The Anubis Portal

A college kid gets mixed up in an ancient prophecy and only he will be able to prevent a catastrophe not seen since the biblical plagues of Egypt.

Sillouhette of the Great Pyramid at dusk. The stars just beginning to show in the dark blue sky. Picture postcard perfect. Moving toward these wonderful structures from far off like a free spirit.

Superimposed Title: "MY UTTERANCE IS MIGHTY; I AM MORE POWERFUL THAN THE SPIRITS." Egyptian Book of the Dead.

FADE TO:

EXT. -- A FARM IN EGYPT -- DAY
A boy of about 10 follows behind his father, who is widening an irrigation ditch. The boy looks up at the hot sun. Starts to get a drink but the father scolds him. The boy is gathering up the rocks his dad finds. His dad calls him over. He picks up a grapefruit-sized rock and pitches it on a small mound of rocks. When his dad isnt looking he drinks.

SUPERIMPOSED TITLE -- A FARM NEAR LUXOR, EGYPT.
The dad begins cursing. He calls his son to help him. Something heavy has been struck. They dig and find a large flat rock. Black. The father asks for the water and pours some of it on the rock--revealing heiroglyphs.  He looks at his son and smiles. Cha-Ching.

INT. -- OFFICE -- LUXOR -- DAY
The man and his boy stand in a seedy office. Ceiling fan. A few books. A man in a white suit pays the farmer. The farmer bows and thanks the man. They walk out and the boy turns back--looking at the slate they just sold the man in the white suit. It is an irregular rectangle, about 24 inches by 30 inches. Black. The man winks at the boy.

EXT -- BACK LOT -- LUXOR -- DAY
We see the man's car parked in front of a building with a ram-headed sphinx in front. A sign reads: LUXOR MUSEUM.

INT. -- MUSEUM DIRECTOR'S OFFICE -- LUXOR -- DAY
Inside is a door that has the name DR. AWANI SAR, MUSEUM DIRECTOR written on the glass. The door opens toward us. The man in the white suit walks out. Smiling. Cash in hand. We enter the office and see the slate tablet on a table. DR. SAR is smoking a cigarette. Picks up the phone.

We cut to a map of Egypt with Luxor and Cairo marked. A telephone is on the map at Luxor. A line begins so move, with telephone poles at intervals, connecting the two cities. Close in on the phone on the map at Cairo.

INT. -- DR. DREXLER'S OFFICE -- CAIRO
We come into a well adorned office. Many artifacts, books, a computer, etc. Lots of pictures on the wall. Certificates. Diplomas, etc. This is the office of the Chair of Egyptian Studies at the American University in Cairo. The diplomas have the name ANTON DREXLER written on them.

SUPERIMPOSED TITLE: AMERICAN UNIVERSITY IN CAIRO
We close in on a computer screen where an email is being composed. It is complete with pictures of the slate that was discovered. As Drexler types we hear his voice:

DREXLER V.O.
My dear colleague. A chance discovery has come to my attention which was unearthed in a farm near Karnak. It makes reference to the Anu-Naka scarab. This indicates we are searching in the right area. If your office will make the necessary arrangements we will be able to pursue this lead. Drexler.

He hits the send button.

EXT. -- MINISTRY OF CULTURE BUILDING -- ALEXANDRIA -- DAY
Exterior of a Culture Ministry building.

INT -- OFFICE IN CULTURE MINISTRY -- DAY

AHMAN EL-ABAR, Under-Minister of Culture, is typing a reply to the email. Again we hear him reading out loud as he types:

EL-ABAR V.O.
Dr. Drexler, I have instructed my Cairo office to give you whatever funds you require. Proceed and happy hunting. Also be advised that Dr. Kyle Falkirk arrives today. I suggest you begin your effort as soon as possible. In His service, Ahmad El-Abar.

INT -- DREXLER'S OFFICE -- DAY
Drexler closes the computer. He has just read the email. He walks to the table on which the tablet rests. He smiles as our view moves down to the tablet. We look at it.

DREXLER O.S.
And now tablet. Talk to me.

MONTAGE of Drexler studying the tablet. The window in the room shows the daylight.
--Taking notes...Cross-referencing with other books...On the computer researching...Smoking and pacing...Nodding off

The window is dark outside. A clock shows us it is 2:36 AM. Drexler lights a cigarette. Stretches. We see lots of notes he has taken. We are looking straight down at the stone. His hands on either side of the tablet on the desk. He reaches for a pen and stabs himself with an ornate letter opener. He pulls back his hand and we watch as a single drop of blood falls upon the tablet.

