Time Travel Jersulem

A BRILLIANT YOUNG PRIEST IN A CHRISTIAN COLLEGE WHO TEACHES ASTRO PHYSICS DISCOVERS A TIME TRAVEL METHOD THAT TRANSFERS HIS SUBJECTS BACK TO THE TIME OF CHRIST. STORY SYNOPSIS Title: The Chrono Gospel Genre: Science-Drama, Mystery, Faith Thriller Tone: Thought-provoking, tense, emotional, with moments of awe Logline: When a brilliant young priest at a Christian college uses his groundbreaking astrophysics research to send students back to the time of Christ, his invention sparks miracles, faith crises, and a deadly hunt by those who want to control history itself. Setting: Present Day — St. Raphael’s College, a prestigious Christian university in Boston. First Century Judea — the Roman-occupied region during the ministry of Jesus.

Main Characters: Father Hanson (33) — A gifted priest and astrophysicist, known for his unorthodox thinking. Torn between scientific curiosity and deep reverence for scripture. Sister Damian (29) — Former archaeologist turned nun. Secretly struggles with her faith. Dean Victor Kane (55) — College administrator, politically ambitious, sees Gabriel’s work as dangerous. Elias Grant (21) — Bright but cynical physics student who becomes the first test subject to travel. Pontius Marcus — Roman centurion in Judea, becomes aware of the time travelers.

Act Structure: ACT 1 – The Discovery Father Hanson, teaching advanced astrophysics, introduces a controversial theory about temporal displacement using gravitational wave harmonics. He secretly builds a device — "The Lazarus Array" — in the college’s physics lab. When a student accidentally activates it during a late-night experiment, they vanish and reappear with sand on their shoes and vivid memories of ancient Jerusalem. ACT 2 – The Mission Testing the device on purpose, Gabriel sends Sister Damian and Elias back to witness events from the Gospels. They see Jesus teaching in the Temple — but must remain hidden to avoid altering history. Word leaks to the Dean, who sees a way to use this technology for profit and influence. Meanwhile, strange historical inconsistencies begin appearing in the present — suggesting time is being altered. ACT 3 – The Betrayal A rogue group within the Vatican learns of Gabriel’s discovery and tries to seize control. Gabriel’s final experiment sends him back to the night of the Last Supper. He faces the temptation to intervene in Christ’s fate — risking the unraveling of history and faith itself. In a final, emotional moment, he returns to the present… but not alone.

Themes: Science as a bridge or a threat to faith The ethics of altering history The human need for proof versus the need for belief

SCREENPLAY OPENING – “THE CHRONO GOSPEL” FADE IN: EXT. ST. RAPHAEL’S COLLEGE – TWILIGHT The ivy-covered spires of a prestigious Christian university glow in the setting sun. Students cross the quad, books under arm. The faint sound of a chapel bell tolls. INT. LECTURE HALL – EVENING Rows of students watch FATHER HANSON (33), black clerical shirt under a lab coat, scribbling complex equations across the blackboard. His eyes burn with conviction. FATHER HANSON Time... is not a straight line. It’s a tapestry — threads woven in ways we barely comprehend. And sometimes... just sometimes… a single tug can reveal the whole design. The students exchange skeptical glances. ELIAS GRANT (21), a cocky physics prodigy, raises a hand. ELIAS You’re saying we could... move along the tapestry? Like time travel? Gabriel smiles faintly. FATHER HANSON I’m saying... the universe itself might allow for such a journey. But the question isn’t “can we?” It’s “should we?” A soft knock at the back of the hall. SISTER DAMIAN HALE (29) steps in, clutching a folder. She catches Gabriel’s eye — something urgent.

INT. PHYSICS LAB – LATER The lab is dim except for the glow of monitors. In the center — an odd, circular apparatus of steel arcs and copper coils: THE LAZARUS ARRAY. SISTER DAMIAN They’ll shut you down if they find out. FATHER HANSON Then we’ll have to make history... before they can stop us. He powers up the device. A low hum becomes a vibrating roar. INT. LAB – CONTINUOUS Elias, curious, steps onto the platform. ELIAS What happens if I— He flips a lever. A flash of blinding light. The sound of rushing wind. Elias is gone. The only trace — a single grain of sand falls to the floor. Gabriel and Miriam stare in shock. FATHER HANSON (whisper) God forgive us… SMASH TO BLACK.

