Back to ACT 1
ACT 2
EXT. INDIA, AGRA, STREET SCENE OUTSIDE RAILWAY STATION
As they exit the Agra train station, Paul and San'aa are surrounded by a throng of taxi and tri-shaw drivers. A cacophonous chorus follows them:
CHORUS
Mister! Mister! You want to see Taj Mahal? I give you tour. Very good price! (beat) Free! (they offer no response) What your country? Paul and San'aa wave them off. Walk over to a sleepy, grey whiskered old man sitting on a small wooden, horse drawn cart.
They get in. SOUND: Normal sounds of Indian streets, bicycle bells, horns tooting, children playing, Indian music from loud speakers, etc.
They ride in old wooden cart, clip-clop of small horse and creaking wheels. Old man glumly driving cart, sitting up front, urging the little horse, without vigor, with his long, thin whip as they trot off. The streets they pass are thronged with native people, colorful, noisy, cows wander the streets. They pass by two elephants. A wedding procession noisily goes by them. Garish Hindu temples. San'aa and Paul are delighted by the absurd cacophony around them.
MEDIUM SHOT
A old man plays a hurdy gurdy at curbside. He is attended by a young boy and monkey who collect the coins tossed to them by passersby. CU. of old man's face, then of monkey.
SAN'AA
(in both cheerful and sad mood, taking in all the sights)
It's like magic in the air. So noisy! So crazy! (loud native music around them)
And beautiful. There's a thick spirit here.
Are we near the Karla caves?
PAUL
It's on the way.
SAN'AA
But why Agra? Is there someone to meet here?
PAUL
The Taj Mahal.
SAN'AA
A power source? Like the pyramids?
PAUL
Only because it is beautiful.
They arrive at opulent hotel, former palace, near the Taj, turbanned guard takes their luggage, but he looks annoyed that they took such a humble means of transport.
EXT. TAJ MAHAL GROUNDS, DUSK
In the evening light, the great dome of the Taj is changing colors from golden white to pink, and as the evening progresses, to a dark purple. The grounds are emptying as Paul and San'aa walk hand in hand by the side of the long pool in the garden before the monumental tomb.
SOUND: Soft sitar music. As they walk silently holding hands amongst the beauty of the Taj's gardens, the Taj is always visible as the light changes.
River is visible behind the monument. Paul and San'aa standing at stone railing overlooking the river. They are alone.
SAN'AA
There's the first star! Quick! Make a wish!
PAUL
I have.
SAN'AA
What did you wish for?
PAUL
Is it okay to tell you? (he asks, amused)
SAN'AA
To me you can. But to no one else!
(she looks at him teasingly)
PAUL
Okay. That you'll come to my world, and that you'd always be with me.
(they lean over the railing looking out on the darkening river.
Moon rising over the horizon at right)
Now we'll need a confirmation that it will be so.
SAN'AA
How?
PAUL
On my world, when you see a shooting star,
we call it a message from the stars.
Then, any wish made earlier will be granted.
SAN'AA
Oh good! Let's look for one!
Indian attendent walks over to them and courteously reminds them that it is near closing time, and that they must make ready to leave. He then leaves them suddenly, thanking them for coming.
SAN'AA (CONT.)
Oh! I guess we won't see a shooting star tonight.
PAUL
(smiling)
We'll see one.
SAN'AA
Oh? Then let's go lie down in the garden and look
at the sky.
As they make ready to leave, visible in the pool's reflection in front of the Taj, a meteor streaks the sky. They see it.
SAN'AA (CONT:)
Ah! Our wishes will be granted!
(turning to Paul, Taj dark silhouette in background)
This is so beautiful. (beat) I love it here.
(she presses close to him. He takes her hand, and she whispers)
Come on! Let's dance!
PAUL
You're a beautiful dream, my princess.
They are alone and do a slow waltz around the garden. Moon is full over the river, reflected on the silvery dome of the Taj.
EXT. NIGHT. AT THE GATE INTO THE TAJ COMPLEX
Paul unbolts the small wooden door inside the great door. They slip silently outside, thinking no one is nearby, and kiss a long passionate kiss. They are both startled to find a raggedy beggar sitting in the shadows.
BEGGAR
You will find the light in the darkness...
Paul and San'aa, surprised, stand motionless. San'aa moves closer to Paul.
BEGGAR (C0NT.)
And find the gods of the Himalayas.
(they begin to move away from this unsavory looking character)
And don't forget the Karla caves!
(he cackles after them)
SAN'AA
How can he know of this?
PAUL
Maybe it's what he says to all passersby.
I don't know.
They walk away in the darkened street, towards where there are street lights in the distance.
LONG SHOT, EXT. STEAM TRAIN ROLLING PAST INDIAN COUNTRY SIDE
Some of the Indian passengers are riding atop the rail cars. Beautiful green countryside, fields of wheat and barley and mustard, peasant women in colorful dresses out in the fields working, cows and water buffalo grazing near the tracks. Train riding into setting sun on the horizon.
