THE RETURN OF NOTHING - advertisement for film script sponsorship
THE RETURN OF NOTHING
This is a proposed film which is currently seeking sponsorship and assistance in script development to production. Script editors and directors and actors are welcome to contact the author if interested in assisting the making of this movie. It is created and written by James Travers-Murison and is protected by Copyright 2020.
SCRIPT AVAILABLE from James Travers-Murison email: firstname.lastname@example.org
Boy at his computer typing in the meaning of life. Driven by demons from his subconscious he tries to explain his reincarnation as Christ to his friends, Jim and Claudia, his Asian girlfriend.
The return of Christ, the end of the second millennia, the eternal question of self, all coalesce in a spiraling circle. An attempt to find meaning in a world gone mad with technology, hedonistic pleasure resorts and new age spiritualism.
The human condition of self-doubt, insanity and messiahdom, hedonism and spiritual purpose, sex and love, juxtapose each other in a do or die conflict, subliminally underlie the film's religious-art message. The meeting of opposing systems that essentially are the same. East and West, Buddhism and Christianity, Claudia and Boy caught in the spiritual vacuum of the post-modernist information age; have to join in order to progress.
The sin pits of Airlie Beach and Boy feels like he is going mad as he experiences spiritual awakening in the corrupted hell of the resort and writes to Claudia. This take us back in time to Heroditus, the Roman sage philosopher who was engaged in his own journey to enlightenment through Isis in 258 AD at the height of the Roman Empire. The analogy of Rome is to the West today.
In order to get his message across to her, Boy tells Claudia the story of Jacques in France in the 1930s who was also searching and trying to reconcile with his lover by going to a Buddhist monastery.
But Claudia doesn’t fully understand and his friends think he is suffering from schizophrenic delusions of grandeur. Their relationship falls apart and Boy himself begins to wonder if they are right and he is mad. He splits with Claudia and goes to a Tibetan Monastery.
The monastery, Lamas and Tibetan Buddhism are where Boy and Jesus, merge across time and we see where Christ in 30 AD went to Tibet, gained knowledge of enlightenment and also discovered that this alone is not enough and that the lama and monastery are deluded, hypocritical and immersed in religious morality and guilt rejecting the world. Jesus misunderstands the old lama when he tells him that he is God self realized and believes the lama has declared him to be the only son of God. Boy now realises the error Jesus made in claiming he is God. And that he must tell people the truth, that he is not God.
The planet Klon brings up the galactic proportions of the message, as the lost knowledge is also discovered there. All time frames join into one and we then see that separation from the unity only ends when one falls in love so totally that one is continually offering one's life to others, to everything, to an eternal immortality itself and this can only be done through the unifying of the opposites of man and woman in sexual love. Boy at the age of 96 is teleported to Klon by IBM-Apple as science merges with religion.
This is Christ's return to Earth bringing his final message of love for everything, to prepare for death and see truth in the only absolute - nothing.
On the other side of our galaxy, on a planet that is Earth's twin, a TV documentary producer finds, in a tourist sight of ancient ruins, a secret cave. Through this he discovers the Tibetans of our planet's wisdom on the planet Klon - the Universe's wisdom in reality.
Then Boy’s journey begins and ends with a computer. In the modern Western world in 1990, Melbourne, though it could be any city on the cutting edge. Boy in his mid 20s, begins to gain realization of self talking to his friends Jean-Claude and Claudia. They want to understand him, are in a way astounded by him, but fail to grasp the message. Seeing Boy as a genius but an egotist and in a way despising him. Claudia, represents the East. A beautiful young Vietnamese woman. She sees the truth more clearly, but she too cannot make the leap of faith to enter Boy's realm. She is still enraptured by the Romantic.
STAY WITH LOVE
From sensually making love, we move to the despair of loneliness and alienation in the modern world's offer of pleasure. At Airlie Beach in 1993, Boy is a few years older, in his late twenties and he begins to show doubts in his role as saviour. The world now appears to him as hell. He fights to keep his sanity and his belief in his mission of universal love through a letter to Claudia, who is betraying him. There is a mad holy lostness about Boy reflected in the increasing collage of disjointed symbols thrust upon the viewer; almost schizophrenic yet verging on heaven. Air Lie Be ach.
The hedonism of the tropical resort, sex, drugs, music and idleness and Boy's attempt to find spiritual love, brings us to a flashback of Boy's grandfather talking to him about love as a child and then a flashforward and we are transposed to the future, to Boy as the wise old man lecturing his story to the masses in 2060 AD, when the spiritual transformation of the West has been vindicated.