We are suddenly on a trip with that drop of blood--through a portal--a tunnel of some sort. Suddenly we begin getting erratic, flash images, as if in some freakish drug-induced dream: We see a statue of Rameses...the god Anubis...a group of priests looking at us...a falcon...the god Amun-Ra...a funerary procession with a sarcophogus...a blue scarab...etc

Drexler returns to the desk and looks at the tablet. The glyphs become fluid and they melt into a hazy, milky, glossy surface. Drexler rubs his eyes--probably strained. He stands above it looking down, entranced.

The haze morphs into a face--a distorted face--in Egyptian period style. We focus on his eyes and move into them. At the same time we begin hearing some sort of chanting in a strange language. Drexler remains fixed on the face as if in trance. These all swirl around, the chanting becoming louder.

EXT. DREXLER’S OFFICE -- NIGHT
Shot of the office building. Strange lights emanate from one window in particular.

DREXLER O.S.
It’s wonderful...

FADE TO:
TITLE CREDITS BEGIN

INT. -- AIRPLANE -- ECONOMY CLASS SECTION -- DAY
As credits roll, we fade into an Old Navy t-shirt. Move up to the closed eyes of a young man, BRET FALKIRK, 22. He has ear buds and is moving his head to the music. He is in an airplane, and around him the usual goings-on in an airplane that is beginning the second leg of a long flight. There are several other seats occupied by college-aged people. They are in the aisles, throwing pillows, etc. A clearly frustrated stewardess is navigating the scene trying to get people settled for the takeoff. People chatter. Seated next to Bret is his best friend, MARCUS WOODSON. He is waking up. Stretches.  Leans over Jason in a very intrusive way to look out the window. Jason opens his eyes

MARCUS
Whoa. Is that the pyramids already?

Bret rolls his eyes and looks out. We cut to:

EXT. -- AIRPORT TARMAC -- DAY
Three traffic cones are on the runway. The plane is still on the tarmac waiting for takeoff.

BRET
No dude. Those are traffic cones on the runway. Still in Frankfurt.

High-fives Marcus.

BRET (CONT’D)
But hey you got the shape right.

CREDITS CONTINUE ROLLING UNTIL FINISHED

Marcus sits back again. The captain comes over the intercom first in Arabic, then in English with Arabic accent.

PILOT V.O.
Good afternoon everyone. Thank you for choosing Egypt Air. We are preparing for takeoff and estimate we will arrive in Cairo on time. Please notice the seat belt sign is on. Thank you and enjoy the flight.

The plane begins moving. Flight team checking on seatbelts, etc. Then disappear during takeoff.

MARCUS
God I'm ready to get there.
   (loudly)
And who's the genius who picked a flight that doesn't serve alcohol?

DR. FALKIRK O.S.
That would be me.

Marcus looks up to see KYLE FALKIRK looking down at him.

MARCUS
Oh. Good call, Dr. Falkirk. I knew it had to be a genius. And don’t worry--I’ll help you keep these kids in check.
(yelling)
You kids keep it down.

Eyes roll everywhere. DR. FALKIRK walks back to his seat at the rear, talking to students as he goes.

MARCUS (CONT’D)
Cant wait to get there and try one of those Egyptian beers. I hear its made from Nile water.

A head pops up from the seat behind. It's CARL HUGHES, the class pain-in-the-neck and resident know-it-all.

CARL
Beer. That figures. We're going to Karnak. And all you can think about is Egyptian beer.

MARCUS
In case you didnt know, the Egyptians invented beer.

CARL
Figures you’s know THAT. This trip is wasted on you two mongoloids.

MARCUS

(to Bret )
Yeah--what IS a mongoloid like you doing on this trip?

BRET
I thought we were going skiing.

CARL
Creeps.

Carl sits back. Bret and Marcus look at each other satisfied in putting Carl off. Sound of plane engine.

EXT. -- BLUE SKY -- DAY
EgyptAir plane in flight.

INT. -- AIRPLANE -- ECONOMY CLASS SECTION -- DAY
Shot of people in the plane: talking to each other, taking pictures, playing keep-away with someone's cell phone, etc. Jason is zoned out in his music. Marcus is thumbing through a book. Over the P.A. system we hear a static-infused voice--first in Arabic and then in English.

