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Avalon

New -- 21 April 2006

Humanki -- Episode Seven

 

The jet carrying ALEX and DAWN flies over Greece, the Italian and Swiss Alps, the Rhineland (with its pollution), the White Cliffs of Dover, and then the English countryside, approaching Stonehenge and Silbury Hill enroute to Bristol, England.

DAWN

To think I once thought crop circles were hoaxes!

ALEX

A lot of people would prefer to think of them that way. The curious part is that there was one referred to as the "Milk Hill Agriglyph", which was actually a single line of glyphs, each 12 to 15 foot high. One scholar interpreted some of the glyphs as "Ptah", the creator god of ancient Egypt, and others as "Enki", the Sumerian God of Wisdom.

DAWN

But Enki and Ptah, they're one and the same!

ALEX

Exactly. Plus which, most crop circles are near Stonehenge, which was also probably his handiwork.

The scene shifts to the main terminal of the airport at Bristol, England. ALEX and DAWN enter from the local Customs area, both smiling and looking surprised.

DAWN

I'm impressed. I never thought we'd fly through Customs with such ease, particularly with suspect passports. You'd think we were visiting the Queen, and she called ahead.

ALEX

(looking around)

Actually, I rather suspect we were aided by someone slightly higher up than the Queen.

A large, rough-looking Welshman casually dressed as a CHAUFFER approaches them.

CHAUFFER

(heavy Welsh accent)

Doctor Dukas?

ALEX

Yes?

CHAUFFER

I take you to Glastonbury and The Fisher King. If yule follow me...

ALEX

Of course. Lead the way.

In the offices of Ancient Heritage in Avebury, England, KURT is leaning forward and scowling at the EXECUTIVE SECRETARY, the latter who is clearly English in her speech and manner. KURT is both curt and threatening.

KURT

Apparently, you are not aware of who I am. Or who I represent.

EXECUTIVE SECRETARY

(calmly and unintimidated)

I know all too well who you are and of your connections. Everyone in Avebury does. But the one I serve does not feel the same urgent need for a meeting with you as you apparently do. He has specifically referred to you by name in making this clear to me.

KURT

The Lord of the Command is returning! In the very near future! Will your master feel a greater urgency to meet with him!?

EXECUTIVE SECRETARY

I'm afraid that such a question is irrelevant to our discussion. My only instructions concern you. He will not see you.

KURT

And I will be damned if he doesn't!!

Turning on his heels, KURT walks briskly from the room.

EXECUTIVE SECRETARY

(under her breath)

Quite possibly.

Arriving in Glastonbury, England, the Bristol car and driver pull up just outside the stock wooden gates of an ancient stone wall. ALEX steps out of the car first, followed by DAWN. Seeing the wall, ALEX is stopped in his tracks and immediately stands back to take a better look. The CHAUFFER notices his reaction.

CHAUFFER

(heavy Welsh accent)

Tis sum ate and a half foote tall!

As the CHAUFFER drives off, DAWN and ALEX continue to stand in front of the structure. Then DAWN pushes against one of the gates. It immediately swings open with ease and very little noise. DAWN smiles, as the two of them step inside the gate.

Inside, they find a heavily wooded area of mostly ancient oaks. The greenery is intense, with only small patches of empty sky. Both look around, admiring the scene.

ALEX

This could be a medieval Sherwood Forest -- a place where rogues and outlaws escape the clutches of the law for years on end.

DAWN

Maybe so. Or perhaps a Druid Temple. Royal oaks, sacred rocks, the sound of running water...

Behind them, a security bolt clicks into place on the gates. Both turn at the sound.

ALEX

I think we just got locked in.

DAWN

Or others have been locked out.

DAWN smiles and begins walking, taking a small path through the heavy undergrowth. The path curls and twists for some time through the greenery, until it reaches a short section of path where just ahead stand two hermae -- upright, stone pillars, these roughtly four-foot-tall. DAWN slows and walks ahead with extra care. ALEX, from behind, mimics her actions. DAWN approaches the pillars closer, until she sees behind them: a small clearing surrounded by oak trees, twisting vines and a babbling brook.

Drawing abreast of the stone pillars, she stops and removes her shoes and socks. Then, very gingerly, she steps into the clearing. ALEX, just behind her and seeing her action, follows her lead. As DAWN steps into the clearing, she suddenly closes her eyes, takes a very deep breath and abruptly straightens her posture. ALEX steps into the clearing and reacts in the same way, but with less of an intake of breath. DAWN then opens her eyes and turns to look to her left, where she sees ENKI sitting on a low rock.

ENKI’s face is etched from centuries of time, but still retains a glow of exceptional health. He is dressed in a robe with the cut of a modern monk’s robe, but made of a material which appears to fade in and out of focus. ENKI's attention is directed to a small patch of dry sand at his feet, where he is drawing interlocking circles with the point of a green (and still growing) tree branch in one hand. DAWN watches him for a moment and then approaches. Seeing two other rocks placed in an equilateral triangular fashion, she smiles. Keeping her eyes on ENKI, she sits down on the rock to his immediate right. ALEX does the same, making a point of not crossing into the inner portion of the triangle formed by the rocks, nor walking behind ENKI -- who is still doodling in the sand. Then DAWN looks down at the "doodles" and breathes in a sudden gulp of air.