At Airlie Beach Sam is brought in as an old friend who has come up from Sydney to keep an eye on him. But Sam in reality does not exist, is an illusion, an angel Gabrielle watching over Boy, as God sent aspects of himself to communicate with Christ (Plot Point 1).
Boy's doubts and weaknesses are tested; he is distracted by books and his very mind is brought to the edge of madness at a telephone booth in the resort town. He sees into the future - a police state where silicon life, robots rule - and so begins the revelations into the method to attain nothingness, peace and truth. The conflict with the ego, the human biology and the machine world is symbolized by the Coke machine and its message not to test God.
2000 years ago in the Holy land, at the time of Christ, a boy tests god by wandering down a dark lane at night and being confronted by a blind leper. The terrible fears unleashed on a child for disobeying, tell us that we, as Christ, have transgressed God's will in exploring the universe by ourselves. It is our eternal sin.
And so existence throws us forward to the past of 1933 and brings us into the first scene of Jacques, an alter-ego of Boy. The country railway station near a monastery in southern France in 1933 and a youngman's attempts to find his lover Josee, introduces the feminine emotional nature of the human spirit as a subplot, a diversion in a way, yet in fact the essence of the story of Christian "sin" - the need for human love between the opposites - man and woman.
Back at the resort Boy sleeps on the beach and seems to be deteriorating. His renunciation is seen in the destruction of his identity, social, medical and credit cards. Yet he succumbs to alcohol is lured by commercialism in the YHA. (Boy as an old man is now telling his tale in 2060).
... and then Egypt at the height of the Roman Empire 258 AD are introduced as another theme of the film is opened. Boy is represented as another incarnation, that of the striving philosopher sage trying to balance the achievements of the Empire with its apparent contradictions and evil. The analogy with the modern West now is stated. We merge back to the YHA. Boy's own failure to live out his messianic mission reduces him to perceiving a paranoid vision of the world - yet one also with a reality.
The film moves to 1996, Boy is 32 and in the middle of his spiritual search. He is at a monastery in southern Queensland for Tibetan Buddhism. Visual and symbolic imagery of the Tibetans becomes immersed in their teachings and Boy's learning. Visiting rich women from the city drag Boy down in their spiritual vacuum and the kindly nun is lost in her search for enlightenment. Boy sees the truth, that it is all there, but he fails to communicate this to others.
Heroditus in 258 AD emerges with the same truth through the mysticism of the Egyptians. And it is his vision that is in a way the final transcendence.
We are then brought back to the mundanity of the monastery in the form of a Vietnamese monk complaining to a teacher. The teacher is also a psychiatric nurse and this fear of insanity in its malevolent disguise as protection of the monastery (an analogy for civilization) leads back to Jacque's story ten years on, the third theme.
Set in a monastery, but in the mid 1930s in France, Jacques' story, already touched upon by the railway station scene, juxtaposes Boy's assertion of Christhood. As such it is revealed by Boy, himself, as a story which he tells Claudia in Sydney 2000 AD to show to her that he is in fact not Christ, nor is anyone, because Christ is merely a symbol of transformation to love. But it is a story that has to be told in order for that transformation to occur. Jacque's attempt to find his answers from the Lama transforms itself to Tibet and Jesus in 30 AD.
Boy's, Jacques', Heroditus’ and Jesus's story are told in a constant intermerging of the four time frames - the stories must be seen to be completely interchangeable parts of the whole. The Lama, Geshla, and his interpreter are also in the battle for liberation. (Plot Point 2) Becoming a meeting of wills both Jesus and Jacques, in their own time continuums, confront the Lama not trusting that he could be their master. A bitterness emerges in Christ as he sees in a vision the Lama as a fruitseller cheating people with rotten fruit in 30 AD. In 1933 a group of 20th century proper Christians walk by Jacques as an allegory of Western spiritual stagnation and doubt towards the mysticism of Buddhism, and Jacques is caught in the madness of being neither one nor the other. It is the symbol of nature in the leaves that brings on an experience of Samadhi, enlightenment, the realization of self and oneness.
Jesus is asked to leave the Tibetans in 30 AD and we find out why in 1933 in the monastery in France through Jacques when Jim is introduced as the larrikin boy-God (Hanuman), who laughs at Jacques missing meditation practice. Back 2,000 years ago Jesus introduces us to the Gompa, the Temple, and we are exposed to its ornate beauty. We are merged back to 20thC France and Jacques paying for his breakfast, being made to feel like a thief and then falling himself into the trap of doubting the nun's honesty.
