Home Pharos Fiction Site Map Updates Search

 

                                                                                                                        Next

Halexandria Foundation
Communications
Sacred Mathematics
Connective Physics
Synthesis
Chronicles of Earth
Justice, Order, and Law
Daath
Extraterrestrial Life
Creating Reality
Tree of Life

Alas Babylon

New 21 April 2006

Humanki -- Episode One

The scene opens with an aerial view from a small plane over Southwestern England. The scene slowly shifts to a aerial view of Stonehenge, followed by Silbury Hill and the Village of Avebury. Then a particularly spectacular crop circle is seen just beyond Avebury at Milk Hill. The camera pans in for a close up of the crop circle.

Abruptly the scene changes to an interior, the private quarters at Kali Lumenes, Crete.

DAWN RIORDAN is lying on the bed naked, with a distinctive background of dark greens and browns. Her movements are sensuous and passionate as if she is delighting in the final moments of an extended and ecstatic orgasm. Her body glows with heat and passion. As the orgasmic moment peaks and then slowly subsides, her breathing becomes less impassioned. She is clearly smiling, perspiring and breathing deeply.

DAWN

Ohhhh. Fantastic!

Abruptly, she is back in the same crop circle in England (during what appears to be the early stages of the crop circle development). [This crop circle will evolve during the story and will become identified as “Dawn’s crop circle”.]

DAWN opens her eyes and abruptly widens them. She is now sitting upright inside a crop circle in a field of ripe grain. DAWN is dressed in a modern, chic, Hollywood version of a monk or nun's habit made of a quality material and cut in a unique manner. Just beyond and behind Dawn, the grain stalks are upright. But next to her, the grain stalks are unbroken and form a matting.

DAWN (voice over)

Where am I?

In the area of the crop circle behind DAWN, the stalks are seen being laid down by some unseen force -- magically and mysteriously. Then another angle shows DAWN sitting in the crop circle, as the outer edges take shape, and the crop circle’s complexity and size becomes increasingly apparent.

Suddenly ANNA ZEDEK is standing in the grain field just beyond the crop circle. She is dressed in a Queen of Heaven regalia: a golden jewel-encrusted crown, earrings, an elaborate breast plate of gold and lapis lazuli; a curved, broad waist sash of blue and gold, a breechcloth of like colors, and anklets which mimic her dangling earrings. Other than these symbols of office, ANNA is naked and intensely attractive. Her hair is dark, her skin, a light shading of blue.

ANNA (voice over)

Dawn... What is it? What is it? (Her voice begins to fade...) What is it?

DAWN continues to stare straight ahead, a blank look on her face. ANNA, now seen with a light tanned skin and dressed as a modern, very beautiful woman, slowly removes a dark wig to reveal her natural hair: a unique grey-blonde color. An off-key telephone ringing is heard.

The scene shifts to DAWN’S Condo (her bedroom) in Denver, Colorado. It’s early morning. DAWN is in her bed asleep. The telephone is ringing (a continuation of the sound from the previous scene). She abruptly sits up, shakes her head, and reaches for the telephone.

DAWN

Hello?

KELLY (voice over)

Good morning!

DAWN

Oh, Kelly. Good morning.

KELLY

Whoa! You sound like you're still asleep. Either that or hung over.

DAWN

Probably still asleep. I just had the most incredible dream.

KELLY

Really? Oh, I love your dreams! Especially the precognitive ones... seeing the future!

DAWN slowly swings her legs out from under the covers, and stands up. She stretches, and then reaches down to touch her toes once. Carrying the cordless telephone, she begins to slowly move about the room.

DAWN

Precognitive? Oh yeah. Well, I can only hope this one wasn't, because I have no idea what it means. I felt like I was making love, but no one was there. And then I was in a wheat field with some kind of goddess...

DAWN stops and looks in her full length mirror. She studies the figure, her expression blank.

KELLY

Well, I can interpret the first part. You need to start dating!

DAWN abruptly turns from the mirror, shaking her head.

DAWN

Kelly, I'm not ready for that yet.

KELLY

Sweetie! It’s been two years. You’re a woman in her sexual prime...

DAWN begins to pull undergarments from a dresser drawer.

DAWN

Kelly, I've got to get to work and I haven't even started to get dressed yet!

KELLY

You've been working for the guy for two months! You can be late occasionally. He needs to know you're not perfect.

DAWN holds up and examines a pair of worn but clean underpants. She shruggs her shoulders.

DAWN

That he knows! I've done a number of my clumsy routines on him already. It's a wonder he hasn't fired me by now.

KELLY

No man in his right mind would fire you! You're too talented, too intelligent... and your intuition is absolutely incredible!

DAWN

Kelly, I've really got to go. I'll talk to you this evening.

KELLY

Great! We'll do the Mercury Club after work. And meet some guys!

DAWN

Maybe. I'll call you this afternoon.

KELLY

Bye. And Dawn... Don't forget to wake up.

DAWN smiles and replaces the receiver, turns and heads for the bathroom.

Scene shifts to the lobby area of GIL’S office building in downtown Denver. DAWN enters and crosses the lobby area. A guard notes her arrival, but is otherwise engaged. DAWN is aware of the guard, but says nothing and goes to the elevator.

As DAWN enters the reception area of the office, GILBERT LEWIS is typing on a manual typewriter. He is immersed in his work, and only briefly looks up at Dawn. His manner is friendly.

DAWN

Good morning, Mr. Lewis.