ACT ONE FADE IN: EXT. ST. RAPHAEL’S COLLEGE – NIGHT A winter wind combs the quad. The chapel bell tolls NINE. Students hustle across the lamplit paths. INT. PHYSICS LAB – NIGHT Dark except for oscilloscopes and the pulsing ring of THE LAZARUS ARRAY—copper arcs nested like a halo. FATHER HANSON ARDENT (33), collar under a lab coat, checks a chalk-smeared notebook. SISTER DAMIAN HALE (29) sets a metronome on the console—tick, tick, tick. ELIAS GRANT (21), hoodie over a campus tee, rubs his palms, trying to look braver than he is. FATHER HANSON We do this once. Observe only. No contact. We are not apostles—we’re auditors. ELIAS Got it. No selfies with Caesar. SISTER DAMIAN That would be Herod Antipas, not Caesar. Miriam meets Gabriel’s eyes—last chance to abort. He nods. FATHER HANSON On your mark, Elias. Elias steps to the platform. He pockets a STUDENT ID, pats a small CAM strapped to his chest. SISTER DAMIAN (quiet) Lord, keep foolishness from our hands. Gabriel flips heavy breakers. The Array hum deepens—an organ note you feel in your bones. FATHER HANSON Synchronization: gravitational baseline plus eight hertz. Window opens… now. The copper ring blossoms with light—air writhes, colors shear. Elias braces— WHOOMPH. He’s GONE. A scattering of fine dust drifts like snow. Miriam slaps the metronome—stops it. She and Gabriel stare at the empty platform. SISTER DAMIAN We just threw a stone into the Sea of Galilee. FATHER HANSON (let’s work) Telemetry. Gabriel checks a monitor: heart rate, camera feed—static snow, then—

MATCH CUT TO: EXT. JERUSALEM – CITY GATE – PRE-DAWN (33 CE) A horn blares. Goats bleat. Elias lies in powdery dust beneath a weathered arch. He coughs, eyes wide to a skyline of mud-brick roofs under a paling sky. Distant—TEMPLE TRUMPETS answer the dawn. His chest-cam flickers: faint image. He taps it—working. He stands, wobbly, turns—CROSSFLOW OF PEOPLE in rough tunics, vendors setting out dates and figs. A ROMAN PATROL clanks past. Elias’ breath snags. ELIAS (under breath) Oh my God. He tucks his hoodie under a borrowed cloak (from a nearby cart—coin left in its place), and forces himself into the flow. INT. PHYSICS LAB – NIGHT (PRESENT) Gabriel and Miriam stare at Elias’ POV on the monitor—ancient streets, faces, sunlight knifing through alleys. SISTER DAMIAN It’s… it’s the Tyropoeon Valley. FATHER HANSON Check-in, Elias. Confirm status. INTERCUT – LAB / JERUSALEM ELIAS (cupping ear) I hear you. Audio’s faint. Camera’s rolling. I’m… here. A CHILD brushes past Elias, giggling. A WOMAN adjusts a water jar, eyeing his strange shoes. FATHER HANSON Anchor point is stable for twenty minutes. Do not deviate. Confirm no contact. ELIAS Copy. No— (he stops) Up ahead—A RAGGED KNOT OF PEOPLE in a street alcove. A MAN’S VOICE, steady and warm, carries in Aramaic. The crowd leans in as if drawn by gravity. Elias can’t see the speaker, only the HOODS and SHOULDERS of those listening, faces lit from within by… something. SISTER DAMIAN (whispering) He’s teaching. FATHER HANSON Keep your distance, Elias. Elias goes to tiptoe—just a sliver of a MAN’S BACK beyond the crowd. Calm. Radiant in stillness. He reaches for a closer view— A HAND clamps Elias’ shoulder. He spins—

PONTIUS MARCUS (40s), a Roman centurion with intelligent eyes, flanked by two soldiers. MARCUS (in Latin; subtitled) You. Where is your tax token? Elias freezes. He doesn’t understand the Latin—his brain floods. ELIAS I—I don’t— MARCUS Aramaic, then. Your quarter. Are you deaf? Elias fumbles in his pocket—pulls a modern QUARTER. Marcus snatches it, sees the eagle—sharpens. He rubs the RIDGED EDGE with his thumb. MARCUS Which mint is this? He flips it to the obverse—WASHINGTON’S PROFILE. Marcus’ eyes tighten. ELIAS (almost a whisper) Heads. Marcus leans in, intrigued more than suspicious—for now. MARCUS Come. The prefect’s man likes oddities. He gestures. The soldiers nudge Elias forward. LAB – PRESENT Miriam tenses. Gabriel weighs panic against protocol. SISTER DAMIAN He’s being detained. FATHER HANSON Stay on the anchor. Seventeen minutes remain. SISTER DAMIAN Gabriel— FATHER HANSON If we rip him out near witnesses, we risk— (beat) Elias. Comply, but stay near the anchor radius. If moved beyond the gate—count your steps back. ELIAS (V.O.) Copy.

