The Star Needle

written by

Anthony and Nancy Lawrence

ACT ONE

FADE IN:

AERIAL SHOT - LATIN AMERICA - MID MORNING

A large ten o'clock sun bodes its prediction of the intense midday heat to come. From the chopper's POV we see a large area of disturbed earth, man-excavated alterations and drawings, intermixing roadways running in, through and out of a tented area. An archeological expedition, now hauntingly still, devoid of activity, save for an occasional jeep winding up a crude road, seemingly into nowhere. Silent, DR. WARD FRAZIER gestures to his companion in the helicopter, DR. RACHEL HELPHIN. Rachel looks more like a pretty, American housewife than an archeologist. Her tilted nose is slightly freckled and a preponderance of thick, brown hair is caught up on top of her head with a hand-made leather barrette. The chopper makes a final swing over the camp and sets abruptly down in a cleared area.

EXT. DIG - DAY

A MAN in a summer apparel Latin American uniform meets them with the motor of his mud-caked jeep still running. The PILOT of the helicopter cuts his rotars. Frazier and Rachel disembark from the helicopter and both climb into the jeep and wind off down a road, past the camp and into the interior.

NEW ANGLE

The jeep pulls up near the entrance to the subterranean dig entrance

FRAZIER
I know you don't believe any of this, Rachel. I'm not sure I even care if you do or not . . . but I know I can trust you . . .

RACHEL
Honestly, Ward. With all of South America looking for him, how is he going to slip through?

FRAZIER
(grins)
If I know Bennu, he'll be here.

ANOTHER ANGLE - MOVING

Frazier and Rachel move toward a medium opening in the earth. Cross angled beams and ropes mark the entrance, the tip of a wooden ladder protruding from its depths. There are several GUARDS, Latin American, eyeing the doctors suspiciously. Frazier produces identification.

FRAZIER
Morning, gentlemen . . . Dr. Ward Frazier. My assistant, Dr. Rachel Helphin.

The first guard examines the identification of both, ignoring the greeting, shows it to the second guard. Both men regard the couple for a beat, then with the unsmiling gesture of a thumb, passes them on down into the dig. Frazier and Rachel begin the descent.

INT. TUNNEL - TIGHT - MOVING

The tunnel is dimly lit, a yellowish primary hue pervading the pathway leading down toward the dormitorium. The interior is damp and clammy, the only shred of warmth being two small spears of sunlight filled with dusty ductiles that shoot from a small caved-in area in the corner of the supported upper surface. They conduct from barely discernable cracks to the floor of the chamber like determined intruders. Frazier and Rachel regard one another for a long beat.

FRAZIER
(indicates)
He was found down there.

RACHEL
What happened to the sarcophagus?

FRAZIER
The man from the Department of Antiquities brought it back to Peru. He couldn't bring Bennu back, so he settled for the sarcophagus.

They climb down to the floor of the chamber.

EXT. (STOCK FOOTAGE)

The sky, blue still life, marred by wisps of separated transparent flannel clouds. A tiny, winged speck breaks through a glossy-white cluster. It soars straight and even, then breaks and dips, losing a slow altitude. The image grows as it draws closer . . . a hang glider, wings of red and orange nylon, its pilot, in jacket and helmet, smoothes out the last miles airborne with a beautiful red tailed hawk as his companion. The hawk follows in powerless descent, finally landing on the guiding bar next to the aviator. The warm, thermal currents slur them towards earth in seemingly effortless suspension. They are comrades.

EXT. DIG - ANGLE - DAY

In a small area, ten feet from the entrance to the dig, sit the two Mexican guards we have met earlier . . . one sitting, one lying down in a relaxed, jovial atmosphere. They speak to one another in Spanish, punching and slapping one another, laughing at their own jokes. One of the guards lights a cigarette and nonchalantly peers out from under the small tent-like structure that shields them from the sun. He flicks the ashes off the end of his cigarette, scans the horizon over a large mid-day yawn and suddenly focuses on the hang glider and its occupants. He stares, fascinated. While he watches transfixed, a small light from beneath the hang glider begins to at first flicker, then blaze. The guard jumps to his feet and as he does, a white hot ball of energy shoots from the hang glider, direct and unerring to within five feet of his unpolished boots. Both guards are on their feet now, dancing around in fear and confusion, rattling in Spanish. One of the guards grabs his rifle, which had been resting against a tree base near the tent. He waves it in the air, shouting at the hang glider, then positions himself carefully, takes aim and fires.

POV - HANG GLIDER

It hangs for a moment like a wounded bird, the hawk circling above in frantic patterns, then the pilot drops like a stone in deadly accuracy to earth.

