Drawn from the Holy Quran and supporting traditions.
On the night of his betrayal, heaven casts the face of the Messiah onto Judas Iscariot — and the betrayer is crucified in his place, while the disciples must carry a truth the world will never believe.
Unproduced screenplays • Not a released film • Written for an all-Black cast
The center the other twelve films circle. One event, told from every side of the hill — and from inside the garden where it was decided.
Why this slate is different
Most slates are sequels. This one is a constellation. Each screenplay stands alone — and together they assemble one weekend from the palace, the council chamber, the road, the next cross, and the tomb.
The Likeness contains the whole argument by itself: the child, the prophet, the substitution, the truth.
Claudia through a lattice. Simon from under the beam. The Thief from the next cross. The Dissent from the chamber.
From Barnabas's scrolls to a codex in Córdoba to a scholar in Istanbul — what it costs to carry the story.
Surah An-Nisa 4:157
“They did not kill him,
nor did they crucify him.”
The line the entire slate dramatizes — as the testimony of its sources.
From the film
Start with the flagship
The Likeness leads. Then: The Baptist → Judas → Maryam as the hinge → the Weekend films → the Aftermath → The Codex and The Translator as the long coda.
01 • The Flagship • 101 pages • 141 scenes
Written by Yannick Rolle. Drawn from the Holy Quran and supporting traditions.
Synopsis
A mythic epic woven from three sources. From the Holy Quran: the virgin birth beneath the palm, the infant who speaks from the cradle, the miracles worked by Allah's leave, the Table sent down from heaven, and the promise — they did not kill him, nor did they crucify him. From the Gospel of Barnabas: the baptism, the foretelling of the messenger to come, and the night when four angels bore Jesus up while Judas was remade in his likeness. From the Infancy Gospel of Thomas: the childhood wonders of Nazareth — the clay sparrows, the withered boy, the teacher confounded. Framed by a present-day scholar translating an early Quranic codex, the film tells the whole arc: the child, the prophet, the likeness, and the truth.
“On the night of his betrayal, heaven casts the face of the Messiah onto Judas Iscariot — and the betrayer is crucified in his place.”
Screenplay facts
Tap an act to follow the arc. The structure mirrors the synopsis: childhood wonders, public ministry, the substitution in the garden, and the truth the disciples must carry.
Project artwork. Click any frame to enlarge.
02 • The Complete Slate • Flagship-first release order
Every title below is a completed screenplay by Yannick Rolle, listed in the intended release order. Search, filter by movement, and tap a card for its logline in full.
Plus the 42-chapter novelization, The Likeness.
03 • Testimony, not assertion
The film dramatizes the substitution as the testimony of its sources. It never asserts it as established history. That distinction is the film's method — and its respect for every audience who walks in with a different telling.
The theme line • Quran 4:157
“They did not kill him, nor did they crucify him.”
Surah An-Nisa 4:157–158 is the anchor text: the likeness was cast, Isa was raised up — it was made to appear so to them. The slate stays inside that testimony.
The Witnesses • Five references
Five testimonies the slate is built on — read here as the sources give them, in their own words.
Hebrews 5:7 • KJV
“who in the days of his flesh, when he had offered up prayers and supplications with strong crying and tears unto him that was able to save him from death, and was heard in that he feared.”
The epistle’s own testimony that the garden prayer was heard — the New Testament witness that the cup passed.
Mark 12:29–32
“The first of all the commandments is, Hear, O Israel; The Lord our God is one Lord... for there is one God; and there is none other but he.”
The first commandment in his own words — one God, confessed by Isa and affirmed by the scribe.
Surah Aal-e-Imran 3:59
“The likeness of Jesus before Allah is as the likeness of Adam. He created him from dust, then said to him, ‘Be,’ and he was.”
The Quran’s own word for Jesus is likeness — the film’s title is in the Book.