Instead of random doodles, the sand becomes a magic slate where symbolic designs are quickly and effortlessly appearing with only the slightest movement by ENKI. Just as quickly, a single symbol might then be brushed out with one whisk of ENKI's tree branch -- only to be followed by another, often more complicated design. Slowly, the pace increases and a Druid version of a modern visual lecture ensues. The designs include star formations and fractals from Chaos Theory, Euclidian and hyper geometry figures (including multi-pointed stars of five, six, seven, eight, twelve and thirteen points, meshes between the two, dual tetrahedrons inscribed within spheres, and connecting lines between objects in the Cydonia region of Mars), petroglyphs (primarily from Southwestern United States), and advanced crop circles. Suddenly, ENKI’s wand creating the drawings stops in mid-stroke.

ENKI looks up, his eyes focusing on some distant horizon. Slowly a smile comes over his face and with one wave of his tree branch the drawings (and drawing board) vanishes and he stands up. As ENKI walks from the clearing, DAWN and ALEX follow without hesitation. ENKI leads them past the hermae, through some bushes, and onto a here-to-before undiscovered path, where the grass grows as if seldom seeing the foot of man. At the same time, the path gently skirts the trees and rocks with uncanny gracefulness.

The group of three arrive at the edge of a small mist covered lake, where four skiffs rest on the bank. ENKI, with economy of movement, pushes one skiff into the water, boards it and with a pole in his hand, pauses, glancing down at a second skiff. He then turns to stare into the mist. DAWN and ALEX, without hesitation, pull the second skiff to the water’s edge and step onto it, just as ENKI begins to pole his skiff away from the shore. Each picking up a pole, ALEX and DAWN begin poling. They pole with considerable effort, but do not close the distance between their skiff and the one with ENKI. They manage to keep ENKI in sight, until his skiff vanishes into a suddenly forming mist. ALEX and DAWN plunge into the mist as well, never missing a beat in their poling even as the mist completely enshrouds them and makes them temporarily blind. Then, still within the heavy mist, SOUNDS are heard from the waters' edge: that of the two remaining skiffs being pushed into the water, undiscernable mumblings and grunts from men, along with clumsy splashes and careless bumps on the side of the wooden boat frames. DAWN and ALEX continue to pole, still not missing a beat.

Abruptly, out of the mist an ancient castle rears up before DAWN and ALEX. Below the vine-infested and crumbling castle walls is a small wooden dock connected to an equally small patch of grass-covered ground. The dock is covered with greenery and moss and looks very old and decayed. The overhanging walls of a long-deserted castle and fortification also look unstable. ENKI is standing on the dock and with his pole is directing his skiff into a small narrow inlet situated within the protection of the walls.

DAWN and ALEX pole directly toward the dock (they had already been on a beeline for it as they came out of the mist). Then taking a deep breath, DAWN steps quickly onto the dock, followed by ALEX, just as their skiff, unaccountably continues several feet ahead and quickly disappears into the mist. DAWN turns as she hears more SOUNDS of men arguing over where to go next, and complaints of being unable to see in the fog.

SOUNDS

Where!? Can’t see! Damnable English Fog!

DAWN is still looking back when ALEX tugs on her sleeve and gestures to where ENKI had been standing. DAWN turns back to find ENKI already moving behind one of the rock walls. She quickly hurries to catch up with ENKI. ALEX follows, and the three begin moving through a narrow, open passage between the walls.

ENKI leads DAWN and ALEX through a low, narrow passageway and into an open courtyard, overrun with grass and vines. There, ENKI turns and gestures toward the other end of the courtyard. DAWN and ALEX look, but sees nothing more than the end of the courtyard. Then as she and ALEX turn back to ENKI, the old man suddenly vanishes in intense white light -- the same light used by ENKI in DAWN’s dream earlier in the story. DAWN and ALEX then look at one another, until ALEX notices something out of the corner of his eye.

Both of them turn to see, some forty yards away, KURT and three men entering the courtyard, looking like the Four Horsemen of the Apocalypse. KURT and the HORSEMEN appear confused as they look around, walking slowly and with unsure steps. Only KURT shows any evidence of poise. Suddenly, KURT stops in his tracks as he sees ALEX. KURT's HORSEMEN take a few more seconds before they realize the appearance of an adversary, and put up their guard.

KURT

Where is He!?

ALEX

Who's He? Who wants to know?

KURT

My name is Kurt. Who the hell are you?

DAWN steps out from behind ALEX and faces KURT, allowing him to see her for the first time.

DAWN

I'm Dawn. This is my friend, Alex.

