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To go to Act 2
"DREAM OF THE WORLDS"
SCREEN PLAY
BY IVAN D. ALEXANDER
A FILM FOR THE DREAM-MILLENNIUM
BASED ON THE NOVEL
Draft #10 June 13, 1999
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NOTES ON MAIN CHARACTERS
1. SAN'AA Early to mid-twenties, coffee skinned, fine featured with classic good looks, cool but friendly and charming, sensual eyes.
She is a very good looking North African woman, slim but sexy, with long black curly hair, or long corn rowed hair. A modern Cleopatra.
2. PAUL/PA'AN Youthful, late twenties to early thirties, medium build to slim, good looking, friendly but with air of reserve, sometimes naive. Could pass for classical Greek with thick curly reddish hair, full lipped, possibly of mixed racial ancestry, olive skinned.
3. ABDULAH Tall, strong and wide featured African. Mid to late thirties. Exudes charm and smooth talking, but also roguish. Quick to smile strong white teeth.
4. COL. PIERCE Commanding, tall, American officer. Outwardly charming but committed to duty. Can be hard and steely eyed.
5. MAN'A'NAM Small, frail, wizened old monk. Blind, but with fine and animated face, yet serene. May be Asian or European.
6. MA'AN Regal, blond, beautiful woman. Serious but of easy personality, compassionate.
7. TA'AN Cherubic face, joyful, stockier than other Aliens.
8. MASTER Very much like a real person, but mechanical. Special effects superimpose 3D stylized features of Paul, yet human looking. Golden, translucent coloring.
9. SUPPORTING CAST Chosen from population on location when possible.
***************************************************************************
FADE IN...
SCROLLING SLOWLY ON THE SCREEN AGAINST THE BACKDROP OF AN INFINITY OF STARS IN DEEP SPACE:
"IT HAPPENED NEARLY FOUR THOUSAND YEARS AGO, AT THE END OF
EARTH'S BUILDING THE GREAT PYRAMIDS, AND OTHER GREAT STONE
MONUMENTS TO THE HEAVENS, THAT WE WERE FORCED TO
LEAVE YOUR WORLD BECAUSE OF WAR. EARTH WAS HENCEFORTH
DECREED BY ALL THE LIVING WORLDS TO BE IN "QUARANTINE".
NOW THAT OUR BEING HERE HAD BEEN FORGOTTEN, WE HAVE BEEN
ASKED TO RETURN. BUT THE QUARANTINE HAS NOT YET BEEN LIFTED.
THIS WILL BE DONE AT THE OFFICIAL TIME OF "CONTACT". UNTIL
THEN, ONLY SCOUTS ARE SENT TO YOUR WORLD TO SEE HOW
WE CAN BRING YOU BACK INTO THE DREAM . BUT OUR MISSION IS
NOT EASY, AS THERE ARE THOSE WHO DO NOT WANT US HERE, AND
WOULD KILL US TO KEEP US OUT. I AM ONE OF THESE SCOUTS.
THIS IS MY STORY."
-PAUL.
FADE OUT.
ACT 1
BEFORE MAIN TITLE AND CREDITS
FADE IN: EXT. It is just before dawn at sea, light on horizon, fine summer morning. Calm. Soft sound of undulating swells, distant sea gulls. Far in distance, small silvery extra-terrestrial (ET) ship comes into focus on the horizon hovering low over water. Small inflatable raft is seen lowering from belly of ship, a person's silhouette sitting inside. Soft MUSICAL HUM begins as raft touches water. Stillness continues, then abruptly silvery ship lights up and rises into the sky. Hum rises in pitch as craft pans out of the frame.
Deep single NOTE continues, growing louder, then grows faint, softly merging into a harmonious set of chords, like the musical hum of a million bees.
Raft left alone bobbing on ocean waves. Just then sunrise breaks from the sea, lighting up the horizon. Person in raft, a silhoutte turned away from us, begins to row towards shore, towards camera.
EXT. OVERHEAD SHOT, CAMERA IS NOW SHIP RECEDING FROM PERSON BELOW, AS IF LOOKING THROUGH A LARGE CLEAR LENS.
The lone figure of a man dressed in ordinary outdoors clothes looks up at ship, but too far to make out his features. He is getting smaller in the "lens" outline as ET ship is rising.
OVERHEAD. PAN WATER TOWARDS LAND
Raft now but point at still a good distance from the coast of a New England village (Rockport) with harbor and boats. One lobster boat is leaving harbor, chugging audibly.
ZOOM Figure in raft is slowly rowing towards shore.
His back is visible only, rowing silently. Sun now crests the horizon.
Sound of lobster boat chugging heard in distance.
LONG SHOT OF VILLAGE, RECEDING RAPIDLY
ET ship is rising at great speed with sense of vertigo.
MUSIC rises dramatically as ship leaves atmosphere. Earth now a small blue globe, larger moon to one side.
EXT. REVERSE ANGLE. MOTHER SHIP, long uneven oval with rows of porthole lights, blue and red flashing lights, and bright cargo bays approaching rapidly. Camera "lens" passes over the Ship.
MUSICAL now loud, with changing harmonics of Tibetan monks chanting and the deep organic chords of a million bees. It sounds almost alive.
One of the cargo bays absorbs the shuttle craft. Blinding white light inside. Loud music and chanting end abruptly.
CUT TO:
INT. AIRLINE PASSENGER, cabin lights low.
Mostly African faces, except for one, who looks European, but olive skinned, blue eyed, reddish curly hair.
CU. Man staring wide eyed, but he seems asleep. It is PAUL, age 29, who wakes suddenly, as if from a dream, staring ahead confusedly. Cabin is full of Arabs and Africans. "Fasten seatbelts, no smoking" lights go on. Voice of stewardess, first in Arabic and then in bad English, gives instructions to remain seated; the temperature at Khartoum is 30 degrees centigrade, etc... Normal background noise. Paul regains his composure and adjusts his seat for landing. Stewardess walking down the aisle smiles at him, and he weakly smiles back. A puzzled and disheveled look stays with him, as if disoriented. He looks tired, been traveling a long time. As the plane lands it is dark outside, blue flashing lights along runway.
INT. KHARTOUM, INTERNATIONAL AIR TERMINAL.
TITLE AND CREDITS
Passengers are disembarking. Paul, like the other Arabs, is stoic in the hot terminal. Baggage delivered by porters, lined up against one wall. The uniformed guards look suspicious. Little background noise, as all are standing solemnly. Paul becomes tense when a guard motions to him to follow. He leads him to the customs counter and looks over his passport and tickets for a long time. Neither speak. It feels like trouble. Then the guard looks up and smiles at him and welcomes him to Sudan. Paul thanks him, relieved, and quickly exits.
EXT. NIGHT, Outside the terminal, Paul hails a waiting taxi and gets in.
INT. TAXI
PAUL
(to Taxi driver)
The Acroplis Hotel, downtown.
TAXI DRIVER
I'm sorry, sir. But the Acropolis was bombed.
(Paul looks doubtfully at him)
Just lask week. Thirteen tourists died, mostly English.
(then, as an afterthought)
You English?
PAUL
No. Further away.
(his body language says he doesn't wish to discuss it)
TAXI DRIVER
Australian? (he seems excited by this)
I have a friend in Australia.
PAUL
No.