A Tibetan nun in 30 AD teaching about death and reincarnation brings us to Jesus and his wife, Mary, another symbol of the pain of attachment to desire, the body, the senses. Then in 1933 Jacques' miserable affair with his lover is interposed in a scene of exorcism from her. In lonely isolation he destroys her photo.
As Boy in 1996 tells Jacques' story to Claudia we can see he is really talking about Claudia - battling his own love for her against his knowledge of non-attachment to other souls. He knows now he cannot possess her and is convinced by the Buddhists that non-attachment is the only means to liberation from worldly suffering, what Christians would describe as sin.
And so we are introduced to the teachings on suffering by the Lama. They begin at the time of Christ in the Gompa in Tibet, and are given to Jesus as well as many others. Single pointed meditation is explained. This merges to pre-war France in the rising fascism of 1933 and lecturing on impermanence, again flashes of Jacques past love, his failed attempts to contact Josee and we see the connection to Claudia. Jacques and Boy merge. The teachings on the emptiness of independent existence are now given to Christ in 30 AD, and then to Boy in Queensland in 1996, where an intellectual questions the teachings on impermanence. The madness of searching for enlightenment brings in a zealous, insane Israeli mystic and aliens observed by the boys in the form of a UFO in Queensland. More of the sacred Gompa is revealed as are teachings on the wheel of sharp weapons - compassion and restraint. This reflects in Boy's meeting with the Lama and the facing of power. Heroditus approaches the Temple of Isis in Alexandria in 3rdC where a connection is made between the ancient wisdom of the Pharaohs of Egypt and the Tibetans.
Boy in 1996 is being taught thangka painting of the Buddha by a German nun. She patronizes him and he enjoys it. The nature of structure, as Boy types into the computer, is examined. Reasoning's necessity to determine truth, emptiness, self-realization is taught to Jesus.
The revelation of aliens is introduced very slowly as more of the teachings on nothingness/emptiness are revealed to Heroditus as he enters the Temple of Isis in Roman Egypt. He is tempted by dancers, the manifestation of the unattainable desire for the sensual exotic. As Heroditus is thrust into the Temple's inner sanctum the interplanetary nature of the interconnection of all things is opened. Boy now tells Jim of his dream of the planet Klon.
We return to a repeat of the opening scene in Klon where TV documentary producers find in a tourist sight of ancient ruins, a parchment and so discover the Tibetan's wisdom - the Universe's wisdom in reality. So the same revelations come to the same incarnations of soul-spirit on this planet as on Earth, also as a lost truth always known. Boy/Jesus is incarnated as the producer. Merging to Boy in 2000 amazingly reeling off the same information through the internet on the computer.
Tampering with time and reality brings on Geshla's teachings about shame to Jesus back in biblical times. We merge to Boy listening to the same teachings in 1996 and infuriated. Heroditus meanwhile faces the ultimate battle with his master in the Temple in 258 AD. And so Boy (really Christ) is driven to a confrontation with Geshla in his residence. Boy demands to know emptiness. The lama is very patronizing with words which seem false. Then we see the truth in the female translator, who becomes a catalyzer for telepathic communication - heightened awareness. Heroditus faces the same woman, the High Priestess, in The Isis Temple, the same telepathy vilifying her from the master. The lure of the siren - the female nature to dominate. One feels his hatred for her and sees Heroditus infested with plague.
We are moved to 30 AD Tibet and Jesus in his room lamenting the falseness of the monastery and the teachings. And then in the Gompa Geshla speaks further on shame, the wheel of sharp weapons returning. Jesus still does not get it, seeing only hypocrisy and contradiction in the lama’s words, "don't hide your negativity, yet always show kindness". It is with Boy in 1996, now subdued, meeting Geshla at lunch when Geshla answers his questions on emptiness - the meaning of life. But it is in 2060 when 96 year old Boy who we hear the real truth from, "love". And still Boy in 1996 fights to deny enlightenment, cannot escape a nihilist viewpoint.
Back in 30 AD Tibet the words of a much older Lama ring in Jesus' mind as he sits contemplating and so we are brought to his next life in the modern world with Boy alone in the cafe reasoning his purpose to "be" and why he failed in the monastery. In 258 AD Heroditus in the ancient library of Alexandria answers the question. In 30 AD Jesus leaves the Tibetans and in 1996 Boy understands what he was angry about in that past life and now can see his mistake. He sees finally that these are 'all symbols of let go'. Writing to his father for forgiveness, in agony from eating too many chocolates the night before, while under the influence of the fat man who directed IBM during the Vietnam War. He understands the monastery is in reality false, because love, god, bliss cannot be obtained by merit. Even the fat man must be forgiven for working for IBM. The computer is Satan, our rebellion, our usurpation of nature and the price is our evolution to silicon life. And Satan himself must be forgiven, even though he will phase humanlife out in a material sense. Heroditus in his Roman study 258 AD and the old Boy typing into his computer in his study 2060 AD, both reveal the intangible truth that we will always be in a state of separation as long as we assert our ego, and it is the pain of love that drives us in the end to let go of this - our Claudia.