ANGLE - THE TWO GUARDS

They both stare in stunned disbelief at what they have accomplished, then run, one folloiwng the other, in the direction of the fallen pilot. They disappear into the trees beyond the clearing.

INT. DIG - ANGLE ON FLOOR OF THE CHAMBER - DAY

Rachel silently observes the interior, its painted symbols, ancient heiroglyphics. She is stunned. They both proceed toward the room once occupied by the shining metal sarcophagus. The golden capsule that began the tale.

ANGLE INTO THE CHAMBER

It is empty now, the strangely executed bas relief dancing in still forzen repose on the wall where the head of the sarcophagus rested.

FRAZIER
(indicates)
Look, see the bone shape indentation? It's like nothing we've found in Mayan or other ruins, for that matter, in this part of the world.

RACHEL
(shakes her head)
Sorry, Ward, but I can't buy some vague and mysterious connection between the Incans and ancient Egypt. It falls apart, unless you're into romantic theories . . .

FRAZIER
Rachel, I'm not some starry-eyed science fiction nut -

RACHEL
Then what are you asking me to accept? That he's from outer space, some other world -

FRAZIER
I don't know where he's from, but it isn't this world -

RACHEL
Ward, I don't believe in outer anything . . . flying objects or their occupants.

FRAZIER
(softens)
Look, I know how you feel about your father and their explanation . . .

RACHEL
You can't imagine how I feel -

FRAZIER
This is different, believe me -

RACHEL
(bitter irony)
What's different about it? The Air Force tells me he "disappeared" chasing some unidentified piece of flying metal. It's a damn fairy tale and you're asking me to choke on another one . . .

FRAZIER
You're talking about flying saucers, Rachel. Bennu was put here thousands of years ago -

RACHEL
The theories are different, Dr. Frazier, but they both lack the same element . . . logic. Where's that fundamental, reasonable mind I've come to depend on?

FRAZIER
I know what you're feeling, Rachel . . . I've been there and survived long enough to doubt, thank God, and maybe learn something. Try to open your mind . . . please.
(beat between them)
Look, over here -

NEW ANGLE

Frazier walks to a portion of wall, the surface is chipped and hacked . . . the exposed stone seemingly unpenetrable. She follows.

RACHEL
What is it?

FRAZIER
It's some kind of metal prism embedded in the wall -

ANOTHER ANGLE

Frazier moves to indicate a second prism at another point in an opposite wall.

FRAZIER
There's another one over here - and a third up there - they seem to draw a polyhedral angle - like a pyramid -

RACHEL
So what are you saying? What do they mean?

FRAZIER
(a beat)
I'm not sure. Maybe we'll both find out when Bennu gets here.

EXT. DIG - ANGLE - BENNU - DAY

Bennu strides out of the trees, soaked to the skin from his drop into a nearby lake, unbuckles his helmet and pulls it off his head. He tilts a full face toward the sun, shakes the excess water from his dripping blond hair and smiles broadly in the direction of the chattering guards, who are searching fruitlessly in the wrong direction. His humor is high, his body soaked but straight as he heads for the dig.

BENNU
Altair . . . come . . . !

ANGLE ON HAWK - DAY

The hawk glides over the tops of the trees, hovers for a moment, then strikes with tremendous speed for earth, landing on Bennu's right wrist.

BENNU
Just have to let me know you fly better than I do, don't you?

ANGLE - BENNU AND HAWK

Bennu laughs, heads for the dig. The hawk flies ahead of him.

ANGLE ON BENNU

He pauses a moment as though expecting something, goes down the ladder a couple of steps until he has disappeared. Then, extends his right arm out of the opening just in time for Altair to land. They proceed inside together.

INT. TUNNEL - TIGHT - MOVING

Bennu is in the tunnel now. This is the first time he has seen his home, his original resting place. It all at once seems strange, yet familiar. He touches the walls, stopping occasionally to observe and study, finally arriving at the top of the ladder leading down into the dormitorium.

POV - FRAZIER AND RACHEL

From the chamber floor up to the top of the landing, we see the tall, slender young man. Caught partially in darkness, but exposed enough in the lamped corridor to discern, he stands erect.

REVERSE ANGLE

They move toward the base of the ladder. Frazier is ecstatic, in spite of himself. Rachel lags slightly behind, curious, but still highly skeptical. Bennu descends.

FRAZIER
Bennu . . . you've made an old, disillusioned friend happy.
(beat-smiling)
You look well . . . maybe our earth is growing on you?

BENNU
(grins)
Took a swim on the way here.