TAXI DRIVER
You know the Sahara? I'll take you. It is a good hotel.
It belongs to Abdulah. He is my friend.
PAUL
Okay. Cool.
(Paul nods in approval but seems disinterested)
INT. SHABBY HOTEL ROOM
Paul is undressing, slowly, smoking a cigar. SOUND of water running in a bathtub. A knock on the door startles him. He opens it and a hand slips him a note. Scratched on it in large letters: (INSERT)
(Insert) It is not safe for you here. Come see me
in morning. See hotel manager. (signed) Abdulah.
Paul drops the crumpled up the note to the floor and turns to take his bath.
INT. HOTEL LOBBY
Next morning. Paul is dressed in khakis for the desert. Looks more rested and together.
PAUL
I'm looking for Abdulah. He said to see the hotel manager.
DESK CLERK/MANAGER
I am the manager. You are the American?
(Paul nods)
Wait. Please.
(he disappears outside, presently returns with a tall, dark African, dressed in jellaba and red slippers. ABDULAH, age 35)
ABDULAH
Ah, you must be Paul.
It is a pleasure to meet you, sir.
(Abdulah smiles broadly, showing strong white teeth. They shake hands)
Please come take breakfast with me.
EXT. KHARTOUM STREET, DUSTY, NOISY WITH TRAFFIC AND PEOPLE.
ABDULA
What brings you to my country?
PAUL
(answers with a wry smile)
My visa says I've come to see your ancient temples.
(Abdulah is amused)
ABDULAH
No really, why are you here? Are you in trouble?
PAUL
I think you already know. (also looks amused)
ABDULAH
It is my business to know. I know about everyone who comes to Khartoum.
(Paul looks at him sideways, knowing that he knows)
I know you are a wanted man. (wry smile)
PAUL
That's cool.
(looks sideways at Abdulah, as if to guess how he might know)
They turn into a non descript building with large green metal doors pulled open. It is an eating establishment.
INT. CAFE. WALLS DARK GREEN, CRUDE WOODEN TABLES AND CHAIRS. Inside is an all male African clientelle, eating quietly or talking in low, conspiratorial tones. Food is served on white enamel chipped plates by harried attendants. Arabic music in background.
ABDULA
(looking at menu on single sheet of paper)
There are many things listed. But only one thing is
available. (beat) Fhool.
PAUL
Beans? (beat) Cool.
ABDULAH
(Abdulah answers with a broad smile and shrugs)
We are a very poor country.
(Abdulah orders for both of them in Arabic. Water is brought.
To Paul, in serious, conspiratorial tone)
The American officials who are asking about you already know you are here.
I can delay them.
(Looks at Paul knowingly.)
PAUL
Why don't they arrest me? (impassive)
ABDULAH
They need to know you . Where you are going.
Why you are here.
(in a low voice, glancing about)
They asked me to watch you. (pause)
Allah is merciful...
Food arrives, and the waiter seems to be listening.
PAUL
Cool. (beat) Did they say why I they want me?
ABDULAH
Why do you always say "cool"? (genuinely puzzled)
PAUL
Doesn't everyone from America say "cool"?
(Paul is now also puzzled by Abdulah's remark)
Don't you watch American movies?
ABUDLAH
Well, no. Seldom if ever.
PAUL
Then how did you learn English?
ABDULAH
I listen to the BBC.
PAUL
Oh, I see. Okay. I'll drop the "cool".
(they both smile, having broken the ice between them. Then more to himself)
But I thought everbody said "cool".
(they commence eating, beginning to like each other)
ABDULAH
No, really. I don't know why they want you. (pause)
When I asked, they said that I had no need to know. Only that it is a government matter. Are you in some sort of trouble in America?
PAUL
(seriously, almost in a whisper)
Only that I know their darkest secret. And I could die for knowing it.
(Abdulah lets off a low whistle, since the secret is that big)
A young African beggar boy in rags rushes in, interrupting them. He motions with his fingers that he is hungry. Abdulah ignores him, eating. Paul calls to the waiter and orders a dish for the boy, who follows the waiter to the kitchen. Paul turns to Abdulah.
PAUL (CONT:)
Abdulah, I am here to see someone.
ABDULAH
Who? (Suddenly very alert)
PAUL
(Feigning seriousness)
She is a beautiful woman, and I've seen her in a dream.
He looks at him to see his response. Abdulah doesn't know if he should take him seriously, but plays along.
ABDULAH
(Putting down his bread, used as a spoon)
You believe in your dreams, then? (He paused to reflect, nodding) So do I.
(Continues to eat)
Who is she?
PAUL
She is the daughter of an important Ethiopian official
And I know you know who she is.
(Paul eyes Abdulah with faint amusement. Momentary silence)
Will you take me to her?
Abdulah nods an absent minded "yes", as if in a trance, and takes another mouthful of fhool.
LONG SHOT OF RESTAURANT WITH ALL THE PEOPLE INSIDE
FADE OUT
EXT. PANORAMIC VIEW OF DESERT, STRONG MORNING LIGHT.
ZOOM ON JEEP ARRIVING INTO SMALL, DUSTY MUD-WALLED VILLAGE
Abdulah and Paul arrive into large courtyard in village. Camels and burros thethered behind thick mud walls. Chickens and goats about. Native children come running calling to Abdulah, who greets them cheerfully. Day already hot, air shimmering. They enter the cool interior of a village house. Old man sitting inside the DARK doorway. Normal background noise.
ABDULAH
(to old man)
Salaam alaikom!
OLD MAN
Alaikom salaam! Peace be with you. (to both of them)
ABDULAH
I have a friend from America.
(Paul and old man exchange salaams. Mood slow, African, too hot to move fast)
He is here to see Joseph.
(Old man motions them into the house's interior)
INT. ANOTHER SMALLER COURTYARD.
Shy faces of women, eyes only, from behind partitions studying the two men. Fine featured, dark, tall man with bearing, dressed in jelleba approaches them. (JOSEPH, 47 yrs)
JOSEPH
Ahh! Abdulah! It is good to see you my friend.
(they embrace)
Welcome to my house.
ABDULAH
This is my friend from America, Paul.
(Paul and Joseph shake hands)
He is here on important business.
(Pause. Joseph looks expectant)
We need to see your daughters.
JOSEPH
(smiling)
It is time for them to be married.
ABDULAH
(Also smiling, thinking of the prospect)
And they are all beautiful.
JOSEPH
Come, take coffee with me.
Women's eyes retreat from partition where they were listening.
INT. INNER COURTYARD, AT TABLE BELOW OVERHEAD PORTICO
Three young women, all of marrying age, come with trays to serve them coffee and dates. They are in native dress, colorful and exotic. The prettiest, lighter skinned, fine featured, with wild, curly black hair down her back, makes a point of serving Paul. Abdulah watches her ardently, then aside to Paul: "I told you she's beautiful. Her name is San'aa." Paul admires San'aa (age 23) in silence. (When serving done)
JOSEPH
So tell me, Paul. You are here on important business?
(Abdulah is still admiring the elegant woman, San'aa.)
PAUL
(Helping himself to the dates)
I am here on a high security mission.
(Abdulah listening intently)
But there are people in my government who'd stop me.
JOSEPH
I see... Then you are in danger? (pause)
But why do you wish to see my daughters?
PAUL
Because one of them is of the Royal family.
