Their Minds.
[Ref. Music: in on next cue]
JUDE (CONT'D) It was beautiful but now it's Sour, yes it's all gone sour!
[Ref. Music: Structure change] 8.
Jude bursts out the door and is heard in the hallway. JC takes one look at the others in the room.
Jude stomps off into the hallway. He tears down the escalator and storms off. Simon closes the hotel door aggressively.
JC retires into another room and shuts the door strongly behind him.
INT. HOTEL ROOM - DAY
Peter takes the Mute off of the television. Everyone in the room is quiet. James continues to roll a blunt on top of some scattered sheet music on the coffee table.
The entertainment reporter STEPHANIE RICHARDS is waiting on screen for a cue. Mary Magdalene motions James to turn up the volume.
STEPHANIE (ON TV) --Thank you Harold. Well it has been a wild day here at the New Life Center Arena. It appears that there are some disagreements within the band, particularly with JC and his manager Jude Scott, at least that is what representatives of the Twelve are saying right now, at this hour… Now we actually caught up with the band's Manager just moments ago and here is his reaction--
Tape of Jude walking out of the Hotel lobby quickly, as Ms. Richards catches him.
STEPHANIE (CONT'D) Mr. Scott - Mr. Scott? Just one question please. Can you tell us what happen with JC in the courtyard area here at the hotel?
JUDE I'm sorry. It was just a little disagreement. That happens quite a bit in this business I'm sure you know.
STEPHANIE Is the concert still on? 9.
JUDE Everything's all right. Everything is just fine. The show is in fact, at this moment still on. There's no reason for it to be otherwise. So--
Jude moves on.
STEPHANIE (Overlapping) Can you tell us what the disagreement was about? What did you say to JC?
JUDE I'm sorry that's all I'm prepared to say at this time.
The TV comes back live to Stephanie Richards.
STEPHANIE Others have said that this type of altercation has happened before and had been going on for several weeks now. More reports are coming in and at the top of this hour--
JC comes in and turns the TV off abruptly. He moves over to the desk and begins to organize his notes.
James lights the blunt. Takes a big man's puff then passes it to Peter. James chokes out a stony slow melody.
[Ref. Music: acopella]
JAMES What's the buzz? Tell me what's happening?
Peter harmonizes with the same though in the same stony voice.
JAMES/PETER What's the buzz? Tell me what's happening?
[Ref. Music: "What's The Buzz" - Swing funk style]
Simon and other band members join in on the question. Some members come in from the patio. They focus on JC. 10.
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC continues to organize his notes and music on the desk. He has a condescending smirk on his face.
THE TWELVE (CONT'D) What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC Why should you want to know? Don't you mind about the future. Don't you try to think ahead. Save tomorrow for tomorrow. Think about today instead!
Mary pulls the blunt out of Peter's mouth and smacks James on the head.
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC moves back to his desk and collects sheet music and puts it into a guitar case.
JC Oh yeah, think about today instead.
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? (MORE) 11. THE TWELVE (CONT'D) Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC I could give you facts and figures--
THE TWELVE When do we fly into Jerusalem? When do we fly into Jerusalem? When do we fly into Jerusalem? When do we fly into Jerusalem?
JC I could give you plans and forecasts--
THE TWELVE When do we fly into Jerusalem? When do we fly into Jerusalem? When do we fly into Jerusalem? When do we fly into Jerusalem?
JC slams the case the down on the table. It startles Mary a bit.
JC Why should you want to know? Why are you obsessed with fighting times and fates you can't defy? If you knew the path we're riding, you'd understand it less than I!
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening!
Mary runs interference and pulls JC into the kitchen area. She offers him a beer in one hand. He refuses. She proceeds to pat his brow with a cool rag.
MARY Let me try to cool down your face a bit. Let me try to cool down your face a bit. (MORE) 12. MARY (CONT'D) Let me try to cool down your face a bit. Let me try to cool down your face a bit. Let me TRY!
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC looking even more calm with every pat of the cool rag. The band watches with a playful eye at the two in the kitchen. A few are a uncomfortable with the contact.
THE TWELVE (CONT'D) What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
JC Mary oooo that is good--
He turns to see John sitting by the computer desk eating a Burrito and French fries.
JC (CONT'D) Why do you prattle through your supper? Where, when, who and how?
JC turns to Mary tenderly.
JC (CONT'D) She alone has tried to give me mmmm, what I need right here and now!
Mary lovingly caresses his face while the band mechanically yet passionately repeat the mantra.
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? (MORE) 13. THE TWELVE (CONT'D) Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
INT. HOTEL ROOM FRONT DOOR - DAY
Jude comes in unnoticed amidst the commotion. Everyone is focused on each other and the couple.
THE TWELVE What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
Jude SLAMS the door shut creating another uncomfortable silence in the room. JC and Mary take notice and slowly pull apart.
[Ref. Music: cue "Strange Thing Mystifying"- Bossanova pop]
JUDE It seems to me a strange thing, mystifying, that a man like you would waste his time on women of her kind.
The Band members react. Mary throws a scowling look to Jude and walks away. Jude gets between JC and where Mary was standing.
JUDE (CONT'D) Now I can understand that she amuses but to let stroke you, kiss your hair is hardly in your line!
JC pushes past Jude and walks over to Mary to comfort her. Jude calls after.
JUDE (CONT'D) It's not that I object to her profession. It just she doesn't fit in well with what you teach and say. It doesn't help us if you're inconsistent. They only need a small excuse to put us all away! 14.
Jude forcefully directs his attention toward JC. He stands in the middle of the suite.
JC explodes toward Jude.
[Ref. Music: Hard Rock style]
JC Who-are-you, to criticize her?
Members of the band including Mary restrain him as others hold back Jude.
JC (CONT'D) Who-are-you, to despise her?
JC puts a finger in Jude's chest. The group holds on a little tighter.
JC (CONT'D) Leave her, leave her! Leave her be now! Leave her, Leave her! She's with me now! If your slate is clean then you can throw stones! If your slate is not then YOU leave her alone!
Jude throws his arms free of the band members restraining him. He heads into the kitchen area where a beer sits atop the counter. He grabs it, twists the top off, then sips.
JC turns his attention to the band members.
JC (CONT'D) I'm amazed at men like you could be so shallow thick and slow! There is not a one among you who knows or cares of I come or go!
JC walks to the sliding glass doors that lead to the patio area. John especially takes exception to the accusation. He's the first over to JC.
THE BAND No you're wrong, you're very wrong! No you're wrong, you're very wrong! No you're wrong, you're very wrong! No you're wrong, you're very wrong!
They crowd JC before he turns to them. Jude is silently sipping the beer and watches from the open kitchen area. 15.
THE BAND (CONT'D) How can you say that! How can you say that! How can you say that! How can you say that!
JC turns to them.
[Ref. Music: No music]
JC Not one! Not one of you!
JC walks out of the sliding doors onto the patio. The group turns to Jude and throws him a scathing but inquisitive look. Jude doesn't care. He continues with his beer.
The PDA rings in his pocket. He takes the call and turns his back to the group.
JUDE Yes? Yes. We're planning that for-- Yes, Fortune magazine too. Let's get together sometime next week. Sure we can do that--
MARY, comes into view as Jude distorts in the background. He continues his business chatter. Mary moves toward the patio.
EXT. HOTEL ROOM/PATIO BALCONY - NIGHT
The city skyline is breathtaking at dusk. A piano sits to the side of the Jacuzzi. JC is standing on the balcony rail looking outward.
Mary's hands come into focus as she begins to play a sultry blues melody with JC standing across the way. Peter, James, John, and Simon venture out to the patio.
[Ref. Music: "Everything's Alright" - Blues style original arrangement]
MARY Try not to get worried. Try not to turn on to problems that upset you. Oh don't you know everything's alright? Mmm Hmm everything is just fine--
James, Simon and Peter back her vocals up. JC has a coy smile on his face now. He turns and walks toward the piano where Mary serenades him. 16.
MARY (CONT'D) And we want you to sleep well tonight. Let the world turn without you tonight. If we try we'll get by so forget all about us tonight--
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright!
Mary gives way to Simon on the keyboard. She lovingly pulls JC toward the lounge chairs. Jude flips his phone closed and looks outside.
MARY Sleep and I shall soothe you. Calm you and anoint you. Myrrh for your hot forehead--
Mary dabs the cold cloth with oil and places it on JC's forehead.
MARY (CONT'D) Then you will feel everything's alright--
She pulls a bottle out of her bag, and dabs the rag again. She sits on the ottoman and begins massage therapy on JC's feet.
Jude walks slowly out toward the Jacuzzi. Near it are a few stacks of boxes containing promotional and charitable items. He reaches in one box to find the same bottle of ointment.
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright!
MARY Oh Yes! Everything's just fine!
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright!
MARY And it's cool cause the ointment's sweet. Calm the fire in your head and feet. Close your eyes, close your eyes just relax, think of nothing tonight--
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright! 17.
Jude chimes in from across the Jacuzzi. He tosses the bottle back in the open box firmly.
[Ref. Music: Traditional Score]
JUDE Woman your fine ointment, brand new and expensive, could have been saved for the poor!
Jude makes a step toward the bottle sitting atop the piano.
JUDE (CONT'D) Why has it been wasted? We could have raised maybe three thousand silver pieces or more!
JC drops the rag from his head and this time he is listening to Jude.
JUDE (CONT'D) People who are hungry, people who are starving matter more than YOUR feet and hair!
Mary continues to distract and relieve JC from Jude's negative attitude.
[Ref. Music: Original arrangement - Blues style]
MARY Sleep and I shall soothe you. Calm you and anoint you. Myrrh for your hot forehead. Oh don't you know everything's alright?
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright!
MARY Yes, everything is just fine…
PETER/SIMON/JAMES/JOHN Alright! Everything's Alright!
JC starts to get up. Mary steps in his path. JC tries to maneuver around her.
MARY Be cool because the ointment's sweet. Cool that fire in your head and feet. 18.
She attempts to stop JC from engaging Jude. JC rolls his eyes.
MARY (CONT'D) Just close your eyes, close your eyes and relax think of nothing tonight--
JC throws her a look. He'll behave this time. JC walks around the Jacuzzi to Jude.
[Ref. Music: Traditional Score]
JC Surely you're not saying we have the resources to save the poor from their lot! They will be poor always, pathetically struggling. Look at the good things you've got--
JC takes a hold of Jude' shoulders strongly but pleading. Simon and John are ready just in case a fight breaks out again.
JC (CONT'D) Think while you still have me, move while you still see me. Or you'll be lost-- oh you'll be so-so sorry when I'm gone!
Jude pushes JC away and storms out of the Hotel patio and then out of the room altogether.
Mary escorts JC around the pool. Simon, John, and James confirm that everything's all right.
[Ref. Music: Traditional score]
MARY Try not to get worried try not to turn onto problems that upset you, no. Don't you know everything's all right, yes? Everything's fine--
She walks him back into the room and off the patio.
INT. HOTEL ROOM - DUSK
Peter closes the blinds behind him. 19.
MARY We need you to sleep well tonight. The world can turn without you tonight. Close your eyes, close your eyes, and relax think of nothing tonight.
The Band echoes as they slowly gather their belongings and head out the door.
THE TWELVE Close your eyes, close your eyes and relax think of nothing tonight.
Mary closes the sliding glass door behind her as she hugs other band members good night.
MARY Close your eyes, close your eyes and relax think of nothing tonight.
Peter is crashed out on the couch. Simon pops his ear as they pass by him. It's time to leave.
THE TWELVE Close your eyes, close your eyes and relax think of nothing tonight.
MARY Close your eyes, close your eyes and relax.
[Ref. Vocals: Chorus repeats and overlap twenty-four measures]
SIMON/PETER/JOHN/JAMES Everything’s alright yes, everything’s alright yes--
THE TWELVE Close your eyes, close your eyes and relax--
MARY Think of nothing tonight.
SIMON/PETER/JOHN/JAMES Everything’s alright yes, everything’s alright yes--
THE TWELVE Close your eyes, close your eyes and relax-- 20.
MARY Think of nothing tonight.
The voices fade in the next room.
INT. JC HOTEL BEDROOM - NIGHT
Mary closes the door behind them. She embraces JC tenderly.
MARY Close your eyes, and relax.
Mary brings JC down to the bed.
INT. HOTEL ROOM - NIGHT
The band all retired to their rooms. The lights dim to dark. Quiet.
CUT TO BLACK:
FADE IN:
EXT. DOWNTOWN - DAY
[Ref. Music: Dissolves from last scene into a swing style rhythm on congas]
A motorcade of limousines rolls swiftly in the middle lanes. The sun-glare from the windshield blinds the crowded corridor of the city.
The dark vehicles pull up to a curb in front of the Federal Bldg. A large crowd with podiums and poster signs are gathered in front on each side of the walkway.
Police are in mild riot gear. The protesters are peaceful yet spirited.
In choreographed fashion each limo driver gets out and walk around the back of the cars to open the passenger's doors.
EXT. SIDEWALK - DAY
Two gentlemen and two females in slick black suits step out of their limos. They button their coats and pause briefly.
ANNAS, mid 40’s, Caucasian, steps out of the middle limo wearing dark shades. The crowd boos him immediately. Without a single glance or pause, he walks toward the building. 21.