Bennu regards Rachel.

FRAZIER
(to Bennu)
This is my associate, Rachel Helphin.
(beat)
Rachel, this is . . . .

RACHEL
(sarcastically)
Bennu. You look like my phys. ed. teacher in high school . . . he thought he was a superhuman too.

BENNU
(simply)
It wasn't a teacher . . . .it was a husband . . .

ANGLE ON RACHEL

She stops short, glances knowingly at Frazier.

FRAZIER
(grins)
I didn't tell him anything about you.
(to Bennu, indicating the hawk)
Who's your friend?

BENNU
We found each other in the sky. He's a sun-bird, a far more ancient kite than the one that brought me here.

FRAZIER
Bennu, I've found something. I don't know what it is, but it is something. Look over here.

ANGLE ON BENNU AND FRAZIER

They begin to walk from point to point, the three, odd, dissimilar markings fascinate Bennu. He uses both thumbs pressed together to investigate and mark each one. Bennu's eyes begin to blaze in recognition.

ANGLE ON BENNU

BENNU
(quietly)
. . . something, something . . . of course . . . I see it now . . . My father's face, the smell of the forest . . . a pure breath . . . my home. They left me a choice.
(to himself)
Thank you for your simple goodness.

ANOTHER ANGLE

Frazier moves toward Bennu. He is confused, but hopeful.

FRAZIER
(gently)
What does it mean, Bennu?

BENNU
That I can return.

FRAZIER
Return? Go back?

BENNU
(nods)
See my father again.

FRAZIER
But how can that be? You were here - what must have been thousands of years - your father would be dust - long gone -

QUICK CUT OF RACHEL

Listening, incredulous at Frazier for swallowing what appears to her as a total put-on.

BACK TO SCENE

BENNU
Our frame of reference to time is completely different. A thousand years here is only minutes on my world. When I see him again, my father will be just as proud and stubborn - and magnificently alive - as when I left . . .

FRAZIER
(consternation, frustrated)
But I hoped you'd stay here - at least for a while -

BENNU
Maybe I'll come back, Ward. I'm not sure.

FRAZIER
But I have so many questions - if I let you go - the rest of my life will be -

BENNU
Like mine. Better for the experience of having known each other.

Bennu clasps Frazier's shoulder in a strong, affectionate grip. Then he turns to regard Rachel, looks at her with those candid blue eyes.

ANGLE TO INCLUDE RACHEL

BENNU
(aching, reflective)
You remind me of the first person I met here. A young woman like yourself. She looked at me the same way - suspicious - cynical -

RACHEL
I figured you must be a pretty good actor to trick somebody like Ward Frazier - and I was right -

Bennu regards her for a beat, smiles at Frazier.

NEW ANGLE

Bennu goes to the center of the chamber. Holding his amulet in his right hand, he begins to activate its powers. He reflects it toward the first embedded artifact on the chamber wall, it bounces across to the second device, on to the third in a continual ray of reflected light. The created triangle blazes in reversal, focusing the entire power on Bennu.

EXTREME TIGHT MACRO CLOSEUP - BENNU'S EYES

Staring straight ahead for a long beat, then they slowly flicker, eyelids shutting briefly, then closing. HOLD ON his closed eyes for a beat, then:

EXT. FOREST - DAY

The scene is at first unclear, slightly blurred, a pasted collage of muted earth tones, greens, rusts and bruowns. The hazy perception suddenly sharpens INTO FOCUS. We are in a beautiful forest setting, one similar to many we see here on Earth. New brilliant green shoots of growth are mixed with mature trees, all reaching skyward, some gnarled trunks and stumps arching as though windswept, grass mixed with fallen leaves . . . all in multiple color, undergrowth, brush and occasionally, a scattered cluster of delicate wildflowers.

NEW ANGLE

The sun bathes a clearing in the center, shafts andpatches of warm light. This solar bath is being enjoyed by a female deer, the copper guard hairs of her coat being illuminated as she tosses her lovely face up and down, playfully. This is LUTE. She stands to the left next to a tiny tarsus monkey. This TION, large surface eyes taking up half his face. He has a prehensile tail which flicks and winds around anything available. To the right of the picture is a stone structure, uneven and crude, but, seemingly, with intent. It is three sided in design and cluttered, both inside and out, with various tools . . . few recognizable. A young tiger lies on her side lazily near the opening to the structure, napping, an occasional slap of her tail. The accompaniment to the picture is only the sound of iron to stone. A methodical, timed "clack" that repeats itself every few seconds. CAMERA MOVES SUBJECTIVELY, BENNU'S POV into the clearing and toward the sound. PATA, the tiger, raises her head in recognition and BENNU'S HAND COMES INTO FRAME hushing her.