(Joseph shows surprise at Paul's knowing. San'aa looks sharply at Paul.
Joseph looks at her. It seems a secret is out)
JOSEPH
Why do you say this?
(Then to San'aa)
San'aa. Come, please join us.
San'aa takes her place at the table with the men, looking serious. Other two sisters stay behind in the shadows.
This is Paul. You know Abdulah.
(Both nod. Then to them)
Please meet Soussan-Anna.
(San'aa acknowledges them, face serious. To San'aa)
These men bring us difficult news.
They say they know who you are.
That there may be danger for you.
SAN'AA
(cool but alarmed)
But I am in no danger.
JOSEPH
No, my love. But when your father fell in battle,
I swore to protect you. I must honor that wish.
(beat) You know, my love, I would protect you with my life.
(To Paul)
What kind of danger?
Joseph glances at Paul's wrist band which looks like a thick digital watch, but different. It is blinking a sequence of lights. He turns his attention from it back to Paul.
PAUL
I have information that she will be captured by fanatics.
So she is no longer safe here, and she must leave the country.
No member of the Selassie family is safe now.
The fanatics would kill her.
JOSEPH
(very serious)
I know well this danger...
But how can I know she will be safe with you?
(to Abdulah)
Do you trust this man?
ABDULAH
He is ...
Paul looks at him, then in near mechanical tones abdulah says:
... an infidel, but I believe he can be trusted.
She would be safe with him.
PAUL
(To San'aa)
I know much about you.
When the king of Ethiopia was killed by the revolutionaries,
your family was scattered into exhile.
Your bother and father both were killed.
And your mother and sisters are presently in hiding.
SAN'AA
They are still living?
(Paul nods "yes". San'aa is beginning to believe Paul)
Are they safe?
PAUL
They have gone into Egypt. But it would be dangerous to see them now.
(San'aa looks at Joseph, who nods in agreement with Paul)
JOSEPH
(To San'aa)
Then would you go with him? If it is your choice?
You know I cannot stop you.
(To Paul)
But where would you take her?
PAUL
First to Egypt, and then to Paris. She would be safe in Paris.
SAN'AA
(gloom lifted and suddenly excited, eager to see Paris)
I want to go to Paris! My father took me there, long ago,
when I was a little girl.
San'aa gives Paul a long look, signifying her acceptance. Abdulah is shifting uncomfortably in his seat. The other two daughters look at each other with expectation.
ABDULAH
If you want to go, I can arrange it.
I can have a driver for you in the morning.
There will be a bus for Egypt tomorrow.
Joseph gives San'aa an inquiring look. She nods, and looks at Paul.
Abdulah seems preocupied with his own sad thoughts.
JOSEPH
Allah Karim.... Then it is done.
(To Paul)
She is dear to me. Take care of her.
PAUL
(serious)
I will protect her with my life. I swear it.
The men shake hands and begin to take leave. San'aa looks on after them.
CUT TO:
INT. RADAR COMMAND STATION, SOMEWHERE IN THE STATES
Radar operator and US Air Force officer, a Captain, studying blips on screeen:
CAPTAIN
There they go again. Mark their heading.
RADAR MAN
It's shifting constantly. I can't get a fix, Sir.
(After a pause, as they both watch the screen)
Should I file the usual UFO activity reports?
CLOSE UP OF CAPTAIN'S RESPONSE
Background activity ignoring what is going on between the two.
CAPTAIN
Trash it.
(Lights blinking on radar screen erratically. Captain studying lights)
Remember, soldier. This is above Top Secret.
RADAR MAN
(he stiffens)
Yes, Sir!
EXT. AT BUS DEPOT
Natives waiting with their bundles for the bus to arrive. It is just before dawn and the Mullah is calling the faithful to prayer from the minar of the mosque from across the large dusty square.
Paul and San'aa waiting with Abdulah. There is a sense they are being watched. Big truck with metal seats and rib-canopy arrives, belching black smoke. Luggage is hoisted to top of bus where Paul ties it down while Abdulah keeps company with San'aa and Joseph and other two daughters. The sisters are tearfull.
ABDULAH
Well, farewell, my friends. I must be off.
(Giving both Paul and San'aa an embrace)
Allah be with you.
(San'aa shrinks slightly from his embrace)
PAUL
Cool.
(Paul gives Abdulah a wide smile, which is returned)
ABDULAH I'll have to watch those American movies.
(Then to San'a)
Write to me from Paris.
(San'aa nods meekly)
PAUL
You have been a friend, Abdulah. Thank you.
And you Joseph. Thank you for trusting San'aa with me.
Bus operator honks, signaling departure, and Paul and San'aa turn to board.
EXT. PANORAMA OF OPEN DESERT
There is no vegetation or habitation visible, nor roads. The bus is roaring though open vista of endless sand of the East Lybian desert. It is already hot in the early light of a yellow sun. The desert looks like a Martian landscape of rock and sand. Dusty people inside the bus, dressed in standard Arab dress with head turbans, are struggling to stay in their seats aboard the lurching machine. Even the women and children take this travel with stoicism.
WELL INTO TRIP, MEDIUM SHOTS
Deafening engine and road noise, making conversation difficult.
Paul and San'aa trying to talk.
PAUL
(shouting over the roar)
You don't like Abdulah, do you?
SAN'AA
(shouting back)
I do not trust him.
(Paul looks at her)
He has too many friends in the wrong places.
(San'aa is straining to remain seated)
I have heard stories.
PAUL
(Nodding in understanding)
But you trust me? (Smiling) I am a total stranger.
SAN'AA
It is not easy to trust, especially a stranger.
(She looks into his eyes)
But there is something about you...
(Native men and women aboard are amuzed at watching them struggle to stay seated)
Now you are my protector... until we reach Paris.
You have sworn.
Paul nods in agreement, smiling, amused by the absurdity of the trip. A boy riding the top of the bus with the luggage hangs down to look in on the passengers, unnoticed. It's the BEGGAR BOY from Khartoum. They do not see him.
EXT. DESERT STOP IN NOWHERE.
The large crowded bus comes to a stop in the empty desert.
No habitations or vegetation visible, desert stretches spectacularly empty to the horizon. All the passengers disembark, many taking a rolled prayer rug with them. They fan out into the desert at a distance from the bus. The male passengers lay out their prayer rugs pointed towards Mecca. A muezin calls out the prayer, and the men begin their prayers to Allah. Paul and San'aa disembark also, but stand by watching. When prayers are over, they all fan out into a large circle, each keeping a respectable distance from the other, facing away from the bus kneel inside their robes, and relieve themselves in the sand. Paul and San'aa do same, but wearing Western clothes, San'aa is forced to moon the inner circle. Then they all climb back into the bus and resume the arduous, dusty journey.
INT. BUS
A loud RAPPING against metal from the roof brings to attention that someone needs to get off. They come to a lone housecompound in middle of nowhere. A woman in long black dress and veil over her face is standing in the doorway watching. The beggar boy jumps off with a small bundle and runs into the crowded bus, heads for Paul and San'aa sitting at rear.
BEGGAR BOY
(with urgency in his voice)
Come! Come! You must get off here!
PAUL
(to San'aa)
I know this boy. He is a beggar boy from Khartoum.
SAN'AA
(with recognition of the boy)
Ibrahim? Why are you here?
(to Paul)
He is no beggar. I know him.