EXT. JERUSALEM – COURTYARD – MORNING Marketplace churn. The soldiers push Elias to a shaded portico. A MINOR OFFICIAL lounges behind a rough table with wax tablets. A SCRIBE dips a stylus. Marcus drops the QUARTER onto the wood. The official picks it up like it might bite. OFFICIAL Whose head is this? ELIAS (Aramaic, rough) A… leader. From far away. OFFICIAL A Jew? ELIAS No. The official eyes Elias’ CLOTH (the hoodie fabric), rubs it, puzzled by the weave. OFFICIAL You’re not from Galilee. MARCUS He’s from nowhere I know. Off to the side, that same warm VOICE floats faintly from the street alcove—finishing a parable. The crowd murmurs “Amen.” A ripple of quiet power through the air. Elias risks a glance. The MAN—just a profile now, a smile like a sunrise—turns away from the crowd, walking toward a narrower lane. Elias’ eyes fill—emotion he didn’t plan on. OFFICIAL (to Marcus) Take him to the prefect’s man after midday. If he runs, cut his sandals. They shove Elias back into the street. Marcus keeps the coin. MARCUS (quietly) Walk with me. Do not startle the wolves. They merge into the flow. Marcus’ grip eases—he’s curious. MARCUS Your eyes are like a man who’s seen death and come back laughing. ELIAS Maybe. Elias clocks a LANDMARK: a split fig tree, a chipped cistern, the city gate tower. He counts steps, under breath. ELIAS (whisper) One hundred… ninety-nine… anchor… LAB – PRESENT The ANCHOR TIMER ticks down: 08:41.

SISTER DAMIAN He’s smart. He’s breadcrumbing his way back. Gabriel doesn’t answer. He stares at the monitor, transfixed by the sound of that distant Teacher’s voice. Something tender breaks across his face. FLASH CUT – MEMORY: INT. SMALL COUNTRY CHURCH – DAY (YEARS AGO) Young Gabriel, a teen, watches his dying mother smile at a stained-glass Christ. Sunlight halos dust motes. BACK TO SCENE FATHER HANSON (softly, to himself) He’s… real. SISTER DAMIAN Of course He’s real. FATHER HANSON No—I mean… historically, in photons. Miriam almost smiles despite herself. INT. ADMINISTRATION HALLWAY – SAME NIGHT (PRESENT) DEAN VICTOR KANE (55), polished and chilly, walks with DR. ADA LEE (40s), cybernetics. They pass a locked security door: PHYSICS SUB-BASEMENT—RESTRICTED. DEAN KANE Father Ardent’s grant ledger is… creative. Keep an ear to the ground. DR. LEE He’s brilliant. Also reckless. Kane stops at a window overlooking the quad—lights on in the lab wing. DEAN KANE Brilliance is leverage. Recklessness is opportunity. EXT. JERUSALEM – ANCHOR STREET – LATE MORNING Elias and Marcus reach the arch where Elias arrived. The crowd thins. A CRY—street scuffle nearby. Marcus turns his head— Elias bolts. MARCUS (amused) There you are. He doesn’t shout. He pursues at a measured pace. ELIAS (breathing) Thirty… twenty-nine… He reaches the precise center of the arch, breath ragged. The array’s harmonic WHINE threads the air—a sound only he notices. He looks back: Marcus slows, eyes narrowing, seeing… something shimmer.

LAB – PRESENT FATHER HANSON Anchor engages in five… four… three— ELIAS – IN ARCH A ripple of light. Dust lifts from the stones as if gravity hiccups. Elias’ outline blurs. Marcus stops within arm’s reach, seeing the impossible: a man becoming LIGHT. For a heartbeat, Elias and Marcus lock eyes—across centuries, across language. A look that says I see you. WHOOMPH. Elias is gone—air rushing in to fill absence. Marcus stands alone under the arch. He looks down at the strange COIN in his palm. He pockets it, jaw set. INT. PHYSICS LAB – NIGHT (PRESENT) Elias collapses onto the platform, gasps like a drowning man hitting air. Miriam throws a thermal blanket over him. ELIAS (laugh/cry) He was right there. Gabriel sinks onto a stool, stunned and shaking. SISTER DAMIAN Vitals are good. Minor tachycardia. Elias points at his CHEST-CAM. ELIAS Did you see? FATHER HANSON We saw enough. SISTER DAMIAN Data first. Tears later. Elias laughs again—part hysteria, part joy. SMASH CUT TO:

INT. CAMPUS CHAPEL – LATER THAT NIGHT Candles gutter. Gabriel sits alone. The sanctuary is silent but for the slow tick of the nave clock. He lays his hand on the worn wood of the pew. He prays without words. At the back—shadows move. A FIGURE slips into a pew, watches him. We don’t see who. INT. PHYSICS LAB – DAWN Miriam uploads footage, eyes rimmed with fatigue. Still frames of hands, sandals, the shining of someone’s eyes just out of frame. She freezes a frame: a warmth in the air itself, like heat over pavement. A distortion. She scribbles: “PHOTON DRIFT?” “LOCAL FIELD ANOMALY?” INT. DEAN KANE’S OFFICE – MORNING Kane plays a voicemail: tinny audio from a lab aide who saw lights under the sub-basement door. LAB AIDE (V.O.) …sir, it’s late, but something’s—just thought you’d want to know. Kane steeples his fingers, amused. DEAN KANE Of course I would. INT. PHYSICS LAB – SAME MORNING Elias sleeps on a cot. Miriam covers him more snugly, then turns to Gabriel, who’s been awake all night, reading the Gospel of John open beside a pile of field equations. SISTER DAMIAN Say it. Out loud. FATHER HANSON (choosing each word) We observed a Teacher we believe to be Jesus of Nazareth. We did not interfere. SISTER DAMIAN And you want to go yourself. He does. He can’t deny it. FATHER HANSON Not want. Need. Control variables. Device tuning. Theological due diligence. She cocks an eyebrow. He almost smiles. FATHER HANSON But not yet. Next time we send a watcher with better language prep. No Roman detours. She nods, already a plan turning over in her brain. SISTER DAMIAN I’m the only one here who can pass in a first-century market without looking like… that. (gestures at Elias’ sneakers) FATHER HANSON Miriam— SISTER DAMIAN I studied at digs on the Golan. I can barter for bread in Aramaic and keep my head down. You need eyes that won’t blink. He wants to protect her; he also knows she’s right. FATHER HANSON One hour prep. No contact. Two anchors set for redundancy. If anything—anything—goes off-plan, I pull you. She offers her hand. He takes it, brief, sincere.

INT. CAMPUS LIBRARY – HOUR LATER Rapid montage: Miriam wraps hair under a simple scarf; swaps modern clothes for hand-stitched tunic and sandals (replica from archaeology stores); Elias scribbles common phrases phonetically; Gabriel prints tiny parchment squares with hand-inked prayers (a talisman, or just courage). Gabriel selects a simple wooden CROSS from his pocket—worn smooth—and presses it into Miriam’s palm. FATHER HANSON You don’t need proof to have faith. SISTER DAMIAN Faith isn’t the absence of questions, Father. INT. PHYSICS LAB – DAY The Array warms again—lower pitch this time, tuned tighter. Elias, bleary but electric, straps a new transmitter to Miriam’s wrist. ELIAS Centurions hate sneakers. Duly noted. SISTER DAMIAN If I don’t make it back, burn my browser history. Elias grins despite himself. FATHER HANSON (steady) Window opens—thirty minutes. I’m your lighthouse. Miriam steps onto the platform. Her face relaxes into a pilgrim’s calm. SISTER DAMIAN (under breath) Be it unto me according to Your word. WHOOMPH. She’s gone.

EXT. JERUSALEM – BREAD MARKET – DAY (33 CE) Color, smell, heat. Bread rises in clay ovens. Miriam slips into the human river, posture humble. She trades a woven band from her wrist for a heel of bread, murmuring thanks in competent Aramaic. She blends. Her eyes constantly scan—SEEKING the Teacher without seeking attention. INT. PHYSICS LAB – DAY (PRESENT) Gabriel watches her feed—composition steady, images crisp. A mathematician measuring a miracle with pixels—his lips move with a prayer he doesn’t realize he’s saying. SISTER DAMIAN (V.O.) (low) I’m near the Sheep Gate. I hear… singing. EXT. BETHESDA POOLS – DAY (33 CE) Miriam edges to the colonnade. Dozens of the sick lie shaded by pillars. A hush rolls through them. A MAN approaches—again, we catch only gestures, a hem, the feel of wind that isn’t wind. The MAN kneels beside a PARALYZED FIGURE. A murmur—the pool water trembles without a hand. Miriam’s eyes brim. She turns the camera slightly—not at the face, but at hands lifting another’s hands. The paralyzed man stands. Staggers. Laughter breaks into sobs. People gasp. Across the colonnade, a figure in Roman red—MARCUS—watches, lit by wonder he quickly hides. And then—Miriam’s transmitter sputters. The feed garbles, cuts—comes back with a faint WHINE. LAB – PRESENT The Array’s sensors spike. FATHER HANSON Interference on the local field. Ionization event. Anchor distance? ELIAS She’s drifted twenty cubits beyond the grid. Pull? FATHER HANSON (beat) No. Not yet. She’s safe. She’s— ON MONITOR – JERUSALEM A PHARISEE notices the healed man carrying his mat on the Sabbath. Voices rise. Miriam’s head dips lower. She backs away—careful, small steps. She turns—and nearly collides with MARCUS. They freeze. He recognizes the odd weave of her cloak edge—the same strangeness he saw on Elias. He studies her face: composed, unreadable. He murmurs, almost kindly, in halting Aramaic: MARCUS You travel far. SISTER DAMIAN As far as allowed. He holds her gaze a long moment—then steps aside, letting her pass. Decision deferred. LAB – PRESENT Gabriel exhales a breath he didn’t realize he was holding. FATHER HANSON Anchor engages in one minute. Miriam, return vector: the gate with the fig tree and cistern. SISTER DAMIAN (V.O.) Understood.