STEWARDESS O.S.
And now ladies and gentlemen our final movie for the flight.

We hear a few groans. A screen comes down in front.

STEWARDESS O.S. (CONT’D)

This is an Egyptian film with English subtitles. It was a runner-up at the Arabic Film Festival.

MARCUS
Bet that was a hopping place.

Dr. Falkirk comes up the aisle.

DR. FALKIRK
Hey boys.

BRET
Hey dad.

MARCUS
Hey doctor F. Seen any mummies yet?

DR. FALKIRK
Hey son. That my book, Marcus?

MARCUS
Yes, sir. Can’t put it down.

BRET
Perfect book for him, dad. Lots and lots of pictures.

DR. FALKIRK

Pays to have a good photographer. Could I talk to you for a minute? I'm sure Marcus will fill you in on this exciting movie.

MARCUS
There’s a movie?

Bret  follows his father to the rear of the plane. They sit in back where they can face each other.

DR. FALKIRK
Bret, I want to thank you for coming with me on this trip.

BRET
Dad, you don’t need to...

DR. FALKIRK
I know you wanted to go skiiing.

BRET
Well I can always ski. But the pyramids might not always be here. They might tear them down to put up a Walmart or something.

They smile.

DR. FALKIRK
You know, there's an old Arab saying: Man fears time, but time fears the pyramids.

BRET
Oh yeah! I remember that hanging in your office. Next to your "Can You Dig It?" sign.

DR. FALKIRK
Your mother gave me that sign. I sure miss her, Brett. She always wanted us to go on a dig--the three of us.

BRET
She was always cool about you going, dad.

DR. FALKIRK
Maybe. But at least you got some pretty amazing souveneirs out of it.

BRET
Only kid on the block with a genuine shrunken head.

They are laughing together. They stop as someone walks past them to the restroom.

DR. FALKIRK
Listen. I wanted to talk to you about your classes. How's it going in Dr. Newkirk's class?

BRET
It’s coming along.

DR. FALKIRK
Coming good or coming bad?

BRET
Coming as in dont worry about it.
      (beat)
Newkirk is a jerk. Carl is in there and between the two of them I end up looking like an a*s.

DR. FALKIRK
Dr. Newkirk can be difficult. But you can handle him son.

BRET
I’m not you, dad. You’re a natural.

DR. FALKIRK
Bret, I can speak and read a dozen languages--most of them dead. But it isnt because I'm a natural. It's because I studied.

Bret rolls his eyes.

DR. FALKIRK (CONT’D)
Believe it or not I wasn’t born reading heiroglyphs.

BRET
Sure felt like it growing up. My first three words were mama, daddy and freakin' Amun-Ree.

DR. FALKIRK
Amun-RAH

BRET
Whatever.

DR. FALKIRK

Bret. We both knew it would be a challenge for me to be your teacher. This isn't a vacation. This is a field experience. Your degree plan requires it. And as your teacher I have to hold you as accountable as any other student.

BRET
I guess I should have stuck with Shakespeare. That's what I wanted to study. Literature. To thine own self be true.

DR. FALKIRK
If you wanted to study literature we have a very fine school for that.  You cant keep shifting blame. To paraphrase your hero: The fault, dear Bret, is not in our stars but in ourselves.

BRET
Thanks for the conversation, Dr. Falkirk. I'll remember that.

He gets up to leave.

DR. FALKIRK O.S.
Son.

Bret returns.

DR. FALKIRK
You know, archeology isn't just about Nazi agents and Arks of the Covenant. It’s lots of down time.

Reaches into a bag and pulls out a very well-used leather-bound copy of Shakespeare.

DR. FALKIRK (CONT’D)
I have probably read this a dozen times on site. Know it well.

BRET
You know Shakespeare?

DR. FALKIRK
Not personally.

Bret takes the book and thumbs through it. A picture of his grandfather falls out. He picks it up.

DR. FALKIRK (CONT’D)

Your granddad gave me this book. Took it with him everywhere. He gave it to me about the time I was deciding to be an archeologist.

He puts his hand on Bret’s shoulder.

DR. FALKIRK (CONT’D)
Your granddad the lit professor.

He smiles at his son.

DR. FALKIRK (CONT’D)
I’d like you to take it with you--wherever your life takes you.