INT. US FEDERAL BLDG. - DAY
The lobby area is busy with people walking to and fro around the large security desk. The GUARD acknowledges Annas and the rest as they go hastily through the security check.
The elevator doors open just as they approach. Several office workers step out but are shoved aside by Annas and the entourage. All eight of them settle in the elevator. Doors close.
INT. THE EXECUTIVE OFFICE - UNKNOWN FLOOR - DAY
The elevator doors open into a large reception area. The receptionist immediately gets on the phone. The group comes upon her.
The receptionist nods her head and points toward the double doors to her left.
INT. LARGE CONFERENCE ROOM - DAY
The group files in adding two to each side of the table making it four on each side. The window shades are pulled closed and the lighting is dim.
A leather chair facing away from the group is looking at the wall of TV screens. All we see is a right hand with a remote control in it. An assistant on the far side of the table breaks the silence.
[Ref. Music: "This Jesus Must Die" - Original arrangement Rock swing style]
ASSISTANT Good Caiaphas, the council waits for you. The Pharisees and priests are here for you.
CAIAPHUS, an imposing man with a furrowed forehead, slowly swivels the large leather chair around. He stands with sternness and addresses the group on each side of the long table.
CAIAPHUS AH gentlemen, you know why we are here. We've not much time, and quite a problem here--
[Ref. Music: Acopella] 22.
On cue Caiaphus clicks the remote. The middle nine TV monitors shows several camera angles revealing Protesters and a sizeable police presence.
PROTESTERS Hosanna Superstar! Hosanna Superstar! Hosanna Superstar! Hosanna Superstar!
[Ref. Music: Back in on count one]
Annas moves forward.
ANNAS Listen to that howling mob of block- heads in the street! A trick or two with lepers and the whole town's on its feet!
CONSPIRATORS He is dangerous!
PROTESTERS (ON SCREENS) Jesus Christ Superstar--
ON TV Screens - JC and the band are making their way through the crowd and toward the podium. A mixture of cheers and chants are heard.
CONSPIRATORS He is dangerous!
PROTESTERS (On Screens) Do you think you're what they say you are--
ANNAS That man is town right now to whip up some support. A rabble-rousing mission that I think we must abort!
CONSPIRATORS He is dangerous!
PROTESTERS (On Screens) Jesus Christ Superstar--
CONSPIRATORS He is dangerous! 23.
One of the conspirators points to the screen showing JC raising his hand to the crowd. Annas mutes the TV.
CONSPIRATOR#1 Look Caiaphas, they're right outside our yard.
CONSPIRATOR#2 Quick Caiaphas let's call the National Guard.
CAIAPHUS (Cutting them off) No Wait!
[Ref. Music: Music off by count one]
CAIAPHUS (CONT'D) We need a more permanent solution to our problem.
Silence. The group looks at each other. Finally Annas steps up.
[Ref. Music: Music back in on count one]
ANNAS What then to do about Jesus of Nazareth? Miracle wonder man, hero of fools?
CONSPIRATOR#3 No riots, no army, no fighting, no slogans.
CAIAPHUS One thing I'll say for him, Jesus is cool.
CONSPIRATORS (Admiring it) Yeah cool!
They snap out of their admiration.
ANNAS We dare not leave him to his own devices. His half-witted fans will get out of control! 24.
CONSPIRATOR#4 But how do we stop him, his glamour increases by leaps every minute he's top of the polls!
Caiaphus clicks the remote. The middle screen shows JC at an Oprah Winfrey interview smiling. The next screen shows him selling a Coca Cola, then a vacation package, then a Christian items store.
CAIAPHUS I see bad things a-rising. The crowd crowns him King, which the Homeland must ban!
The rest of the screens light up with JC performing at different speaking events and The Twelve concert footage.
CAIAPHUS (CONT'D) I see blood and destruction. Our elimination because of one man! (To Conspirators) Blood and destruction because of one man--
CONSPIRATORS (Affirming to each other) Because, because, because of one man!
CAIAPHUS Blood and destruction because of one man.
CONSPIRATORS Because, because, because of one, 'cause of one, 'cause of one man!
Conspirators #5 and #6 are on each side of Caiaphas' ear.
CONSPIRATOR#5 What then to do about this Jesus mania?
CONSPIRATOR#6 How do we deal with a Carpenter King?
CONSPIRATOR#1 Where do we start with a man who is bigger than John was when John did his baptism thing? 25.
Caiaphus explodes!
CAIAPHUS Fools! You have no perception! The stakes we are gambling are frighteningly high! We must crush him completely! So like John before him this Jesus Must Die! For the sake of the nation this Jesus Must Die!
CONSPIRATORS Must die, must die, This Jesus Must Die!
CAIAPHUS/ANNAS For the sake of the nation this Jesus must die!
CONSPIRATORS Must Die, must die, This Jesus must, Jesus must, Jesus must-- Die!
[Ref. Music: Music fades out with intro - Swing jazz style]
EXT. US FEDERAL BUILDING - DAY
The Chief of police pulls up to the curb. Protest songs are robust and growing. He and three municipal officers make their way through the crowd.
JC is at the podium pretending to conduct the crowd as they sing along with Peter and James. Mary plays a small tambourine next to JC.
Simon and the rest of the Twelve stand on the grassy lawn facing the crowd.
News reporters contrast the peaceful nature of the rally. News cameras capture every detail. A few members of the Twelve take advantage of the opportunity to get on TV.
Simon plays to the cameras winking.
[Ref. Music: No music - "Hosanna" - acopella]
CROWD (Joyful) Hosanna Hey 'Sanna, sanna, sanna, Ho-Sanna hey 'Sanna Hosanna! Hey JC, JC won't you smile at me? 'Sanna Ho-sanna hey Superstar! 26.
The police Chief makes his way to a clearing between the front of the riser and podium.
Peter and James are directly in front of the Bullhorn.They plug their ears. The POLICE CHIEF turns to JC on the podium.
[Ref. Music: Original score Beastie Boys style]
POLICE CHIEF Tell the rabble to be quiet we anticipate a riot, this common crowd is much too loud--
Some boos from the crowd cascade down to the street.
POLICE CHIEF (CONT'D) Tell the ones who sing your song, soon we’ll prove that you are wrong! You are a curse and they must disperse!
The crowds' boos are deafening!
[Ref. Music: Acopella]
Peter, Mary, James and Simon leads the crowd into a much more positive vibe by singing.
CROWD Hosanna Hey 'Sanna, sanna, sanna, Ho-Sanna hey 'Sanna Hos--
JC holds his hands up to quiet down the crowd. The vocals on the chorus fade. JC confidently steps forward toward the police chief. The news cameras are cramming for position looking for the "money shot".
INT. NEWS VAN - DAY
Stephanie Richards is looking at the monitors. The producer and operator scramble to get prepared. Operator gets tape rolling from the nearest camera.
STEPHANIE Carl make sure you stay tight on his face! I'll be there in a second.
She cracks a small smile to herself. 27.
STEPHANIE (CONT'D) Come on. Get arrested. Get arrested.
OPERATOR From your mouth to you-know-who's ears.
They both break out a hearty laugh.
EXT. US FEDERAL BUILDING - DAY
JC steps face to face with the police chief.
JC (Mocking) Why waste your breath moaning at the crowd?
The crowd chuckles.
JC (CONT'D) Nothing can be done about the shouting. If every tongue were still the noise would still continue. The rocks and stones themselves would start to sing!
JC/CROWD Hosanna Hey 'Sanna, sanna, sanna, Ho-Sanna hey 'Sanna Hosanna! Hey JC, JC won't you fight for me? 'Sanna Hosanna hey Superstar!
Jude is in the back corner of the riser out of the immediate spotlight. He flips his phone open again and talks. Mary catches him out of the corner of her eye.
JC turns his attention back to the crowd. They quiet down again.
[Ref. Music: “Hosanna” - Background Score only]
JC Sing me your songs, but not for me alone. Sing out for yourselves! For you are blessed!
Jude flips the phone closed and quickly moves off of the riser making his way through the crowd. Mary spots Jude making his way to the curb where a black car is waiting for him. 28.
JC (CONT'D) There is not one of you who cannot win the kingdom. The slow the suffering. The quick, the dead!
Mary elbows Peter next to her and points in Jude’s direction with a nod. Peter watches Jude get in and speed away. Mary makes eye contact with him through the passenger side window.
CUT TO:
EXT. NEWS VAN - DAY (LATER)
In the background Stephanie steps out of news van furious. She grabs her gear and heads for the nearest officer whom in fact did not arrest JC.
FLASH CUT TO:
TV SCREEN - NIGHT
Entertainment correspondent Stephanie Richards is reporting live from the rally at dusk.
Rally posters and signs, cans and empty water bottles litter the Federal Building lawn.
City workers are cleaning up the trash while Ms. Richards gives her report from the curb.
STEPHANIE --We tried to get more information but with the, uh , the uh-- all the craziness going on we couldn't get confirmation that Mr. Jude Scott, the band manager, has indeed quit his post or not. We do know at this hour that the rift continues--
INT. FEMALE ASSISTANT’S OFFICE - DAY
An ominous woman sits on the office sofa with remote in hand. Stephanie Richards continues her report as the woman turns up the volume.
STEPHANIE But actually guys, the rally was as peaceful as some said it would be, even though technically it was an unlawful gathering. (MORE) 29. STEPHANIE (CONT'D) No arrests were reported. No real acts of violence to speak of, in fact, the most anxious part of the afternoon was when Chief of Police Paul Stone spoke through a bullhorn at the crowd. Take a look--
Stephanie looks down at the monitor waiting for the clip to play. She looks down and then up at the camera. Then down and up again. Still no footage.
STEPHANIE (CONT'D) It looks like we don't have that footage ready-- We'll work on that and definitely show you that footage hopefully by the eleven o'clock update-- Back to you in the studio.
THE WOMAN leaves the room quickly. Stephanie holds back her irritation just as the TV clicks off.
CUT TO BLACK:
FADE IN:
INT. THE CONCERT ARENA - NIGHT
The crowd is lively with cheers roaring to the rafters. Chants of "J-C J-C" waft through sections of the arena.
Lights go down! The crowd goes wild. The low hum of a bass overpowers the sound of the crowd. The EMCEE coming through the large speakers hanging from above.
EMCEE Make some noise! Come on let me hear ya! Are you ready for this? Are ya'll ready for this! Welcome to the stage the living legends! JC and The Twelve!
The arena crowd goes berserk. The stage is dark.
[Ref. Music: Original arrangement - Ominous intro to “Simon Zealots”]
The lights flash up and explode toward the audience.
[Ref. Music: “Simon Zealots” Disco funk style-original arrangement] 30.
INT. ON STAGE - NIGHT (CONTINUOUS)
Three members come out it high dance fashion. The choreography is sharp and concise.
UPSTAGE
James on drums dressed in a dashiki complete with hat. John on bass is bare-chested wearing a vest with peace signs all over it.
Peter is on guitar wearing an eighties throwback outfit complete with shiny, tight spandex pants.
Mary plays on the keys dressed extremely provocative. She gives the band the intro cue.
The four-piece horn section is on a riser upstage right. The trumpet man twirls his horn.
A large banner of a circle with a number 12 in the center hangs above the drum riser. The pyrotechnics explode around circle lighting up the banner in sparkling fashion.
Concert lights are fast and furious through out the opening dance number.
DOWNSTAGE
Simon Z comes out on stage complete with headset. He joins in the choreography. He plays to the crowd a bit before the vocals.
THE TWELVE Christ you know I love you. Did you see I waved? I believe in you and God so tell me that I'm saved!
The front row of the audience moves closer to the stage. In unison they mouth lyrics along with The Twelve.
THE TWELVE (CONT'D) Christ you know I love you. Did you see I waved? I believe in you and God so tell me that I'm saved! Jesus I am with you, touch me touch me Jesus! Jesus I am on your side, kiss me kiss me Jesus! 31.
The dancers strike a pose while Simon sings through the headset.
SIMON Christ what more do you need to convince you? That you've made it and you're easily as strong, YEAH, as the filth that run and rape our country and terrorize its people for so long!
Crowd cheers for that line. Simon jumps back into dance mode with the other two members.
THE TWELVE Christ you know I love you!
SIMON (Ad-lib) You know I love you!
THE TWELVE Did you see I waved?
SIMON (Ad-lib) You see I waved yeah!
SIMON/THE TWELVE I believe in you and God so tell me that I'm saved!
The Dancers join in on the chorus, playing with the audience as they belt out the back up vocals.
THE TWELVE Christ you know I love you!
SIMON (Ad-lib) You know I love you!
THE TWELVE Did you see I waved?
SIMON (Ad-lib) Did you see I waved yeah!
SIMON/THE TWELVE I believe in you and God so tell me that I'm saved! 32.
The audience is electric, screaming out the lyrics. The whole arena sings it in unison amidst the overwhelming cheers and fanaticism.
THE TWELVE Jesus I am with you, touch me touch me Jesus! Jesus I am on your side, KISS ME - KISS ME! Ahhh--
Mary cues the band again. Lights change as the music turns into more of a groove with a keyboard solo.
[Ref. Music: Musical Break - original score]
SIMON (To Audience) Clap your hands everybody, c'mon!