SOUND: Distant train clatter, music of sitar and tabla.
INT. SECOND CLASS COMPARTMENT OF INDIAN TRAIN, EARLY MORNING
There are bars on the windows of the dimly lit, crowded compartment. People are sleeping wherever they find space, many on the floor. Paul rises from his sleeping berth. San'aa is still sleeping in the one above. Train is stopped at a train station.
SOUND; "Chai, chai, chai, chaiii!" heard outside from the chai boys vending tea. Paul orders some through the window. San'aa awakes, and descends, sleepily.
SAN'AA
Oh, good. You ordered tea.
(she rummages through her bags)
I have some biscuits and jam.
PAUL
I'll have some.
(they both sit on his lower berth as train pulls out of station)
A man is standing near their compartment eyeing them suspiciously. San'aa looks up to him, and then motions with her head to Paul that they are being watched. Paul looks at him, then ignores him. The man continues watching them.
PAUL (CONT.)
Did you hear that?
SAN'AA
(Paul turns to San'aa, as if a voice had been heard)
No. What is it?
The man who is watching them leaves.
PAUL
It sounded like a small voice... a boy I think.
From over by the door.
Paul goes over to end of dark compartment, after the man who had left, and then returns.
PAUL (CONT.)
It's a small boy, an orphan, I think.
SAN'AA
Do you think he is hungry?
(Paul nods "yes")
Then let's bring him some food.
(San'aa makes another biscuit and jam and hands it to Paul)
Paul disappears again into darkness. Then returns with a small Indian boy, very ragged and dirty, age about 8.
PAUL
Do we have any more?
SAN'AA
(to boy)
Would you like some more? Are you hungry?
(he nods shyly, big eyed. Sits by them eating biscuits)
Do you have a family, little one?
(nods yes)
Where?
BOY
(in a soft voice)
In Bombay.
SAN'AA
What's your name?
BOY
Anand.
PAUL
Do you have a ticket for this train, Anand?
(Anand shakes his head "no", still eating quietly)
Aren't your parents with you?
ANAND
We are poor, so I ran away, to find money.
(his large black eyes look up to them)
SAN'AA
Have you saved money?
ANAND
A little.
SAN'AA
How?
ANAND
I begged.
PAUL
Do you have as much as your parents expect?
(Anand shakes his head no, shows them a small bundle of money in small bills and coins)
That is not very much.
(to San'aa)
Maybe we can help him.
(to Anand)
How much would you need for school?
(Anand shakes his head, he does not know)
SAN'AA
Oh, can we take him with us, Paul?
He is such a little boy. His family sent him out to beg.
(she looks through her money belt)
Can we give him some more?
PAUL
(he smiles at San'aa, indicating "yes")
Anand. If you came home with more money,
would they send you out again for more?
(Anand nods "yes". Then to San'aa)
That is not good.
(thinking about it)
I have an idea. We'll go see his family.
(Anand smiles at them, no longer hungry)
INT. TRAIN ROLLING BY INDIAN COUNTRYSIDE, DAY
The mysterious man again returns, watching them and the boy. Train conductor is checking tickets and sees Anand. He grabs him roughly, ready to throw him off the train. The mysterious man intercedes.
MAN
No! No! It's okay. He is riding with us.
Conductor glares at Anand, who is hiding behind San'aa, but lets it be.
CONDUCTOR Who will pay for his ticket?
Paul pulls out his wallet and pays conductor, who leaves gruffly.
MAN
Ah, thank you. (he smiles genuinely at them)
My name is Rashni.
(offers his hand, which is taken by all three, including Anand, as they all are introduced to each other)
The train is now very crowded. Noise decibel is high. Paul and San'aa, with Anand between them, are now talking with the other passenger, Rashni, Indian, age 30. Anand is eating a samosa quietly. Some other passengers have gathered in the aisles to watch the tourists. Rashni is having a conversation with them in good English.
RASHNI
So you'll be going to Karla, then?
(he smiles at them, shaking his head from side to side, in a native way)
I know the place well. My village is nearby.
I am a school teacher there.
From what country are you?
(Paul and San'aa both say they're from America)
Welcome. We do not get many travelers from your land...
...in my village. Not many people know of the caves.
But they are very, very old, more than a thousand years old.
They were carved into the mountain by Buddhist monks, very long ago.
PAUL
(San'aa is listening, watching the discussion, or playing with Anand. Everyone now at ease with this new company)
Does your village worship there?
RASHNI
(amused at the question)
Oh no! We are Hindus. Our temple is nearby,
very beautiful. Many, many people go there too.
(thinking)
But there is a very old man at the caves who can be your guide.
I do not know his name, but he is very old.
(Paul and San'aa nodding in understanding. The train
is noisy with rail clatter, so hearing and speaking is hard. Rashni has a sudden idea)
My village is just below the caves.
Would you like to be my guest at my house?