(All passengers are watching them)
CLOSE SHOT
IBRAHIM
You must come! Please!
(Paul nods to San'aa, and they disembark)
EXT. LONG SHOT
Bus rolls off into the desert. Flat horizon. Sounds of wind and distant roaring bus, retreating. Woman waiting for them at house. The three walk together to house.
EXT. OUTSIDE OF HOUSE COMPOUND. THEY ARE ALONE As they approach house, woman exclaims:
WOMAN
Aeiiiii! San'aa! My daughter!
(San'aa rushes up to her and embraces)
SAN'AA
My mother's sister! (turning to Paul)
I want you to meet my friends, like family.
(facing Ibrahim)
This is Ibrahim. He is an orphan, but like a son to Fatima.
War makes many orphans.
(facing the woman, Fatima)
And this is my dear, dear friend, Fatima.
We are like family.
(Paul shakes hands all around, exchanging 'hellos')
PAUL
It is a pleasure to meet you.
(Eyes Fatima and Ibrahim as if trying to read their minds)
Your world is so full of surprises.
(to Ibrahim)
Why did you urge us to get off the bus?
Ibrahim looks a little embarrassed, shuffling his feet in sand.
IBRAHIM
(looking to his mother, shyly, speaking to San'aa)
I overheard the police chief in Khartoum.
They were going to arrest you at the next village.
They set a trap.
(he looks at Paul)
You were good to me when I was hungry.
SAN'AA
Fatima and her family were important people
in the Selassie court. Now they are in exhile.
They must be very careful here, or they will be sent back.
(looking kindly at Ibrahim)
Ibrahim is certainly no beggar.
PAUL
And now you saved us. You are a noble man. Was Abdulah part of this trap?
(Ibrahim shakes his head to show he doesn't know)
FATIMA
Please stay the night. Tomorrow we can
show you the way. You can take our camels.
INT. NIGHT IN THE SMALL ROOM GIVEN TO SAN'AA AND PAUL
A small oil lamp dimly lights the interior. Two rope-mat cots are at opposite sides of the room, grass mats on the floor. Except for a cooking fire pit, a crude wood table, chair, and large clay urn for drinking water, the room is bare, earth floor, adobe walls. Paul is reclining on a cot, looking at San'aa lighting the cooking fire. Somewhere outside someone is softly playing a flute.
PAUL
Life is so simple here, so beautiful.
(San'aa smiles at him, her face beautiful by the low flame)
What do Fatima and Ibrahim do?
How do they survive?
SAN'AA
This is an inn. (beat) They offer good lodging
to the camel caravans that pass through here.
They have a few goats and chickens. The water is sweet.
PAUL
I'm surprised she let us share a room.
(watches San'aa for a response, expecting what she is about
to say)
SAN'AA
Maybe. (beat) I requested it.
(she eyes him for a response.)
A knock on the door reveals Ibrahim bringing a caraffe of wine and goblets. He retreats quietly. The flute had stopped, but soon it resumes again.
SAN'AA (CONT.)
Would you like some wine?
(San'aa had loosened her dress and let her dark, curly hair fall on her back. Paul sits up to take the wine goblet)
What if they had captured us? What would you have done?
(She eyed him curiously, testing him as her protector)
PAUL
I carry no weapons. But I am not defenseless.
Mood is slow, sensual. The lights are dim, the wine prominent.
SAN'AA
(teasingly)
Would you be clever, then? Would you talk your way out of it?
The fire is brighter now and shows her face and body more clearly, her movements sensual. She is seductively beautiful.
PAUL
Maybe, I could control their minds. (he smiles at her)
SAN'AA Are you a magician, then? Or a hypnotist?
(she takes a drink from her goblet and reclines sensually on her mat)
You can't control other people's minds.
PAUL
(admiring her sensual beauty)
Do you see this?
(he points to his wrist device, cum digital watch)
It's a field integrator, which uses the life-force of living things.
(San'aa raises an eyebrow. The device gives off a faint pink glow)
With it, I could play back anyone's emotions on them, and they would be helpless.
(he watches her response)
They would have to do exactly as I want.
SAN'AA
I don't believe you.
PAUL
Allright. Let's see if it works.
(takes device off his wrist, holding it. Flute continues outside sensually)
Paul then reaches into his luggage and removes a flat, black box that looks like a portable computer. He opens it and presses in some commands that make it come to life. It too gives off a faint, pink glow.
SAN'AA
What is that?
PAUL
(looks up at her, as he is adjusting some controls, smiles)
An amplifier. You'll see.
Paul places his wrist device near the black box. They play off each other. San'aa is watching wide eyed, not knowing what to expect from this strange machine.
INT. POV. SAN'AA LOOKING AT PAUL
He puts down his goblet and stands in the middle of the room. His shirt is open. He looks at San'aa with a twinkle in his eye, then reaches for his wrist device and slowly presses in commands. It lights up, glowing a stronger red. He again places it on the rough table. It lights up with a strong, pink and white light. The black box gives off a similar light, series of numbers flashing on its screen. Soon they are engulfed by the red glow.
REV. POV.
San'aa's eyes grow wide, her mouth open slightly. Her breathing becomes heavier, eyes fixed on Paul. Her face seems to glow by the firelight, and then by the glow from the device. She puts down her goblet.
REV. POV.
Paul's eyes fixed on San'aa. The flute playing outside seems to grow louder, more sensuous. Her eyes close, as if drinking in some delicious feeling, and she exhales. She is hot.
MEDIUM TWO SHOT
They both stand a few feet apart, looking at each other. Paul takes a step towards her. She does not resist. The light from the device subsides, the fireglow once again the primary light in the room, casting shadows on their faces. San'aa also takes a step forward. He gently reaches for her shoulder and slowly lowers her gown. It slips to the floor. She is nude underneath. She looks exquisitely shapely and beautiful. She now reaches up to his shirt and slips it off his shoulders, and gently pulls his golden body towards one of the mats, pushing him down, slowly. He is about to undo his pants when she stops him. She wants to do it for him, and undresses him leisurely.
Both nude, they begin to kiss. Their silence is broken only by the flute. They kiss passionately, their hands exploring each other's body. Their goblets fall to the floor. He gently moves her over to the mat. They both are down, kissing each other all over, when her legs slowly part, and Paul is about to enter her. Abruptly, San'aa wakes as if from a dream and holds him back, breathless.
SAN'AA
No! (beat) This is a trick. I do not want it like this.
(pause) It is not natural.
Paul nods in understanding, and kisses her on the forehead. He gets up and reaches for her gown, which he gently puts over her shoulders. Then he takes her hand and kisses it tenderly. They rise.
DISSOLVE
EXT. COURTYARD OF COMPOUND, NEXT DAY
Next morning. Fatima is busy feeding the animals. She is not wearing her vail. Ibrahim is bringing fodder to the camels tethered there, followed by goats which are trying to eat from the bundle he is carrying. SOUND: Normal Sahara barnyard sounds.
San'aa emerges from doorway to their room, looking cheerful.
She is dressed for the road in Bedhouin clothing, burnoose and all.
SAN'AA
Good morning!
(Both Fatima and Ibrahim return the greeting)
Are those our camels for the journey?
FATIMA
(eyes beaming, but trying to guess what happened last night)
They are our best. They are tireless.