EXT. JERUSALEM – ANCHOR STREET – DAY Miriam reaches the arch. The healed man’s laughter chases her down the street. She stops at the exact center—hands loose at her sides—eyes closing. A hush like snowfall. The light tilts—the world inhales— WHOOMPH. INT. PHYSICS LAB – DAY (PRESENT) Miriam lands lightly on the platform, opening her eyes on the exhale. Elias whoops. Gabriel’s relief is quiet—like a tide receding. SISTER DAMIAN We cannot go back as thieves. FATHER HANSON We went as witnesses. SISTER DAMIAN Witnesses carry responsibility. She puts something on the console—a small CLAY SHARD with incised letters, stuck under her sandal. Unintended artifact. The room goes still. ELIAS Oh no. FATHER HANSON Seal it. No contamination protocols breached if it came unbidden. (beat, to both) From here on—clean room ingress, quarantines, stricter radii. They nod. The weight of history settles in with the hum of the cooling coils. INT. DEAN KANE’S OFFICE – LATE DAY Kane reviews security footage: a flicker under the sub-basement door; an energy surge on the power logs. He smiles thinly. DEAN KANE Father Ardent, you beautiful heretic. He pushes a button. DEAN KANE Get me the Archbishop’s liaison. INT. CAMPUS CHAPEL – SUNSET Gabriel kneels, exhausted, radiant and afraid. Miriam sits in the pew behind him, quiet. Elias lights a candle with trembling hands. ELIAS I thought seeing would make me certain. (beat) It made me… broken open. Gabriel turns, meets both of their eyes. FATHER HANSON We keep this in the smallest circle. No uploads. No press. We write nothing we can’t defend to God and history. SISTER DAMIAN And if someone tries to take it? FATHER HANSON Then we take it someplace they can’t follow. The chapel door creaks. A silhouette in the threshold—DR. ADA LEE. She steps in, hands raised, neutral. DR. LEE They’re coming, Father. The Dean, the donors, the ones who smell power in the dark. (beat) If you want to keep your miracle a miracle, you need a plan. Gabriel absorbs this—choosing the next faith and the next equation. HOLD ON HIS FACE—a man at the edge of an ocean he opened. END OF ACT ONE.

THE CHRONO GOSPEL ACT TWO FADE IN: THE CHRONO GOSPEL INT. PHYSICS LAB – NIGHT The Lazarus Array sits dark, cooling. Cables snake across the floor like vines. On a whiteboard, three fresh travel grids—all for Jerusalem, different dates—are scrawled beside chemical equations and biblical citations. FATHER HANSON flips a chalkboard to reveal a risk matrix: Missionary Contact — PROHIBITED Material Transfer — PROHIBITED Observation Radius — 50 meters Elias, pacing, points at the last one. ELIAS Fifty meters didn’t stop Marcus from sniffing me out. We’re on their radar. SISTER DAMIAN One centurion isn’t “they.” And he didn’t raise an alarm. FATHER HANSON Which makes him more dangerous. Quiet men carry plans. Gabriel erases 50 METERS, writes 30 METERS in block letters. INT. DEAN KANE’S OFFICE – SAME NIGHT Kane sits with ARCHBISHOP DOLAN (60s), a power-hungry cleric, and DR. ADA LEE. Kane pours whiskey. DEAN KANE Gentlemen—and lady—this isn’t just science. It’s proof. Proof of scripture in the language modern minds understand. ARCHBISHOP DOLAN Proof cuts both ways. Show the wrong image, the wrong moment, and you fracture the faithful. DR. LEE Or consolidate them—if you control the flow. Kane smiles thinly. DEAN KANE Which is why it must come through us. INT. LAB – DAY Gabriel briefs Miriam and Elias. FATHER HANSON We’re splitting the mission. Miriam—locate consistent anchor points in the outer courts. Elias—you shadow the Teacher’s movement pattern from a distance. ELIAS You’re sending me back? FATHER HANSON This time with language prep and clothing you can pass in. You’ll record his teaching from the Mount. Elias’ expression shifts—equal parts awe and dread. MONTAGE – PREP FOR DEPLOYMENT Miriam and Elias rehearse Aramaic phrases with a linguistics professor sworn to secrecy. Gabriel fits a micro time-beacon to Miriam’s sandal. Replica Roman-era coins are minted from non-reactive alloys. Elias tries on a coarse wool tunic and scowls.