The dancers twirl and jump. The horn section grooves to the music stepping in unison.
BACKSTAGE
Jude walks up to the edge of the sight-line next to a light scaffold and watches the performance from there.
DOWNSTAGE
Simon raps to the front row. Fans reach their hands out to touch him.
SIMON (Rap) There must be over fifty thousand who screaming love and more for you! Every one of fifty thousand will do whatever you ask them to. Keep them yelling their devotion add a touch of hate for “Rome”. You will rise with a greater power and we'll win ourselves a home!
[Ref. Music: Verse groove 32 measures - original score]
Mary breaks out a keyboard solo. The dancers twirl and glide across the stage. Simon joins in a hip-hop dance groove as the band changes on cue again for reprise.
SIMON (CONT'D) You will rise with a greater power! We will win ourselves a home! (MORE) 33. SIMON (CONT'D) And you'll get the power and glory! Forever and ever and ever, yeah!
BACKSTAGE
Jude stands still against scaffold. He stares at the stage performance with a small bubble of sweat creeping down his face.
Simon turns around and looks upstage. His arms are raise to the ceiling.
SIMON You’ll get the power and the glory! Forever and ever and ever!
JC sits on a platform high over the stage.
THE TWELVE Ahh Ahh Forever Amen! Ahh Ahh Forever Amen!
INT. AUDIENCE IN ARENA - NIGHT
The crowd is clapping and dancing, jumping in place trying to follow the stage dancers lead.
Simon throws a look to Mary. She conducts the band to another musical change on cue. Simon gets to center stage and begins with a vocal line.
The band takes a vocal cue from Simon.
SIMON You'll get the power and the glory! SING IT!
THE TWELVE You'll get the power and the glory!
SIMON Forever and ever and ever! YOU SING!
THE TWELVE Forever and ever and ever!
Simon breaks the choreography and comes back to the Arena crowd and does the same call and response verse. 34.
SIMON (To Crowd) You'll get the power and the glory! SING!
THE AUDIENCE You'll get the power and the glory!
SIMON Forever and ever and ever! SING IT AGAIN!
THE AUDIENCE Forever and ever and ever!
The Twelve joins in with their back up vocal line. Mary ad- libs some vocals while playing the keyboards.
James slams the beat harder with a large crescendo. Peter rocks out the "power" chords on his guitar.
THE TWELVE Forever Amen! Ahh-Ahh Forever Amen!
INT. BACKSTAGE LEFT - NIGHT
Jude stands in the wings. His PDA lights up. He just received a text message.
ON PDA SCREEN: "We need to talk." Jude closes the PDA and places it back in his pocket.
INT. ON STAGE - NIGHT
Mary gives the band the finale cue. The dancers pose again with Simon Z in the middle.
Simon conducts the audience as Mary conducts the Twelve.
ALL Ahh-Ahh AMEN!
The lights go down except a spotlight on Simon. It fades into dark. The Arena is crazy loud again.
SPOTLIGHT comes up on JC. He is sitting cross-legged with palms up and open, eyes closed, on a floating platform above the stage. 35.
JC descends to center stage. He wears an all white outfit resembling a modern tunic. The headset is decorated with gold lettering that reads "Truth".
BACKSTAGE
Jude moves off toward the shadows. The ARENA gets quite as JC lifts his head to speak.
[Ref. Music: Strings/Keys only - "Poor Jerusalem”]
JC Neither you Simon, nor this fifty- thousand-- nor the Muslims, nor the Jews. Nor Jude or The Twelve, or the priests or the scribes-- Nor doomed Jerusalem itself, understand what power is. Understands what glory is. Understand at all understand at all--
Mary conducts band on the downbeat. The music is soft and haunting now. Only the lighters of the crowd illuminate the Arena.
JC (CONT'D) If you knew all that I knew my poor Jerusalem; you'd see the truth but you close your eyes, but you close your eyes--
JC opens his eyes.
JC (CONT'D) While you live, your troubles are many. My poor Jerusalem, to conquer death, you only have to die-- you only have to die--
Spotlight fades as the music descends to its end the crowds cheers ascends to a roar that gradually fades off into the background.
The arena goes dark only showing the flames of the lighters in the crowd.
FADE TO BLACK:
FADE IN: 36.
EXT. US FEDERAL COURTHOUSE IN LOS ANGELES - DAY
[Ref. Music: Intro to Pilate's Dream - Acoustic Alternative style - original score]
PONTIUS PILATE, 50’s, Caucasian man, is the US attorney general at a the podium wrapping up a small news conference.
Cameras flash sporadically. Pilate finishes and heads up the stairs with a team of two following him. A WOMAN lawyer walking by his side, hands him a folded newspaper.
A headline reads "JC and The Twelve Come To Hollywood" and a sub-headline reading "The World Anticipates Fallout."
INT. US ATTORNEY GENERAL'S OFFICE - DAY
The US Attorney General's office is complete with pictures of his family on his desk and a wide variety of diplomas and awards on the walls.
[Music Cue:]
The US National seal looms. Underneath it is a small conference table. Pilate and the other too assistants sit at the table sipping their coffee.
[Ref. Music: Pilate's Dream - Original arrangement]
PILATE Last night I dreamed I met a Galilean. A most amazing man. He had that look you very rarely find, that haunting, hunted kind.
Pilate moves to the WINDOW. He looks out at the landscape of the city. The Hollywood signs are hazy in the far background.
PILATE (CONT'D) I asked him to say what had happened. How it all began? I asked again, he never said a word, as if he hadn't heard.
He turns back to his assistants.
PILATE (CONT'D) And next, the room was full of wild and angry men. They all seem to hate this man. They fell on him and then he disappeared again-- 37.
Pilate sets his mug down on the desk. He slowly sits down in the leather chair.
PILATE (CONT'D) Then I saw thousands and millions crying for this man, and then I heard them mentioning my name and leaving me the blame.
He leans over the desk and picks up the newspaper. He swivels slowly around to face the window again. The two assistants get up from the table and exeunt.
FADE OUT:
FADE IN:
Title Card: "WORLD TOUR USA"
[Ref. Music: Cue intro to "The Temple" - Traditional arrangement]
We see a MAP of the United States of America with a little airplane decal sitting at NYC.
The background of the map is imposed images of the great churches, cathedrals, mosques and temples of the world.
The little plane outlines the flight path of tour. From NYC to Philadelphia, to DC, Atlanta, Miami, and then over to New Orleans back to Tennessee.
The Midwest to the Pacific Northwest and finally to southwest settling into Los Angeles. The background flashes intense images of LA culture.
INT. TOUR PLANE - DAY
JC sits with a semi smile on his face. He's in a content state regardless of the circumstances. He glances at a sleeping Jude across the aisle. His attitude changes.
EXT. LAX AIRPORT TARMAC - DAY
The Band comes out of the Airplane one by one holding their carry-on bags and coats. They are greeted by thousands of fans. Media mayhem surrounds the superstars.
Simon plays to the crowd the most as he shuffles a little dance step to just get the girls to scream. 38.
JC gets the bigger roar of applause as he steps down from the plane. He waves to the crowd. Jude is just behind him, and yawns.
EXT. DOWNTOWN LOS ANGELES - BONAVENTURE HOTEL - DAY
The group enters the Hotel. Paparazzi continue to surround The Twelve asking questions and taking pictures. Simon stops at the entrance and holds JC next to him.
He makes an impromptu statement about the upcoming show using his best Hollywood star impression.
EXT. DOWNTOWN LOS ANGELES STREET SCENE - DAY
[Ref. Music: Full version of "The Temple"]
It's festival time in LA. The scene is chaotic and full of energy. It's the first street scene in over twenty-five years in the city.
On Temple Ave a mass hub of people gather to play and purchase items. Hundreds of vending booths line the sidewalks all the way up to Cathedral steps.
T-shirts, key chains, knickknacks and fake gold crosses, greeting cards, luggage, water bottles, and anything that can be sold is being sold in the area.
Prostitutes work a few steps away from the Cathedral. A few cars pull up to the sidewalk appearing as businessmen. Others are undercover vice whom the hookers ignore.
The pathways are sidelined by merchant vendors all the way through to Olvera Street.
MERCHANTS Roll on up for my price is down! Come on in for the best in town! Take your pick of the finest wine! Lay your bets on this bird of mine!
Dancers do a show on top of the steps of the Cathedral. The Cardinal is standing one side of the activity with a smile on his face. Clueless.
MERCHANTS (CONT'D) Roll on up for my price is down! Come on in for the best in town! Take your pick of the finest wine! Lay your bets on this bird of mine! 39.
The band makes their way through the crowds of purchasers, tourists and fans. JC and Jude are equally annoyed at the fanfare around the Church.
MERCHANTS (CONT'D) Name you price we got everything! Come and buy it's all going fast! Borrow cash on the finest terms! Hurry now while the stock still lasts--
Peter and John are amused. James is tempted to buy a T-shirt from one of the more aggressive vendors. Mary steps in and pulls him away.
The prostitutes in the area spot Mary. They point as if there's something familiar about her. The Merchants are becoming more aggressive.
MERCHANTS (CONT'D) Roll on up for my price is down! Come on in for the best in town! Take your pick of the finest wine! Lay your bets on this bird of mine!
CHURCH STEPS
JC makes it to the top of the steps of the Cathedral. He immediately bum rushes the slogan banners and Welcome signs in the middle of the group of dancers.
MERCHANTS Roll on up for my price is down! Come on in for the best in town! Take your pick of the finest wine! Lay your bets on this bird of mine!
Mary and Simon are becoming bombarded with autograph seekers. Peter takes advantage. John and James are annoyed.
JC captures the everyone’s attention in the area and explodes in anger!
JC MY TEMPLE SHOULD BE A HOUSE FOR PRAYER! BUT YOU HAVE MADE IT A DEN OF THIEVES!
A concerned Mary and Jude move toward JC. They haven't seen this behavior before. JC pushes a few priests and then the harem of dancers on the church steps. 40.
JC (CONT'D) GET OUT! GET OUT!
JC grabs a small hard clay statue of the Virgin Mary. He heaves it in the general direction of the crowd.
Mary and Jude see his reaction and start toward the steps. But they are too late. The statue is in the air.
EXT. SKY - CLAY STATUE - DAY
The statue flips end over end in the cloudless sky. A SCREAM! A woman makes a sound in horror. All heads turn. James and Simon stand transfixed and stunned.
EXT. TEMPLE STEPS - DAY
On the ground lays an eight year old Hispanic girl. Her head bleeds as the broken clay statue lay next to her.
No adult rushes immediately to her aid. The little girl appears alone. Mary tends to her. JC and the Twelve are shocked. Jude immediately goes in "spin" mode.
JUDE Everything's alright! Everything's fine! Please back up. Give the girl some air! (To JC) I'm calling 9-1-1.
SLAM CUT TO:
INT. AMBULANCE - DAY
[Ref. Music: Original score background]
The siren is thunderous. Mary and JC sit on opposite sides of the gurney where the little girl lays motionless.
INT. HOSPITAL WAITING ROOM - NIGHT
JC sits on a daybed with his face in his hands alongside Mary. She tenderly caresses his back. The room, like the hospital itself, is practically empty.
The DOCTOR walks into the waiting room. Through the glass window we see the doctor explaining the situation. He appears optimistic and Mary appears relieved. 41.
JC is emotionless. He gestures to the doctor to see the child. The doctor grants it.
INT. EMERGENCY ROOM ICU - NIGHT
The eerie greenish colored chairs have tons of flowers and cards and gift bags in it. Next to it sits an Hispanic couple with faces soaking wet with tears.
Behind them stands an extended family of about five. One of which is a priest with bible in hand.
An officer is at the door entryway. It cracks open as JC and Mary comes into the dimly lit room. Everyone in the room glares at the two with incredible restraint.
The girl’s mother shake the rosaries in her hands in prayer over the bed. She keeps her focus on the child and doesn’t acknowledge JC in the room.
BEDSIDE
The little girl's head is wrapped up in gauze. Her eyes are barely visible. JC moves humbly toward the bed but "La Familia" steps forward in protective mode. JC stops.
The little girl raises her hand slightly, reaching out for JC. He gently takes her hand.
He leans down and gently kisses her hand and then slowly places it on her chest. She's back asleep now. JC turns and walks away with Mary close behind.
INT. WAITING ROOM - NIGHT
JC's head rests on Mary's lap. She leans her head back against the wall and gently caresses his hair.
[Ref. Music: Cue - "Gethsamane reprise" - Traditional score]
JC My time is almost through. Little left to do. After all I've tried for three years. Seems like thirty- seems like thirty--
Mary notices that he's fallen asleep. She removes herself gently and replaces her lap with the arm pillow of the daybed. 42.
She takes the remote off the table and turns the TV on mute. The only thing on is the news.
JC's face is imposed behind the anchorman with a caption reading “Not Human After All?” She glances back at JC sleeping.
INT. HOSPITAL WAITING ROOM DAYBED - NIGHT
Tight on JC's face while he sleeps. Suddenly a wrinkly pale hand touches it. He wakes to see A PATIENT, in gown and slippers, standing over him holding onto a rolling stand.
His eyes are glass gray colored. JC gets up. He glances at Mary asleep in the chair. She doesn't see what's happening.