GIL

Good morning.

DAWN

Can I finish that for you?

GIL

No. I'm almost done.

DAWN remains quiet as she puts her personal effects away. GIL finishes the letter, removes the sheet along with two blank sheets being used as a pad behind the letter, adds two other previously typed sheets which he had temporarily laid on the desk, and wraps the combined letter in a sheet of tin foil. GIL then inserts the entire package into an oversized brown envelope. He carefully seals it and begins to address it. DAWN watches the entire process, and begins to smile.

DAWN

That should certainly foil the busy bodies.

GIL

Hopefully.

DAWN

You know, if I didn't know you better, I'd begin to think you were paranoid.

GIL

Paranoia is the illusion someone is out to get you. If someone really is out to get you, it's not an illusion, and therefore not paranoia. I’m afraid I’ve made a few enemies over the years, and thus I have to take precautions.

DAWN

Can I get you a stamp?

GIL

No. But you can have your office back now.

GIL exits with the letter to the small office kitchen. DAWN sits down at her desk.

Moments later, DAWN is working on her computer, when GIL enters her office from the inner office, carrying a briefcase. He is smiling, but in a hurry.

GIL

I'll be gone until 3:00. Did you find that book I wanted?

DAWN

Yes, I can pick it up this afternoon. Do you need me to mail your letter?

GIL

No. I've already taken care of it. See you this afternoon.

DAWN

Have a good meeting.

GIL exits and DAWN returns to her work.

Later DAWN looks up at the clock, to see that it is showing the time: 2:53. DAWN takes a deep breath, taking a moment to relax from her work. The printer begins printing out a fax. DAWN pulls the sheets out, and looks puzzled. GIL enters through the front door.

GIL

Good afternoon, Miss Riordan.

DAWN

Good afternoon, Mr. Lewis.

GIL proceeds into his office, and DAWN follows, the fax sheets in her hand.

DAWN

A fax just arrived, but there's no addressee or name of sender.

Gil goes behind his desk. Still standing, he takes the faxes and begins looking at them.

GIL

Oh, yes. The implant bills.

DAWN

Sir?

GIL

Implants. A device they developed years ago whereby a pet owner could have a chip inserted into their pet's body, and thereafter keep track of the animal's movements with an electronic monitoring device.

GIL frowns as he studies the faxes, while DAWN smiles, completely at ease.

DAWN

Yes, a friend of mine was talking about that.

GIL

Unfortunately, they also want to use it for prison inmates, soldiers and sailors in order to keep track of them. And, of course, aliens... in case they turn out to be terrorists.

GIL sits down at his desk and tosses the faxes onto the desk, as if discarding them.

GIL

But they also want to implant children to forestall possible kidnappings. Eventually everybody gets it -- with or without their permission, and probably without their even knowing it! It's the ultimate invasion of privacy, and more of the coming police state!

DAWN

And these bills?

GIL opens a desk file drawer, and pulls out a file and opens it. He hands it to DAWN.

GIL

Congress wants to replace social security numbers with a... "biometric identifier microchip", one which can be read by a satellite network for pinpointing locations. There's also a plan to require by law that employers ensure that any alien workers are also implanted. Eventually, a person will not even be able to call in sick and go to a baseball game without an employer being able to track them down.

DAWN

That's grotesque! Can’t we just refuse?

GIL

Possibly. Assuming they ask you. But hospitals might easily do it as a matter of course, automatically. You might never know.

DAWN

Horrifying! But what does one do about it?

GIL leans back in his chair, a devious smile on his face.

GIL

That's part of what I'm working on.

DAWN

Does it have to do with my training as a spy?

GIL laughs and sits back up, leaning forward and moving his chair closer to the desk. He is no longer looking at DAWN, and appears to be ready to get down to work.

GIL

Not exactly a spy. Your training has been on how to avoid giving yourself away -- how to avoid such things as implants. Spies, on the other hand, gather secrets from others. Your training has been purely self-defense.

GIL picks up another sheet of paper on his desk and begins reading it.

DAWN

Can I get you some tea?

GIL

Yes. And join me if you would. We've some things to talk about.

DAWN exits the office, using the door to the office-kitchen. GIL continues to read.

Moments later, DAWN re-enters with a small silver tray filled with iced tea glasses and some small snacks. As she approaches the desk, she trips on an upturned edge of the carpet and falls forward. The desk prevents her from falling on her face, but the iced tea glasses are catapulted toward GIL, dousing GIL's lower shirt and lap, as well as the portion of the desk in front of him. GIL reacts with a sudden intake of breath, while DAWN stares in horror at what she’s done.

DAWN

Oh no! Not again!

DAWN jumps up, and runs to the kitchen. Rushing back with paper towels, she then hesitates.

DAWN looks down at GIL’s lap and his inner thighs obviously soaked with moisture. She smiles bleakly and drops the paper towels in GIL’s lap. He then uses the towels to begin to dry himself off. DAWN steps back from the desk, looking miserable.

DAWN

I'm so sorry. You must think I'm hopeless.

GIL

No, no. Not really.

DAWN

But I’m so clumsy! Since I've been working for you, I must have committed some clumsy act or another a dozen times. I can't believe you haven't fired me, long before now!

GIL

Don't be ridiculous. I find it... Refreshing.

GIL sits up on of the edge of his seat, grimacing as the moisture reaches other parts of his body.

DAWN

It’s just that I really love this work. After losing my family, and spending two years regrouping, I've been desperate to feel useful again. I really don’t want to blow this job.