Surah Al-Ma’ida 5:72
The Messiah says:
“O Children of Israel, worship Allah, my Lord and your Lord.”
The argument in the Messiah’s own mouth.
Surah Al-Ma’ida 5:17
“Who could prevent Allah at all if He had intended to destroy Christ, the son of Mary, or his mother, or everyone on the earth? ...He creates what He wills.”
Nothing about that night constrained God.
Especially Surah 4:157–158 and Surah Maryam. The virgin birth beneath the palm in the wadi, the infant speaking from the cradle, the miracles by Allah's leave, the Table sent down from heaven — and the promise at the center of the crucifixion account.
In Maryam's film, the wadi becomes her measure for everything: alone, no shelter — just the palm, the stream, and the child.
The baptism, the foretelling of the messenger to come, and the night itself: four angels bore Jesus up while Judas was remade in his likeness — the most detailed substitution account in the tradition, and the spine of Act Three.
Barnabas, the young witness entrusted with the true account, carries his own film in the slate.
The childhood wonders of Nazareth that form Act One: the clay sparrows brought to life, the withered boy, the teacher confounded. A childhood unlike any other ever filmed — strange, unsettling, and tender at once.
These wonders are why the adult Isa is never simply “a good teacher” in this telling.
Matthew, Mark, Luke, and John as supporting traditions — the shared world: the Baptist at the Jordan, the ministry, the Last Supper, the garden, the road to Golgotha, the witnesses at the cross and the tomb.
The slate does not erase the familiar story. It tells the most familiar story in the catalog from the one perspective it has never been filmed from.
04 • The Full Verse Bank
The references that carry the work's argument — the verses a reader, a rep, or a hostile questioner will test the films against. Part One is the set the slate was built on; Part Two adds the same lanes, widened. Bible quotations are KJV; Quran references are cited by surah and ayah. Read here, as everywhere on this site, as the testimony of the sources — never asserted history.
Part One
Eight references, supplied by the writer: six from the Gospels and the epistles' world, two from Surah Al-Ma'ida. Together they state the whole case — he points away from himself, he prays, and the Quran answers.
1 • Matthew 19:16–19
“Why callest thou me good? there is none good but one, that is, God: but if thou wilt enter into life, keep the commandments.”
The deflection. The teaching scenes' spine — in the films' register, Isa always points past himself; this is the Gospel scene where he does it in so many words.
2 • Matthew 26:36–47
“O my Father, if it be possible, let this cup pass from me: nevertheless not as I will, but as thou wilt.”
The garden prayer. The hinge of the whole slate, prayed three times while the disciples sleep. The Quran's account is, in effect, the answer to this prayer: the cup passes — to the one who brought the multitude.
3 • John 17:3–4
“And this is life eternal, that they might know thee the only true God, and Jesus Christ, whom thou hast sent.”
The definition. The films' doctrinal center stated inside the Gospel itself — one true God; Jesus the one sent. Spoken by Jesus, in prayer, the night before the cross.
4 • Mark 12:28–32
“The first of all the commandments is, Hear, O Israel; The Lord our God is one Lord... for there is one God; and there is none other but he.”
The first commandment. Islam's core confession, spoken by Isa in the Gospel record and affirmed by the scribe — the bridge verse for Christian audiences.
5 • John 16:12–13
“I have yet many things to say unto you, but ye cannot bear them now. Howbeit when he, the Spirit of truth, is come, he will guide you into all truth: for he shall not speak of himself; but whatsoever he shall hear, that shall he speak.”
The one who comes after. The foretelling lane — carried further in Lane C below.
6 • John 15:26–27
“But when the Comforter is come, whom I will send unto you from the Father, even the Spirit of truth, which proceedeth from the Father, he shall testify of me: and ye also shall bear witness.”
The Comforter. Pairs with John 16 — the testimony to come is about him, delivered by another.
7 • Surah Al-Ma'ida 5:72
“O Children of Israel, worship Allah, my Lord and your Lord.”