EXT. JERUSALEM – MOUNT OF OLIVES – DAY (33 CE) Elias crouches on a ridge, blending with the crowd. Below—hundreds gathered, sunlight striking the Teacher’s figure like a spotlight. Every word—calm, precise—rolls over the hills. Elias’ recorder blinks red. He wipes his eyes, stunned by the simplicity of the words. EXT. TEMPLE OUTER COURT – SAME TIME Miriam sketches the plaza layout in her mind. Roman guards pace the perimeter. She slips near a water seller—buys a drink, keeps watching. A SHADOW falls over her. She turns—MARCUS again. This time, no suspicion. Almost… curiosity. MARCUS You walk without fear for one unclaimed by any quarter. SISTER DAMIAN Perhaps my quarter isn’t of this city. He studies her, then steps closer. MARCUS I keep seeing your kind. Odd faces. Odd clothes. You appear, then vanish. Miriam holds his gaze—careful. SISTER DAMIAN And what do you think that means? MARCUS That something is coming. And I would like to know what. INT. PHYSICS LAB – PRESENT Gabriel hears this exchange in his headset. His jaw tightens. FATHER HANSON Miriam—break off. Return to anchor. SISTER DAMIAN (V.O.) Not yet. He’s… not hostile. FATHER HANSON Curiosity is the first blade of the knife.

EXT. TEMPLE OUTER COURT – JERUSALEM Sudden commotion—guards shoving through the crowd toward the Teacher’s group. Miriam and Marcus both glance toward the noise. The Teacher turns his head slightly—Miriam sees his face in full for the first time. Not glowing. Not theatrically radiant. Just… human. Present. Real. It shakes her to her core. Marcus notices her reaction. MARCUS You know him. SISTER DAMIAN We’ve… read his words. MARCUS Before he’s spoken them? Before she can answer, trumpets BLARE—the prefect approaches. Roman presence doubles. INT. PHYSICS LAB – PRESENT Gabriel slams the override. FATHER HANSON Miriam—NOW. The anchor hums—field opening. EXT. TEMPLE COURT – JERUSALEM Miriam turns to go—Marcus grips her arm. MARCUS If you are from where I think—you will return. And when you do… I will have questions. She pulls free, steps into the gate— WHOOMPH.

INT. PHYSICS LAB – PRESENT Miriam stumbles back into the platform, pale, shaken. Elias follows moments later, landing hard. Gabriel rushes to both. SISTER DAMIAN He’s… everything. But not the way we picture Him. ELIAS And Marcus isn’t letting this go. INT. DEAN KANE’S OFFICE – NIGHT Kane receives an encrypted email: “Energy signature confirmed. You’ve found your time machine. We’ll be in touch. — Vatican Science Secretariat” INT. LAB – NIGHT Gabriel locks the Array behind a steel blast door. FATHER HANSON From here on, missions stop. Indefinitely. ELIAS After what we’ve seen? You can’t put the lid back on. SISTER DAMIAN He’s right. And if Kane suspects, they’ll force it open. Gabriel stares at the silent Array—the hum of temptation in his ears. FATHER HANSON Then our next jump… isn’t to witness. It’s to hide the door before they can find it.

FADE OUT – END OF ACT TWO If you want, I can push straight into Act Three, where the Vatican faction makes its move, Gabriel risks going back himself, and the climax takes us to the night of the Last Supper. This is where faith collides with science, and the time travel story hits its emotional and moral peak. THE CHRONO GOSPEL ACT THREE FADE IN: THE CHRONO GOSPEL INT. PHYSICS LAB – NIGHT Rain hammers the old windows. The Lazarus Array sits powered down, sealed behind reinforced glass. FATHER HANSON, pale from sleepless nights, studies a wall plastered with photos from the missions—still frames of stone streets, sandals, faces half-seen. SISTER DAMIAN They’ve doubled security on campus. Dean Kane’s office is dark at all hours, but he’s here. ELIAS I saw a man in a collar I don’t know leaving Kane’s suite. No ID badge. Vatican? Gabriel exhales—he knows. FATHER HANSON They’re coming for it. SISTER DAMIAN Then we move it. FATHER HANSON Not just move it. Hide it where they’ll never touch it. Elias frowns. ELIAS Meaning… back there? FATHER HANSON Meaning then.