My house is easy to find.
PAUL
(looks at San'aa, she approves. Anand looks sad)
Why yes! We would like that very much.
Thank you.
EXT. PLATFORM OF BOMBAY STATION, DAY
Paul and San'aa exit the station, Anand happily between them, holding their hands. Small, dirty boys are on the tracks picking up scraps, plastic cups, bits of food. Dogs tag behind them, some with only three legs. The beggar from Taj Majal is also there, combing the rubbish, but watching them, unseen himself.
PAUL (to Anand)
Can you show us the way to your house?
ANAND
(now cheerfully talkative)
Oh, yes. I live in a beautiful neighborhood. You will see.
There are many children there. I even had a dog once... Her name was Lulu...
(conversation is lost in the din of the station)
EXT. VERY POOR NEIGHBORHOOD IN BOMBAY
Crowded narrow streets with children running about, people busy with daily activity, cooking fires outside some of the homes, loud Indian pop music blaring from cheap boom boxes.
ANAND (excited to be home)
This is my house!
They knock at a door. A surly Native woman opens it.
WOMAN
Anand! Where have you been?
(Anand shyly hides behind San'aa)
PAUL
We found your little boy on the train to Bombay.
(pause, woman glares at the two strangers)
I know we are strangers to you.
But Anand is a special little boy.
(pause, she is not friendly to them)
Maybe we can help him with his schooling.
WOMAN
We do not take money from strangers.
(Anand close to tears. Then to him)
Go inside the house!
Without further explanation, Anand's mothers closes the door on them. They are left standing outside in the street.
PAUL
(to San'aa)
Well, nothing was asked for.
SANAA
And nothing given. (pause) There is nothing we can do.
I suppose it is his fate, or karma, as they say here.
Anand sad little face looks out at them through the grimy window as they leave.
EXT. SMALL INDIAN VILLAGE, KARLA, DAY
Paul and San'aa are dragging their luggage up a dirt road. They are seen asking for directions and are pointed to a house near the white washed school house. There is a large hill behind the village, at the top is visible remnants of an ancient India fort. They approach the house pointed to. They pass by a man hearding his water bufalos.
INT. RASHNI'S HOUSE
A woman servant greets them shyly. There are children playing in the house. The house is humble, with mud walls and a dirt floor, but swept clean. Rashni steps in from another room and greets them.
RASHNI
(happy to see them again)
Welcome! Welcome!
You have found my house! I am so happy
you came to visit us.
There is a cooking fire in the corner on a raised stone platform. The woman is making chapati, making ready for a meal. She looks up but does not speak. She then orders one of the children to get her some water in a metal urn.
RASHNI (CONT:)
Please join me in taking some refreshments.
Do you like coca-cola, beer? Tea?
(Rashni sends out boys to fetch drinks in the village)
After you rest from your trip, I will show you the
path to the caves. Maybe I can send a boy with you.
SAN'AA
(looking a little troubled)
I don't like caves very much. Maybe I can stay here
and visit the school, and talk with the children?
RASHNI
Yes! Yes! You are welcome! Of course, of course!.
PAUL
(casually)
I'll go alone. I like caves. They speak to me.
EXT. SAN'AA IS SEEN ACCOMPANIED BY EAGER CHILDREN
The children take San'aa by the hand, eager to show her their school. Paul walks up a trail that goes off into the hills. The village is soon left behind, far below him.
EXT. AT THE KARLA CAVES. DAY.
At the mouth of the cave, Paul comes to a closed iron gate. While looking past the gate at the caves beyond, an old man silently comes up behind him. Paul is momentarily startled.
CU. OF PAUL'S STARTLED FACE
PAUL
I'm sorry. I didn't hear you come.
OLD MAN
(in a slow voice)
Do you wish to go inside?
Old Man produces a large key and slowly opens the creaky gate. They step inside.
OLD MAN (CONT:)
The monks carved these caves a thousand years ago.
Their sacred pool is by the third cave.
You must touch the water first, then you enter.
The old man turns and leaves him to explore the caves alone. Paul touches the water at the sacred pool and steps inside the first cave.
INT. COOL DARK CAVE.
After being led inside, Paul turns to find the mysterious old man had gone. He walks inside the cave and looks at the faded frescoes of ancient paintings and mandalas of the Buddha. His breathing steadies, and he sits on one of the low stone benches carved into the side of the cave. It is dark and still.
FADE OUT
EXT. AT RASHNI'S HOUSE, LATER IN THE EVENING
San'aa and the villagers are gathered outside the house. A feast is already in progress when Paul returns from the mountain of caves. he looks serious, and tired, like he had a troubled time.
RASHNI
Ah, Mister Paul!
You are back from the caves!
Please join us for a meal.
These are my neighbors from the village.
They greet him with "Namaste", hands held together. Paul does the same, and sits next to San'aa.
PAUL
(to San'aa)
I found what I was looking for.