GIL

Not a chance! I fully recognize your value. Even if... occassionally, you don’t.

After making his point by staring at DAWN, GIL stands up and grimaces even more.

GIL

Ah yes. Very stimulating.

DAWN

I'm so sorry.

GIL is in the process of dabbing at the wetness, when he stops and abruptly frowns.

GIL

I don't think this is working. I'd better change. Back in a jiffy.

DAWN

I don't suppose there's anything I can do...

GIL

I don’t think so.

GIL exits, while DAWN looks dejected. She uses the remaining towel to dry off the chair seat, and then dab at the faxes still on the desk. She then looks at the faxes, shakes her head, and tosses them in the trash. She leaves the inner office momentarily. The sound of printing is heard. Then DAWN returns with a new, fresh set of faxes and another towel. Setting the faxes down, she straightens the desk. Then she sits down in GIL’s chair, and checks the desk’s appearance. ANNA, dressed as in the crop circle scene, enters unannounced, and as if she owned the place.

ANNA

Hello.

DAWN looks up, her eyes widening, her gaze following ANNA with scarcely a blink. ANNA is the image of the woman in her crop circle dream.

ANNA

I'm sorry if I startled you. I’m Anna Zedek. Gil and I are old friends.

DAWN slowly stands up, remaining behind GIL’s desk, her eyes glued to ANNA.

ANNA

And you are...?

DAWN

Dawn Riordan. I'm Mr. Lewis' secretary.

ANNA

Lewis, eh...? Hmmm. Interesting.

DAWN

Can I help you?

ANNA

Possibly. Are you, per chance, familiar with the Humanki?

DAWN

The Humanki? No. I've never heard of them. Why? Who are they?

ANNA smiles, but does not immediately answer. ANNA begins to move about the room, as if checking it out.

ANNA

What about crop circles?

DAWN

That I've heard of. I believe they're sculptured designs in grain fields. Mostly in England, and probably hoaxes.

ANNA

(turning to face DAWN directly)

Oh no! They're not hoaxes! Some perhaps. But the many which are too complicated, far too precise and profound to be hoaxes.

DAWN

But if they're not hoaxes, where do they come from?

ANNA continues to move about the room, picking up things as if appraising them.

ANNA

Who knows? Extraterrestrials, perhaps. Tell me: Do you believe in extraterrestrials?

DAWN

No, not really. At least, not on Earth. But on other planets around other suns, sure. I suppose it's inevitable that there's intelligent life somewhere in the universe.

ANNA

Interesting.

ANNA picks up an ancient artifact of GIL’s, and smiles as if recognizing the object.

DAWN

Excuse me, but do you have an appointment?

ANNA

Don't need one. Like I said, Gil and I are very old, very dear friends.

ANNA moves around to a chair facing the desk. Looking at DAWN, she smiles, appraising the woman standing before her. DAWN shifts slightly, but then returns ANNA’s stare. DAWN’s posture stiffens, and she raises her head slightly. ANNA smiles, as if understanding something.

ANNA

So tell me... Have you ever heard of a group called The Patrons?

DAWN

No. Perhaps you'd like to wait in my office.

ANNA sits down in the wing back chair facing the desk, her back to the inner office entrance.

ANNA

Isn't it interesting that a patron is considered a good thing, someone to be sought? But for a patron, or anyone else for that matter, to be patronizing... That's not so good.

DAWN

It's a strange language.

ANNA

Most of them are.

(reflecting)

I sometimes wonder if that had been a mistake.

GIL enters. DAWN reacts by stepping from behind the desk, while ANNA remains seated.

GIL

Good as new.

ANNA

You always were, Gil.

GIL stops in his tracks as he sees ANNA. He frowns, and almost immediately looks away.

GIL

A'-na!

ANNA

It's a delight to see you again as well, old friend.

GIL

Old friend? Is that what you're calling us now?

ANNA

Of course. You wouldn't want a karmic debt with an enemy, would you?

GIL smiles cynically, and steps toward ANNA.

GIL

Speaking of enemies, how is your dear Uncle?

ANNA

(suddenly frowning and reflecting)

Some things never really change. I’m afraid my Uncle Kurt is one of them.

GIL

Still have his god-awful temper?

ANNA

Of course. But, I’m sure you'll be happy to know, I've changed a great deal.

GIL slowly moves around his desk, keeping his eyes on ANNA.

DAWN

I'm sorry, Mr. Lewis. I can call security...

GIL

That won't be necessary.

GIL stares at ANNA, and then, after a moment, turns and starts to escort DAWN to the door.

GIL

But there are some things I need you to do.

DAWN

Of course. Can I bring you anything...?

GIL

No. I doubt Miss A'-na will be staying long.

GIL hands DAWN an envelope at the door.

GIL

If you could run one other errand for me...

The address is on the envelope. You'll have to pay cash -- the money's in the envelope as well. But you'll need to leave now in order to catch them while they're open. You can stop by the book store, afterwards..

DAWN

Do you need me to come back here?

GIL

That won’t be necessay. You can take the rest of the day off.

DAWN

Are you sure, before I leave, that you don't need me to call someone... about her?

GIL

No. I'll call your pager if I need you.

DAWN smiles and exits, closing the door behind her, as GIL turns back to face ANNA.