(San'aa smiles at Fatima's choice of words, but betrays nothing)
Where is Paul this morning?
SAN'AA
(coyly)
He is resting.
(this elicits a smile from Fatima, but nothing else is said)
Paul cheerfully exits from inside. All greet him good morning.
PAUL
I'd travel a million miles to be here. There is a beautiful magic I've felt nowhere else.
(he smiles at San'aa, who returns the smile, but says nothing else.
Fatima does not know what to think and is left guessing)
FATIMA
(still inquiring as to what happened last night)
You slept well?
PAUL
(playing along in the mystery, smiling)
Sleep here is filled with magic.
They return his smile, all standing in the courtyard smiling awkwardly. Nobody knows what to say, as nothing really had been said.
Paul then turns more serious. He addresses Ibrahim as an elder to a boy.
PAUL (CONT:)
I have something for you, Ibrahim. (he removes the device from his wrist)
I will not use this for now. I will not need it.
(he looks at San'aa)
This could get me into serious trouble.
(San'aa gives him a meaningful look)
So I give it to you for safekeeping, until I need it again. (then very seriously)
But you must hide it. No one must know you have it, except give it to Joseph, if you must.
IBRAHIM
(nods "yes", then taking the device, and looking it over)
What is it?
(he turns it over in his hand)
PAUL
It is a powerful communications device.
(taking it and holding it up for him)
See this red button? It's programmed to reach me, if you need me.
But it is for emergency only, so do not play with it.
If you press it, it will activate another machine which will relay the signal far, far away.
This is a very secret device, and if used could set off a chain reaction of big things.
You must trust me in this.
(Ibrahim studies the mechanism, obviously pleased with his powerful new toy, but equally cautious with it)
Do you understand?
(The boy gives him an affirmative nod that looks more like a puzzled shrug, but then he looks up and answers seriously)
IBRAHIM
I will guard it. (beat) I understand.
SAN'AA
Ibrahim. If you do this well, then I will know you are worthy and noble boy. I know you take care of it.
(San'aa pats Ibrahim lovingly on the head)
Do not ever let this fall into anyone else's hands. So hide it for now.
(San'aa gives Paul a meaningful look to signal it will be allright.
Ibrahim looks up with serious eyes, nods agreement)
FATIMA
(eager to break the heavy air, she adds cheerfully)
Your supplies should last you until you reach the Nile.
I will send for the camels later.
God's Peace be with you.
Ibrahim brings laden camels. All embrace farewell and they mount.
CUT TO:
INT. ALIEN STAR-SHIP'S COMMAND CENTER (C C)
LONG SHOT OF C C
Before a large viewing wall showing a small blue Earth and a large golden grey moon is the Star-ship's command center. In small clusters of about six individuals each, men and women, are various command stations. At one of these stations are seated three men and three women operating controls at three-D consols. This is the communications center. All the Aliens, dressed in tunics and body tights, have child like faces but a reserved, adult body language. They look just like us. Light is subdued except for the work areas.
SOUND: They are speaking the language of Ka'ananda where the word 'aan is a prominent part of their vocabulary. Words sound like "ankeaom".
ALIEN 1
(SUBTITLES)
We have transmission. Updating records monitor.
ALIEN 2
(SUBTITLES)
Main projection in center. Record.
All swillel in their seats to watch the three-D transmission appear at the center of their cluster. Other Aliens at CC turn their attention to this area also. An image appears of the fall of the Berlin Wall. Sound and footage from stock news reels. All the Aliens are mesmerized by the incredible energy of the demonstrators cheering as a section of the Wall falls. They seem empathetically agitated, but remain silent as they watch.
ALIEN 3
(SUBTITLES)
Recorded. Next transmission. Contemporary cultural
conditions. On main viewer.
The large viewing wall blinks out its image of Earth and space and lights up with a rock concert. It's Bruce Springstein live in concert. (Stock footage: "Born in the USA"). All the Aliens present suddenly become very excited by the music. Some are getting up to dance in place to the beat. All faces transfixed by the wild energy on screen.
CU. TWO SHOT
One of the Aliens turns to another and says something that sounds like an telepathically abridged word of "Cool".
ALIEN 4
(SUBTITLE)
"Cool."
ALIEN 1
(SUBTITLE)
Progress report on Pa'an.
CU. A clear holographic image appears of Paul and San'aa riding camels in the desert. Both have burnooses tightly wrapped around their head.
EXT. LONG SHOT. RIDING ACROSS THE DESERT ON THEIR CAMELS
Desert seems to stretch red and yellow into infinity. Sun large overhead engulfing two small figures of a man and woman on camels lost in the vast expanse of space and time.
ZOOM IN
The two figures are Paul and San'aa riding solemnly side by side. Their eyes meet through the burnoose each has for protection against the glare and dust as they approach bleached animal bones in their path. They smile at each other with their eyes.
SAN'AA
This is the right way. These bones mark our trail.
(she looks at him for response. Paul shakes his head)
PAUL
I hope our bones don't mark this trail.
SAN'AA
There's a large wadi ahead, which will lead us to the Nile.
EXT. AT SUNDOWN, NEXT DAY
Sun is low over the Nile at Merowe (site of ancient kingdom of Kush). Small pyramids are visible in the distance in the desert. Paul and San'aa just crested a great sand dune. The land along the Nile is a ribbon of green surrounded by desert sand. Sounds of village life below, Paul and San'aa on camels, beasts' heads raised, snorting in protest. They stop to survey land below. Had been traveling some days and are hot and dusty, eyes showing through their burnooses.
In the distance are visible military vehicles, apparently on maneuvre. Sound of distant gun fire, explosions. Paul signals to San'aa that they should retreat and wait before entering the village. Both slide back down the hill on their bellies. They look towards the Kushite pyramids still standing in clusters on the desert sand. They remount and head in the direction of the ancient pyramids.
EXT. AT PYRAMIDS
They are alone, surrounded by the small pyramids of ancient Kush. Drifting sand has nearly burried some of the pyramids.
PAUL
Let's wait here until dark, until those jeeps are gone.
(looking towards the military maneuvres)
They probably won't come this way.
SAN'A
Even they respect these ancient ruins.
(looking at the largest pyramid)
I think that one belongs to Taharko. He was a great ruler who once conquered Egypt.
(pointing to a mesa across the Nile towards Karima)
And that was where they kept their temples. It is called Jebel Barkal.
The mountain is sacred, dedicated to a goddess of love.
Paul studying pyramid, and the mesa, has an idea. He takes San'aa by the hand.
PAUL
Come on. I have an idea.
I'll show you some more magic, if you'd like.
SAN'AA
Okay... (teasingly) Show me.
They climb up side of pyramid. Limestone blocks are about a foot high, easy climb. They reach the summit, which has become flat with time. They crouch down to not to be seen by the troops below. Other smaller pyramids nearby standing sentinel around them.
PAUL
Okay, sit opposite me.
They both sit cross-legged, facing each other.
Now let your body relax.
We'd better take a drink of water first.
(San'aa and Paul both drink from his canteen)
Hold my hands, and close your eyes.
(they hold this a moment in silence)
Now let your mind empty, like water slipping from it, until every drop is gone.
SAN'AA
(after a silence)
Hmmmm...
(eyes closed, relaxed and holding hands, long pause)
Ohh, yes... I feel it... It feels cool...