SAN'AA
You said caves speak to you. (she is curious)
PAUL
(taking her hand)
In the cave, I heard a name: "Man-a-nam".
And it told me where to find him.
SAN'AA
What does it mean?
PAUL
I don't know.
(then to Rashni, now more lighthearted)
Rashni! What does Man-an-nam mean?
(Rashni shrugs, having no idea)
Or Jumbesi?
RASHNI
(in a festive mood)
Ah yes! That is a village high in the Himalayas, in Nepal.
There is a famous Tibetan monastery there.
PAUL
(looks at San'aa by the waning light of evening)
Want to go see the Himalayas?
SAN'AA
Do I have a choice? (teasing)
PAUL
(again calling to Rashni, who is on other side of the room)
How far to Jumbesi?
RASHNI
Oh, maybe four days by train and bus, if you're lucky.
San'aa looks visibly concerned.
PAUL
(smiles at her, raising an eyebrow)
It's in the Dream.
SAN'AA
Can we fly?
Paul kisses her on the forehead. They again turn their attention to their hosts. Food and drink is being served, and the party is on.
EXT. LONG SHOT, HIMALAYAS IN THE DISTANCE.
ZOOM IN ON KATHMANDU, DAY
Scenes of Durbar Square and temples. Nepali and foreigners milling in the square, with cows.
CUT TO Pashupatinath temple as seen from the hill across the river. Cremation ghats visible below with thin blue smoke curling upward from the river. Priests and Sadhus and worshippers crowd the steps of the ghats before the great temple. Monkeys frolicking on the hill where the rows of stupas look like sentinels. Cows graze leisurely among these.
SOUND: Temple bells and general murmur of the worshipping crowd, reed flute.
MEDIUM SHOT
Ragged, turbanned snake charmer playing reed flute. He is squatting before a wicker basket with a cobra in it dancing to the flute. Paul and San'aa and other tourists are squatting at a safe distance from the basket, watching the snake's dance, as if they themselves were mesmerized. Two Nepali men, wearing native hats, come and squat next to them. One of them, Amar, turns to speak to Paul.
AMAR
Are you the man called Paul?
PAUL
Are you Amar, the man sent by the trekking company?
AMAR
Yes. I am to be your guide. This is Sanu. He is
my assistant. He will be cook. He will get us
all the supplies we will need for the trek.
They shakes hands. Sit down, watching the snake charmer.
SANU
You are going to Jumbesi? That is on the way
to Mount Everest Base Camp. There is a Tibetan
monastery there. I know it.
MEDIUM SHOT
A sadhu carrying a staff, long safron robes, golden trident painted on forehead, walks up to the snake and kneels before it. The snake charmer smiles. The sadhu gently reaches over to the cobra and touches it. The cobra does not bite. Sadhu rises and quietly retreats.
AMAR
He is a holy man. Because his heart is pure, the snake
did not bite him. It is good luck.
SAN'AA
(knitted brow, observing this strange occurence)
He is very brave. But what if he was not pure?
AMAR
He would die... And then be reborn.
San'aa watches the snake, shaking her head. The others watch her concern with refrained amusement. Snake charmer smiles, shaking his head sideways, inviting her to touch the snake.
SAN'AA
(eyeing the snake with apprehension)
No... I don't think I want to be reborn yet.
PAUL
Cool.
EXT. HIGH IN THE SNOWY HIMALYAS, DAY
Trekking in the mountains on an ancient foopath. Amar and Sanu are ahead. Sanu has a large basket of goods on his back, strapped from his forehead. Paul and San'aa are ahead, holding walking sticks, walking and talking. Beautiful scenery around them of rhododendrons in bloom, waterfalls, and distant snowy peaks. SOUND: Natural sounds of the forest and waterfalls around them.
CU. OF PAUL AND SAN'AA (catching them in mid conversation)
SAN'AA
Tell me of the Dream again.
Is it like your God?
PAUL
We believe on our world that all of reality
and the mind are connected. That all is One.
So we try to understand this One, this universe,
with our minds. But we discovered long ago
that reason fails us. It is impossible to understand
infinity with logic. So we turned to the Dream.
(San'aa is listening attentively as they walk)
SAN'AA
So do you interpret these dreams, then, to
see all the inter-connections of infinity?
PAUL
Like that, but it is much more technical.
We have a class of people, who by their choosing,
and training, spend their lives dreaming the Dream.
They are the Dreamers, and they do this in special chambers,
which register all their brain activity.
A very complex machine reads these
and then draws out a three dimensional grid map,
what we call the Reality Matrix. From that Matrix, we can
then know where reality is coming from, where
it is, and where it is going.
That's how we know where we are in the Dream.
SAN'AA
But once you know this Matrix, then there is
nothing you can do to change it, is there?
It is like fate?
PAUL
Well, no. That is why it is so important that it is
only a Dream. Once it is known, then we can
act, in how we choose, in response to what we know.