The scene shifts to the Theve Publishing Office, located in a seemier section of Denver. DAWN enters a disreputable-looking, unkempt office -- dust and yellowed papers strewn about a cracked formica counter and walls barren of decoration. The office is complete with ringing bells on the front, glass door. DAWN glances around nervously, but no one is in the room. She looks intently at the only other doorway -- a dark entry into the back room. ED, a similarly unkempt, unshaven man with rumpled trousers, dirty white shirt, and crooked, out-dated tie tied carelessly around his open collar, enters. His voice is as gruff as his appearance.

ED

Yeah, lady. What' you need? Directions?

DAWN

I'm looking for an Ed Theve...?

ED

You've found him... Oh, yeah. Now I recognize you. Just a sec...

ED turns and exits into the back room. DAWN stares perplexed at his back.

DAWN (to herself)

You recognized me...?

ED returns, with an oversized brown letter envelope, which he holds upright against his chest.

ED

You got the money?

DAWN hands the envelope to ED, who immediately opens it, pulls out a packet of bills and begins counting them. DAWN registers considerable surprise, as ED counts the money: ten $100 bills. ED looks pleased, and hands the envelope to her. DAWN takes it, as ED turns to leave.

ED

Enjoy your trip.

ED exits. DAWN stops momentarily, looking with a puzzled expression back toward ED, and then after glancing around the shop, hurriedly exits.

The scene shifts to the Tattered Cover Bookstore. DAWN enters, and goes immediately to the desk to stand in line. She looks up at the clock, which shows the time: 5:20. A few minutes later, the clerk approachs DAWN with a book in her hand.

CLERK

Sorry for the wait.

DAWN

Fortunately, I'm in no hurry.

DAWN's pager alerts her. She pulls it out of her purse, and looks at the number. She’s surprised.

DAWN

Is there a phone I can use?

CLERK

In the coffee shop.

DAWN enters the coffee shop and goes directly to a pay telephone where she dials the pager number.

NURSE (voice over)

Saint Joseph's Emergency Room. May I help you?

DAWN

I'm Dawn Riordan. I had a message to call...

As she listens to the message, DAWN turns pale, listening intently.

DAWN

I'm on my way!

DAWN hangs up and runs hurriedly from the coffee shop.

Scene shifts to the reception area of Saint Joseph’s Hospital Emergency Ward. DAWN rushes into the crowded emergency room, and makes a beeline for the reception desk. She comes up short as she recognizes ANNA from the back (in the same dress as before). ANNA is intently talking to the RECEPTIONIST. DAWN fades back into the crowd, then approaches cautiously, her ears cocked, keeping her eyes on ANNA and staying on ANNA’s backside.

ANNA

These facilities are simply and totally inadequate! He must be transferred immediately!

RECEPTIONIST

(surprised and defensive)

Mr. Lewis is in the emergency room. He can't...

ANNA

Let me talk to your supervisor. Now!

RECEPTIONIST

(frustrated)

Of course, if you'll follow me, please.

ANNA follows the RECEPTIONIST around the desk and into an inner office. As she disappears from sight, DAWN approaches the desk, where a SECOND RECEPTIONIST greets her.

SECOND RECEPTIONIST

Can I help you?

DAWN

You have a patient, a Gilbert Lewis?

SECOND RECEPTIONIST

Are you a relative?

DAWN

(hesitating)

I'm his daughter.

SECOND RECEPTIONIST

Oh. In that case, he's in Emergency Room Three. You can’t see him right now, but I'll tell the nurse you're here.

DAWN

Thanks.

DAWN walks away, meshes into the crowd, and then ducks into the Emergency Room complex.

Inside there is considerable activity, as nurses, doctors, and orderlies scurry about. DAWN finds Emergency Room Three and from the corridor looks inside. A doctor is working on a bloodied and injured GIL. A NURSE, walking toward the room, sees DAWN and approaches her.

NURSE

Excuse me. You're not supposed to be here.

DAWN

He's my... father.

NURSE

I'm sorry. But you're still not...

DAWN

Look! I'm not leaving! But I will promise to stay out of your way.

NURSE

I don't know...

DAWN

Can you tell me what happened?

NURSE

Don't know for sure. Hit by a car I think...

DAWN

Do they know who hit him?

NURSE

I really don't know. You'll have to ask the police. There’s one in the hallway outside.

The NURSE glances into Emergency Room 3, as the DOCTOR looks up for assistance.

NURSE

Excuse me.

The NURSE goes into the room. DAWN settles down to watch, and stay out of the way. After a few minutes, the DOCTOR straightens up, looking satistifed. He gives several orders to the NURSE, and the two of them exit the room, leaving GIL alone. DAWN quickly steps into the room. GIL is apparently resting comfortably. DAWN looks over his bloodied body, but makes no overt move. A woman dressed in a nurse's uniform (CLAUDIA) enters the room, carrying a large, automatic syringe and shot-injecting device -- considerably larger than the average syringe. Ignoring DAWN, CLAUDIA begins preparing to give GIL a shot in the buttocks. DAWN suddenly looks terrified. She reaches out with her hand to grab the nurse’s arm.

DAWN

What are you doing?

CLAUDIA

Spotted Fever shots. Everyone gets them. You're going to need one yourself.

DAWN

But you can't give him a shot!

CLAUDIA stops and looks at DAWN. Her voice is measured, as she shruggs off DAWN’s hand from her arm. Her tone is that of the no-nonsense nurse who will brook no interference.

CLAUDIA

Look, Miss. We've been having a near epidemic of Rocky Mountain Spotted Fever. It can be quite serious. But by inoculating everyone, including yourself...