KURT’s mouth drops open, but then he begins to smile evilly.

KURT

How convenient. You two are about to regret having ever heard of me.

Each of the three HORSEMEN respond to the subtle command and raise their automatic weapons. Without hesitation, they open fire. In the same split second, DAWN and ALEX phase. Suddenly they are in different locations of the courtyard.

The battle commences. It begins with rocks from the ancient walls sailing toward the heads of KURT and his men. KURT, with the wave of his hand, smashes one to dust in mid air. One of the HORSEMEN is immediately killed by a flying rock slamming into his head. The two remaining HORSEMEN respond by constantly moving and firing in all directions at once, trying desperately to hit either of the phasing figures. In one case, one of the HORSEMEN guns down his own man in a hail of bullets.

The killer suddenly looks on in horror, resulting in his not ducking when another large stone crashes into his upper body, knocking him down. The HORSEMAN winches with pain, remaining on the ground. KURT reponds to the rock attacks by glaring at specific directions, whereupon explosions occur in the same locations. The courtyard becomes filled with smoke, fire, explosions, and flying rock. The ancient castle is being used as fodder for the conflict, and is quickly being destroyed.

In the midst of one explosion of a rock wall, ALEX is caught between phases at the edge of one of KURT’s explosions and goes down. Instantly, DAWN is there, shielding him from further harm. Together they phase just before an entire wall collapses on them. KURT is intent upon locating them, using an automatic weapon dropped by one of his dead Horsemen when he suddenly finds himself in a close confrontation with DAWN. KURT smiles visciously, until ALEX blasts onto the scene, taking both KURT and DAWN by surprise.

All three phase and DAWN finds herself near the only remaining HORSEMAN left alive, the one wounded, but still very much aware of the conflict. The man from the ground turns to fire a volley at DAWN, who distractedly ignores him. The man's gun fails to fire, and reacting in sheer panic, the final HORSEMAN tries to turn and escape the courtyard, stumbling and moving as rapidly as possible in a blind panic.

DAWN then descends upon KURT, ready for one last confrontation. The final remaining walls of the castle suddenly implode in a massive conglomeration of rocks, dust and smoke. DAWN reacts in a self-protective mode, ducking and holding her arms and hands over her head. Abruptly, the conflagration ceases, the noise suddenly silenced, and only the dust and smoke evidence of the battle.

KURT has completely vanished. DAWN lets her arms down, slowly raising her head to see. She finds herself surrounded by the rubble, but basically unhurt as she touches her body with her hands. DAWN then looks around, seeing smoke and debris everywhere, and ALEX standing to one side, looking like an ancient warrior at the end of a battle. He has what appears to be an ancient long sword, but now lowered and the sword tip touching the ground as if the battle is now done -- the same appearance as in DAWN's earlier dream. Both DAWN and ALEX are dirty and not without wounds, each having blood on some part of his or her body and both looking perplexed. Slowly, however, they begin to smile triumphantly. Simultaneously, the ancient castle itself phases and magically begins to return to its original state (before the battle). DAWN and ALEX, on the other hand, remain as before, still dirty and suffering the results of the battle.

ALEX

Was anything that just happened... real?

DAWN

I don’t know. Is anything real?

ALEX

(grimacing with pain)

This leg feels pretty real.

DAWN smiles compassionately and moves toward ALEX.

 

In an isolated location in the English countryside, KURT is wandering aimlessly about an open field, just below a chalk cliff where a stylized horse had been carved in ancient times. His clothes are dirty and smoke-marked, several tears on the right side of his jacket. Glancing around, his eyes wide-open and focused on a distant horizon, he suddenly whinces in pain. Taking a few steps, he stumbles and walks haltingly. He looks down at his leg, feeling it. His expression is one of total bewilderment. He waves his hand at his leg, and then does it again. His eyes open even wider and he waves his hand at his leg a third time. He tries to walk and limps. Tears come to his eyes. His face takes on a bewildered and suddeny profoundly uncertain expression.

 

Still at the reconstructed castle, DAWN and ALEX are sitting on a small bench. ALEX is rubbing his leg, while DAWN lets her hand gently caress ALEX’s dirty cheek.

DAWN

Now what?

ALEX

Maybe take Avalon back into the real world with us. Depends on whatever you want to do. Your choice.

DAWN suddenly grins.

The scene shifts to where DAWN is finishing the creation of her crop circle, completing the cycle of all the previous scenes. With a flourish, she puts the finishing touches on a unique and complicated design, the crops seemingly obeying her every whim. Abruptly, she ceases work, still standing in its midst. For several minutes she admires her finished creation and glances around.

Then, with DAWN still standing in its midst of the crop circle, she suddenly becomes an increasingly bright light, expanding slowly to completely fill the screen, and make it a totally white, bright screen.

FADE OUT TO: THE END

Episode Six -- Kali Lumenes

Forward to:

Screenplays        

The Golden Tear from the Eye of Horus         ORME

 

               

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