PAUL
(in a low mumur)
There is water in the Earth; There is water in the sky.
(pause)
The power of the pyramid
Joins with the power of the mountain.
(a moment of silence)
We descend into the earth (beat)
And rise into the sky. Feel the power...
They sit a moment longer with nothing happening. Then the scene FADES INTO a battle scene.
EXT. ANCIENT BATTLE, AERIAL SHOT, WIDE ANGLE
Like an ancient memory revived, a vast battle field is viewed from high above, men and horses mixed in battle, shouting, the clashing of metal weapons, arrows flying.
SOUND: Frenzied sounds of battle, ancient Egyptian war drums.
MEDIUM GROUP SHOT
The vision ZOOMS into the midst of the scene, the noise of war louder, horses neighing, men charging hoarsely into each other, bleeding, their swords held high, metal striking on metal, when a high pitched hum, like bag-pipes, appears high overhead, falling into V or crescent formation, making quick maneuvres. These points of moving light come closer into range. They are ET ships, small and fast, coming into position over the fighting armies. When overhead, they shoot beams of light into the fray below. Selectively, men are struck by this light and burst like balloons of blood and red gore, spraying their opponents and the ground around them. It is a hellish battle. Then the other ET ships attack in their turn, and other men, from the other army, are struck down in the same way, some catching fire.
The battle is quickly over. The remaining men look up at the sky, disbelieving, their weapons help limp by their side. They had been cheated of a rightful victory. Fists are raised in anger. The ET ships disappear as quickly as they came.
DISSOLVE
EXT. TOP OF PYRAMID, SUN SET LOW ON HORIZON
Paul and San'aa are sitting as before, looking small and insignificant.
CU. San'aa's face. Tears flowing from her closed eyes.
SAN'AA
(in a whisper)
I think I remember... I'm remembering...
PAUL
(softly, with sadness)
You are remembering...
Long, long ago... when we were here.
(pause)
What you see is what is stored in this land...
(voice softer)
... And in me.
(pause)
And that is why we had to leave.
(they open their eyes and look at each other in silence)
Their eyes keep looking into each other's with a deep sadness. The sun is now nearly set. They rise and look over towards where the military vehicles are forming into single dusty files, leaving their maneuvres and heading for the road past the small AIRPORT near the town.
PAUL
(holding San'aa and looking out towards the departing military vehicles. Distant guns now silent.)
The battle is still going on. Even now.
They continue to study the departing soldiers. Unoticed behind them are men `climbing stealthily up the pyramid. They are Arabs, except for one who appears to be Western. Their leader reaches the summit behind Paul and San'aa as they are gazing into the dusky distance. It is Abdulah, heavily covered in desert dress. Paul and San'aa turn and are taken by surprise.
ABDULAH
Did you think we would abandon you?
(after a pause)
Did you think you could lose us?
The other men now join him. The Westerner dressed in startched khakis is standing apart from them. The sun is now below horizon.
Light is dusk.
PAUL
(turns to them, but appears undisturbed at this surprise.
Quotes from the Koran)
Who can protect you from Allah if it is his will to
scourge you? And who can prevent Him from showing
you mercy?
ABDULAH
(solemn voice)
The Prophets have fear of Allah and do not yield to
the unbelievers and the hypocrites. Allah is wise and
all knowing.
SAN'AA
(sensing danger)
And He is merciful!
Abdulah raises his hand as if to silence her. Her imput is not welcome. She averts her face in acknowledgement that this is a battle between men. This is Sudan.
ABDULAH
Are you a spy?
PAUL
No. I'm not a spy. (thinking to himself in silence)
But no more questions now. We must catch a plane for Egypt.
ABDULAH
I'm afraid not. San'aa is coming back with us. And you...
...and you are in the hands of the American.
(Abdulah nods to the American, who looks back impassively)
AMERICAN
Take the girl. (pause) And you know what to do with him.
SAN'AA
NO!!! He has done nothing!
PAUL
(raising his hand that it will be allright)
Is there no law in the desert?
Did Mohamed not say: You shall not kill one another.
Allah is merciful, but he that does that through wickedness shall be burnt in Hell-fire.
Abdulah stops to think a moment. Now he again is in command and looks at the American. Then he turns to Paul.
ABDULAH
I do not kill you through wickedness. I am ordered to.
PAUL
Then you are slave to an infidel.
The other Arabs, upon hearing these words turn to Abdulah, who suddenly backs away. The American loses his composure and becomes worried. He has lost his men. They now look at him threateningly. He then dismisses it all with a wave of his hand.
AMERICAN
Let them go. We'll catch them again.
The coldly impassive American turns away and begins the descent down the pyramid. The others follow without a word, except for Abdulah, who pulls San'aa aside. They are seen whispering together, she laughs, then Abdulah leaves. Paul and San'aa are left alone in the dark.
EXT. GREAT PYRAMID AT CAIRO
The great pyramids stand imposingly in the desert.
Arab men, camels, burrows, and tourists are milling about. SOUND: Native Arab music and background sound of hawkers. Paul and San'aa negotiating with camel driver for a camel to carry them into the desert.
PAUL
(To native camel driver, a jolly fat fellow with turban)
How much for the camel?
CAMEL DRIVER
One hour, two people?
(he looks up as if calculating)
One hundred dollars, American.
(Paul looks at him, saying nothing. San'aa watches)
Okay. For you, fifty dollars.
(Paul and San'aa remain silent, watching him amused)
Twenty-five. That is my best price.
(Paul raises an eybrow. San'aa smiles)
Okay. Twenty dollars, American. No less.
(Paul smiles)
PAUL
What's his name?
CAMEL DRIVER
"Super Jet." He's very gentle. Very fast.
You want picture?
SAN'AA (smiling)
How much?
CAMEL DRIVER
Ten dollars.
SAN'AA
(shaking her head, laughing)
No picture.
CAMEL DRIVER
Okay. Two dollars. ...American.
Camel kneels and they mount. Camel driver takes polaroid.
Pay when you return.
Camel driver hangs on to photograph. Smiling. They ride off into the desert, past Great Pyramid.
EXT. DAY, SAME PLACE
CU. Paul and San'aa riding their camel "Super Jet" past the Sphynx, and away from the pyramids, into the open desert.
Paul is sitting in front cross legged over camel's neck, holding reigns lightly. San'aa is hanging onto Paul from behind. There is only emptiness ahead.
SAN'AA
Where are we going? It's open desert.
PAUL
To a power source, out there. There used to stand a great pyramid, but it was destroyed long ago. There is no trace of it now. We destroyed it, and the sands have reclaimed it.
(Pause)
I must go where it once stood.
They ride in silence into dunes of the Sahara, Great Pyramid now small in the distance.
SAN'AA
Do you think they will try to capture us again?
PAUL
They are persistent. It's all they know.
SAN'AA
Why don't they leave us alone?
PAUL
They've been after me sinceI arrived. They're like pesky flies.
They arrive at a very empty, desolate place far from the pyramids they left behind, though they are still visible.
We're here!
EXT. SAME PLACE
Camel kneels, without audible command, and they dismount. Paul walks off by himself taking out his black box from his sack. San'aa waits holding the camel's reigns. He stops, looks back, smiles and waves to her to come. San'aa drops the reigns and rushes to him.
SAN'AA
Is this where the pyramid was?