DAWN

But he has allergies to several medicines...

CLAUDIA

I don't think there's any likelihood...

DAWN

Plus which, I've had a few reactions to shots myself. I think I'd like to talk to the Doctor before either one of us receives a shot.

CLAUDIA

But this is on Doctor's orders!

DAWN

I'd like to talk to the doctor myself!

CLAUDIA's face reddens, as she returns DAWN’s stare. Then CLAUDIA’s eyes waver as if DAWN has just won the staring contest. But CLAUDIA is not a good loser.

CLAUDIA

Fine! I'll tell the doctor.

Putting the shot gun back on a table, CLAUDIA turns and walks out in a huff. Once the woman is out of the room, DAWN goes immediately to pick up the shot gun, and examines it. In a small window there is an electronic "2", opposite the business end of the gun. DAWN shivers and tries to think. Acting hurriedly, she loosens GIL's belt, doubles it and fires the gun point-blank into the leather. She then again looks at the gun, which now shows an electronic "1". DAWN smiles. Then she lifts up her foot, and fires again, this time into the heel of her shoe. The shot gun now shows a reading of "0".

DAWN sets the shot gun down, just as the DOCTOR and NURSE return. The NURSE gives DAWN a hard look, and DAWN reacts by scurrying out of the room. Outside, she again takes up her vigil. As the DOCTOR re-exams GIL, the NURSE notices the syringe gun and looks at the electronic "0". She then glances at DAWN, who rubs her hip and grimaces slightly, a weak smile on her lips. The NURSE steps outside the room, still keeping her eyes on DAWN.

NURSE

Did you get the first or second shot?

DAWN

The second one. Why?

NURSE

No reason.

The NURSE steps back inside the room and turns to a computer console monitor. She types in several notations and then returns to helping the DOCTOR. DAWN breathes a heavy sigh and gently brushes her forehead and hair with one hand. Moments later, a man in a business suit (CHIEF) enters the emergency room.

CHIEF

What's his status?

DOCTOR

He's going to need immediate surgery.

CHIEF

Forget it. Stabilize and prepare to move him.

DOCTOR

(very surprised)

The man's got internal bleeding, a ruptured...

CHIEF

Orders from the top.

The DOCTOR, his face hardened, stares intently at the Chief.

CHIEF

I’ll take full responsibility. Now do it!

The DOCTOR and NURSE begin the preparations to move GIL, as two men wearing the insignia of a private ambulance company arrive with a state of the art ambulance stretcher. As GIL's body is transferred to the stretcher, the DOCTOR leaves the room, a stern and uncompromising look on his face. When the stretcher is wheeled out of the room, the DOCTOR steps up to stop it.

DOCTOR

Just a moment.

With considerable gravity, the DOCTOR pointedly gives the CHIEF a clipboard with the transfer order. The CHIEF takes the clipboard from the DOCTOR, gives him a stern look, and begins to sign the document. Meanwhile, DAWN moves to the side of the stretcher, concentrating her attention on GIL. GIL stirs, opens his eyes and looks at her. DAWN sighs and smiles.

DAWN

Hi, there.

GIL’s eyes roll unevenly. Abruptly, he reaches up and grabs her blouse, leaving a blood stain.

GIL

(with a strained and raspy voice)

Dawn. Alas Babylon.

DAWN tries to back away. GIL continues to hang on to her blouse, as he coughs to clear his throat. Then DAWN leans back toward him, her eyes watering and her smile gone.

GIL

Don't forget the freezer... four packages marked "Cod”. Take all four. Important.

DAWN

Four packages of frozen fish?

GIL

They're on to us Dawn. Save yourself...

DAWN

But I can't leave you like this...

GIL's eyes close, his consciousness apparently lapsing. DAWN is shaking and perspiring.

The scene shifts momentarily to a flashback of a mountain road in Colorado where DAWN is holding the body of her dying child in her arms. She is stricken with grief, and crying profusely.

Back in the emergency room, the CHIEF hands the transfer order back to the DOCTOR, and turns to exit and wash his hands. The DOCTOR steps back, and the ambulance team moves the stretcher down the hallway. DAWN stands shock still as she watches it. She then turns away and exits hurriedly from the emergency room.

DAWN enters the reception area of the emergency room just in time to see KURT and two men at the reception desk. KURT is tall and dark, has a family resemblance to ANNA, and is dressed in a very expensive suit. The two men are immaculately dressed in plain business suits, and keep warily glancing around the room. The RECEPTIONIST is frowning and focused on KURT.

KURT

As I just explained, Miss: I'm Gilbert Lewis's brother. I have an ambulance waiting outside, and a court order with which to facilitate his being transferred immediately.

DAWN, comes up short at seeing KURT, smiles in apparent relief, and starts to approach him.

RECEPTIONIST

But Sir, he’s in very serious condition. He certainly can’t be transferred right now.

KURT

Just exactly where is Mr. Lewis?

DAWN

Excuse me...

As KURT turns toward DAWN, she stops cold. The family resemblance to ANNA is apparent. As KURT looks at her expectantly, DAWN hesitates, staring at KURT for a split second, and then turns to the RECEPTIONIST. Her throat dry, she fumbles for words.

DAWN

The ladies' rest room... Where...?

RECEPTIONIST

First left, on your way out.

DAWN mutters a brief “thanks”, and quickly heads for the exit, suddenly breathing very hard.