INT. DEAN KANE’S OFFICE – SAME NIGHT Kane speaks on a secure line. DEAN KANE Yes, Archbishop, the priest will be… cooperative. Or replaced. INT. PHYSICS LAB – LATER Gabriel runs final diagnostics. The Array hums alive—this time tuned to a specific date: Nisan 13, Year 33 CE. SISTER DAMIAN That’s… the night before the trial. FATHER HANSON The Last Supper. Roman patrols will be light in the upper city. Enough time to bury the Array’s control key in a place it won’t be found for two thousand years. ELIAS And maybe… meet Him. Gabriel’s eyes flicker—he’s been avoiding that thought. FATHER HANSON We cannot intervene. We cannot change history. SISTER DAMIAN But you want to. MONTAGE – PREPARATION Gabriel straps a compact case to his chest: the Array’s master control crystal. Miriam smuggles in sealed vials of coolant gel to stabilize the time-field anchor in the past. Elias readies a cloaked signal booster disguised as a clay jar.

INT. PHYSICS LAB – NIGHT They stand on the platform together—Gabriel, Miriam, Elias. FATHER HANSON One hour window. We split up—drop the key, return to the anchor. If anything goes wrong… we abort. WHOOMPH. EXT. JERUSALEM – UPPER CITY – NIGHT (33 CE) They land in a moonlit alley. Torchlight flickers from windows. The sound of distant voices singing Hebrew psalms drifts over the rooftops. SISTER DAMIAN They’re dining. Gabriel shoulders his satchel, fighting the pull toward the sound. EXT. HOUSE OF THE LAST SUPPER – NIGHT From a shadowed distance, they see through an open lattice: thirteen men around a table, breaking bread. One face catches Gabriel’s breath—Jesus. No halo. No cinematic glow. Just presence—so human it hurts to look. FATHER HANSON (whisper) It’s Him. Miriam’s eyes glisten. Elias grips the wall to steady himself. INT. HOUSE OF THE LAST SUPPER – SAME TIME (FROM INSIDE) Jesus glances toward the open lattice—as if He knows they’re there. His gaze lands on Gabriel for a heartbeat. Gabriel freezes. EXT. UPPER CITY ALLEY – CONTINUOUS A low whistle—Marcus steps from the shadows, sword at his side. MARCUS You return, as I knew you would. ELIAS We don’t have time for this— MARCUS Make time. Marcus’ eyes flick to Gabriel’s satchel. MARCUS That doesn’t belong to this age.

INT. PHYSICS LAB – PRESENT Security alarms blare. Dean Kane, flanked by two Vatican guards, forces the blast door. Dr. Ada Lee trails, looking conflicted. EXT. UPPER CITY – NIGHT (PAST) Miriam moves toward the anchor point—Marcus steps in her way. MARCUS I could turn you over to the prefect. Or… I could help you. Tell me what you are. SISTER DAMIAN We’re witnesses. MARCUS To what? SISTER DAMIAN To truth. Marcus studies her, then lets her pass—but calls to Gabriel. MARCUS If you can move through time… then you can stop what’s coming for Him. Gabriel hesitates—temptation surging. INT. PHYSICS LAB – PRESENT Kane forces his way in—eyes on the humming Array. DEAN KANE Where are they? DR. LEE Farther than you can reach. Kane shoves past her, working the controls. EXT. UPPER CITY – NIGHT (PAST) Gabriel’s POV—Jesus breaking bread, passing it to Judas. The air thick with the weight of destiny. Miriam’s voice in his earpiece: SISTER DAMIAN (V.O.) Anchor at ninety seconds. Gabriel—drop the key and go. Gabriel grips the crystal… but can’t move. Jesus looks toward the lattice again, almost smiling—like He sees the struggle. JESUS (quiet, to table) What you are about to do… do quickly. Judas rises. Gabriel’s hands shake—he kneels, digs in the soft earth beneath a fig tree, buries the crystal deep. FATHER HANSON (whisper) Not my place. EXT. ANCHOR POINT – NIGHT They regroup. Miriam checks the timer—ten seconds. Marcus watches from a distance, unreadable. WHOOMPH.

INT. PHYSICS LAB – PRESENT They land hard—Gabriel sprawled, Elias panting, Miriam clutching the empty vial case. Dean Kane and the Vatican guards whirl toward them. Kane steps forward. DEAN KANE Where is it? FATHER HANSON Safe. DEAN KANE We’ll find it. Gabriel smiles faintly. FATHER HANSON Not in this lifetime. Kane’s eyes narrow—he knows exactly what that means. EXT. JERUSALEM – UPPER CITY – NIGHT (PAST) Marcus kneels at the fig tree. Digs. Finds nothing. He looks toward the house where laughter and prayer mingle. A distant rooster crows. INT. CAMPUS CHAPEL – NIGHT (PRESENT) Gabriel kneels alone. Miriam sits a pew behind. Elias lights another candle. ELIAS We left something there… to protect the future. SISTER DAMIAN And maybe to test whether faith can outlast proof. Gabriel looks at the crucifix above the altar—wood, stone, and mystery. FATHER HANSON Faith isn’t the opposite of science. It’s the equation we can’t solve. He stands, steps into the candlelight. FADE OUT. THE END