You see, when you act in response to the Dream,
you are still in the Dream. You are in the middle of it,
as it is connected to all points of infinity. But you can
still choose. That's what makes each human being so special.
The Dream. It's all One.
SAN'AA
Then it is like talking to Infinity?
PAUL
Yes. Very like that. You see, the waking mind sees pieces
of infinity. But the Dream sees infinity as it sees itself,
or how it is for each one of us. That is how we
understand the One without reason. We call it 'Aan.
(thinking about it)
It is a little like what you have on Earth.
People here believe in their God, thought they cannot see
what it is they believe. And they pray for what they
want. We do the same, in a way.
(San'aa is following, nodding in agreement)
But there is one more thing we can do.
(San'aa looking at him, with full attention)
We can also Dream, and in this dreaming we can
change reality. That is what is meant by being
in the Dream, or being in 'Aan.
SAN'AA
Then the men who were chasing us in Egypt...
Where they also in the Dream?
PAUL
They are all writers in their Dream. We only the players.
They just do not know this. Your world does not know it yet.
SAN'AA
(thinking about it)
So when will we know about it?
PAUL
When we can join both our worlds together, in the Dream.
Then Earth will be introduced to all the Living Worlds...
(pause)
... And there are millions of such worlds in this Galaxy alone.
It's a very big universe.
San'aa stops and looks about her, admiring the beauty of the mountains, as if imagining millions of worlds with intelligent beings on them. A butterfly flutters by her. She turns to Paul:
SAN'AA
I want to be there when it happens.
(Paul looks sideways at her in silence and gives her a sad smile)
They are walking towards a small village in the mountains. Amar and Sanu are already ahead and are talking to a proprietor of a tea house, asking for lodging.
SAN'AA(C0NT)
(still persisting in her line of inquiry)
But you also have a very advanced technology
you call the Light. How does that work?
PAUL
The Light is like your electricity, but it works with photons.
It is what powers our space ships, our cities, even our food.
That is, it is why we live so much longer than you do,
almost three times as long. It also makes us telepathic.
You see, it opens our minds to....(the Dream)..
Paul's voice trails off at the word "Dream" as the camera swings away from them. Amar and Sanu approach them as they are walking and talking. Great snowy mountains, Ama Dablam visible in the distance.
AMAR
We can get lodging here. There is food and
good drink. They have chang, our Nepali beer.
It is very good for the muscles after a long trek.
PAUL
(dropping what he had been talking about and happy to stop)
Then let us order chang and drink hearty! It has
been a long day, Amar. Sanu, join us! Dinner can wait.
INT. NEPALI TEA HOUSE
It is night and cold outside. Nepalis walking into the tea house are quick to close the door and shake themselves of the cold, go over to the warm fire at one end of the room. The room is smoky and the clientele composed of Nepalis and foreigners on a trek. Paul and San'aa, Amar and Sanu are seated at a rough table near the fire, talking over glasses of chang. A beggardly man is watching them from the far end of the room. He is the same man we saw at the Taj Majal, but they fail to recognize him by the dim light. He slowly gets up and goes out the door into the blustery cold. No one notices him.
SOUND: Normal tea house background din of voices and dishes.
AMAR
(talking volubly in high spirits from the beer)
Tomorrow, we will be in Jumbesi. Sanu and I will go
to visit an old friend, a school teacher of ours, from when we were boys.
We are Tamang, so this is our homeland,
and we have many friends to see.
But we will show you the path to the monastery.
It is higher up in the mountain.
It will be easy to find, if... (he grins) ...
we do not drink too much chang.
(all are merry and drink)
EXT. SAN'AA AND PAUL ARE TREKKING ALONE
Carrying small back packs, they are going up a long path that leads to the Tibetan monastery. A beautiful valley surrounded by Himalayan peaks leads up to the monastery high up on the mountain. They cross a stream over rocks and sit down on the other side to rest. A large rock with prayers carved into them is behind them, a mani stone.
SOUND: Rushing stream, hawk cries high overhead.
SAN'AA
(while they are resting)
They sky is so beautiful here. It feels like
you could almost touch heaven.
(looking up at the sky. Then suddenly)
Look! Those lights! They are moving about the sky.
EXTREMELY LONG SHOT
A pattern of three ET ships are flying a triangular formation. They dive down towards them, then hover overhead, at about a thousand meters.
INSERT
Nepali villager are looking up at the sky and see the ET's. They are pointing at them, some uttering "Oooohh!" Small clouds form around them, causing a lightning flash. Then they suddenly lift away and disappear in a flash. The villagers look confused, wondering if they had not imagined it.
MEDIUM SHOT
PAUL
So they know where we are.
It's an omen which usually means trouble.
They wouldn't come this close unless there was reason...
They are not allowed.
He looks up at the now empty sky. Pulls out his computer-like black box and calibrates it. It has no response, shakes his head, and he puts it back in his pack.
SAN'AA
But how did they find us?
PAUL
My molecular signature.