KURT

(to the NURSE)

Let me talk to your supervisor.

DAWN is only twenty feet away, when she runs into CLAUDIA. The two women immediately stop and stare at each other, but DAWN turns away first and continues toward the exit. At the corner, she turns and looks back. CLAUDIA, with a successful smile on her face, has now approached KURT and begins to report to him. DAWN turns away and breaks into a run.

Outside in the hospital’s parking lot, DAWN is running and pulling her keys out of her backpack purse.

VOICE

"Be as a sheep among wolves: Wise as a serpent, and gentle as a dove."

DAWN stops and looks around. But no one is nearby. Then she looks at her automobile, and at its license plate. DAWN looks around as if someone might be stalking her. Then she throws the keys back into her purse, turns and heads back toward the taxi stand at the hospital.

The scene shifts to Gil’s office building. It is now nighttime and the street is deserted. DAWN exits a taxi, turns and enters the building. She is almost running, moving very quickly and glancing around several times, up and down the street. DAWN enters and begins crossing the lobby when JERRY, the night guard, sees her.

JERRY

Good evening, Miss Riordan. You're working rather late this evening.

DAWN

Evening, Jerry. Just picking up some papers.

JERRY

Of course. I'll activate the elevators... Looks like you’ll have the building all to yourself.

The GUARD flips a switch, and turns away. DAWN enters the elevator.

The scene shifts to the reception area of Gil’s office. The telephone is ringing, and the answering machine responding.

DAWN (recorded voice)

Hello. You've reached 339-3113. Please leave a message.

At the same time, DAWN is exiting the elevator and walking toward the office.

ANNA (on answering machine)

This is for Miss Riordan. Dawn, please call 339-3777 immediately. It's very important.

The answering machine clicks off just as DAWN opens GIL's door with her key. She enters the office and closes the door behind her. The answering machine message light is blinking, but DAWN turns in the opposite direction of her desk and goes instead into the small, attached kitchen.

DAWN opens a pantry door and begins shoving the neatly stacked cans and foodstuffs to one side. She grabs one of the top two shelves and slides it out several inches to reveal a hinge. She then slides out the next lower shelf, and a small panel swings open very slightly. DAWN lifts the panel up to reveal a relatively large wall safe just behind the back panel of the pantry. Holding up the panel she immediately begins dialing the combination. Her first attempt yields nothing. She is surprised, and momentarily stymied by the safe not opening.

Outside of the office building, three men in business suits get out of a black Mercedes and begin approaching the main entrance.

In GIL’s office-kitchen, DAWN tries the combination again. Still nothing. Showing frustration she tries again before being successful. She then flings open the safe door, grabs a brown briefcase from the safe and yanks it out. In doing so, the manages to wipe out the cans and foodstuffs on either side, spilling everything onto the floor. Surprised, she looks at the mess.

DAWN

Shit!

DAWN puts the briefcase on the opposite counter next to where she had laid her purse. Turning back to the pantry, she closes the safe, spins the combination, closes the panel and shoves the shelves back in place. She picks up the cans and foodstuffs from the floor. Done, she steps back. For a moment, she looks at the reconstituted shelf with everything messed up, and at the lower shelves, where in sharp contrast everything is extremely neat and nicely stacked. DAWN studies the situation, and then quickly messes up the other shelves. She looks again and smiles, apparently satisfied. Closing the pantry, she grabs her purse and GIL's briefcase and exits the kitchen. At the front door of the office DAWN stops midstride -- just past the blinking answering machine -- where she hesitates and then turns and goes back into the kitchen.

In the lobby of the office building, the Mercedes’ three men are approaching the elevator.

JERRY

Excuse me, gentlemen. May I help you?

The three turn toward him, one of them smiling in the traditional way of telling everyone he's the leader. JERRY reaches down and puts his hand on the silent alarm button.

Entering Gil’s office kitchen, DAWN opens the freezer door and begins searching through the freezer. In unpacking it, she notices a large number of concentrated frozen grape juice containers. She continues looking until she finds four packages -- heavily frosted and marked “Cod” -- and drops them onto the counter. They hit with a heavy thud. Then she restuffs the freezer with the other food. One frozen grape juice container falls on the floor and rolls away. DAWN grabs a purple, expandable, fishnet grocery bag and puts the four frozen "CoD" packages into it. As she turns to run from the kitchen, she kicks the frozen grape juice still on the floor, and it skids across the floor. Shaking her head, she drops down on all fours to go after it.

In the office building lobby, JERRY slumps to the floor next to a small red light on the silent alarm which is now flashing. His body is hidden behind the desk, as the three men from the Mercedes turn away from the desk, and move toward the elevator.

DAWN grabs the grape juice container from the floor and stuffs it in the grocery bag. She gets back up, grabs the brown briefcase and her purse, and heads for the front door. There she stops with her hand on the door knob, trying to recall if there was anything she had forgotten to do. The answering machine continues to signal its receipt of a message. DAWN shakes her head, opens the door and exits.

The Mercedes’ three men in black suits enter the elevator and push the button for the fourth floor of the building.

On the fourth floor in front of the elevator, DAWN pushs the down button. The elevator opens, and she steps inside the empty elevator. The doors close, as the second elevator doors open and the Mercedes three men exit the elevator. They check directions, and turn to walk down the hall.

In the lobby of the office building, DAWN comes out of the elevator, crosses the reception area (not seeing JERRY’s body on floor behind desk), and exits onto the street. DAWN walks across the empty street (jaywalking) toward her condominium. A taxi arrives at the health club adjacent to the condominium and momentarily arrests her attention.