THE CHRONO GOSPEL Genre: Science-Drama / Faith Thriller Format: Feature Film (or Limited Series) Written by: Mike Colonna Logline When a brilliant young priest and astrophysicist at a Christian college discovers a method of time travel, he sends witnesses to the time of Christ — but as faith and science collide, powerful forces try to seize control of the technology, forcing him to risk his own soul on a journey to the night of the Last Supper. Synopsis Father Hanson Ardent, a gifted but unorthodox priest teaching astrophysics at St. Raphael’s College, develops a groundbreaking method for temporal displacement — “The Lazarus Array” — capable of sending living beings into the past. When a student, Elias Grant, accidentally activates the device and returns with vivid memories of ancient Jerusalem, Gabriel realizes his theory works. Joined by Sister Damian Hale, a former archaeologist with a faltering faith, Gabriel organizes controlled “witness missions” to observe events from the Gospels. Their first journeys confirm what history and scripture only hinted at — Jesus of Nazareth is real, human, and profoundly moving. But the past is perilous, and encounters with a watchful Roman centurion, Marcus, hint at dangerous attention in both timelines.

Word of Gabriel’s work reaches Dean Victor Kane and a faction within the Vatican’s science division, who see the Array not as a miracle, but as a tool for control. As Kane closes in, Gabriel hatches a desperate plan: travel to Jerusalem on the night of the Last Supper and hide the Array’s control crystal in the past, where no modern power can find it. In the upper city, Gabriel witnesses Jesus breaking bread, locking eyes with him in a moment that tests his resolve to remain only a witness. Tempted to alter history and save Him from betrayal, Gabriel instead buries the crystal and returns to the present. Kane arrives too late — the key to time travel is lost for two millennia. The film ends with Gabriel, Miriam, and Elias back in the college chapel, changed forever. They’ve proven the reality of the past, but in protecting it, they’ve also preserved the mystery of faith — the one equation that science can’t solve.

THE CHRONO GOSPEL — Docudrama Production Budget Estimates (Assuming a 90–100 minute feature, filmed in modern and period settings) 1. Low-Budget Independent ($350K – $500K) Approach: Limited cast, small crew, local non-union talent, use of standing historical sets or green screen for Jerusalem sequences, narration-driven. Key Assumptions: Mostly shot in one or two affordable locations (college campus + desert/park stand-ins). Small art department, costumes rented or sourced from theater companies. No high-end CGI, rely on matte paintings and stock VFX. Category Estimated Cost Script Development $15,000 Pre-Production $25,000 Cast (non-union) $40,000 Crew (10–12 core) $85,000 Locations & Permits $15,000 Sets & Props $20,000 Wardrobe & Makeup $10,000 Camera/Lighting Rental $35,000 Sound Equipment $10,000 Post-Production Editing $50,000 Music & Licensing $15,000 Narrator Talent $10,000 Marketing & Festival $20,000 Contingency (10%) $34,000 TOTAL $384,000

2. Mid-Range Cable/Streaming ($1M – $2.5M) Approach: Higher-profile narrator or faith-based film actor, partial on-location filming in Israel or Morocco, more elaborate Jerusalem sets, union crew. Multiple speaking historians/theologians. Drone cinematography for establishing shots. Moderate CGI for ancient Jerusalem reconstruction. Category Estimated Cost Script Development $50,000 Pre-Production $150,000 Cast (SAG scale + narrator) $250,000 Crew (20–25 core) $400,000 Locations & Travel $200,000 Sets & Props $150,000 Wardrobe & Makeup $75,000 Camera/Lighting Rental $120,000 Sound Equipment $25,000 VFX & CGI $250,000 POST-PRODUCTION EDITING $250,000 Music & Licensing $75,000 Marketing & Distribution $150,000 Contingency (10%) $219,500 TOTAL $2,414,500

3. High-End Streamer Original / Theatrical Hybrid ($5M – $8M) Approach: Recognizable cast for dramatizations, major historical set construction, extensive on-location shoots, advanced CGI to recreate 1st-century Jerusalem, original orchestral score. Key Assumptions: Shot in multiple countries. Wide theatrical + streaming release. Full union crew, multiple units shooting. Category Estimated Cost Script Development $100,000 Pre-Production $500,000 Cast (Name actors + narrator) $1,200,000 Crew (Full union, multi-unit) $2,000,000 Locations & Travel $750,000 Set Construction $1,000,000 Wardrobe & Makeup $300,000 Camera/Lighting Rental $400,000 Sound Equipment $100,000 VFX & CGI $1,500,000 Post-Production Editing $800,000 Music & Licensing $300,000 Marketing & Distribution $1,000,000 Contingency (10%) $780,000 TOTAL $8,730,000