Bret smiles.

BRET
Thanks dad. Sorry about the half-a*s job. I'll pull it together.

DR. FALKIRK
I know you will

Bret gives his dad a quick hug and heads back to his seat. He looks at the inscription from his grandfather to his father inside the cover. We read: TO KYLE, THERE IS MUCH WISDOM IN THESE WORDS, BUT NONE LIKE THIS: TO THINE OWNSELF BE TRUE. REMEMBER THAT AND YOU WONT GO WRONG. It was signed, MALCOLM FALKIRK. Underneath is written: DITTO TO BRET. LOVE FROM DAD. Bret smiles and continues up the aisle, messing with people as he goes. He moves back to his seat next to Marcus.

BRET
So how’s the movie? Any hotties?

MARCUS
How would I know. They’re all covered up.

Bret takes his seat. In the background his father is watching him. Then he takes his seat as well. Bret's eyes squeeze out a tear. He rubs them and sits down.

MARCUS (CONT’D)
What did your dad want?

Bret is looking at the book his dad gave him. Turns to Hamlet's soliloquy. We read the line: TO BE OR NOT TO BE.

BRET
For me to be myself.

EXT. BLUE SKY -- DAY
EgyptAir jet in the air.

EXT. -- DREXLER'S LARGE VILLA -- CAIRO -- DAY

INT. -- DREXLER'S LARGE VILLA -- DINING ROOM -- DAY
We are at the home of Dr. Drexler in Cairo. He rents this former residence of an Ottoman noble. With him is DR. FAHWID NOGORI, Director of the Cairo Museum of New Kingdom Antiquities, AHMAN-EL-ABAR, Under-Minister of Culture, and KIERSTEN CARLISLE, an American journalist who is doing a write-up of leading archeologists for her magazine Archeology Alive. They are finishing a delicious lunch.

DREXLER
(cultured German accent)
Well that wasn't too disappointing. Thank you all for coming and thank you to our very special guest, Miss Carlisle, whose presence among so many relics is refreshing.

They all laugh.

KIERSTEN
Why can’t American men be so charming? Thank you, doctor.

DREXLER
It is the curse or Germans to be charming, my dear.

He takes coffee from a servant. And begins escorting them into an adjoining room. They enter...

EXT. -- DREXLER'S LARGE VILLA -- TROPHY ROOM -- DAY

DREXLER
Are there any other questions you have of me for your article?. I hope I have not disappointed.

They all look to Kiersten.

KIERSTEN
Are you kidding? I appreciate that you let a lowly intern from Archeology Alive the chance.

DREXLER
I saw some of your writing, my dear. Nothing lowly there.

KIERSTEN
Doctor, is there any one discovery that would define your career?

He lights a cigarette in an art deco holder. As he strikes the match his face lights up.

DREXLER
That IS a good question. The Seti collar has always been a favorite. The vaults at Tiajuacana. But as with most people in my field, the greatest prize still alludes me.

KIERSTEN
Oh?

DREXLER
The Anu-naka.

NOGORI
Not again, Herr doctor.

Drexler smiles at him.

DREXLER
The Anu-naka is a sacred stone carved into a blue scarab. Nogori is convinced that it is just another archeological red herring. The Pharoahs of the 18th Dynasty believed it conjured the gods and was their source of power.

Kiersten looks at Nogtori and El-Akbar exchanging glances,

NOGORI
Herr doctor, you can buy a dozen such scarabs from any street vendor in Cairo. Might as well search for the Grail of legend.

DREXLER

(ignoring him)
The Anu-naka has tantalized men of science since Herodotus first mentioned it.

NOGORI
Herotodus also mentioned Atlantis.

DREXLER
You said you are meeting Dr. Falkirk tonight?

KIERSTEN
Yes. He's flying in...well...right now. I'll see him at dinner.

DREXLER
Wonderful. I’ll tell you. Dr. Falkirk and I once shared interest in the Anu-naka. He found a talisman which is somehow related to the scarab.

Glances at Nogori.

DREXLER CONT
That’s how I know it exists.

KIERSTEN
What did he do with it?

DREXLER
Buried it in his university museum somewhere. I asked him for the talisman to continue the research but he would not give it to me.
(laughs)
Became quite a sore spot between us. After that we parted ways.

Kiersten notices some of the artifacts in the room. Mostly Egyptian, but some Babylonian, Aztec, Chinese, etc.