Moments later, Dawn is in the fifth floor hallway of her condominium. As she reaches her door (marked 589), she unlocks it.

In the reception area of Gil’s office, the three men have already entered and begun to make a sweep to determine if anyone is anywhere in the office. When it's apparent the place is empty, the LEADER, gestures to ARES, one of the men.

LEADER

Check out her apartment. I'll join you shortly.

ARES acknowledges the orders and exits the office front door.

DAWN enters her bedroom, drops her backpack purse, briefcase and grocery bag on her bed. She pulls an overnight, carry-on bag out of the closet, and begins filling it with essentials and cosmetics. She adds underwear and a pair of tennis shoes, zips it up and throws it on the bed. As she walks by, DAWN hits the message playback button on her answering machine and heads for the closet.

KELLY (on answering machine)

Hi, Dawn. It's Kelly. Where are you? This place is jumping! Even a couple of good looking guys. Call me. Love ya.

VOICE (on answering machine)

Ms. Riordan. I must tell you it took me some effort to find your unlisted number. This is Fred Pool. Call me immediately.

As the messages play, DAWN heads to the dresser next to the window, where she glances out the window. She has an excellent view of GIL's office in the office building across the street with the lights on. The LEADER and a second man are searching the office for something, making no pretense toward neatness. The third message on DAWN's answering machine is heard.

ANNA (on answering machine)

Dawn. It's extremely important I talk to you. Please call me at 339-3777.

DAWN is momentarily transfixed. Abruptly she slings her backpack purse over her head and one shoulder, grabs the overnight bag and wraps it around her head and shoulder in the opposite direction (now looking like Rambo with gunbelts). She picks up both the briefcase and the straps of the purple grocery bag. Turning, she breaks into a run. As she dashes pass the dresser, the grocery bag is swung in a wide arc, and smashes the base of a glass lamp. DAWN stops and looks disgusted. She sweeps with one wave of her hand, the broken pieces into the wastebasket at the end of the dresser, and picks up the rest of the lamp. Stepping back she yanks the lamp, causing the cord to rip the plug out of the wall socket. She then runs from the bedroom into her living room. The doorbell sounds just as DAWN approachs her front door. She freezes at the sound of someone beginning to pick the lock. Quietly, DAWN sets the briefcase and lamp down, and looks around. She looks at the grocery bag filled with cod, hefts it up and down, and then steps back behind the door. The door opens and ARES steps into the darkened room. DAWN does a quick two handed windup and slams ARES in the back of the head with the frozen cod. ARES goes down hard. DAWN watches him for a second, sees no movement, and then grabbing everything (including the useless lamp), she steps out and closes the door behind her.

In the fifth floor hallway, DAWN runs past the elevators and takes the stairs two at a time. At the second floor, she notices the resident’s door to the adjacent health club. She stops, thinks, and goes through the door. Once inside the health club, DAWN walks briskly though the weight lifting section, picking up more than one stare.

JOCK

Hey, Babe. Lighten up!

DAWN ignores the man, but then looks at the lamp in her hand, and quickly dumps it into a too small trash can -- causing it to turn over and spill its contents, including several partially filled drink cups. DAWN ignores the mess and continues toward the main entrance. She transfers the grocery bag to her now free hand, and in the process catches a small medium sized artificial plant with her swinging grocery bag (which partially wraps around the stalk) and pulls the plant along with her. She shakes the grocery bag, so that the tree falls aside, along with leaves and branches being spread over the floor. The wide-eyed receptionist at the front door watches the process, dumbfounded. DAWN shows no reaction to what’s happening and dashes out the front door.

A taxi pulls up and DAWN grabs the cab, almost before the previous occupant can get out. The man then gallantly closes her door, and pays his fare through the open window. Then the taxi driver turns to DAWN expectantly.

DAWN

The nearest auto teller.

TAXI DRIVER

There's one at the corner of...

DAWN

Fine. Take me there.

The taxi driver puts the vehicle in gear and starts to pull away just as police sirens are heard. The taxi driver hesitates, but then accelerates. DAWN sinks down into the seat, swallowing hard.

DAWN

And then I'll want a drug store.

TAXI DRIVER

Sure lady. Whatever.

DAWN disentangles herself from her purse and overnight bag, and pulls the briefcase onto her lap. She dials the combination of "777"on each of the latches, and opens the case. Inside, she finds the brown letter envelope GIL had prepared earlier. She’s puzzled, as she looks at the address, which in the flashing light of the first street lights, she can just make out.

DAWN

Doctor Alexander Dukas. 20884 Redstone Canyon, Fort Collins.

The taxi pulls up at the auto teller, and DAWN quickly shuts the briefcase. Getting out, she uses a credit card to tap the auto teller for the maximum cash. Quickly, she is back into the taxi.

Moments later, at a drugstore, DAWN grabs an assortment of theatrical makeup, and a stringy, Halloween style, black wig. She pays for the items, and stops at another auto-teller at the entrance of the drugstore. She again takes the maximum.

With DAWN back in the taxi and putting the cash in her backpack purse, the driver smiles.

TAXI DRIVER

Where to now? Another auto teller?

DAWN

Airport.

TAXI DRIVER

Gee, why didn't I just know that?