(San'aa looks puzzled, so he explains)
Each one of us gives off a molecular aura that defines who we are.
Our machines can read these. So they know.
SAN'AA
Can you call to them?
PAUL
(despondent)
I just tried. (beat) No answer.
They look up, to see if the ships return. The skies are empty. Three old Tibetan nuns cross the stream and come up to them. They exchange "Namastes". The old nuns, dressed in long, well worn, wine colored robes, smile and motion them to follow. On their backs are bundles of sticks. All rise and continued up the path. The Monastery is now close up ahead, amidst a forest of poles flying prayer flags. As they all approach monastery compound, a loud and deep sound comes from atop the walls. Two monks are blowing into long trumpets.
EXT. MONASTERY COURTYARD, DAY
Monks silently shuffle past Paul and San'aa, bowing and smiling at them in welcome. A small lhasa dog is lying in the sun by the great wooden doorway, which is the entrance to the main gomba (temple). The temple walls are painted a golden hue, the windows a bright blue, and the big door a bright red. Paul and San'aa wait in the enclosed courtyard before the big door when a young novice monk rushes by them into the gomba. In a moment, he exits and addressed them.
NOVICE
The Abbot will see you now. Please come.
(they follow him in)
INT. DARK MAIN HALL
The dimly lit interior has dark red walls lined with Buddhist tonkas and floor to ceiling shelves of Tibetan prayer books, each bound in engraved wooden binders. The walls have paintings in gold leaf telling the story of Buddha's lives. These are illumined by small butter lamps. At the far end, in the alcove, is a great life sized golden statue of the Buddha. A human skull trimmed in gold sits before the statue, also lit by butter lamps. Incense sticks release a faint smoke, some of which curls into the eyes of the skull. Standing by the one great window in a shaft of light is a lone figure softly chaning "Om, mane, padme, om" serenely polishing the little butter lamps. He does not acknowledge them immediately. Paul and San'aa stand at a distance waiting for an introduction, but the novice leaves them abruptly. Paul speaks when the Abbot stops his chant:
PAUL
Namaste.
(he bows and brings his hands together. San'aa does the same)
ABBOT
Namaste... and I worship the god in you.
(he smiles at them)
I am told you have come to see one of our monks?
PAUL
Yes. We are here to see Mananam.
I was told he was here.
ABBOT
Oh? (pause) No one knows he is here.
You must have a very highly placed source.
(looks at them a long moment)
But you have come to the right place.
(continues to quietly polish the lamps)
But what brings you to him?
PAUL
I have heard his name at a cave in India.
ABBOT
Then you have come a long way.
(smiles at Paul, knowingly. Abbot resumes in his calm way)
Mananam is blind. But he does for us very
important work. Still, he is dying.
(Abbot looks up at them, after a pause)
He is at a cave above here, in the mountain.
My novice will take you to him. But only a short visit.
SAN'AA
(aside to Paul)
Maybe I can stay here. You know me and caves...
ABBOT
(as if having heard her)
She can stay here and visit with the nuns.
(to San'aa, eagerly)
Do you have any jam?
(surprised, San'aa nods "yes" that she does)
Good. They love jam. Maybe you could give them
some as a gift, so they could share.
(he smiles broadly an amiably toothless smile)
EXT. DAY. PAUL AND NOVICE WALKING UP THE HILL TO THE CAVES
Tall poles with prayer flags fluttering in the wind surround them as they climb up the hill. A fine mist has stettled over the mountain and a dark, passing cloud drops a fine rain. There is no one around them as they make the ascent. A hawk circles high over them.
SOUND: Only their footsteps on the rocky path and the cry of the hawk overhead. They arrive at cave entrance, and the novice points the way in. Novice stays outside. Paul, carrying his small back pack, enters.
INT. DARK CAVE Total silence inside. An small oil lamp lights the way in. Paul enters the dark room cut in stone and places his bag on the floor by the only light entering the room. A narrow ray of light enters from a wall from a shaft dut into the rock. Paul's eyes adjust to the darkness and he sees an old monk sitting in a lotus position on a high stool. The room is barren except for a water pitcher and a bowl on a low wooden plank.
CLOSE SHOT
PAUL
Are you Man-a-nam?
MANANAM
(opens his blind eyes, and looks at him in silence, then speaks softly)
Are you the one I am waiting for?
The old monk is thin and frail, but his face radiates a serene presence. He is being kept there like a god. When the monk looks at Paul, he sees that he is blind. The surroundings are austere, but spotless. Paul is awed by his presence.
PAUL
I am Paul. I was called here by your name. (pause)
I heard "Mananam" in a cave, in India.
So I came.
MANANAM
(smiles a blind smile. Paul's eyes can see him clearly now)
You have come a long way to see me.
(turning his blind eyes to Paul)
But I cannot see you.
Man'a'nam reaches over to his robes to bring them tighter around him, as if cold. Paul moves to the light shaft and monk's blind eyes follow him.