The Messiah's own sermon. The Quran's centerpiece for the slate's argument — Isa's self-description in his own mouth. Whoever associates partners with Allah, Paradise is forbidden him.
8 • Surah Al-Ma'ida 5:17
“Who could prevent Allah at all if He had intended to destroy Christ, the son of Mary, or his mother, or everyone on the earth? ...He creates what He wills.”
The sovereignty answer. The reply-in-advance to the crucifixion's necessity — dominion belongs to Allah, and nothing about that night constrained God.
Part Two
Twenty-one further references, gathered in five lanes. Two of them — Hebrews 5:7 and Surah 3:59 — also stand on The Sources page; here is the full bank they belong to.
Extends Matthew 19 and Mark 12 — the pattern of the ministry: every honor redirected upward.
John 14:28
“The Father is greater than I.”
Four words; the plainest subordination statement in the Gospels.
Mark 13:32
“But of that day and that hour knoweth no man, no, not the angels which are in heaven, neither the Son, but the Father.”
A limit on the Son's knowledge, stated by the Son.
John 5:30
“I can of mine own self do nothing... I seek not mine own will, but the will of the Father which hath sent me.”
His own account of his own agency: nothing of himself; everything by the One who sent him.
John 20:17
“I ascend unto my Father, and your Father; and to my God, and your God.”
My God — after the resurrection, in his own words. Directly relevant to the films' upper-room scenes.
Matthew 4:10
“Thou shalt worship the Lord thy God, and him only shalt thou serve.”
At the temptation — the refusal that defines the ministry before it begins.
Extends Matthew 26 — Gethsemane did not go unanswered. The witnesses gather around the garden.
Hebrews 5:7
“Who in the days of his flesh, when he had offered up prayers and supplications with strong crying and tears unto him that was able to save him from death, and was heard in that he feared.”
The single strongest Gospel-side corroboration of the slate's claim: the prayer of Gethsemane was answered.
Luke 22:43
“And there appeared an angel unto him from heaven, strengthening him.”
Heaven is already moving in the garden before the arrest; the films stage the angels at the arrest — Luke puts one there during the prayer.
Psalm 91:14–15
“He shall call upon me, and I will answer him: I will be with him in trouble; I will deliver him, and honour him.”
The deliverance promise — and the psalm Satan quotes at the temptation. The tempter cites the promise; the garden collects it.
Psalm 41:9
“Mine own familiar friend, in whom I trusted, which did eat of my bread, hath lifted up his heel against me.”
The betrayer foretold — quoted at the supper in John 13:18. Anchors JUDAS.
Extends John 15–16 — the foretelling, witnessed from both books.
John 16:7
“If I go not away, the Comforter will not come unto you.”
Already in the work — the main film's upper room re-voices it: “after me, he will come,” keeping the sending with Allah.
Surah As-Saff 61:6
“I bring you good tidings of a messenger to come after me, whose name is Ahmad.”
Already in the work — Barnabas's foretelling and the Baptist's arc hang on it.
Surah Al-A'raf 7:157
The coming messenger is the one “whom they find written in what they have of the Torah and the Gospel.”
The verse that binds the foretelling to BOTH books — the slate's two-source structure stated inside the Quran itself.
Surah An-Najm 53:3–4
Of the Messenger: “he does not speak from desire; it is only a revelation revealed.”
The Quran's mirror of John 16:13's “he shall not speak of himself; but whatsoever he shall hear, that shall he speak.” Set side by side, the two descriptions are one description.
Extends 5:72 and 5:17 — what the Book itself says about Isa, in its own register.
Surah An-Nisa 4:157–158
“They did not kill him, nor did they crucify him... rather, Allah raised him to Himself.”
The foundation verse — already the slate's cornerstone and this site's center line.
Surah An-Nisa 4:171
The Messiah “was but a messenger of Allah and His word which He directed to Mary and a soul from Him... so do not say ‘Three.’”