How did they build them? It's empty!
PAUL
Don't you know? This place was flooded withwater.
They were built in steps. Watch! It's not as empty as you think.
Paul place his black box on the sand, opens it, and actitvates the mechanism. It's internals start a series of blinking lights. Paul stands back with his head lifted to the sky, his arms stretched out behind him, hands extended. San'aa watches, puzzled. He closes his eyes and lets out a loud, single note that seems to resonate inside the black box. It's lights grow more erratic.
PAUL (CONT:)
There it is... (beat) It's coming!
A great WHITE LIGHT descends from the sky, engulfing them. The camel is outside the circle of light. It feels like a great ET ship is landing over them. Wind picks up. The black box is now glowing a bright blue light. Strong single note is harmonizing from above, now turning into overlapping chords. They are surrounded by light. Paul stops his chant and shouts over the wind:
PAUL (CONT.)
The ancient priests used to do this!
EXT. SAME PLACE, BUT SHOWING INT. OF A GREAT STAR-SHIP'S COMMAND CENTER.
Interior of Star-ship's command center is materializing as a holographic image in the desert around them. Two occupants, a tall and regal woman and a shorter cherubic man with a child-like face are standing before them. They are dressed in iridescent tunics and smile at them a beatific smile of welcome. They look angelic.
SOUND: LIKE THE SOFT HUM OF A MILLION BEES.
San'aa moves closer to Paul. Wind stops. The elegant Alien woman speaks. She is the Ship's Commander. Her name is Ma'an, and she looks about thirty.
COMMANDER, MA'AN
(in a soothing tone)
Welcome, Paul. And you San'aa.
We have been waiting for you.
(pause)
Na'amsat, to you both.
Ma'an brings her hands together before her chest and bows slightly, much as the Nepali or Indian greeting "Namaste" is done. Paul returns the greeting in the same way. San'aa, hesitantly, mimicks the motion also, but keeps her eyes on Ma'an. The whole presence around Ma'an and the Ship's interior appears bathed in light.
PAUL
It is good to see you again, Ma'an.
MA'AN
We are glad you made the rendezvous point. You reached us ahead of schedule.
PAUL
We were pressed for time. (Smiles)
Both Ma'an and the man next to her smile back. Only San'aa is too stunned to smile with them.
MA'AN
(looking at Paul's wrist, and not seeing his power device)
What happened to your Light source? Are you doing
your planet-walk off Light?
PAUL
(looks at his wrist)
I gave it to a boy, in safekeeping. It's deactivated, except for a distress call. (beat) It was in my Dream.
Have the Dreamers seen a new path?
Throughout this conversation, San'aa is watching them wide eyed, trying to understand what they are talking about, but remains silent.
MA'AN
Yes. For you. And for San'aa. They know what you know. (beat) She is a daughter of ours.
PAUL
They've confirmed her molecular signature?
MA'AN
Yes. Her seed is of our world, as your seed is of this one.
Paul looks at San'aa lovingly. An important piece of information has now confirmed his earlier suspicion.
PAUL
Then she is one of us! (looks happy)
MA'AN
Your suspicion was always right. (smiles)
PAUL
Then what do the Dreamers say?
MA'AN
I'll let Ta'an answer that. As your strategist, he is better able to tell you on this matter.
The cherubic man, Ta'an, Paul's Earth mission strategist, steps closer to them, and greets them with hands held together, bows, then smiles.
TA'AN
(glad to see his old friend)
You've had quite as journey Paul. First New England, then New York, London, and now Sudan.
My, you do get around!
PAUL
Not always by choice. The Federal agents keep me on the move. Now we're headed for Paris.
TA'AM
Alas, no. That's not what the Dreamers see. (pause)
They've examined your reality grid, and the Dream is taking you elsewhere, at least for now.
PAUL
But I've seen it in my Dream... You must explain.
TA'AN
If it is in your Dream, then you are the script writers.
And we only the players in your Dream.
(looks at San'aa and acknowledges her with a smile)
But your Dream is now also with San'aa.
And if you go to Paris now, you both would be captured... and imprisoned.
PAUL
(bringing San'aa closer to him, and holding her)
Why? I don't understand... How does that fit the grid?
Are you sure?
TA'AN
Quite sure. The Dreamers have studied the reality-matrix for both of you. It is very clear.
You know Deuteronomy 13?
You'll see what happens to the Dreamer of Dreams.
You know what that means.
PAUL
I know the passage. Things haven't changed much in four thousand years. (beat) I'd be put to death.
(pause)
Can San'aa follow me?
TA'AN
Of course. Your paths have now joined as one.
But first, you must pass through India. There will be a safe passage for you.
And when you get there, look for the Karla caves.
That will close off the vortex and you will see the Dream once more, more clearly.
Do you know them?
PAUL
The ones near Bombay?
San'aa is watching and hearing all this, but too puzzled to join in. She thinks either they're all crazy, or she really is with visitors from another world.
But the rift between our worlds has not healed, not even in India.
Our wars have not been forgotten...
TA'AN
No. But we see a vortex in the grid.
We still do not know what it means, fully.
But it is clearly in India... Stay with the Dream, Paul.
(Pause. Then to San'aa)
Do you wish to join him? Is in your heart to follow?
SAN'AA
(looks at Paul, and nods "yes", then in an awed whisper)
I'd follow him anywhere.
TA'AN
(smiling)
Would you follow him to the stars?
(San'aa sees the joke, sort of, and meekly smiles back)
So, Pa'an. If I may call you by your former name.
There you have it. It is now your choice.
(looking at San'aa)
As it seems San'aa has made her choice.
She does speak like a daughter of ours.
PAUL
I knew she was the minute I laid eyes on her.
(he looks lovingly at her)
But what of our pursuers? We were almost taken
captive a few days ago.
Ma'an now steps up to them, again resuming command.
MA'AN
You will not lose them. But they will be thrown of, for a time.
Your work has already healed much in that area.
(pause, as if thinking)
Earth should not remain in Quarantine long.
But you don't have to do this. The Dreamers can still r elease you from your mission.
(She looks at him for his response)
PAUL
(looking at San'aa, who nods approval)
If it is safe, we'll go to India... Or anywhere else.
(Pause. Paul is pensive)
There's too much at stake. The Quarantine must lift.
(looking at San'aa)
Earth is too beautiful a world to be lost.
(thinking)
But what about visas for us?
MA'AN
We will have everything ready for you at the airport.
Our command center is already working on this.
They will be ready for you at the ticket counter.
(bowing, her hands held in "Na'amsat")
Then it is done.
The Light of 'Aan be with you both.
PAUL
And with you in the Dream. Until we meet again.
San'aa is suddenly alarmed, realizing that this magical meeting is over.
SAN'AA
No, wait! What does your magical world look like?
Both Ma'an and Ta'an look at each other, and then at Paul and San'aa.
MA'AN
Very well child, we'll show you.
The hologram within which they were standing now expanded around them, showing more of the interior of the CC. Then the image shifted to where they were standing outside, out in space, with the large vessel visible at a distance, lights flashing. This image then changed back into the Ship's interior, where they were guided down long accelerated walkways full of pedestrians to a dark chamber which held rows of Dream chambers, all lit from inside, casting an eery glow on the large room. A close up of one of these chambers showed a sleeping human being inside. VO. "These are the Dream Chambers."