[Ref. Music Cue:"The Leper Scene" Original arrangement - trance/acid/techno/funk style]
PATIENT# 1 See my eyes, I can hardly see--
JC, takes the patient by the arm and walks briskly out of the waiting area. He looks around for a nurse or doctor just before...
INT. EMERGENCY LOBBY AREA - NIGHT
Another patient using of a special crutch to help him walk comes out of nowhere.
PATIENT#2 See me stand I can hardly walk--
JC's tries to comfort both of the patients. On his shoulder comes a heavily gauzed hand. Another patient with crispy skin in a blue robe shakes uncontrollably.
PATIENT#3 See my skin, I'm a mass of blood--
JC is horrified but compassionate, touching each patient he can. In the background more patients come out of their rooms.
HALLWAY
Patients come pouring out of their rooms one by one. They move slow like zombies desperate for survival. JC continues to try heal with one touch. 43.
PATIENT#4 I believe you can make me well--
A patient comes out of the room clinging to the wall and leaving a trail of blood smeared on it.
PATIENTS Will you touch will you feel me Christ? Will you touch can you heal me Christ? With your kiss you can cure me Christ! Won't you kiss you could save me Christ?
JC is overwhelmed by patients. He starts to slow down. He continues to touch everyone on the forehead but he can’t help everyone.
PATIENTS (CONT'D) See my eyes I can hardly see. See me stand I can hardly walk. I believe you can make me well. See my tongue I can hardly talk!
The patients appear ghost-like pale now. JC can't control what is happening.
PATIENTS (CONT'D) See my skin I'm a mass of blood. See my legs I can hardly stand. I believe you can make me whole--
[Ref. Music Cue: Silence]
PATIENT#5 SEE MY PURSE I'M A POOR POOR MAN!
The patients poke and prod the superstar. They pull on his cloths for attention. Most are crying out as others sing. They get more intense in numbers.
The elevator doors open. JC turns to look in a group of trauma victims head straight for him. He retreats back through the crowd. He’s completely surrounded.
[Ref. Music: Original arrangement - "Heaven On Their Minds" - melody mix trance/acid/techno/funk]
PATIENTS Will you touch will you feel me Christ? (MORE) 44. PATIENTS (CONT'D) Will you touch can you heal me Christ? With your kiss you can cure me Christ! Won't you kiss you could save me Christ?
JC pushes through and runs to open areas of the hospital. The nurses on duty never look up to see this. He’s cut off by a sick patient at every turn.
PATIENTS (CONT'D) Will you touch will you feel me Christ? Will you touch can you heal me Christ? With your kiss you can cure me Christ! Won't you kiss you could save me Christ?
JC is now trapped and the patients grab a hold of him. They spin him in a circle. He still frantically touches everyone he can.
PATIENTS (CONT'D) See my eyes I can hardly see! See me stand I can hardly walk! I believe you can make me well! See my tongue I can hardly talk! See my skin I'm a mass of blood! See my legs I can hardly stand! I believe you can make me whole! See my purse I’m a poor poor man!
[Ref. Music: Original vocal arrangement - No lyric]
The patients wave JC through the crowd like a cross. He shows fear for the first time.
PATIENTS (CONT'D) Ohhh! Ohhh! Ohhh! Ohhh! Ohhh! Ohhh! Ohhh! Ohhh!
The patients finally lets him down to the floor. But he’s still incapacitated.
[Ref. Music: Regular vocal arrangement]
PATIENTS (CONT'D) See my eyes I can hardly see See me stand I can hardly walk I believe you can make me well See my tongue I can hardly talk! (MORE) 45. PATIENTS (CONT'D) See my skin I'm a mass of blood See my legs I can hardly stand I believe you can make me whole See my purse I’m a poor poor man!
JC There's too-- many of you!
PATIENTS Will you touch will you feel me Christ? Will you touch can you heal me Christ?
JC Ahhh Don't push me--
PATIENTS With your kiss you can cure me Christ!
JC Oh there's too little of me.
JC twirls in a circular motion trying desperately not to miss a single person but falters.
PATIENTS Won't you kiss you could save me Christ!
JC Don't - Don't Crowd me!
PATIENTS See my eyes I can hardly see See me stand I can hardly walk I believe you can make me well See my tongue I can hardly talk!
JC is being mugged by the swarm of patients. He's on his knees and begins to breakdown. He looks skyward into the bright neon light over him.
JC Ahhhh!
PATIENTS Will you touch will you feel me Christ? Will you touch can you heal me Christ? With your kiss you can cure me Christ! (MORE) 46. PATIENTS (CONT'D) Won't you kiss won't you save me Christ!
JC moves backward away from the swirling group of hideous patients. He screams as they back him into a corner near the entrance of the waiting room.
PATIENTS (CONT'D) Will you touch will you feel me Christ? Will you touch can you heal me Christ? With your kiss you can cure me Christ! Won't you kiss won't you save me Christ!
CUT TO:
INT. WAITING ROOM - NIGHT
JC breaks the embrace of Mary and throws himself up into a SHOUT!
JC HEAL YOURSELVES!
[Ref. Music: No music]
Silence! A few scowling nurses come over to see what's going on. The hospital looks normal again.
A sleeping woman in the chair in front of the TV stares at him. Mary gently holds JC's shoulders. It was obviously a nightmare. JC takes a deep breath and processes where he is.
A male FAMILY MEMBER of the injured girl stands at the entrance of the waiting room. JC looks up to notice him. The member heads back to the room without a word spoken.
EXT. HOTEL ENTRANCE - NIGHT
The bellhop and two security officers are on standby. A limo pulls up to the curb. Only a couple of photographers are present this time. Rain begins to fall.
Mary gets out first then JC slowly and wearily follows. The doorman greets them with an umbrella. They make their way through the front door. 47.
INT. HOTEL ROOM - NIGHT
Mary helps JC get out of his shirt. He lies down on the large couch. She goes to the kitchen and gets the cool rag of myrrh and turns on the teakettle.
[Ref. Music: “Everything's Alright Reprise” - Traditional score]
MARY Try not to get worried, try not to turn onto problems that upset you, oh, don't you know everything's all right, yes? Everything's fine?
JC I think I should sleep well tonight. Let the world turn without me tonight.
MARY Close your eyes, close your eyes And forget all about us tonight--
[Ref Music: "I Don't know How To Love Him" - urban pop style]
Mary gently places the couch blanket over JC. She sighs over him as if to say "that's my guy". The teakettle whistles quietly.
KITCHEN
She pours herself a cup then a second one for JC. She stirs the tea softly for a bit then moves toward the balcony area.
BALCONY
The sliding glass door is ajar. She quietly closes it. The reflection of the raindrops falling from the outside awning appears on her face.
MARY I don't know how to love him. What to do, how to move him? I've been changed, yes, really changed. In these past few days, when I see myself, I seem like someone else.
She turns toward the sleeping JC on the couch. 48.
MARY (CONT'D) I don't know how to take this. I don't see why he moves me. He's a man, he's just a man. And I've had so many men before in very many ways. He's just one more.
Mary walks over to him and sits in the chair next to the low burning fireplace.
MARY (CONT'D) Should I bring him down? Should I scream and shout? Should I speak of love? Let my feelings out! I never thought I'd come to this! What's it all about?
She turns to JC again.
MARY (CONT'D) Don't you think it's rather funny? I would be in this position? I was the one who's always been so calm, so cool, nobody's fool. Running every show. I love him so.
INT. HOSPITAL WAITING ROOM - FLASHBACK
Mary watches the family of the little girl emerge from the room. JC is on the daybed asleep behind her. She watches through the glass window as the family walk by. None of them acknowledge Mary and JC.
MARY I never thought I'd come this! What's it all about?
INT. HOTEL ROOM - NIGHT
Mary stands uncomfortably in the middle of the room.
MARY Yet if he said he loved me I'd be lost. I'd be frightened. I couldn't cope, just couldn't cope.
She moves to the sofa and slowly crouches down.
MARY (CONT'D) I'd turn my head and I'd back away. I wouldn't want to know. (MORE) 49. MARY (CONT'D) It scares me so. I want him so. I love him so.
Mary, lightly kisses JC on the forehead. She curls up next to him on the couch and stares at him while he sleeps.
FADE OUT:
FADE IN:
INT. PARKING GARAGE DOWNTOWN LA - NIGHT
[Ref. Music: Intro "Damned For All Time" - Original arrangement]
Jude is on his trusted PDA. He’s very nervous looking around intensely. He walks briskly while holding the phone to his ear. He searches for the right parking number.
This one says B2. He in the right area now.
[Ref. Music: "Damned For All Time" - original arrangement]
JUDE (On phone) Now if I help you it matters that you see these sordid kinds of things are coming hard to me. It's taking me some time to work out what to do. I weighed the whole thing up before I came to you!
Jude turns toward Caiaphus.
JUDE (CONT'D) I had no thought at all about my own reward. I really didn't come here on my own accord!
VOICES (O.S.) Just don't--
JUDE Just don't!
VOICES (O.S.) Say I'm--
JUDE Say I'm - Damned for all time!
VOICES (O.S.) Damned - for - all - Time! 50.
JUDE Oh No!
Jude flips the phone closed. He spots five figures appearing from behind a pillar.
Caiaphas, Annas and the other three members of the council stand cautiously staggered checking for possible passers-by.
The FEMALE Assistant in a black business suit appears from the opposite pillar.
Jude hesitates to continue with her there. Caiaphas responds with an affirmative nod. Jude continues.
JUDE (CONT'D) I came because I had to I'm the one who saw. Jesus can't control it like he did before. Furthermore I know he really thinks so too. Don't know if he'd mind if I was here with you. I had no thought at all about my own reward. I really didn't come here on my own accord!
Jude backs into an open parking space with all the conspirators practically surrounding him.
VOICES (O.S.) Just-don't--
JUDE Just don't!
VOICES (O.S.) Say-I'm--
JUDE No, no don't say I'm-- Damned for all time!
VOICES (O.S.) Damned - for - all - time!
JUDE Ahhh!
[Ref. Music: Musical break Guitar solo - original arrangement] 51.
EXT. HOLLYWOOD BLVD. - NIGHT (MONTAGE)
JC is looking at the marquee still shining bright even at this time of night. The number Twelve in big red numbers are on the front and below it reads "One Night Only - Friday".
He looks back at ground level only to see a line of people in sleeping bags, camping out to get tickets for the show.
Looking to his left he sees a few hoodlums messing with a homeless man for no reason. He starts to walk toward them.
INT. REHEARSAL STUDIO - NIGHT
Mary is conducting the band while Simon practices his dance steps. Peter and John work out the timing of the rhythm.
VOICES (O.S.) Just - don’t - say - I’m--
JC sits on the sofa meditating. He opens his eyes sharply as if wakened from another bad dream. Mary turns to him and nods to see if he’s okay. He gets up and walks out of the studio.
VOICES (O.S.) (CONT'D) Damned - for - all - time!
END MONTAGE:
BACK TO:
INT. PARKING GARAGE DOWNTOWN LA - NIGHT
[Ref. Music: Drumbeat only]
Jude comes face to face with Annas, grabbing him by the coat. Annas pulls Jude's hands off of him.
JUDE Annas you're a worldly man and wise. Caiaphas, my friend I know you sympathize. Why are we the prophets, why are we the ones--
[Ref. Music: No music]
JUDE (CONT'D) To see this sad solution do what must be done! 52.
[Ref. Music: Arrangement back in on cue]
JUDE (CONT'D) I've had no thought at all about my own reward! You know I didn't come here of my own accord!
Jude stands in the middle of the group with hands skyward.
JUDE (CONT'D) MY GOD!
VOICES (O.S.) Just - don't--
JUDE Just don't!
VOICES (O.S.) Say - I'm--
JUDE No, no don't say I'm Damned for all time!
Annas snaps his fingers. One of the conspirators sets a briefcase on the hood of a car.
VOICES (O.S.) Damned - for - all - time!
JUDE Ahh!
VOICES (O.S.) Just - don't--
JUDE Just don't say I'm Damned!
Jude falls to the ground. His head sinks.
VOICES (O.S.) Say - I'm--
JUDE Damned - for all time! For all time!
VOICES (O.S.) Damned - for - all - Time! 53.
JUDE DAMNED for all time!
Caiaphus raise his hand up to silence Jude.
[Ref. Music: No Music]
He opens it and pulls out a computer-tracking device complete with a graphed map of Los Angeles. The man puts on an earpiece and looks back at Annas.
[Ref. Music: "Blood Money" - Shuffle jazz style]
ANNAS Cut the protesting! Forget the excuses! We want information. Get up off the floor!
Caiaphus pulls an envelope from his inside pocket of his Chicago style leather coat.
CAIAPHUS We have the papers we need to arrest him. You know his movements, we know the law.
ANNAS Your help in this matter won't go unrewarded.
CAIAPHUS We'll pay you in Silver, cash on the nail. We just need to know where the soldiers can find him--
ANNAS With no crowd around him--
CAIAPHUS Then we can't fail!
Jude is assertive and offended.
JUDE I don't want your blood money!
CAIAPHUS Oh that doesn't matter, our expenses are good.
JUDE (More Angry) I don't need your blood money! 54.