The film ends with all themes, which are one, but under different time streams, collaging together, in the image of the crucification, the ultimate love of offering one's life to another - to find our opposite, our Claudia and gain one's immortal soul and become free. We are left with the couples entwined and the computer smashed. East and West meet. In 2060 AD, the old Boy surrounded by Apple-IBM-Google-Microsoft-Facebook (whoever gives sponsorship for film) robotics and computers, moves into an experimental teleportation chamber. He arrives in Klon restored to youth and transformed into the Television producer. Surrounded by massive audiences he is giving speeches on love. As he leaves their starport we see written everywhere that it is a binary star system with the same logo as computer coroporations.
THE NETFLIX MINI SERIES
that WILL change the world!
TWO 73 MINUTE EPISODES - divided into six episodes of two parts TOTAL TIME : 146 MINUTES
This is a psychological, sociological, religious art comedy mini-series for TV. It is the story of one main character, Boy-Christ.
Possible Sponsors: Apple, IBM, Coke, other top computer companies.
Possible Co-operators: Australian TV, French TV, Egyptian TV, Israeli TV, Chinese TV, Indian TV, Netflix, other internet film makers.
CONCEPT - background
To understand this film script, you have to see the style it needs to be filmed in and that is one of a poet, reading prose, of a lover enchanting the object of his desire. Of a mystic discoursing on the nature of reality, of a philosopher questioning existence and of a seeker finding the source of divine religious truth. It is largely a narrative rather than a dialogue. And it has to be filmed in that poetic romantic manner of a saint finding himself. The fact Boy is convinced he is Jesus Christ and his friends are increasingly thinking he is mentally unwell, the allusions to schizophrenia, the struggle to see good in the corrupt hedonism of the West, the hope that he knows the truth and can share that unconditional love of God, all need to be brought out in the way it is filmed. It also has to be filmed from the context that it is very much a satire on New Age beliefs relating to Jesus. But it doesn’t intend to parody Tibetan Buddhism as such, more educate on the concepts though some parody is there of the Lama and hypocrisy in the religion. Whilst there are comic moments in the film it is not intended to be made as a comedy or a take-off of Jesus. It is intended to open up a discussion on the nature of reality, of the truth in Buddhism and the failings of Christianity in the modern world, based on the assumption that if Jesus actually did return now he may not be so well received and would likely be considered schizophrenic and may well have gone mad.
This is a psychological, sociological, religious art film filled full of archetypes and allegories such that Jung would have a field day with a touch of cynical humor that satirizes a whole plethora of religious and spiritual stereotypes from the main stream to the New Age, but it is much more a drama than a comedy. Its audience is aimed at the intellectual English speaker interested in religion. The script style is unique and unorthodox not following any prior movie style. The script is a kind of staccato narrative by the returned Messiah, who on realizing his last life was that of Jesus Christ and he has now returned, but not as Revelations predicted to end the world with Judgement Day, that it isn’t quite that simple and a few errors have been added to his message when he last came by his Christian followers and more than that he himself misunderstood who he was and the nature of the world. He wonders if it is true or that he is going mad, and he struggles to find out what is the truth of existence realizing that Christianity has developed into a religion that has deified him and taken mistakes in his teachings to an extreme that has created a deluded and wrong perspective of reality. From the hell of the pleasure sin pits of a holiday resort 2000 years after he last returned seeing what has resulted as his religion begins to collapse on Earth and the people reject and hate Christians and turn to hedonism, he himself mentally feels on the verge of insanity as the temptations of the flesh, drugs, rock n’roll, technology push him to the edge as he tries to look for truth and goodness and love… to see the beauty, good and divinity in sexuality. In Claudia.