She points to a round shield on the wall.

KIERSTEN
That's an amazing piece.

DREXLER
An authentic Spartan shield. From a tomb in Greece.

She takes a picture of it. Kiersten notices something on the table that is covered up with a cloth.

KIERSTEN
Something new?

Drexler walks over to the table and uncovers the black tablet from earlier. They stand in front of it.

DREXLER
New? In this place?

They laugh.

DREXLER (CONT’D)
A recent find. Still trying to decipher it. Poor quality. Late Alexandrian period.

KIERSTEN
May I take a picture of it?

Nogori and El-Abar both lurch toward the table in a sudden impulse and block it.

DREXLER
The thing of it is this is still a business--very competitive. And we are not yet ready to release this information. Not just yet.

He indicates the men to recover it.

DREXLER (CONT’D)
But when we do I assure you we will give you the first interview.

Kiersten is looking at the slab, El-Abar covering it.

KIERSTEN
Fair enough, doctor.

Kiersten sees a tense exchange of glances between Drexler and El-Abar. She looks at the text as El-Abar covers it back up.

NOGORI
Well I better be off. Nice meeting you Ms, Carlisle. Thank you for lunch Anton.

Drexler motions to El-Abar to come with them.

DREXLER
Excuse me, Ms. Carlisle, while I see my guest out. Ahmad?

KIERSTEN
No problem doctor. I'll just admire some of your collection.

DREXLER
From a distance, my dear.

He smiles and they exit. We hear muffled conversation as they move down the hallway.

INT. -- DEXLER'S HOUSE -- ENTRY WAY -- DAY
The door is open and Nogori is standing there. El-Abar looks back toward the room the just left.

DREXLER
Find out what Dr. Falkirk is planning on his trip. His timing is, as always...untimely.

NOGORI
And what about her? She knows that tablet is important.

DREXLER
Leave Miss Carlisle to me.

CUT TO:

INT. -- LOBBY AREA -- RAMSES HILTON -- DAY
A buzzing lobby--particularly buzzing as a group of six grad students and their professor come in with their bags, etc. They are waiting for their room assignments. Jason and Marcus are standing together. Dr. Falkirk is getting key cards.

MARCUS
Man. What time is it back home?

BRET
Same time as it is now. Beer time. What are you looking at?

Marcus is looking at TIFFANY CHAMBERS--a gorgeous brunette in theior class. The action moves to slow-motion as she sweeps her hair back and puts it in a clip. Marcus grabs Bret by the shoulders.

BRET (CONT’D)
Steady there, tiger.

MARCUS
Ah Bret. You don't know what true love is, my friend.

BRET
Oh brother.

MARCUS
Tiffany Chambers. My one true love. Since 3rd grade. She's the reason I took up violin.

BRET
Yeah, and to this day when I hear a fax I think of you playing.

MARCUS
I had it all planned out. We were gonna do Mozart together.

BRET
Kinky.

Marcus watches her take her key card and walk off and drifts off into a fantasy...

INT. A CONCERT HALL -- NIGHT

On a stage in a concert hall is a grand piano, bench and a music stand. Thundeous applause as Tiffany comes in--wearing a beautiful gown and carrying her violin. Following her is Marcus in a tuxedo. They both bow and take their places--he at the piano and she with her violin standing. They begin playing Liebestraum by Liszt. The music starts soft and builds. Cut to Bret in the audience--so moved by the music he is crying. As she plays she speaks:

TIFFANY V.O.
Oh Marcus. You're so hot...

Marcus eats it up and continues playing. She calls his name again--but her voice is beginning to change.

TIFFANY V.O. (CONT’D)
Marcus...

Her voice changes to sound like...Bret?

BRET V.O.
Marcus?

INT. -- LOBBY -- RAMSES HOTEL -- DAY
Bret is trying to get Marcus' attention.

BRET
Marcus. Dude! Hello??

Marcus snaps out of his reverie.

BRET (CONT’D)
Sheesh man, you DO need a beer.

INT. -- DREXLER'S VILLA -- TROPHY ROOM -- DAY
Kiersten is standing inside the doorway of the room listening to the three men who are at the front door.

EL-ABAR O.S.
You mentioned the scarab. And the tablet sitting right in the room!

DREXLER O.S.
It means nothing to her. Just another dusty relic.