ANNAS But you might as well take it, we think that you should.
Caiaphus gets closer to Jude. They come face to face.
CAIAPHUS Think of the things you can do with that money. Choose any charity, give to the poor. We've noted your motive, we've noted your feelings.
He takes an envelope from one of the female conspirators.
CAIAPHUS (CONT'D) This isn't blood money. It's a fee nothing, fee nothing, fee nothing more!
He flicks envelope into Jude’s chest. It falls to the ground. The scan operator awaits the information from Jude.
Jude tentatively picks up the unsealed envelope, opens it and pulls up a silver plated check.
[Ref. Music: "Poor Old Judas intro"- Original Score]
EXT. HOLLYWOOD BLVD. (FLASH MONTAGE) - NIGHT
Images of JC being questioned by police and news reporters. JC tossing the clay statue. JC in the middle of the patients in the hospital. Jude falling from a building in the night sky.
INT. PARKING GARAGE - NIGHT
TIGHT ON JUDE:
His perspiration weighs heavy on his lashes. Looking down at the ground he speaks but barely audible.
JUDE On Thursday night you'll find him where you want him.
EXT. HOLLYWOOD BLVD. (FLASH MONTAGE CONT.) - NIGHT
JC being pulled off of the one harming the homeless man. Protesters and supporters clash violently. A fleet of helicopters approach the scene. 55.
JUDE (V.O.) Far from the crowds in the garden of--
INT. PARKING GARAGE - NIGHT
The sweat from his lashes falls to the ground as a teardrop immediately replaces it.
[Ref. Music: No Music]
JUDE --Gethsemane.
COMPUTER SCREEN
Target is confirmed and auto-plotting is selected. The operator closes the case. The entourage files out of the area and into the darkness.
Only the mysterious woman is left behind. She slowly walks with a devilish stride over to Jude. She stops in a shadow across her eyes revealing only her mouth and nose.
[Ref. Music: “Good Ol’ Judas” - acopella]
MYSTERIOUS WOMAN Well done Judas. Good ol' Judas.
She walks away into the shadows of the Parking Garage. Jude is left to think about what he's done.
FADE TO BLACK:
FADE IN:
Title Card: "ACT TWO: THE PERSECUTION - THURSDAY"
EXT: HOLLYWOOD BOWL BACKSTAGE/PICNIC AREA - DAY
The sun is setting. The Twelve and a fan club group are having a pleasant BBQ with beer and wine. James rolls another blunt while the rest are playful around the camp.
The group passes condiments back and forth across a table. John places new strings on his bass. 56.
JC is more melancholy than the rest. Mary straightens his poncho a bit. She takes both hands and kisses them in absolute gratitude.
She smiles as she walks away and grabs the tambourine on the table. JC admires her walk.
Jude is watching from a short distance with beer in hand. James walks up to him and offers a puff of a blunt. Jude simply stares at him.
[Ref. Music: "Last Supper/Trials and Tribulations” Intro - Acoustic]
Peter and Simon strum a melody on the guitars. Mary taps her tambourine in rhythm.
INT. ATTORNEY GENERAL'S OFFICE - NIGHT
The the DA hands Pilate some documents. He places his glasses on his nose and reads. His face changes to concern. He looks up with a stern brow.
PETER/SIMON/MARY (V.O.) Look at all my trials and tribulations--
The DA hands Pilate a fountain pen. The female assistant and a few others in the room wait for Pilates signature. He reluctantly signs with his female assistant witnessing.
PETER/SIMON/MARY (V.O.) (CONT'D) --sinking in a gentle pool of wine.
She also signs the document. Pilate removes his glasses and hands the document back to the DA.
EXT. HOLLYWOOD BOWL BACKSTAGE/PICNIC AREA - NIGHT
PETER/SIMON/MARY --Don't disturb me now I can see the answers. 'Til this evening is this morning life is fine.
JC is sitting cross-legged on the top of a picnic table in a meditative state. Jude stands almost drunk looking very tense. Cold sweat rolls own the side of his face.
James picks up a pair of bongos and lightly taps a beat behind them. The band continues to sing. 57.
PETER/SIMON/MARY (CONT'D) Always hoped that I'd be an Apostle. Knew that I could make it if I tried.
Members of The Twelve fan club are making posters and large banners on the lawn.
PETER/SIMON/MARY (CONT'D) Then when we retire, we can write the Gospel so they'll all talk about us when we die.
Peter keeps the melody going on the guitar as Simon ad-libs some vocals. JC holds up his right hand. The festive mood is broken. He picks up a wine glass.
[Ref. Music: "The End"- Traditional Score only]
JC The End is just a little harder when brought about by friends.
The group's mood changes. Most of the club members move to their tents.
JC (CONT'D) For all you care, this wine could be my blood.
Simon holding a bottle of wine lowers it from his mouth in disgust.
JC (CONT'D) For all you care, this bread could be my body.
The band looks puzzled. JC picks up the old fashioned Wine Jug in his right hand, and holds a loaf of bread in the left hand.
JC (CONT'D) (pause) The End.
He hands the items down to a band member on each side. One pours the wine and the other breaks the bread. They pass them down each side of the table.
JC (CONT'D) This is my blood you drink. This is my body you eat. If you would remember me when you eat and drink-- 58.
[Ref. Music: "Last Supper/Trials and Tribulations” - Traditional score]
JC walks a few steps away from the table.
JC (CONT'D) I must be mad thinking I'd be remembered! Yes, I must be out of my head! (To Band) Look at your blank faces. My name will mean nothing ten minutes after I'm dead!
The Band reacts offended. James puts out his blunt and John stops stringing his bass.
JC (CONT'D) One of you denies me! One of you betrays me!
The group loudly objects to JC! Most of them argue and raise their voices. Some point blame on each other. Others sit hurt by the accusation.
JC stands on the opposite side of the large picnic table staring at Jude. He passes Peter sitting to his right. JC points to Peter without looking.
JC (CONT'D) Peter will deny me in just a few hours--
PETER No Man! Are you crazy? Why would I--
JC --THREE times he'll deny me and that's not all I see. One of you here dining, one of my Twelve chosen will lead to betray me!
Jude SLAMS his fist on the table grabbing everyone's attention.
JUDE Cut out the dramatics you know very well who!
JC Why don't you go do it?
JUDE You want me to do it? 59.
JC Hurry they're waiting!
JC moves off to another part of the picnic area. Jude follows closely behind.
JUDE If you knew why I do it!
JC (Mean smirk) I don't care why you do it!
JUDE To think I admired you but now I despise you!
JC You liar you Judas!
JUDE You want me to do it? What if I just stayed here and ruined your ambition? Christ you deserve it!
JC Steps to him aggressively.
JC Hurry you fool, hurry and go! Save me your speeches, I don't want to know! GO!
Jude jogs away wildly. He pops open his phone. JC heads back towards the camp. The band tries to change the subject. Some are still getting drunk.
THE TWELVE Look at all my trials and tribulations, sinking in a gentle pool of wine. Don't disturb me now I can see the answers. 'Til this morning is this evening life is fine--
INT. NEWS VAN - NIGHT
A TECH in a pair of headphones turns to Stephanie Richards sitting in the back of the van. He snaps his fingers twice to get her attention. 60.
THE TWELVE (V/O) Always hoped that I'd be an Apostle. Knew that I could make it if I tried.
Stephanie puts on a set of headphones. She then grabs the nearest notepad.
EXT. HOLLYWOOD BOWL BACKSTAGE/PICNIC AREA - NIGHT
THE TWELVE Then when we retire, we can write the Gospel so they'll all talk about us when we die--
Jude returns, cuts off the band and continues his argument. He keeps the phone open. JC turns to face him. The band steps up again.
JUDE You sad pathetic man! See where you brought us to? Our ideas die around us, all because of you! But the saddest cut of all is someone had to turn you in! Like a common criminal! Like a wounded animal!
JC moves to punch Jude in the Jaw. Mary shoves two hands into Jude's chest pushing him back.
JUDE (CONT'D) A jaded mandarin, yes, like a jaded mandarin. Like a jaded, jaded, faded, jaded Jaded mandarin--
JC Get out they're waiting! GO! You get out oh they're waiting for you! GO!
A "Security" golf cart pulls up on the street. Jude heads toward it but stops and turns quickly.
JUDE Every time I look at you I don't understand how you let the things you did get so out of hand. You'd have managed better if you had it planned-- Ahh! 61.
He gets in the golf cart and holds the phone to his ear as they drive off down the hill. THE TWELVE is intoxicated and drained. JC again moves off to be a loner.
Mary catches up to him and wants come along. JC stops her. He kisses her hands gently and motions her stay with the group.
Peter comes over to JC as he continues to walk away.
PETER Hey, JC? I wanna--
Peter gives up and turns back to the group. We hear the band still singing softly now as most of them are passed out.
[Ref. Music: "Trials and Tribulations” - Acopella]
THE TWELVE Look at all my trials and tribulations sinking in a gentle pool of wine?
James passes the half blunt to Peter. Peter takes it.
THE TWELVE (CONT'D) Then when we retire we can write the gospel so they'll all talk about us when we've died--
EXT. HOLLYWOOD BOWL HILLSIDE - NIGHT
JC finds his way up a woodsy hillside behind the amphitheater. He stops at a clearing on a cliff. He looks down at the sleeping camp.
[Ref Music: "Gethsemane" - Original score]
JC Will anyone stay awake with me? Peter? John? James? Will anyone pray with me? Peter? John? James?
JC sits in his usual crossed-legged style. He takes a deep breath and speaks directly to the night sky.
JC (CONT'D) I only want to say, if there is a way, to take this cup away from me, for I don't want to taste this poison. Feel it burn me. (MORE) 62. JC (CONT'D) I have changed I'm not as sure as when we started.
INT. POLICE BRIEFING ROOM - NIGHT
A man in a DEA jacket is going over instructions to a large corps of officers. They're preparing for a major arrest.
The picture of JC is up on the pushpin board over his left shoulder. Another man in a jacket that reads FBI gets up to state instructions.
JC (V/O) Then, I was inspired. But now I'm sad and tired--
EXT. HOLLYWOOD BOWL HILLSIDE - NIGHT
JC's eyes are filling up in the moonlight.
JC Listen, surely I've exceeded expectations. I've tried for three years. Seems like thirty. Could you ask as much from any other man?
JC snaps his head to the right to see in the far distance. A series of lights from an aircraft fly across the cityscape.
JC (CONT'D) But if I die, see your saga through and do the things you ask of me, let them hit me, hate me, hurt me nail me to their tree? I want to know I want to know, my God! I want to know I want to know, my God! I want to see I want to see, my God! I want to see I want to see, my God!
INT. LIMOUSINE - NIGHT
Jude is sitting with five men alongside Annas. He sits next to the window as they travel down Hollywood Blvd. Hundreds of people are lined up in sleeping bags under the box office.
They roll past a sign the reads: "Jesus is God". Jude glances at Annas. Annas returns a cold look. 63.
JC (V/O) Why I should die? Would I be more noticed than I ever was before? Will the things I've said and done matter anymore?
EXT. HOLLYWOOD BOWL HILLSIDE - NIGHT
JC stands up to see more into the sky. Blinking lights are in the far distance of the sky.
JC I have to know I have to know my Lord! I have to know I have to know my Lord! I'd have to see I'd have to see my Lord! I'd have to see I'd have to see my Lord! If I die what will be my reward? If I die what will be my reward? I have to know I have to know my God! I have to know I Need to know my God! WHY! I have to die!
EXT. HELIPAD - NIGHT
Jude, Annas and the others climb one by one into a helicopter with engine already running.
JC (V/O) Ohhh tell me why I have to die?
EXT. CLIFF AREA - NIGHT
JC climbs up a bit higher to see an even larger view of Los Angeles. The lights are approaching quickly.
JC Can you tell me now that I will not be killed in vain? Show me just a little of your omnipresent brain! Show me there's a reason for you wanting me to die! You're far to keen on where and when, but not so hot on WHY! 64.
JC is heavily crying now and directs his outrage directly to the approaching lights.
JC (CONT'D) Alright I'll die! AHH! Alright I'll die-- just watch me, see how I die!
JC frantically, scrambles to get down. His face is wet with tears as he grabs branches from bushes and tosses them to clear a path.
He looks down at the camp. None of them flinch. The fire is burned down to a dim flame. JC stops his rage and looks at the peacefulness of his band.
We can hear the sound of distant chopper engines flapping as the wind picks up slightly.
JC (CONT'D) (Softly) Then, I was inspired. Now I'm sad and tired. After all I've tried for three years. Feels like ninety. Why then am I scared to finished what I've started? No, what you've started! I didn't start this!
Helicopters are seconds away now. One of them flies to the left toward the bowl. The other flanks it.
JC turns his attention east across the Freeway. A lit up cross sit atop the opposite hill.
JC (CONT'D) God, thy will is hard. And you hold every card. I will drink your cup of poison! Nail me to their cross and break me!
The searchlights flash on the group below, a few of them wake up. A single light hits JC.
JC (CONT'D) Bleed me beat me, kill me, take me now before I change my mind-- 65.
EXT. THE HOLLYWOOD BOWL - PARKING LOT - NIGHT
In silence, we see the police swarming the gates. The Bowl security is meeting up with the authorities. The Twelve and a few of the remaining fans wake up.