And so in the second part of the film, he ends up with the Tibetan Buddhists to work out where he went wrong last time on Earth. But his life is interwoven with other people from the past and even those on another planet far far away (that is connected to a scifi fantasy novel I have written which goes further into these religious issues). The film assumes Jesus in his missing years in his late 20s went to India and then to Tibet as per the book ‘Christ Lived in India’. It assumes like in the book that Tibetan Buddhism developed far earlier than is currently thought which is 6th C to 8th C AD. Although this appears unlikely there may be a possibility that the Buddhism from India did spread up the Indus Valley earlier than thought and may have got into Ladakh by 100 BC or so. Certainly the Tibetan script didn’t develop till the 6th C AD. Another option is to change it from Buddhism to the Bon religion which predates Buddhism in Tibet and has a lot of similarities, it is more shaman based but Tibetan Buddhism has much borrowed from the Bons. As Tibet traded with India for thousands of years it is likely that the Bon religion was being influenced by the very popular Buddhism in India at the time of Christ and may have incorporated Buddhist elements at that time which it now certainly does. If historically this proves too inaccurate the script can be changed to have the Buddhist scenes of Jesus set in Kashmir with Indians rather than Tibetans as Buddhism did reach there at the time of Christ, but this may pose some problems to the script as the teachings given in the script of Buddhism are those of Tibetan Buddhism and not Theravada. For historical accuracy this could be changed. However, modern historians almost unanimously agree that there is absolutely no evidence Jesus ever went to India, and probably never left Israel and the popular book Christ Lived in India by Kirsten is considered spurious – see http://oaks.nvg.org/secret-life-yogananda.html .
But the reason for this inclusion is not so much for historical accuracy, but because it is another New Age belief that Jesus went to Tibet and India, in particular the Urantia cult who took their proof from the story of Saint Issu propounded by an eccentric Russian. ‘In 1894 Nicolas Notovitch published a book called The Unknown Life of Christ. He was a Russian doctor who journeyed extensively throughout Afghanistan, India, and Tibet. Notovitch journeyed through the lovely passes of Bolan, over the Punjab, down into the arid rocky land of Ladak, and into the majestic Vale of Kashmir of the Himalayas. During one of his journeys he was visiting Leh, the capital of Ladak, near where the Buddhist convent Himis is. He had an accident that resulted in his leg being broken. This gave him the unscheduled opportunity to stay awhile at the Himis convent. Notovitch learned, while he was there, that there existed ancient records of the life of Jesus Christ. In the course of his visit at the great convent, he located a Tibetan translation of the legend and carefully noted in his carnet de voyage over two hundred verses from the curious document known as "The Life of St. Issa." He was shown two large yellowed volumes containing the biography of St. Issa. Notovitch enlisted a member of his party to translate the Tibetan volumes while he carefully noted each verse in the back pages of his journal. When he returned to the western world there was much controversy as to the authenticity of the document. He was accused of creating a hoax and was ridiculed as an imposter. In his defence he encouraged a scientific expedition to prove the original Tibetan documents existed. One of his sceptics was Swami Abhedananda. Abhedananda journeyed into the arctic region of the Himalayas, determined to find a copy of the Himis manuscript or to expose the fraud. His book of travels, entitled Kashmir O Tibetti, tells of a visit to the Himis gompa and includes a Bengali translation of two hundred twenty-four verses essentially the same as the Notovitch text. Abhedananda was thereby convinced of the authenticity of the Issa legend. In 1925, another Russian named Nicholas Roerich arrived at Himis. Roerich, was a philosopher and a distinguished scientist. He apparently saw the same documents as Notovitch and Abhedananda. And he recorded in his own travel diary the same legend of St. Issa. Speaking of Issa, Roerich quotes legends which have the estimated antiquity of many centuries.’ http://reluctant-messenger.com/issa.htm
Map of Jesus's eastern travels
Source: Summit University Press
The film also assumes Jesus took along Mary Magdalene to India as his wife. Though part of this is a tongue in cheek reference to the bloodline of Jesus akka Da Vinci Code and Holy Blood Holy Grail, which my book The Christ of Klon is a satire of. Jesus appearing in Tibet is another satire of the New Age beliefs. (There is another New Age belief that Jesus recovered after his crucifixion or was never crucified and escaped to live in Kashmir. Some Muslims have believed this for thousands of years and there is a very old shrine to Jesus in Srinagar – this is not mentioned in the film).