EL-ABAR O.S.
A dusty relic that will change the world. We must be careful, doctor.

DREXLER O.S.
Ja, ja.

INT. FRONT ENTRY -- DREXLER VILLA -- DAY

DREXLER
In the meantime move everything up. Round the clock excavation.

NOGORI
We cant go too quickly. It's very unstable down there. The quake last summer did some damage.

DREXLER
So tell your men to be careful.

NOGORI
Then there’s the curse...

DREXLER
WE started that story, Nogori. To motivate them.

NOGORI
Yes and they believe it. They are frightened to go much further.

Drexler takes some money out of a hall table compartment. Hands it to El-Abar.

DREXLER
They believe in this even more. Double their pay. Tell them we're almost there.

NOGORI
Says who?

DREXLER
Says the priest who wrote that tablet in there. And tell them I’ll join them in the morning.

INT. -- DREXLER'S LARGE VILLA -- TROPHY ROOM -- DAY
Kiersten glances at the table with the now covered stone. She runs over to it and lifts the cover. Reaches for her cell. Crap it's in her purse. She quickly moves to the couch and digs through her purse. There it is. Muffled conversation heard.

CUT TO FRONT ENTRY -- DREXLER VILLA -- DAY

NOGORI
I’ll call you later, Anton.

DREXLER
Ja. And get them working TODAY.

They shut the door.

INT. -- DREXLER'S VILLA -- TROPHY ROOM -- DAY
Kiersten reacts to the door closing. Kiersten takes the picture with her phone. Runs back to her seat. Relaxes. Then sees the tablet UNCOVERED!

INT. -- HALLWAY -- DREXLER VILLA
Drexler and El-Abar heading back toward the office.

INT. -- DREXLER'S VILLA -- TROPHY ROOM -- DAY
Kiersten can hear the men very close. She punches a key on her phone.

KIERSTEN
Please, please, please.

INT. - DREXLER VILLA -- HALLWAY -- DAY
Drexler and El_Abar about to enter the room. The phone rings. Drexler stops. Turns and picks up a hall phone.

INT. - DREXLER VILLA -- TROPHY ROOM -- DAY
Kiersten ruches across the room and covers up the tablet. Drexler answers the phone.

DREXLER O.S.
Yes? Anton Drexler here. Hello?

We hear him hang up the phone. Seconds later the two men enter the room. Kiersten is standing, looking at an Egyptian object. She sees them.

DREXLER
You called me, my dear?

KIERSTEN
Oh sorry about that, Dr. Drexler. I accidentally hit your number on my cell phone.

She glances at the table--which to her horror has an upturned corner on one end of the cloth. She deftly moves herself between the men and their line of sight on the table. She walks toward the table and brushes it--fixing the cloth.

KIERSTEN (CONT’D)
It's been such a pleasure. Thank you so much, Dr. Drexler.

DREXLER
The pleasure is mine. I look forward to the article.

She shakes their hands and leaves. Drexler escorts her out. El-Abar looks about--then he looks at the tablet. Then slowly up the wall to a hidden security cam. He smiles.

FADE TO:

INT. -- LOBBY -- RAMSES HOTEL -- CAIRO --DAY
A MAN is beckoning them to come to him. They look around and walk over. He leads them around a corner where they can't be seen by anyone else. He has a small case with him. He looks around nervously.

MAN
Did anyone follow you?

MARCUS
Nobody ever follows him.

The man smiles at Bret. Yellow teeth.

MAN
I have something for you.

MARCUS
Sweet!

MAN
Not for you. For him. I have kept it for a long time, Sahib.

BRET
(whispering to Marcus)

Right next to his toothbrush.

MAN
No. Here. Next to my heart.

Bret is surprised the man heard him. He reaches in his cloak and pulls out an amulet on a chain. Another trinket for sale.

MAN (CONT’D)
Something special. For you Sahib.

MARCUS
This dude doesn't know your name.

BRET
You know man, I’m all about supporting the local economy but...

MAN
Just hold it in your hand.

Bret takes it in his hand. It is a disc about the size of a silver dollar with a stylized falcon on it. It is surrounded by strange symbols. Also an Eye of Ra.

MAN (CONT’D)
It is very ancient. Very powerful. This is a royal falcon of Thebes.

BRET
(to Marcus)
Man I wish I had paid more attention in Newkirk's class.  I wonder what's written on it?