Back in the walkways, they pass a very verdent room that looks like an interior jungle, at its center floats a huge liquid ball, with bathers swimming in it, or around its perimiter. Two small robots float by with clothing, waiting for the bathers to exit. The image fades.
San'aa is dumb struck. Paul watches her, ready to assist her, if she should feel faint, since it all happened at great speed. But she is fine.
MA'AN
Does that answer your curiosity, child?
SAN'AA
It is magical. I've never seen anything like it. Can I come aboard?
MA'AN
Not yet.
Who knows where the Dream will take you?
But we must say goodbye for now. You have pressing business ahead.
Safe passage in "Aan.
Both Ta'an and Ma'an bow with their hands in the Na'amsat position and fade out. Paul and San'aa return the salute. The wind picks up momentarily, but quickly dies down. San'aa and Paul are once again alone, except for the camel who has come closer, as if inquiring what was going on.
PAUL
You're curious too, old fellow?
(camel shakes his head, as if in response, then nuzzles closer)
They take the camel in reign and begin the long walk back, walking alongside Super Jet.
SAN'AA
(regaining her voice)
Who were they? (looks at him with genuine wonder)
And who are you?
PAUL
I'm one of them. (looks sideways at her) My real name is Pa'an Xat Vah 'Aan, or Pa'an.
I live on a very distant world, light years from here.
A world we call Ka'ananda.
We are cousin worlds, yours and mine, since
we had the same beginnings, long, long ago, when a very
ancient race brought consciousness to both our worlds
They were my Ship mates.
SAN'AA
But you look different, somehow. They seemed so young.
I never heard of your world. I didn't even
know other worlds existed... Are you really an Alien?
You look so normal.
PAUL
We're not all the same, same as not all are the same on this world. And some of us, well, it's a long story, but some are actually descendents of your world.
SAN'AA
How can that be? And why did they say I was a daughter of theirs?
PAUL
Because you are. Your great grandfather was Italian, no?
(San'aa nods a hesitant "yes", not sure how Paul could have known this) And your great grandmother, whom you knew as a child, she was Eritrean, and it was said she was young and beautiful even in her late years, no?
SAN'AA
All said she was beautiful, even when she died. But how?
PAUL
Because when Earth was shut off from other worlds, some of our own stayed behind.
So you see, you carry the seed of those ancient ancestors who were from Ka'ananda.
We do not age as quickly as humans here do.
(looks at her sideways)
Do you know how old I am?
(San'aa shakes her head "no")
Very old. In your years, I'm almost a hundred.
SAN'AA
(frowning, wrestling with it all in her head)
But you said this world is in Quarantine...
PAUL
It is. When we were ordered to leave, nearly four thousand years ago,
Earth was isolated from all the Living Worlds.
We had to wait until all traces of our earlier visits were totally forgotten.
(watches San'aa for response. She walks quietly besides him)
And now, you see, they have, haven't they?
SAN'AA
Why?
PAUL
Because we were responsible for your wars. But it is not as easy as it seems.
You see, lifting the Quarantine has to fit into the Dream.
That is how things are on other worlds.
And the Dream on Earth is still too confused for us to approach. But this is not your fault.
SAN'AA
I don't understand... (shaking her head)
PAUL
It's okay. Neither do we.
SAN'AA
Is that why you sought me out? Because I am a distant descendant of yours?
PAUL
The Dreamers guessed who you were.
But they were'nt sure. So I had to come.
SAN'A
(puzzled frown)
Are there others like me? My mother and sisters?
Does that mean all in my family carry this seed?...
It all seems so...
(as if thinking to herself)
It all feels like a dream... like I can't put my
finger on it... And yet I knew I was going to meet you...
Somehow... (she looks up into his eyes)
Is it all real?
PAUL
(explains it softly)
Yes. But that too is a Dream. You see, reality has two worlds,
the one we know here, and the one we have in our dreams.
it is all real (they walk in silence a moment)
Let's get back on Super Jet.
They mount and ride back to the Great Pyramid.
EXT. BACK AT GREAT PYRAMID
MEDIUM TWO SHOT
Paul and San'aa riding back on Super Jet, who lifts his head at the recognition of his master and snorts. The Camel Driver, obviously distressed rusn up to them, still holding the Polaroid camera. They dismount.
CAMEL DRIVER
They have taken your photograph!
PAUL
Who?
(then making light of it)
Maybe they liked the picture of your camel?
CAMEL DRIVER
No! No! Men! Strangers! Foreigners.
They come and take it from me.
They not even offer me money!
PAUL
(taking money from his wallet, now serious)
Do you know where they went?
CAMEL DRIVER
They left in a jeep. The Cairo road.
PAUL
(to San'aa, urgency)
We'd better not waste time.
(to camel driver)
Thank you, my friend.
Pays the man handsomely. His eyes light up. He salaams and bows graciously
INT. TAXI ON THE WAY TO AIRPORT
Weaving and rushing through Cairo thick traffic.
SOUND: Normal background city sounds, cars honking, street peddlers.
Aiport Taxi has "occupied" sign up. San'aa is worried, holding onto to Paul's arm. Paul kisses her head, and looks out into the maddening traffic. They arrive to airport terminal.
INT. LONG SHOT OF TERMINAL DEPARTURE AREA
Paul and San'aa pass through customs, are momentarily diverted by custom agents. Paul's black box raises questions. Paul looks at them and smiles: "Computer." The customs official nods, as if confused, and lets them pass. They immediately board flight with other passengers without further incident.
Jet-liner seen lifting off runway. Cairo's minarettes in the distance.
INT. (TOP SECRET) US GOVERNMENT HEADQUARTERS
Men in grey suits. Phones ringing. Computer terminals prominent. Noisy telex machines. Bright fluroscent lights. Clerks rushing about. An officer in plain clothes, (this is Col. Pierce, U.S. Secret Service, age 45), is handed a telegram by an aide.
COL. PIERCE
Damn!
(to no one in particular. Then despondent)
We lost them.
(then to aide)
When did we get this?
AIDE
Just got it, sir. But it was sent two days ago.
PIERCE
Two days! What'd they do, walk it here?
How in the hell did they give us the slip?
We had that airport covered.
(to aide)
Get me New Delhi.
AIDE
Yes, sir!
Aide is seen dialing, then hangs up, frustrated. He dials again, waits.
Hello? Security? New Delhi Aiport?
Is this Rajji? (beat) Please hold.
(he hands the telephone to Pierce)
PIERCE
Hello, Rajji? This is Col. Pierce.
(Pause as he listens)
What do you mean you lost them?
(listening to response, VO. agitated explanations)
You know what the hell they look like!
What'd you expect? Little green men?
(listening)
Well maybe they are reptiloid.
Who the fuck knows!
But these two look just like us!
(listening)
Shit! What do you mean your men were confused?
Do I have to go out there and do't myself?
(listening)
Well, yeah, that's what our guy in Cairo said.
That he was "confused."
(listening)
Listen, I don't know what we're dealing with either.
I don't know... You know... Need to know. They won't tell me anything.
But Headquarters wants them. So find them!
...Or (with malice) we'll send you to Bangladesh.
He hangs up with a bang, then stares at the phone. To himself, shaking his head.
PIERCE (CONT:)
Shit! What the fuck is goin' on?
FADE OUT
Go to Act 2