Symbiology of Jacques in 1933 in the rising fascism of Europe, is used to counterpoise the story. Also with a lover. The French connection is made here partly because of the connection in the film to the blood line of Christ proposed by Michael Baigent in his book the Holy Blood and Holy Grail which states the bloodline was kept in France. 1933 is the year the Germans voted Hitler into power and a pivotal point in European history turning from democracy to the evil of violent fascist racist socialism. It was a year of ideologies – that of communism, fascism and capitalism – all competing as the monarchies in Europe collapse. It is the year of living dangerously. That of art nouveau, Picasso, post modernism, Gaudi, the Spanish Civil War. The Romantic Age of the early 20thC is over and Christianity has been overthrown by the new political socialism in Europe. The teachings of the East from India and Tibet are beginning to be taught in Europe and taken seriously by the intelligentsia. Young Jacques represents that symbol of hope, despair, ideology and theology in the West. It needs to be filmed from that perspective and the script could be improved to include subliminal background images of such. Though the focus is very much on the Buddhist teachings. This theme is investigated in the sequel to The Christ of Klon novel.
Heroditus in 258 AD is used in the film as this is another symbol of ancient religion that has become very popular with the New Age movement. That of ancient Egypt. Isis temple is chosen at the time of the Roman Empire but towards its end. This character is in part a depiction of Herodianus, a Greek historian who reached his peak in Alexandria in 248 AD, but was considered overly eloquent and not that accurate with the facts and the ancient Greek historian of 5thC BC, Herodotus, a great intellect and the father of modern history in that he was the first person to record past events by collating collected material in a systematic, analytical and critical method based on a timeline narrative and he was one of the first people to write about Isis and her immaculate conception. ‘In the typical form of her myth, Isis was the first daughter of Geb, god of the Earth, and Nut, goddess of the Sky, and she was born on the fourth intercalary day. She married her brother, Osiris, and she conceived Horus with him. Isis was instrumental in the resurrection of Osiris when he was murdered by Set. Using her magical skills, she restored his body to life after having gathered the body parts that had been strewn about the earth by Set. This myth became very important during the Greco-Roman period. For example, it was believed that the Nile River flooded every year because of the tears of sorrow which Isis wept for Osiris. Osiris's death and rebirth was relived each year through rituals. The worship of Isis eventually spread throughout the Greco-Roman world, continuing until the suppression of paganism in the Christian era. The popular motif of Isis suckling her son Horus, however, lived on in a Christianized context as the popular image of Mary suckling her infant son Jesus from the fifth century onward.’ [Wikipedia]
So it is generally considered by New Agers who follow Isis that Jesus myth of Immaculate Conception arose from the Egyptian religion which was active through the Roman worship of Isis at the time of Christ. And was very popular then. Isis gave birth to Horus who is considered an archetype of the son of god in ancient Egypt, effectively a pre-curser to the myth of Jesus as son of God. The popular idea that Horus was born on 25 December of a virgin Isis is confounded by the fact that the historian Herodotus records that the Egyptians believed that Isis was impregnated by having intercourse with the spirit of the dead Osiris. Effectively Osiris in Christianity became the archangel Gabriel (which I write about in another fictional historical book about the life of Jesus which also connects in with this film). This is essential archetype in the film as it presupposes that Jesus later divinity arose from ancient Egypt transposed onto the Jewish faith and then merged in with Buddhist concepts of love and oneness that arose from Jesus journey to India. This may need further development in the script through the use of images of Isis associated with Christ in the temple and perhaps the inclusion in the dialogue of the above explanation. I left this out as sometimes a bit of mystique is needed to make the audience think why it is there and how it both proves and disproves Jesus Christ divinity. The New Agers have been rubbished by some in making this connection or analogy see http://www.eyeofhorus.biz/power-of-myth/horus-and-jesus-the-egyptian-revelation/ and Martin Luther King’s essay on the subject https://kinginstitute.stanford.edu/king-papers/documents/influence-mystery-religions-christianity.