PAUL
The Abbot says you do important work here.
MANANAM
(smiles quietly)
I dream. I meditate (beat) in my Dream. But I am dying.
(pause. All is very still)
Look outside.
Paul steps to the narrow shaft and looks outside.
MANANAM
There is a rainbow over the valley. Do you see it?
PAUL
Yes. It is a full rainbow, from mountain to mountain.
MANANAM
Then you are the one. I have seen you in my dream.
PAUL
Then you are the one I am to see.
MANANAM
(steadily chooding his words)
Bring me some water.
(Paul brings bowl and he drinks)
Why are you here on Earth?
PAUL
I am here to merge our dreams. (pause)
I am a Dreamer on my world.
But of what do you dream?
MANANAM
(after a silence)
Do you know why I am called Mananam?
(his blind eyes looks at him in silence, not expecting an answer)
It means that one creates with the reflection of one's being.
I dream of the world as it is, and also as it is to be.
But I also dream that I am dead.
(Mananam lets that sink in)
That I spend more time in that fabulous world
where dwells the spirit then I do in the flesh.
And there, I do my work.
(pause. Paul is silent)
I heal what had been so sickened on my world
by fear and greed, and confusion. They are the true evils.
They keep us from entering the Dream. (pause)
In my world there is so much abuse, so much murder and deceit, grief.
And War.
(Paul listens quietly, as if in the presence of a great being)
I was sick when I came here, dying.
The monks restored me to life with natural healing.
It was then that I saw that it was not I who was
sick, but my world. And its pollution was killing me.
I will die soon, nevertheless. But in my heart, I am well.
PAUL
But suffering is what this world is about, isn't it?
MANANAM
Until we learn to heal ourselves.
(then as if raising his hand to touch Paul)
So you are a Dreamer too, from another world?
(Paul touches his hand)
Tell me. How do you Dream on your world?
PAUL
I can show you.
(reaches down to his bag and pulls from it the black box)
I have brought you a machine that will translate my thoughts into yours,
and you will see what I see as if with your own eyes.
(the monk looks at him with his blind eyes, waiting)
Let your mind be stilled in the way you know so well,
and see what I will show you.
Paul turns on the black box, places it near the food bowl, and calibrates instructions into it. It glows with a soft pink light. Then he squats in a lotus position before it and appears to go into a meditation.
INSERT:
Flashes from Paul's world appear: The world is all water, except for one large continent along the equator, and small islands scattered throughout the sea. Great, tall pyramidic buildings on the continent's coast stand like sentinels on the sea. A great desert forms the interior with vast canyons. Close up of people's faces, child like but sophisticaled city faces stroll the promenades between the buildings, small aerial crafts landing and taking off. In the desert, the faces are coarser, dusty and with matted hair, bodies covered in brown cloth. Large golden orbs floating over the landscape, maneuvering among trees in an orchard, large camel like beasts, and herds of wild animals on a savanah. Then the imagery shifts above the planet where the two moons are seen suspended over the bluish green world. A Star-Ship approaches and they enter inside, scanning the corridors, the people inside dressed in semi-transparent single body suits or tunics. They enter a large chamber full of controls, which is the Command center, and then another large hall full of sleep stations, which are the Dream chambers. There are people inside. They are the Dreamers.
Mananam remains silent. Paul quietly reaches over to the black box and presses another command into it. Then Mananam saw the Star-Ship approach the Earth. He saw how Paul's android, Master, maneuvred the shuttle craft down to the surface and lowered Paul's raft onto the ocean, and how two other crafts likewise landed in other parts of the world, and how agents had discovered his presence here and were after him. In the end, the machine's lights wind down.
CLOSE UP OF MANANAM'S FACE
MANANAM
I thank you.
I have seen in an instant more than in a lifetime.
But your are not alone.
There are others. (pause) I can see it in your mind now.
Your dream is in color! Mine too.
(Paul smiles as Mananam laughs to himself)
Do you want to look into my Dream?
Then let your mind be still.
CU. OF PAUL'S FACE
Paul winces, his eyes closed, then shudders with pain. His face goes pale and tears form in his closed eyes, and then, after a long shudder, he screams an agonizing and ragged moan of pain.
MEDIUM SHOT
MANANAM
That was the suffering of my world. (pause)
But there is also joy.
It is that joy we must find and hold onto.
Then both our worlds could merge.
All things living feel joy, and suffer pain.
Same as you do in the Dream.
PAUL
(hoarsely)
Why do they suffer so?
MANANAM
Because the joy of life must become its own pain.
And that cannot change until we put away our poisonous toys.
PAUL
You mean disarm? And stop this ecological disaster?
Your Earth is dying, in the oceans, the forests...
MANANAM
I know. Our dreams must merge. If not, abuse of the planet
will continue, like a cancer that grows.
And then my world will die. They are so violent here...
(then, as if he were listening to something far away)
Do you hear the hawk?
He is talking to us.