INT. POLICE CHOPPER - NIGHT
Jude speaks into the headset looking down on the camp.
[Ref. Music: No music]
JUDE There he is! They're all asleep, the fools--
[Ref. Music: Traditional Score - Strings only]
JC (V/O) Judas, must you betray me with a kiss?
JC’s voice echoes in Jude's head.
[Ref. Music: "The Arrest" - Original arrangement - Funk style]
EXT. PICNIC AREA - NIGHT
The band and fans come out to congregate in the center of the camp area. Police surround the perimeter as DEA agents and search dogs start rummaging personal belongings.
There is a growing scramble of police and agents. The helicopter's lights illuminate the band. Mary shields her face from the wind.
PETER What's the buzz? Tell me what's happening? What's the buzz?
Peter hazily and hung-over wipes his eyes.
PETER (CONT'D) Tell me what's happening? Tell me what's happening!
Simon and James follow suit. John yawns. 66.
PETER/SIMON/JAMES What's the buzz? Tell me what's happening? What's the buzz? Tell me what's happening?
The police roughly handle the band members, grabbing them and searching them. Mary is thrown on the hood of one of the squad cars right next to John.
James is stoned and can’t deal with the situation. He looks back over his shoulder at DEA agent placing an ounce of weed in an evidence bag.
Simon is more combative with the police. He pushes one of them back.
PETER/SIMON/JAMES/FANS Hang on Lord we're gonna fight for you! Hang on Lord we're gonna fight for you!
The officer whacks a baton on Simon's leg. A fan rushes to Simons rescue. More take on the police. A melee ensues. Mary and John try to break it up.
SIMON Hang on Lord we're gonna fight for you OH!
Police raise tear gas guns in the air. They shoot one after another. The gas grenades burst into plumes of golden clouds.
EXT. THE CURB OF THE STREET AND PICNIC AREA - NIGHT
Two officers escort JC in handcuffs. As he comes forth news vans pull up on the street behind them. Officers guarding the perimeter stop them.
JC screams out to the police and the band in the distance.
JC Put away your swords! Don't you know that it's all over? It was nice but now it's gone. Why are you so obsessed with fighting? Stick to fishing from now on. 67.
EXT. POLICE HEADQUARTERS - NIGHT
JC is slowly being escorted up the steps of the police headquarters. The news and other media outlets are already there.
Stephanie Richards is first on the scene. They have the inside scoop of the arrest of the Twelve.
[Ref Music: "The Arrest" - Original arrangement - Nine Inch Nails tech-rock]
STEPHANIE Tell me, Christ, how you feel tonight?
REPORTER#1 Do you plan to put up a fight?
REPORTER#2 Do you feel that you've had the breaks?
REPORTER#3 What would you say were your big mistakes?
STEPHANIE Do you think that you may retire?
REPORTER#4 Did you think you would get much higher?
REPORTER#1 How do you view your coming trial?
REPORTER#3 Have your team proved at all worthwhile?
INT. HOLDING CELL - NIGHT
The cell is filled with criminals. Most chatter to each other while they inspect the newcomers.
Mary is first through. She walks tough and tightens her jaw. The slimy characters lick their lips as she passes. 68.
INMATES Come with us to see Caiaphus - You'll just love the High Priests' house! You'll just love seeing Caiaphus! You might die in the High Priests' house.
INT. POLICE STATION INVESTIGATIONS AREA - DAY
It’s sunrise. JC walks in a nice suit and in cuffs. Four officers flank him along with a court appointed attorney.
Mary and Peter lag behind the mob of boom-mics and flashing cameras.
STEPHANIE Come on Lord this is not like you! Tell us now what you're gonna do?
REPORTER#1 You know how your supporters feel!
REPORTER#2 You'll escape in the final reel.
REPORTER#3 Tell us Christ how you feel tonight?
STEPHANIE Do you plan to put up a fight?
REPORTER#1 Do you feel that you've had the breaks?
REPORTERS What would you say were your big mistakes?
INT. INTERROGATION DIVISION 120 - DAY
Annas and Caiaphus wait for JC and the rest to come forward into the room.
OFFICERS Now we have him! Now we got him! Now we have him! Now we got him! Now we have him! Now we got him! Now we have him! Now we got him! (MORE) 69. OFFICERS (CONT'D) Now we've have him now, we have GOT him NOW!
The doors close behind them. The press, without court approved passes are removed. The room is filled with witnesses, fans of The Twelve.
Peter and Mary are in the back alongside the rest of the band members. They all sit in scattered pews throughout the courtroom.
JC stands at the podium facing the panel.
CAIAPHUS Jesus you must realize the serious charges facing you. You say you're the son of GOD in all these handouts well is it true?
JC breaks into sarcastic laughter.
JC That's what you say. YOU say that I am!
JC leans into his lawyer.
ANNAS (Cutting off) There you have it gentlemen! What more evidence do you need?
The defense is outraged. The other witnesses in the room try to calm JC's lawyer down. Jude stands in a corner next to the door.Annas acknowledges him.
ANNAS (CONT'D) Jude thank you for the victim. Stay awhile and you may see him bleed!
JC looks at Jude in the corner. Jude returns the scowl.
COURTROOM Now we have him! Now we got him! Now we have him! Now we got him! Now we have him! Now we got him! Now we have him! Now we got him! Take him to Pilate! Take him to Pilate! Take him to Pilate! Take him to Pilate!
They all escort JC out of the large interrogation room. 70.
EXT. CIVIC CENTER COURTYARD - DAY
Mary and Peter are free. They journey through the courtyard toward the street. Peter lags as he reads the pink document.
Mary holds one in her hand as well. She doesn't read it. She stuffs it into her purse and pulls Peter on. They pass a WOMAN in cleaning gear.
She pushes a trash bin with mops, rags and cleaners lining the outside of it. She spots Peter and Mary.
[Ref Music: "Peter's Denial" - Original arrangement - bossanova pop style]
CLEANING LADY I think I've seen you somewhere. I remember! You were with that man they took away. I recognize your face.
Mary isn't looking. She holds up and waits for Peter to finish with the woman.
PETER You got the wrong man lady. I don't know him. I was nowhere near where he was last night. Never near the place!
Mary is taken aback. She grabs Peter and pulls him. They smack into a reporter nearby. He heard the exchange and chimes in.
REPORTER#5 That's strange for I am sure I saw you with him. You were right by his side, and yet you deny!
Mary again tries to pull him away but Peter, still hung over, pulls away from Mary a bit. A SECURITY OFFICER is one of many standing guard around the court.
PETER I tell you I was never ever with him--
SECURITY OFFICER But I saw you too. It looked just like you! 71.
PETER I DON'T KNOW HIM!
The officer and the others back off. Peter walks off frustrated. He heads into Mary who stood her ground. She slaps Peter's face.
MARY Peter do you know what you have said? You've gone and cut him dead.
PETER I had to do it can't you see? Or else they'd go for me--
MARY (Stunned) It's like he told us you would do. I wonder how he knew--
Mary trots off toward the court building. Peter is left with his thoughts. He heads in the opposite direction.
FADE OUT:
FADE IN:
Title Card: "Friday"
INT. ARRAIGNMENT COURT DIVISION 420 - NIGHT
The Bailiff shouts his announcement. The court room is packed with witnesses, jurors, journalists, and spectators.
BAILIFF All RISE!
The courtroom stands at attention. Pilate steps into the hearing room. He immediately heads to JC bypassing the court. JC stands at the defense table shackled in cuffs.
[Ref. Music: "Pilate and Christ" - Score only]
PILATE WHO is this broken man, cluttering up the Hallway? (To Bailiff) WHO is this unfortunate?
BAILIFF Someone Christ, King of the Jews. 72.
PILATE (Sarcastic) Oh so this is Jesus Christ? I'm really quite surprised he looks so small. Not a king at all.
The panel chuckles at Pilate's levity. He puts his glasses on and glances down at the document in front of him.
PILATE (CONT'D) Now we all know that you are news But are you king? King of the Jews?
JC That's what you say.
PILATE stands up firmly. He's offended by the response.
PILATE WHAT do you mean by that! That is not an answer! You're deep in trouble friend! Someone Christ King of the Jews!
Taking off his glasses and begins to walk around to the testimony table.
PILATE (CONT'D) How can someone in your state be so cool about his fate an amazing thing, this silent King?
He comes face to face with JC at the table.
PILATE (CONT'D) Since you come from the Valley you need not come to me. You're Herod's race. (To Annas) He's Herod's case!
Annas at the prosecution table is disappointed along with Caiaphas sitting next to him. Pilate leaves the courtroom.
MONTAGE:
Tabloid pictures flash us one by one like rapid fire. All headlines report the JC and The Twelve concert postponed indefinitely.
“JC in Jail”, “Criminal charges pending”, “JC Nuts? Sees Doctor for Eval”, and “Blasphemer” ends it. 73.
INT. ARRAIGNMENT COURT DIVISION 420 - NIGHT
JC is escorted out of the courtroom. Mary immediately catches up with him. Reporters and paparazzi wait for him just outside the door. They harass Mary just much as the do to JC.
FAN CLUB/REPORTERS/PAPARAZZI Hosanna Hey-sanna, 'Sanna, 'Sanna, Ho-'Sanna, Hosanna-Hosanna! Hey JC, JC please explain to me? You had everything, where is it now?
INT. REHEARSAL STUDIO - DAY
Simon plays the piano softly. Peter strums passionately. James sits behind his drums. John sits on an amp waiting for the melody. Peter nods to Simon to start.
[Ref. Music: “Could We Start Again, Please?” - Original arrangement - Ballad pop style]
SIMON I’ve been living to see you. Trying to see you but it shouldn’t be like this. This was unexpected. What do I do now? Could we start again, please?
James taps the rim in time. John joins in on bass.
SIMON (CONT'D) I’ve been hopeful so far Now for the first I think we’re going wrong. Hurry up and tell me this is just a dream. Or could we start again, please?
JAMES/JOHN Could we start again, please?
SIMON Could we start again, please?
JAMES/JOHN Could we start again, please?
PETER I think you’ve made your point now. You even gone a bit too far to get the message home. (MORE) 74. PETER (CONT'D) Before it gets too frightening, we ought to call a halt. So could we start again please?
EXT. LOS ANGELES COUNTY JAIL VISITOR’S AREA - DAY
Mary hold the phone to her ear. JC is on the other side of the glass. He listens emotionless.
MARY I’ve been living to see you. Dying to see you but it shouldn’t be like this.
JC It’s to be expected.
MARY What do we do now? Could we start again please? I’ve been hopeful so far--
INT. REHEARSAL STUDIO - DAY
Peter sings with more passion.
PETER But now for the first time I think it’s all gone wrong. Hurry up and tell me this is all just a dream! Or could we start again, please?
JAMES/JOHN Could we start again, please?
SIMON I think you’ve made your point now!
SIMON/PETER You’ve even gone a bit too far to get the message home.
EXT. REHEARSAL STUDIO PARKING LOT - DAY
Mary gets out of the car and walks toward the entrance. She opens the studio door.
PETER(V.O.)/MARY Before it gets too frightening. We ought to call a halt! 75.
Mary enters the room and stalls at the doorway.
[Ref. Music: No Music]
The band stops playing. Peter turns his head away in shame. Mary walks slowly to her band.
MARY Could we start again, please?
SIMON Could we start again, please?
Simon meets her and holds her hand.
MARY Could we start again, please?
James comes into the circle with John.
JAMES/JOHN Could we start again, please?
Mary turns her attention to Peter. She reaches out to him.
MARY Could we?
PETER Could we?
[Ref. Music: Music cue for end of song]
VOICES Could we? Could we-- Ahh--
MARY/PETER Could we start again, please?
Peter and Mary embrace each other. She holds the hands of Simon and Peter. The entire bands leaves the studio.
FADE OUT:
FADE IN:
INT. DR. HEROD KING'S DESK - DAY
Littered with files and pictures of JC in compromising situations. One more file drops on top of them. We pull back to see-- 76.
DR. HEROD KING'S OFFICE
A large office adorned with strange items on the desk and the walls. A sliding glass door leads to a patio area.
The couch is a tacky plush velvet maroon color. Sculptures are more Freudian than clinical. JC sits in a single regular chair in the middle of the room ten feet away from the desk.
DR. HEROD KING is a heavy-set man with small sweat-spots under his armpits leans on the desk twirling his pen through his fingers. He stares JC up and down.
[Ref Music: "King Herod's Song" - traditional score]
HEROD Jesus, I am overjoyed to meet you face to face. You've been getting quite a name all around the place. Healing cripples--
Herod picks up the magazine.
HEROD (CONT'D) Raising from the dead? And now I understand your God. At least that's what you've said--
He tosses the tabloid back on the desk. He walks to JC like a kid in a candy shop.
HEROD (CONT'D) So you are the Christ, you're the great Jesus Christ? Prove to me that you're divine--
He glides toward the Arrowhead water cooler.
HEROD (CONT'D) Change my water into wine. That's all you need do, then I'll know it's all true. Come on king of the Jews!
Two very sexy female nurses come out of the side doors. They come to each side of the Doctor.