The ancient Egyptian religion has a lot of similarities to Hinduism including reincarnation, meditation, use of breath, etc. The revelations to Heroditus in the film of Isis, goddess of knowledge, magic, healing, and giving birth to Horus, as the son of a God without a father. The pagan ancient Egyptian origins of the development of early Christianity are thus delved into by these flashbacks in the film more as a spoof of the New Age belief rather than with any conviction to them being true. There are other pagan beliefs at the time of Christ that also have a son of god from a virgin, but I have used Isis as it is more common with the New Age and the Egyptian religion has more in common with Buddhism, which is the main crux of the film. This theme is investigated in the sequel to The Christ of Klon novel. 258 AD was when Valerian reached the height of his vicious persecution of Christians because they were getting too powerful and they were blamed for a long famine then plague that devastated the Empire followed by barbarian invasions through Dacia, before then Christians had not been officially persecuted though not liked by Rome. They were refusing to sacrifice to the Roman Gods. So it was a terrible time for Christians and tested many of them to death in their faith. The bishop of Carthage was martyred on this year. It was a pivotal time for Christianity and it may well have been eradicated as a religion but instead it came out stronger and took over Rome within 70 years. The issue of the sacrifice to Roman Gods and the sacrifice for all time for all of us given by Christ is the crux of Christianity. Not by your works will you get to heaven and reach God, but by surrender and forgiveness to Jesus by accepting him as sacrifice for the original sin of disobeying God by Adam in Eden. But Heroditus is not a Christian and worships Isis who is far more ancient than Jesus. This mother figure to the son of the Gods, Horus, whose father was murdered by Set. Immaculately conceived. The agony Isis felt when her husband was killed and the pain as she tried to piece him back together, is what gave birth to her son, Horus. Heroditus gains enlightenment in the temple of Isis, as he experiences rebirth through Horus and the ritual sacrifices the priests make. He experiences the same oneness that the Tibetans, yogis and even Christians experience. But through the power of the pyramids. Isis representing the mummy of all beings. The reason for this use of Isis is a direct cynical satire of the New Age pyramid worshippers who link Isis to Mary. The script could be altered to include the Christian persecution occurring at that time, possibly with Heroditus as a Roman pagan who has delved into Christianity and now fears for his life. The script could delve into the persecution of the Christians by the Romans. And have Heroditus see Jesus as Horus. Mary as Isis. Link them. Aspects of Jesus as the final sacrifice for all sin, and the sacrifice Isis made, the virgin birth coalescing with the Roman persecution because the Christians would not offer sacrifice to their gods as it went against their fundamental tenant that Jesus is the last and only sacrifice to appease God. To make any sacrifice to any God was denying what Jesus had done by offering his life to the Romans to kill.
The final religious symbol is of Jesus being connected to aliens, another New Age belief taken up in the book and TV series the Chariots of the Gods. Klon is explained in a lot more detail in my scifi novel satirizing the Knight Templar myths of Jesus bloodline based on the series of books written by Michael Baigent who I met in Qumran by the Dead Sea when he was with an archaelogical crew trying to locate more Dead Sea Scrolls. Dan Brown ripped off his books in the Da Vinci Code. And Dr Who of BBC is also incorporated in a final touch of fan fiction satire. It is briefly touched upon here in this film, as a prelude to my novel which could also become a film. In my book, Klon is a planet on the other side of the galaxy that the Knight Templars control through the evil Kallisto. A battle is going on there between good and evil. The Psychics who are interconnected with the Tibetan Buddhists on Earth and the Templars who are genetically mutated superhumans and interconnected across space and time to the secret Templar Order of Sion. The Psychics send avatars to Earth at prime times of human evolution of consciousness and Kallisto attempts to sabotage this. Klon self destructed in atomic war between these factions and the Templars took power. The last vestige of the psychics cling on and their link to Earth mutates with time. One of these avatars was Jesus.
They are all Timelords – as they move across time and space, and here the BBC scifi series is incorporated into my book. Jesus is another Dr Who whose mission is destroyed by Kallisto and he is crucified, survives it and escapes Earth on his damaged starship which implodes on going into Hyperspace creating a time warp that splits the ship into two clones and himself. One going to the crusades, another to Kashmir 33 AD and himself going to New Mexico 1945 as a UFO. Rather than the Buddhistic message being taught by the Christ, his premature death, leaves the confused disciples at the mercy of Kallisto – St Paul, who deifies Jesus and turns Christianity into a guilt ridden cult who eventually viciously persecute non-believers; Jesus teachings of love are manipulated by the evil Paulians. The Psychics of Klon attempt various missions to alter Christianity and stop Satanic Kallisto who has created the Order of Sion to take over the world. Their final attempt is with the time warped Jesus whose starship crashed in New Mexico and returned in the late 20thC. After the Psychics defeat the Sion in France and locate Dr Who with an investigative journalist into the occult, they must take the Tardis to the dimension of chaotic good to the Titan giants of ancient Greek Mythology and save them from the chaotic evil Horde of Kallisto and also save Earth from an alternate time dimension where WWIII is a nuclear war caused by Havalife Inc. None of this is mentioned in this film. Klon is included in this film which is the prequel to that novel as this film explains the early life of Boy/Jesus who is a different historical Jesus from the alien Jesus. The two coincidentally having the same name, but differing disciples, later getting merged and confused as being the one by the Paulians.Essentially the gospels mostly are about the non-alien Jesus, Boy who went to India as a youth. This is necessary part of the film to satarise the historicity of Jesus as a composite of people and sayings or parables, whilst keeping those who believe Jesus was an alien who used a tricorder similar to Star Trek to heal people happy. The novel is a satirical scifi fantasy action adventure and if ever made into a film would require major special effects and is likely to cost about $100 million to make starring Tom Cruise as Michael Baygone, investigative journalist into mysticism (a direct take off of Michael Baigent) who meets the alien from Klon at an older age who has become Dr Who. What is in this current film is Djetsius, on Klon as the film producer, discovering a cave with Tibetan scriptures, set in a time on Klon well after the Templars have been defeated and peace has returned. The Psychics knowledge is rediscovered in the caves, so triggering the ancient link between Klon and Earth. Thus opening up the time portal to Earth that old Boy, now can meet up with Dr Who's Jesus, as he can teleport through to Klon from Earth in 2060 when his new message to Earth has been accepted and a united world religion established on our planet. The film opens with the discovery by the TV reporter of the Andian caves on Klon.