Already in the work — Isa's self-naming line.
Surah Al-Ma'ida 5:75
The Messiah “was not but a messenger; messengers have passed away before him — and his mother was a supporter of truth. They both used to eat food.”
The humanity marker — and MARYAM's verse: the mother inside the argument, not above it.
Surah Al-Ma'ida 5:116–117
“I said not to them except what You commanded me — worship Allah, my Lord and your Lord.”
On the Last Day, Allah asks Jesus directly whether he told men to take him and his mother as gods. The eschatological capstone of 5:72 — the argument of the whole slate, staged by the Quran itself as a future courtroom scene.
Surah Aal-e-Imran 3:59
“The likeness of Jesus before Allah is as the likeness of Adam: He created him from dust, then said to him ‘Be,’ and he was.”
The Quran's own word for Jesus is likeness (mathal). This is the title verse — the film's name is in the Book.
Surah Maryam 19:30
The cradle speech: “Indeed, I am the servant of Allah.”
Already dramatized in Act One of the flagship and in MARYAM, whose closing card is 19:33.
Surah Aal-e-Imran 3:49 • Al-Ma'ida 5:110
Every miracle is worked “by Allah's leave” — bi'idhni.
Already the synopsis's wording: the wonders are his to perform, and never his to own.
The substitute's words — read to the end of the psalm he quotes.
Psalm 22:1, 24
“He hath not despised nor abhorred the affliction of the afflicted; neither hath he hid his face from him; but when he cried unto him, he heard.”
The forsaken cry opens Psalm 22 — and the psalm ends in vindication. In the films the cry belongs to Judas, the substitute; the psalm he quotes runs from abandonment to being heard — the same arc as Hebrews 5:7, from inside the Psalter.
The Map
Where each witness does its work across the thirteen films.
Matthew 19 • Mark 12 • John 5:30 • Matthew 4:10 — the prophet who will not be worshipped, teaching in the open.
Matthew 26 • Hebrews 5:7 • Luke 22:43 • Psalm 91 • Psalm 41:9 — the prayer, the angel, the promise collected, the betrayer foretold.
John 17 • John 14:28 • John 20:17 • John 15–16, with Quran 61:6 and 7:157 — the definition, the limits, and the one to come.
5:75 • 19:30–33 • 3:59 — the mother inside the argument; the cradle speech; the likeness of Adam.
Psalm 41:9 • Mark 13:32 — the familiar friend foretold, and the limit even the betrayer heard.
5:116–117 — the argument still being tried in a future court; the long afterlife of the question.
3:59 — the Quran's own word for Jesus is likeness. The film's name is in the Book.
Every lane runs back to one verse.
05 • The Novelization
CRUCIFIXION: THE LIKENESS — A Novel, by Yannick Rolle. The flagship expanded into prose: 42 chapters in four parts mirroring the film's four acts. A completed manuscript — not published, and not for sale.
The novel
Where the screenplay holds the flagship to 101 pages, the novel opens it up: the present-day frame in full — Layla Haddad, the disputed eighth-century codex, and her grandfather's notebook — and the ancient story carried inside it, from the vow that begins Maryam's life to the translator still at her desk at the end.
The four parts mirror the film's four acts exactly: The Child, The Prophet, The Likeness, The Truth. The novel is in step with the finished screenplay — including the Lazarus chapter, Chapter 25, “The Four Days,” which stands in Part Two where the film places it.
Chapter One is reproduced in full below, so the book can be read, not just described.
Manuscript facts
The same architecture as the film — childhood, ministry, substitution, truth — with the frame story woven through it.
Chapters 1–12
The frame opens: a scholar, a disputed codex, a grandfather's notebook. Then the vow, the visitation, the birth in the remote place — and the childhood wonders of Nazareth: the clay birds, the teacher, the boy of twelve in the Temple.