The scene shifts to the Denver International Airport, also known as the Colorado International Airport (CIA), with its lighted tent-like structure and the surrounding empty plains. DAWN enters the main terminal and goes directly to a rental car agency. Using her credit card, she quickly rents a car. The agent makes a point of running her credit card through the computer, and then hands the card back to her. DAWN then grabs her keys and hurriedly walks away.

Elsewhere, in a self-styled"WAR ROOM", complete withcomputers and update boards, a flashing line on one console shows use of DAWN’s credit card to rent a car. The MAN at the console, notes the fact and turns to address KURT who is standing nearby.

MAN

Excuse me, Sir. We have a rental car usage by the fugitive at Denver International Airport. This correlates with the implant locator.

KURT

(looking very pleased)

Excellent. Alert the team, so they don’t miss her on the highway. I don’t want any more mistakes or late arrivals.

MAN

Yes sir. They should almost be there by now.

KURT smiles, in an evil, dastardly sort of way.

Still in the main terminal of the airport, DAWN walks up to an airline ticket counter. There she looks up at the computer display for the next departures. She smiles, and approaches the ticket counter and a young female agent.

DAWN

Flight 331 to Houston, please. First Class and one way.

AGENT

(suddenly concerned)

I'm sorry, Miss. But that flight is scheduled to leave in the next ten minutes. You'll never make it.

DAWN

(looking again at the departure schedule)

Fine. Then make it Dallas. And I'm in a hurry.

The AGENT looks surprised, but checks her console and smiles bleakly.

AGENT

The Dallas flight leaves in twenty minutes. That you can probably make., if you use the First Class security line.

DAWN

I'll be paying cash... My credit card's maxed out.

AGENT

Aren't we all!

After leaving the terminal, DAWN enters the underground train to the airline gates, and sits down on the luggage area in the back. There she begins changing her shoes. Taking a bag from the drugstore, she puts the shoes she had been wearing into a plastic bag, taking the time to notice the implant embedded in one heel. She smiles slightly, as the train accelerates. DAWN then turns to look back down the tunnel, where hundreds of little pinwheels are spinning like crazy. DAWN smiles, but then does a claustrophobic shudder. When the train comes to a halt, she bolts from the train and heads for the stairs.

In the War room, KURT is on the telephone, looking puzzled.

KURT

She's still at the airport...? Hmm. The rental car may be a trick. Stay with the implant.

DAWN approaches the Dallas gate, just as the last passenger is passing through the checkpoint. DAWN gives the local agent her ticket and quickly boards the airplane.

Once inside the airplane, DAWN moves down the aisle. Once in tourist class, she stops and places the drugstore bag with the implanted shoes into an overhead bin. Then she turns to leave, and encounters a stewardess.

DAWN

I forgot to give my boyfriend the car keys. He'll be furious if I leave him stranded.

STEWARDESS

Okay. But you only have about two minutes. You'll have to hurry.

DAWN

Don't worry about me. I never miss a flight!

DAWN exits the plane without incident, quietly slipping through the closed door. Once back in the terminal, she heads for the train terminal. Moments later, she is standing in the front section of the train, where she watches as the train follows the parallel tunnel seeing the strange art work on the walls of the tunnel (pick axes, and something looking like an outstretched arm and hand).

Once in the main terminal, DAWN walks across the lobby, glancing around furtively. Abruptly, she sees three strange men enter, one of them carrying and keeping track of readings from a piece of electronics. DAWN quickly turns the other way and makes her way into the south lobby area of the terminal. The three men flash their IDs and are let through security without delay. They then run down the escalator, and head for the trains.

DAWN sees them go, and looking around, takes a deep breath, and heads for the exit.

The three men reach the Dallas gate, only to find the aircraft already gone. One of the three pulls out a cellular telephone. Simultaneously, the man with the electronics shakes his head, yes. The MAN with the telephone frowns his acknowledgment and turns back to speak into the telephone.

MAN

The implant indicates she made the flight. Someone will have to meet her in Dallas. At least we know where she is for the next couple of hours.

At about the same time, DAWN is in an Airport Shuttle as she leaves DIA.

Some time later, DAWN enters the front doors of the Denver YWCA. In the lobby the CLERK looks up and sees her and immediately begins to size her up. The CLERK frowns, and then smiles bleakly as DAWN approaches.

CLERK

Looking for a single?

(before DAWN can say yes)

No men are allowed in the rooms.

DAWN

That's not even a remote possibility.

CLERK

(shoving the register toward DAWN)

You okay?

DAWN

Yes. Thanks.

CLERK

You know, a lot of battered wives and girl friends come here. If you need anything...

DAWN

(paying cash for the room)

Thanks. Just some privacy.

The CLERK smiles and falls silent, as she hands DAWN her room receipt and key.

DAWN enters her room, turns and closes the door, locks it, throws the recently installed dead bolts, slips the security chain on its slide, and then with the door key still in her hand turns to survey the scene. The room is moderately clean with a small, 1940 style lavatory. The bed is a turn-of-the-century hospital bed with rounded metal frames and military-reject bedspreads. The single other piece of furniture is a rustic dresser, the style where cardboard is used liberally on the interior of the drawers. DAWN slowly sheds all of her luggage, and sits down heavily on the bed. Abruptly she begins to sob uncontrollably, falling sideways onto the bed.

FADE OUT  

Humanki

Forward to:

Episode Two -- Come Fly With Me

               

                                                                                      The Library of ialexandriah       

2003 Copyright Dan Sewell Ward, All Rights Reserved                     [Feedback]    

                                                                                                            Next