HEROD (CONT'D) Jesus you just won't believe the hit you've made around here. You're all we talk about, you're the wonder of the year! (MORE) 77. HEROD (CONT'D) Oh but what a pity if it's all a lie-- Still I'm sure that you can rock the cynics if you try!
The nurses do a knee-bend dance together while they stare at JC. JC makes no expression.
HEROD (CONT'D) So you are the Christ? You're the great Jesus Christ?
Herod opens the sliding glass door--
HEROD (CONT'D) Prove to me that you're so cool. Walk across my swimming pool. Now if you do that for me then I'll let you go free. C'mon King of the Jews!
Herod and his nurses dance comically around JC. JC is not amused. Herod's patience is wearing thin.
HEROD (CONT'D) I only ask things I'd ask any superstar. What is it that you've got that puts you where you are?
Herod comes face to face with JC in the chair.
HEROD (CONT'D) I am waiting! Yes I'm a captive fan. I'm dying to be shown that you are not just any man!
Herod moves back into the Charleston line.
HEROD (CONT'D) So you are the Christ, you're the great Jesus Christ? Fill my office with some bread--
One of the nurses brings in a gift basket with a large bagel.
HEROD (CONT'D) You can do it on your head! Or has something gone wrong? Why do you take so long? C'mon King of the Jews!
The three form a can-can line. 78.
HEROD (CONT'D) Hey! Aren't you scared of me Christ? Mr. Wonderful Christ! You're a joke! You're not the lord! You're nothing but a fraud!
The nurses exit the room. Herod presses a button on the phone.
HEROD (CONT'D) Take him away, he's got nothing to say!
He signs a document furiously and rips back into JC.
HEROD (CONT'D) Get out you King of the - get out! UGH! Get out you king of the Jews!
Herod pitches a fit to himself around the entire room.
HEROD (CONT'D) Get out! Get out of my life!
He turns back to his professional self as the doors open. In come two officers in charge of cuffing JC again and escorting him out of the office. JC stares at the doctor as he walks out.
ON TV SCREEN: Stephanie Richards gives her report. Her hair is a bit messy and make up runs.
STEPHANIE The latest we have on the trial, today in Simi Valley, JC met with the US Dept. Of Mental health clinician Dr. Herod King for a psych evaluation. Now so far the word has come down that the concert is postponed indefinitely. But that is why the attorneys of the JC camp are trying to speed up the process however they are not confident JC will be exonerated of any of the criminal acts he was accused of committing.
Stephanie's demeanor changes from professional to a sarcastic tone. 79.
STEPHANIE CONT'D) We, uh tried to speak with someone, anyone from the JC camp but, uh, no one was available for comment. So, um, most of what I just said is predominately unsubstantiated.
Stephanie looks directly into camera with a slight scowl.
STEPHANIE So when we get some concrete information I'm sure we will be the first to bring it to you. Back to you in the studio--
CUT TO BLACK:
Title Card: “Three hours later”
FADE IN:
INT. LIMOUSINE - NIGHT
Jude is disturbed by the images on the evening news. His face is wet with a mixture of tears and perspiration.
Jude flips the station to CNN. Pictures of JC beaten down continue to litter the airwaves. Jude flips open the visual contact on his phone. He places it on the island.
The phone is ringing. He mutes the little TV with the remote.
[Ref. Music: "Judas' Death"- traditional score]
JUDE My God! I saw him, he looked three quarters dead! And he was so bad I had to turn my head! You've beat him so hard that now he's bent and lame! And I know who everybody's going to blame! I don't believe he knows I acted for our good. I'd save him all this suffering if I could! Don't believe our good-- Save him if I could--
The female a assistant from Caiaphus' office is on the line.
CONSPIRATOR Cut the protesting forget the excuses. I don't understand why you're filled with remorse. (MORE) 80. CONSPIRATOR (CONT'D) All that you've said has come true with a vengeance. The fans have turned against him. You've backed the right horse.
Caiaphus joins the video conference call.
CAIAPHUS What you have done will be the saving of this world. You'll be remembered forever for this. And not only that you've been paid for your efforts. Pretty good wages for one little kiss.
CLICK! Caiaphus diconnects the video conference.
EXT. ROOF OF CAPITOL RECORDS BLDG. - NIGHT
Jude is on the roof leaning against the railing. His suit is worn and his tie as half off of his neck. His face is sopping wet with tears and fears.
JUDE Christ I know you can't hear me. But I only did what you wanted me to. Christ I'd sell out the Nation, for I have been saddled with the murder of you.
Jude moves to the other side looking over the Hollywood skyline.
JUDE (CONT'D) I have been spattered with innocent blood. I shall be dragged through the slime and the mud! I have been spattered with innocent blood! I shall be dragged the slime and the-- slime and the-- slime and the MUD!
Jude walks around to the other side of the railing.
EXT. HOLLYWOOD BLVD. - DAY
We roll down the sidewalk seeing long lines of protesters and weeping followers. At the corner of Hollywood and Highland a small hill of flowers block the sidewalk.
JUDE (V.O.) I don't know how to love him - I don't know why he moves me. 81.
INT. STARBUCKS COFFEE HOUSE - DAY
Patrons stand in shock while watching the television. The news reports JC is condemned.
JUDE (V.O.) He's a man. He's just a man. He's not a king. He's just the same as anyone I know. He scares me so!
EXT. THE US 101 FREEWAY - DAY
Graffiti on the Cahuenga overpass calls Jude Scott a traitor. Another overpass calls Jude a liar.
EXT. ROOF OF CAPITOL RECORDS BLDG. - NIGHT
JUDE When I'm cold and dead, will he let me be? Will he love-- does he love me too? Does he care for me? Ah!
Jude doubles over in pain. He looks down at the ground below.
[Ref. Music: “Judas' Death” - Crystal Method style]
JUDE (CONT'D) My mind is darkness now--
Vine Street is crowded. He's crying uncontrollably now.
JUDE (CONT'D) My GOD! I am sick, I've been used And you knew ALL the time GOD! I'll never ever know why you chose me for your crime! You're foul bloody crime!
Jude climbs over the railing and stables himself with both hands behind him.
VOICES Poor ol' Judas-- So long Judas-- Poor ol' Judas-- So long Judas--
JUDE You have murdered me! 82.
VOICES Poor ol' Judas-- So long Judas-- Poor ol' Judas-- So long Judas--
JUDE Murdered me! Murdered me! Murdered me!
MONTAGE:
Jude's fingers slowly slide off of the railing. Images of the world tour flash. The conspirators toasting to a victory. Riots and mayhem in the city streets.
EXT. ROOF OF CAPITOL RECORDS BLDG. - NIGHT
Jude is quiet and emotionless now. He lets another final finger release.
[Ref. Music: No Music - acopella]
VOICES Poor ol' Judas-- So long Judas-- Poor ol' Judas-- So long Judas--
He gracefully lets go, closes his eyes, and descends toward the street arms spread wide. He falls.
VOICES (CONT'D) Poor ol' Judas-- So long Judas-- Poor ol' Judas-- So long Judas--
We hear faint screams and commotion on the street as we look out at the Hollywood landscape.
FADE OUT:
Title Card: “Two hours earlier...”
FADE IN:
INT. TRIAL COURT DIVISION 86 - DAY
[Ref. Music: Score - Original arrangement]
The courtroom is packed with court clerks, bailiffs, news reporters, journalists, witnesses and fans. Flash bulbs litter the scene. Pontius Pilate comes into the courtroom.
Pilate is not amused with the scene. 83.
PILATE And so the king is once again my guest. And why is this? Was Herod unimpressed?
Caiaphus with Annas stand at the bench for the prosecution.
CAIAPHUS We turn to you to sentence Nazareth. We have no “law” to put a man to death. We want him crucified. It's all you have to do. We need him crucified. It's all you have to do.
We swing around the room. JC is sitting in the witness stand looking very intense. Pilate paces on the floor while he questions the defendant.
[Ref. Music: "Trial By Pilate" - Original arrangement - Metal punk style]
PILATE Talk to me Jesus Christ! You have been brought here manacled, beaten by your own people. Do you have the first idea why you deserve it? Listen King of the Jews, where is your Kingdom? Look at me! Am I a JEW?
JC (Snapping back) I have got no kingdom in THIS world! I'm through, through, through!
COURTROOM Talk to me Jesus Christ!
JC There maybe a Kingdom for me somewhere if I only knew--
PILATE Then you ARE a king?
JC It's you that say I am. I speak the truth, and I find that I get damned! 84.
PILATE But what is truth? Is truth unchanging law? We both have truths? Aren't mine the same as yours?
JURORS CRUCIFY HIM!
Pilate turns to the jury strongly.
PILATE (To jurors) What do you mean? You’d crucify your king?
JURORS We have no King but Caesar!
PILATE He’s done no wrong! Not the slightest thing!
JURORS We've got no King but Caesar!
COURTROOM CRUCIFY HIM!
PILATE Well this is news! Respect for Caesar. Til now this has been noticably lacking. Who is this Jesus? Why is he different? You Jews produce Messiahs by the sackful!
A courtroom worker opens the side door. The “real” hardened criminals come into the glass encased room. Each one chained side by side.
CAIAPHUS We need him crucified. It’s all you have to do.
JURORS We need him crucified! It’s all you have to do!
[Ref. Music: No Music] 85.
PILATE (To JC) Talk to me! Jesus Christ!
Pilate gathers his composure. He walks back to the bench and pulls JC’s file.
PILATE (CONT'D) (Thumbing through) Look at your Jesus Christ. I’ll agree he’s mad. Ought to be locked up! But that is not a reason to destroy him!
Pilate tosses the file back on the table.
PILATE (CONT'D) He’s a sad little man. Not a king or God. Not a thief-- I need a crime!
[Ref. Music: cue music - metal chords]
Annas stands in prosecution.
ANNAS He says he’s God! His claims are baseless--
The courtroom is madness. Everyone shouting their objections to JC.
COURTROOM He’s blasphemer! Thou shall not bear false witness! Kill him! He’s causes death and confusion!
CAIAPHUS He’ll conquor you! And eventually Caesar!
Pilate raises his hands to the courtroom and comes face to face with Caiaphus. Caiaphus sits down.
Pilate walks over to The Twelve sitting in the courtroom.
PILATE Behold the man. Behold your shattered king!
[Ref. Music: Speed Metal chords] 86.
JURORS We have no King but Caesar!
PILATE You hypocrites! You hate us more than him!
JURORS We've got no King but Caesar!
COURTROOM CRUCIFY HIM!
PILATE I see no reason. I find no evil. This man is harmless so why does he upset you? He's just misguided. Thinks he's important. But to keep you vultures happy I shall flog him!
Pilate walks over to the bailiff and who hands him a black case.
COURTROOM CRUCIFY HIM! CRUCIFY HIM! CRUCIFY, CRUCIFY, CRUCIFY!
The Bailiff takes JC down to the middle of the floor. JC doesn't resist.
COURTROOM (CONT'D) CRUCIFY HIM! CRUCIFY HIM! CRUCIFY, CRUCIFY, CRUCIFY!
Tight on JC's face. He's been here before. He breathes heavily.
COURTROOM (CONT'D) CRUCIFY HIM! CRUCIFY HIM! CRUCIFY, CRUCIFY, CRUCIFY!
Pilate flicks open the latches on the black case and opens it to--
FLASH CUT TO:
EXT. ROMAN TRIAL GROUND - DAY
[Ref. Music: "Thirty-Nine Lashes" - Crystal Method style beat] 87.
The courtroom turns into a Roman trial ground. The witnesses are sitting on the side of the gallery.
Roman guards strip Jesus to the bareback as Mary and Peter stand lost in the crowd. Mary is horrified and can't bear to watch. Peter shields her eyes.
Christians are crying and weeping hysterically as Pontius Pilate commences the lash count on every measure.
The Roman guard unravels the leather whip. With every crack the present day courtroom lights up with a picture of religious leaders past and present projected on the walls.
By the thirty-fourth lash Jesus is broken down to his knees.
PILATE Thirty-five!
Blood splatters on JC’s back.
PILATE (CONT'D) Thirty-six!
JC screams in pain!
PILATE (CONT'D) Thirty-seven!
Mary begs for mercy as Peter buries her head into his chest.
PILATE (CONT'D) Thirty eight!
Pilate raises his right hand high in the air.
INT. TRIAL COURT DIVISION 86 - DAY
Pilate yells the last one and waves his hand up!
PILATE --Thirty-Nine!
[Ref. Music: No music]
JC is on the floor sobbing. The room is quiet. Pilate comes to JC's face. JC is beaten and battered in the middle of the floor. A spotlight surrounds them. The room is black.
He leans over to JC’s ear.
[Ref. Music: Traditional Score] 88.
PILATE (CONT'D) (Whispering) Where are you from Jesus? What do you want Jesus, tell me. You've got to be careful. You could be dead soon. Could well be.
Pilate lifts JC's head up to look at him.
PILATE (CONT'D) Why do you not speak when I have your life in my hands? How can you stay quiet? I don't believe you understand!
JC grabs Pilate's hands unexpectedly. The bailiff and the sheriff get ready to pounce. Reporters strain to hear what is said. Photographers fight for position.