Chapters 13–26
The river and the forty days. The ministry in full — the signs, the multitude, the Table descending — and Chapter 25, “The Four Days,” the Lazarus chapter, in step with the film. An interlude returns to the translator.
Chapters 27–34
The garden. The unmaking. The sword, the trial, the dream, the road — and Golgotha, where the likeness does its work and the weight of it lands.
Chapters 35–42
The barred door and the third night. The empty tomb, the road to Emmaus, the upper room, the Mount of Olives — and the witness who carries it forward. The translator is still translating.
The complete table of contents, as it stands in the manuscript.
Read the book
Reproduced complete from the manuscript — the opening of Part One, The Child.
The archivist set the box on the long table the way men set down things they are afraid of — carefully, and a little too far from themselves.
“The provenance is disputed,” he said. “Carbon dated to the eighth century, give or take fifty years. Found, allegedly, in a Yemeni mosque library. The board disagrees about both. The catalog lists three different find-sites. The dating report has a dissenting appendix.”
Layla Haddad did not touch the box. “And the last scholar?”
“Dr. Haddad — your grandfather — requested it twice. Was refused twice.” The archivist glanced at the rain beating the tall windows. “The scholar after him asked to be reassigned after eleven days. He left no notes. Only —”
“Only what?”
“He said some things should stay untranslated.”
The archivist withdrew. The reading room settled into its night silence: rain on glass, the hum of the climate system, the breathing of old paper.
Layla looked at the box for a long moment. Then she pulled on the white cotton gloves, lifted the lid, and there it was — a codex, vellum pages dark with age, the ancient script flowing across them in black and gold like a river that had never stopped running.
Beside the box lay a worn notebook. On its first page, in a shaky, beloved hand: For Layla — when you are ready.
Her throat closed. She touched the inscription with one fingertip, the way you touch a scar.
“Alright, Jiddi,” she whispered. “Let's see what you found.”
She opened the codex. The parchment whispered. She pressed record on the small device beside her, and the red light bloomed.
A qari's voice, low and unhurried, filled her earphones — reciting the old words. She translated under her breath, testing whether the English could hold the weight.
“And mention in the Book, Maryam, when she withdrew from her family to a place eastward…”
She stopped. Played the Arabic again. Let it wash over her like water.
Outside, the rain went on. The world knew nothing.
Layla closed her eyes. Listened. And the centuries folded open.
The full manuscript is a completed, unpublished work. Industry readers may request it through The Writer page.
06 • Watch
The flagship in motion: the finished extended trailer, and the animatic previz that walks the whole screenplay in 28 frames. Press play — nothing on this page starts on its own.
Cut entirely from real footage — no AI imagery. Music: “Stormfront” by Kevin MacLeod (CC-BY).
The whole film in 28 frames — a working previz of the screenplay with narration, drawn for the film's all-Black cast. Music: “Atlantean Twilight” by Kevin MacLeod (CC-BY).
07 • The Writer
Writer of all thirteen screenplays — and of the 42-chapter novelization, The Likeness.
The slate is represented by the screenplays themselves. No agent, manager, or studio credits exist for this project, and none are implied on this site. Industry inquiries go directly to the writer.
About
Yannick Rolle wrote the flagship, CRUCIFIXION: THE LIKENESS (101 pages, 141 scenes), and all twelve companion screenplays — from The Baptist at the Jordan to The Translator, set eighteen months after the codex at the heart of the flagship's present-day frame.
The films are written for an all-Black cast. The project is positioned flagship-first for submission: the flagship contains the whole argument on its own, with the slate as its bench — twelve films circling a single event the audience assembles piece by piece.
Alongside the screenplays, Rolle completed The Likeness as a 42-chapter novelization, expanding the world of the flagship beyond the screen.
Industry inquiries
Managers, producers, and entertainment attorneys: screenplays are available on request. No attachments are sent cold — write first, and the requested title will follow.
yannick.rolle@icloud.com • (301) 651-6766
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