(pause, as if listening)
He is warning you of danger.
Outside is heard the sound of helicopters passing over head.
Paul looks through the air shaft and sees a squadron of military choppers descend over the Gomba. He rushes outside.
EXT. LONG SHOT OVER THE MONASTERY
There is confusion as men and women attempt fleeing the invading machines. Screams are heard from below.
INSERT CLOSE SHOT
Soldiers with weapons drawn jump out of the choppers and take captives, monks and nuns. These are pushed into the waiting machines. San'aa is one of them. She is pushed into the waiting chopper, fear in her eyes. Young nuns also taken captive are crying. Paul rushes back inside the cave.
PAUL
(visibly agitated)
I must go down to the Gomba! There is trouble.
Mananam remains silent and impassive, closes his eyes, then raises his hands in 'Namaste', as if bidding him farewell. Then he speaks as Paul is about to go for the black box and take it with him.
MANANAM
Please leave it. (pause) With it I can see your world.
PAUL
Then it will be your eyes.
As a token of thanks, Mananam stretches out a hand to Paul, who touches it gently, palm to palm, or chakra to chakra.
MANANAM
God's Peace be with you.
(Mananam looks at Paul with his blind eyes)
Only a few need to know. The rest will follow.
Paul turns abruptly and exits the cave.
EXT. DAY. DOWN THE HILL TOWARDS THE GOMBA
Paul runs down the hill past the prayer flags now hanging limp in the stillness. He reaches the gomba and rushes into the courtyard. Monks and nuns are somber, some of the younger novices are crying. He finds the Abbot and runs up to him.
SOUND: Distant sound of choppers leaving the area.
PAUL
(to Abbot)
What has happened? Where is San'aa?
ABBOT
(sad, but without bitterness)
She was taken with the others.
PAUL
By whom? Who would do this?
(with anger in his voice)
Why did you not fight back?
ABBOT
It is not our way to resist. We hold all life sacred.
(pause)
Even the enemy.
Paul grabs his things and readies to exit the Gomba. Turns to Abbot as he is about to leave.
PAUL
(with teeth clenched)
Well, I can resist.
(he then composes himself, and bows a deep bow to the Abbot)
Namaste.
The Abbot, also composed, returns the bow, serenely.
EXT. PAUL RUSHING DOWN THE HILL FROM THE MONASTERY
Paul stumbles as he rushes back down the hill from the monastery. He comes to rest at the stream and leans dejectedly against the large mani stone with Tibetan prayers carved into it. Slowly sinks to the ground in despair.
SOUND: Rushing water in the stream slowly turns into like a million bees that rises into a beautifully harmonious sound.
Light forms around him, like it did in desert near the pyramids. Ma'an and Ta'an materialize before him.
MA'AN
We picked up your distress frequencies.
PAUL
(looking up at them)
Are you near?
MA'AN
No. (beat) We're beyond Earth's moon.
PAUL
But you can be here in minutes. I must intercept the helicopters.
I must rescue San'aa.
TA'AN
We can not do that. They already landed.
(Paul looks up, not understanding)
If we retrieve you, it ends your mission.
You may not be back for a very long time.
PAUL
(with despair)
But I must rescue San'aa. They think she's one of us.
You know what that means!
(anguished)
They'll dissect her!
MA'AN
You may rescue her. But we cannot help you directly,
or Earth's reality will close off again.
Then Contact would be delayed... (beat) ...indefinitely.
(pause)
But we can tell you where she is going.
PAUL
You know where? But how?
TA'AN
Two ways. We intercepted their communications.
And we can track San'aa aura signature.
(Paul looks up with hope in his eyes)
She is being taken to Paris.
PAUL
(with bitter irony)
Then she is living her Dream.
She wanted to go to Paris.
(holding his head in anguish)
But why Paris?
MA'AN
Because Abdulah is already there.
PAUL
Abdulah?! Why is he there?
How does Abdulah come into this?
TA'AN
He wants San'aa.
(they look at him silently)
So, my dear friend.
That is where you must go.
Not only to rescue San'aa, but because Abdulah
now has the power to destroy this mission.
PAUL
How?
MA'AN
He has the bait. You'll see.
(they look at him in silence)
So, for now. We are powerless.
It is up to you. We will stand by.
The Light be with you, in 'Aan.
(they fade out)
Paul is again left alone, sitting forlorn by the Mani stone at the stream.
PAUL
(running his hand over the Mani stone)
So you are a power source, after all.
Amidst all this madness, there is a small ray
of Light... (to himself)
Your prayers really do reach heaven.
Paul is surprised to see a Tibetan wolf drinking across the stream. He watches the animal, which seems unafraid, comfortable in his presence.
PAUL (CONT:)
(softly to wolf)
So the trap is set.
(wolf raises its head)
You understand, don't you?
Wolf lowers his head as if in understanding and drinks from the stream.
FADE OUT
Go to ACT 3
Back to ACT 1