[Ref. Music: No Music]
JC You have nothing in your hands-- Any power you have comes to you from far beyond. Everything is fixed and you can't change it--
Pilate pulls away and stands up straight.
[Ref. Music: Original arrangement]
PILATE You're a fool Jesus Christ! How can I help you?
CAIAPHUS/ANNAS Pilate, Crucify him! Crucify!
SWITCH TO:
EXT. ROMAN TRIAL GROUND - DAY
The citizens in the Roman yard are in the same positions as the modern courtroom. The stone wall are lined with spectators dressed in biblical clothes.
JURORS Remember Caesar! You have a duty! To keep the peace so-- 89.
COURTROOM CRUCIFY HIM!
BACK TO:
INT. TRIAL COURT DIVISION 86 - DAY
The paparazzi and the news journalists are feverishly writing notes. Pilate can't escape the hatred no matter where he turns.
REPORTERS/PHOTOGRAPHERS Remember Caesar! You'll be demoted! You'll get deported!
COURTROOM CRUCIFY HIM!
PROSECUTION/ANNAS/CAIAPHUS Remember Caesar! You have a duty! To keep the peace so.
The entire courtroom is screaming at Pilate who stands just a few feet away facing JC. He surveys the floor.
COURTROOM CRUCIFY HIM! Remember Caesar! You'll be demoted! You'll get deported! CRUCIFY HIM!!
PILATE (To JC) DON'T LET ME STOP YOUR GREAT SELF DESTRUCTION! DIE IF YOU WANT TO, YOU MISGUIDED MARTYR! I WASH MY HANDS OF YOUR DEMOLITION! DIE IF YOU WANT TO--
[Ref. Music: No Music]
PILATE (CONT'D) YOU-- Innocent puppet!
BLACK OUT:
[Ref. Music: "Superstar intro" - Traditional Score]
FADE IN: 90.
INT. STAGE IN THE ARENA - NIGHT
Jude stands center stage with rows and rows of gorgeous females all dressed in white metallic spandex. He is also in all white illuminated by the spotlights.
[Ref. Music: "Superstar" - Original arrangement]
JUDE Every time I look at you I don't Understand, why you let the things you did get so out of hand. You'd have managed better if you had it planned. Why'd you choose such a backward time in such a strange land? If you lived today you would have reached a whole nation. Israel Four B.C. had no mass Communication.
INT. DEATH ROW - NIGHT
JC is the dead man walking. The priest behind him reads from scripture. The guards escort JC down the corridor.
GIRLS (V.O.) Don't you get me wrong!
JUDE (V.O.) Don't get me wrong!
GIRLS (V/O) Don't get me wrong now!
JUDE (V.O.) Don't you get me wrong!
GIRLS (V/O) Don't you get me wrong!
JUDE (V.O.) Don't get me wrong baby--
GIRLS (V.O.) Don't you get me wrong now!
JUDE (V.O.) Baby, don't get me wrong! 91.
INT. STAGE IN THE ARENA - NIGHT
The flashy dance continues on. Jude now dons a headset and hip-hop style clothing.
GIRLS I just wanna know--
JUDE I wanna know!
GIRLS I only wanna know, now!
JUDE I just wanna know now!
GIRLS I wanna know!
JUDE I wanna know, baby!
JUDE/GIRLS I ONLY WANT TO KNOW!
The girls pose front on the stage, arms outstretched.
GIRLS Jesus Christ - Jesus Christ? Who are you what have you sacrificed?
INT. DEATH CHAMBER - NIGHT
JC is helped up the steps to a large flat circuit board. Straps dangle in a cross figure. He is placed with his back against the cold steel. Head is strapped in first.
The witnesses are sitting stoically behind the glass.
WITNESSES (O.S.) Jesus Christ! Jesus Christ! Who are you what have you sacrificed?
INT. STAGE IN THE ARENA - NIGHT
The ensemble is in a biblical outfit.
GIRLS Jesus Christ Superstar? Do you think you're what they say you are? 92.
INT. CIRCUIT BOARD - NIGHT
[Ref. Music: Musical Break]
JC's can barely move his face muscles to speak. An OFFICER steps forward.
OFFICER Any last words?
JC God forgive them. They don't know what they're doing--
INT. STAGE IN THE ARENA - NIGHT
Jude is now wearing a modern day rock star outfit complete with sagging jeans. The girls are dressed in club wear still uniformly grooving to the music.
JUDE Tell me what you think about your friends at the top. Who'd you think besides yourself's the pick of the crop? Buddha was he where it's at? Is he where you are? Could Mohammed move a mountain? Or was that just PR?
Jude points straight at us from Center Stage.
JUDE (CONT'D) Did you mean to die like that? Was that a mistake or did you know messy death would be a record- breaker?
INT. DEATH CHAMBER - NIGHT
The priest and the guards file out of the room. The technician does his routine and official last inspection of the steel circuit board. He documents every calibration.
GIRLS (V.O.) Don't you get me wrong!
JUDE (V.O.) Don't you get me wrong! 93.
GIRLS (V.O.) Don't get me wrong now!
JUDE (V.O.) Don't you get me wrong now!
INT. STAGE IN THE ARENA - NIGHT
Jude joins in on the choreography. He spins like Simon and splits like James Brown before he gets back up to step in line.
GIRLS Don't get me wrong baby!
JUDE Don't you get me wrong!
GIRLS Don't you get me wrong now!
JUDE Baby, don't get me wrong!
INT. DEATH CHAMBER - CIRCUIT BOARD - NIGHT
JC cries out in anguish one last time.
JC God why have you forgotten me!
The singing continues through the image of the technicians turning everything on to standby position. The WITNESSES are prepared with note pads.
JUDE (V.O.) I just wanna know!
GIRLS (V.O.) I wanna know!
JUDE (V.O.) I only wanna know now!
GIRLS(V.O.) I wanna know now! 94.
INT. STAGE IN THE ARENA - NIGHT
The dancers move into position at the front of the stage with JUDE dead center.
JUDE All I wanna know!
GIRLS All I wanna know now!
JUDE/GIRLS I ONLY WANT TO KNOW!
The group throws their hands skyward again. We see the entire cast upstage of Jude lit in a special spot where they stand. They sing the mantra along with the Girls on stage.
GIRLS/CAST Jesus Christ - Jesus Christ? Who are you what have you sacrificed? Jesus Christ - Jesus Christ! Who are you what have you sacrificed? Jesus Christ Superstar? Do you think you're what they say you are? Jesus Christ Superstar? Do you think you're what they say you are?
They repeat the chorus over and over again. Jude ad-libs throughout. The choreography is taken out into the aisles.
The girls dance their way up and out of the building. We still hear their choruses, while Jude is left on center stage looking directly into our eyes. Music cross-fades into--
INT. DEATH CHAMBER - NIGHT
[Ref. Music: Crossfade to "The Crucifixion"]
The room is tense. All witnesses sit still and quiet. JC lifts his head toward the ceiling.
JC is emaciated. The clock reads 11:59. The guard watches the clock closely. The minute hand is almost at twelve. The operator waits for the cue to flip the switch. 95.
JC Father-- into your hands-- I commend-- my spirit--
CLOCK
The minute hand moves to midnight. The guard nods to the Operator.
Silence. CLICK! An extremely low and heavy hum of energy rages in the room. We follow the surge up to the circuit board crucifix where JC shakes.
CONTROL ROOM
CRACK! Sparks fly in the small room. The guard sees the commotion but unable to help as the operator grabs the extinguisher. The entire Chamber rattles with this energy.
Witnesses cup their ears and are visibly shaken by the energy in the booth. They are powerless to leave.
JC vibrates uncontrollably. The circuit board illuminates into an EXPLODING BLINDING LIGHT. We see the outline of JC’s Crucifixion.
WHITE OUT:
FADE IN:
EST. SKY - DAY
It's morning. We come down from the blue sky over a small Baptist church.
EXT. BAPTIST CHURCH - DAY
We hear faint music. Sounds of thunderous hand-clapping from a full Gospel Choir. At the front door, which is wide open, we can see in the church a spirited congregation. The music gets louder as we come closer.
[Ref. Music: Gospel version of "Superstar" - Original arrangement]
INT. BAPTIST CHURCH - DAY
The minister is Jude singing ad-libs over the chorus. The female sopranos and altos sing up front on the riser. 96.
[Ref. Music: "Superstar" up-tempo Chorus out - American Gospel style - Six part harmony]
SAPPRANOS Jesus Christ! Jesus Christ! Who are you? What have you sacrificed?
SAPPRANOS/ALTOS (In Harmony) Jesus Christ! Jesus Christ! Who are you? What have you sacrificed?
The church band rocks out complete with tambourines and shakers. The church patrons appear as the ensemble of the story.
The male tenors and bass vocalists members join in the second half of the refrain.
SAPPRANOS/ALTOS (CONT'D) Jesus Christ! Superstar! Do you think you’re what they say you are? Jesus Christ! Superstar! Tell me, tell me--
BASS/TENOR (Simultaneous) J-C Superstar! J-C Superstar! Do you, Do you? Hey-hey superstar! JC Superstar! J-C Superstar! Tell me tell me--
The minister gives a cue for a key modulation. He points to the band raising his index finger up.
[Ref. Music: Six part harmony - Original arrangement - chord modulation up]
All vocalists join in. Worshippers dance and sing in the isles. A light comes through the stained glass window.
FEMALE CHOIR/MALE CHOIR Jesus Christ! Jesus Christ! Who are you? What have you sacrificed? J-C Superstar! J-C Superstar! Tell me, tell me, Hey- hey superstar!
The choir repeats the chorus. The minister stands at the alter arms stretched and eyes closed. 97.
FEMALE CHOIR/MALE CHOIR (CONT'D) Jesus Christ! Superstar! Do you think you’re what they say you are? J-C Superstar! J-C superstar! Do you, do you, Hey-hey superstar!
Select choir members fill the church by coming into the pews and singing with fellow worshippers. An old woman stands up and sings a vocal ad lib over the music.
FEMALE CHOIR/MALE CHOIR (CONT'D) Jesus Christ! Superstar! I only wanted to know-- JC Superstar! J-C Superstar! I only wanted to know--
The minister gives another cue. He looks at the band and throws his hands up for a key modulation.
[Ref. Music: Six part harmony - Original arrangement - chord modulation up]
FIRST TENOR/SAPPRANOS Glory, glory hallelujah! I only wanted to know! Glory, glory hallelujah I only wanted to know!
SECOND TENOR/ALTO Glory, glory hallelujah! Ahh-Ahh, I wanna know!/ I wanna know! Glory, glory hallelujah! Ahh-Ahh, I wanna know!/ I wanna know!
BASS Glory-Glory Hallelu’ Glory-Glory hallelu-jah! I wanna know!
TENORS/SAPPRANOS/ALTO Glory, glory hallelujah! Ahh-Amen! Glory, glory hallelujah Ahh-Amen!
FIRST SAPPRANO Jesus Christ, Superstar! Ahh-Ahh Forever Amen! Jesus Christ, Superstar! Ahh-Ahh Forever Amen! 98.
TENORS/SECOND SAPPRANO/ALTO Glory, glory hallelujah! Ahh-Ahh Forever Amen! Glory, glory hallelujah! Ahh-Ahh Forever Amen!
BASS Glo-ry Hallelu’ Glo-ry hallelu-jah! Forever Amen! Glo-ry Hallelu’ Glo-ry hallelu-jah! Forever Amen!
TENORS/SAPPRANOS/ALTO Jesus Christ Superstar Ahh-Ahh Forever Amen! Jesus Christ Superstar Ahh-Ahh Forever Amen!
The minister conducts the band to a close.
CHOIR Jesus Christ Superstar! Ahhh-men!
The drummer goes crazy with a big finish! He crashes the cymbals on the one. The choir and patrons of the church stand with hands folded.
The people dissolve to air as The Minister stands in front of the altar with hands folded in prayer. The church is silent and empty. We pull backwards out of the church and enter--
EXT. NEIGHBORHOOD - DAY
The neighborhood is bustling about with their routine morning bliss. Neighbors exchange pleasantries, walking dogs, and jogging with their ipods.
EXT. GARAGE DOOR - DAY
We come upon the garage door where the story began. The security light turns off. The garage door slowly pushing upward and opening--
FADE TO BLACK:
FADE IN: 99.
INT. DEATH CHAMBER - (NO TIME)
JC still hangs in his final pose. He is lifeless and alone in the room. He suddenly wakes up and releases his own arms from the straps and steps down from the perch.
He moves toward us and then out of the room and down the hallway whistling the epilogue of JOHN 19:41.
[Ref. Music: "John 19:41 Instrumental" - Traditional Score - Strings only]
JC calmly and contently disappears into the dark hallway. The music picks up.
EXT. GARAGE DOOR - DAY
It's opened all the way now. We see the players of THE TWELVE standing staggered inside. They are dressed in regular clothing.
From left to right we see everyone from Mary and Peter to Annas and Stephanie Richards.
They split apart as we push our way through them slowly and come up to the mysterious man who began the journey, still with headphones on sitting in the same spot behind the group.
[Ref. Music: The music fades to silence.]
The man presses the button to his right on the music machine. Click! It's off. He removes his headphones and looks up at the players.
MAN Thanks guys. I really appreciate it.
FADE OUT:
THE END