ANOTHER ANGLE

Around to the side of the structure, we see a stone kiln, flamed and working, and next to it, Bennu's father, PANDOC. An older image of his son, he stands like the trees that surround him, tall and straight with gnarled edges, a textured being, lined in age, not unhappiness, bearded, golden, a beautiful body with all the earmarks fo manual labor. The two men stand looking at one another in silent joy, then the air is filled with their mixed laughter and greetings. Bennu's father drops his stone hammer and glowing horseshoe into the flames and reaches for his son. They are like two blond bears embracing with rough strokes, slaps and repeated hugs.

PANDOC
(pointing to his heart)
When I see you here . . .
(gesturing to his eyes)
. . .then I know you're not far behind . . .

BENNU
(smiling)
No matter what man's mind can conceive, no matter how many dreams he realizes, I can always find you forging horseshoes . . .

Bennu throws his arm around his father, then extends his free arm in front of him toward a nearby tree. A fruit snaps horizontally through the air and lands in his cupped fist. He tosses it breezily into the air, then catches it.

BENNU (cont'd)
My father's not The Guardian of The Million Worlds . . . he's a smithy.

PANDOC
It's not how large or important the deed, Bennu, but from what part of the man did it come. The trade is ancient, but the satisfaction . . .
(holds hand up)
It's my hands, son, my hands. It's the imprint of me I'll leave . . . And . . . the horse stands taller and runs faster.

NEW ANGLE

Bennu walks slowly toward the monkey, extends his arm and the monkey wraps his tail around Bennu's wrist, swinging with audible screeches of delight, up onto Bennu's shoulder. The monkey, Tion, begins to scramble its tiny fingers through Bennu's blond hair. Bennu laughs.

BENNU
Tion, did you miss me?
(the monkey chatters)
You little demon, I'll remember that!
(to the tiger)
How are the cubs, Pata? Are they learning their lessons?
(tiger growls, he laughs)
Then you have to cuff them around like you used to do with me!

Bennu begins to wrestle with the tiger, she cuffing and mouthing him and growling in mock ferocity. Bennu's father watches with quiet delight, then:

PANDOC
So . . . they awakened you early?

BENNU
Far too early to help them. It'll be another century before they're ready to begin development of the Phoenix Fire.

PANDOC
Something must have weakened the sensors that kept people away from your resting spot.

BENNU
I think Aiwaz had something to do with it . . . not consciously. It's the moonball, it could have altered our system.

PANDOC
Ambitious fool! He knows nothing but impatience . . . tried to shortcut evolution! Thinks our world is tedious, dull. Huh! - A civilization of peaceable spirit and inner contentment that has endured for eons! Banishment was too soft, but that's not the worst of it . . . we gave him an alternative, God help us. We gave him a world to choose and he picked the one, that small speck with the most potential for the Golden Light.

BENNU
Then I've got to go back -

PANDOC
Bennu, it was your specialness even in this world that made them settle the mission on you. Your mixture is rich and balanced . . . I've seen to it.

BENNU
But they haven't caught up spiritually with their own technology. How can I give them the gifts of our people when they don't have the understanding to accept them?

PANDOC
Don't give them technology. It's their vision that's wanting. Protect them, help them at a natural place so that one day . . . one glorious day, we can be companions, equal.

Bennu's father walks around in front of Bennu, placing both large, loving paws on his shoulders. Their eyes meet in so much love and respect.

PANDOC (cont'd)
The danger is real, Bennu. Aiwaz will do his best to destroy you.
(He places hands on his own breast)
Use your hands and your heart, son, make your imprint . . .

EXTREME MACRO CLOSE UP - BENNU'S EYES

INT. DIG - EXTREME TIGHT MICRO CLOSEUP BENNU - DAY

His eyes are closed as they were before he left the dig; now they slowly flutter open, somewhat dazed, accustoming themselves.

ANOTHER ANGLE

The scene is as it was earlier, Bennu standing at the center of the room, Frazier and Rachel watching him. The rays of light have disappeared and Bennu turns toward Frazier.

BENNU
I told you I might be back.

FRAZIER
(shaken, confused)
Back? But . . . nothing happened . . . just those rays of light . . . .

BENNU
(simply, matter-of-fact)
I have seen my father . . . and come back . . .

TIGHT RACHEL AND FRAZIER

She glances at him with intense cynicism, shaking her head, long-suffering. Frazier is disturbed, but not disillusioned.