The exact same scene is repeated towards the end of the film when the Tibetan connections between Jesus and Buddhism have been made in the film. Finally connecting those with Klon. This repetition of the same scenes may work, or it may not and some of it may need to be discarded. Again some of the narration in the script may be better produced by simply filming what is described rather than having it spoken out as well. This can be tested during editing. This applies to the entire film. Another option is to cut the whole Klon scenes out as too convoluted. One reason is that the book Christ of Klon has Jesus as a Time Lord who lands his starship on Earth from Klon in order to give the higher teachings to humanity. He lands in Egypt and then travels up to Jerusalem in 30 AD or so and meets the apostles. There is no journey by this Jesus to Tibet with Mary Magdelene in his 20s to learn from the Tibetans as he already has the higher knowledge. So if this is to stay in the film then Jesus in Tibet has to go as the Klon connection contradicts the film. Or else the Klon book needs to be altered. It seems a shame to remove this last satire on Jesus as an alien as it is part of the New Age belief. Both film and book could be altered to allow consistency between them or have the many worlds approach where there were two Jesuses being persecuted and crucified around that time, which some scholars believe to the case. The easiest solution may be to remove the alien and Klon aspects and scenes from the film on the basis the two don’t connect. Mainly because the book Klon has Jesus as a Time Lord, Dr Who, who comes from Klon and not a person who has developed as a human being and got it wrong thinking he is God and the Messiah. Misunderstood Buddhism message of self realization and through his egotism stuffed up the new way of Christianity where he was deified. And this is the essence of this film and who Boy is, why he goes mad now and how he realises his mistake by returning to the Tibetans. There is also no real explanation of who Jacques and Heroditus are in the Klon scifi novel and why their time line is there. The only way out of this mess is throwing another herring in the pot, by arguing that there were more than one Jesus' at the time of the biblical Jesus and Boy is presented as a separate more traditional historical Jesus called Jeshua, who was crucified a few years before the Klon Jesus. And then Dr Who doesn't have to be Boy. The Biblical Jesus is then a compilation of the two. How the two Jesuses later meet up on Klon is another book. Dr Who meets Boy. Or Jesus bumps into the Klon alien in the holy temple in Jerusalem each with their followers; each claiming they are the Messiah and getting into a fist fight.
Flashbacks to those people, his previous life and the other planet coalesce to the future of humanity – a world religion that is the ultimate truth for all of us and those from beyond our planet. Again this is a parody of New Age beliefs particularly Urantia where they believe a galactic government is already in place ruled by aliens and based on Christian mythology. Boy lecturing to the masses in 2060 directly plays upon these beliefs and prophecies, including Nostra Damis and the Mayan Calandar. The computer internet corporations again paradies the current control and power these bodies have.
The script educates the audience on some concepts of Tibetan Buddhism and faults in them and Christianity. The name of the film, Return of Nothing, connotes the Buddhist concept of emptiness that exists behind all objects as the truth of dependent arising. Nothing can arise of itself, everything is dependent upon the environment it is in and has been in or it cannot exist. So truly the return of the Messiah in a Buddhist sense is the ultimate return of nothing. Jesus second coming is not only insignificant and far from Revelations Judgement Day, it is correcting a mistake in Christian theology and incorporating Buddhist principles, but also an admission of the irrelevance of Christianity. Cost to make should not be expensive as much is dialogue and no action. It may get interest in confronting theological faults in Christianity and Buddhism at a time when many are questioning the religions. A mixture of French, Indian, Tibetan, Australian film associations may give funding as might Netflix or an internet film making video download company. An element of tongue in cheek comedy is essential as well as touching upon the deep spiritual questions of our age.
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