BACK TO SCENE

FRAZIER
Bennu, are you saying that you made a trip to your world and back in . . . the blink of an eye?

BENNU
Space and time are the same thing, Ward. It's a piece of whole cloth . . . and we've learned to pass through it like a needle . . .

RACHEL
(incredulous)
Ward, I can't believe you're falling for all this -

FRAZIER
(whirls on her)
You saw the rays of light, Rachel! He didn't make that up!

BENNU
I have to leave, Ward.

FRAZIER
(reacts)
Where are you going?

BENNU
To your part of this world. There's something I have to take care of.

FRAZIER
But, Bennu, you can go back with us -

BENNU
I have to go alone. I don't have time to waste. I'll contact you.

Bennu raises his arm and the hawk flies upward, following him as he swiftly mounts the stairs toward the entrance of the dig. Frazier glances somewhat helplessly at Rachel.

EXT. LOS ANGELES ESTABLISHING NIGHT

Skyline, sparkling lights.

EXT. HOLLYWOOD HILLSIDE HOUSE ESTABLISHING NIGHT

A small, but neatly wooded house set among trees and the thick hillside foliage. A car drives up and into a carport.

CLOSER ANGLE

COLLEEN NORRIS gets out of the car. She is an extremely attractive airline stewardess in uniform, apparently has just returned from a trip, brings her flight bag and some groceries on her way up to the house.

INT. HOUSE ANGLE ON COLLEEN - NIGHT

As she opens the door with her key and enters briskly, snapping on lights as she goes.

COLLEEN
Rachel . . . Rachel, I'm back . . . .

No answer, she moves to the kitchen, drops her bag of gorceries, checks the refrigerator, gets a coffeecake which she stuffs in her mouth as she turns and heads for the bedroom.

ANOTHER ANGLE

Colleen opens the door to the bedroom quietly, peeks in, sees no one is there. She tosses her flight bag on the bed and goes back toward the kitchen. She shivers slightly, reacting to the coldness of the room. She moves to the thermostat and reads it.

COLLEEN (cont'd)
Fifty-eight . . . hmmm, . . . . no wonder I'm freezing . . . .

She flips the switch for heat, frowns and shakes her head.

COLLEEN (cont'd)
I thought New York was cold . . . feels like thirty-eight . . . .

Now, she suddenly stops as she reacts to a SOUND, like BELLS, but not quite. It's a discordant, malevolent sound that seems to be coming from the den. Colleen scowls, reacting, then moves slowly toward the den.

INT. THE DEN - ANGLE - NIGHT

Colleen can be seen framed in the doorway, trying to snap on the light, but the switch doesn't seem to work. She pauses, listens, disturbed by the SOUND

EXTREME TIGHT - COLLEEN

Staring into the darkness, slowly reacting to something she is beginning to make out.

HER POV

Looming out of the blackness of the room is a figure, awesome in its presence. It is AIWAZ, his face like some ghoulish hell-form, his eyes alive with sensual virulence.

COLLEEN
Who are you . . . ?

AIWAZ
I won't hurt you.

COLLEEN
What do you want?

AIWAZ
Come here . . . to me . . . .

Colleen shakes her head, resisting, but cannot, moves slowly toward him, her body trembling with the cold and terror.

NEW ANGLE

AIWAZ
Are you Rachel Helphin?

COLLEEN
No . . . .

AIWAZ
Where is she?

COLLEEN
I don't know. I just got back . . . from . . .

AIWAZ
(angry, frustration rising)
Bennu . . . is not on this continent . . . Where is he . . . .?

COLLEEN
(totally confused, terrified)
I don't know that name . . .

AIWAZ
(screams, livid)
Bennu! Bennu!

She recoils in abject horror to his scream. Now, she turns suddenly and charges away from him.

TIGHT ANGLE

Aiwaz raises his arm, cloak slipping away to reveal the ominous "Bells of Thon." He shakes his fist slightly and the bells rattle out a strident series of notes.

ANGLE ON COLLEEN

She stops as if receiving a shock, clasps her ears in pain, staggers, knocks over a lamp, as she collapses in a heap on the floor.

NEW ANGLE - OBLIQUE

Holding on Colleen as she sits on the floor, staring ahead of her in total shock. Aiwaz moves INTO FRAME, standing over her, his voice rasping:

AIWAZ
(a whisper)
Bennu . . . .

EXTREME TIGHT - COLLEEN

Her eyes vacant, catatonic, lips trembling as she forms the word:

COLLEEN
Bennu . . . .

HOLD ON HER FACE FOR:

FADE OUT

END OF ACT ONE

ACT TWO