MARCUS

Let me see it. Yeah I know exactly what’s written on it. S-U-C-K-E-R. Come on bro lets go to the bar.

Bret is intrigued with the piece.

BRET
Go ahead man. I’ll be right there.

MARCUS
Well a fool and his beer are soon parted. Later douchebag.

MAN
Douchebag?

BRET
American expression. Means a really cool person. OK well thanks anyway.

MAN
Please, sahib. At least try it on.

The man points to a mirror in the lobby.

BRET
OK chief. But I’m not interested.

Bret walks to the mirror and puts the amulet around his neck. He looks at his reflection. Not bad. His dirty blonde hair looks pretty good with the amulet. Oakleys on his head. Yeah not bad. In the background he can see the man--grinning his yellow-teeth smile. He looks down at the amulet. The text seems to jump out at him and come out of his mouth--he can suddenly read the glyphs.

BRET (CONT’D)
Ka...Thos...Ma...Ti...Amun...Ra.

As he speaks the room darkens around him and his voice begins to sound like he is in an echo chamber.

BRET (CONT’D)
Champion of Amun-Ra and Horus son of Isis. Sealed of the gods.

Bret looks up at his reflection. The man in the background morphs into that of a priest of Thebes. He turns to look at the man--and he is still the yello-teethed man! He looks around and catches his reflection again--but now Bret's face changes. morphs into his dad's face...which morphs into his grandfather's face we recognize from the picture...and so on and on--slowly at first and then a rapid succession of generations.
As the faces change the period clothing changes as well. Time go backwards. A 1920s suit...a civil war soldier...a gentleman in a tri-cornered hat...and on and on through the centuries very quickly. Then it stops--and staring back at him is himself--but dressed as an ancient Egyptian noble wearing the amulet. The background in the mirror looks like an Egyptian-era temple. The man-priest in the background bows and recites:

MAN (AS PRIEST)
Hail Son of Pharoah; favored of Amun-Ra, Falcon of Horus and of the gods of Egypt--Champion vanquisher.

The man-priest transforms into a falcon which screeches and flies straight at Jason's face--terrifying him. Closes eyes. When he uncovers all is back to normal. He looks around. Everyone is acting normal. The lobby activity continues. His dad is standing with the students waiting. He looks in the mirror again. Nothing abnormal. He turns the corner expecting to see the man. He's gone. Bret looks for the man. Nothing. He looks for the falcon flying around. Nothing.

MARCUS O.S.
How much did he take you for?

BRET

Did you see that bird attack me?

MARCUS
Bird?

BRET
Maybe the flight. Sleep deprived.

MARCUS
And beer deprived. And women deprived. So what else is new?

Dr. Falkirk hands them their room key. Other students gather around and take their assigned rooms. There are seven people in all: Dr. Falkirk, his son Jason. Jason's friend Marcus, and four graduate students of Dr. Falkirk: Gerald Hughes, TIFFANY EARLY, and JAMES PARKS.

DR. FALKIRK
OK listen up. Please dont lose these. For once I'd like a foreign establishment to believe that American travelers are not the imbeciles they seem to be.

MARCUS
You hear that guys? Don't make me and Dr. Falkirk carry the whole goodwill thing.

DR. FALKIRK
Everyone has their rooms. Tiffany your roommate is meeting us here later. You'll love her.

JAMES
Wow Tiffany. I just thought of something. One woman. Five men. You like the odds?

Carl counts all the guys--points to himself last.

CARL
Six men, dummkopf.

MARCUS
No, he got it right.

Everyone laughs. Carl does his usual smirk.

DR. FALKIRK
OK everyone. Get in your rooms and get settled. Be here in the lobby at 8PM. ALL of you. Sober.

MARCUS
I think he means us.

Bret is still looking around freaked out.

MARCUS (CONT’D)
Dude there is no bird in here. What’s with you?

They all begin walking to the elevator. One of them is out of order and there is already some people waiting. They crowd on. Bret is the last one. He stops.

BRET
I’ll catch the next one.

Bret steps back. The elevator closes. He runs to the lobby looking everywhere for the man who gave him the medallion. He sees a janitor emptying trash cans.

BRET (CONT’D)
Excuse me. Does the hotel have a pet falcon here?

The man starts rattling off in Arabic annoyed.

BRET (CONT’D)
OK chief OK. Relax.

The janitor walks off. Bret looks at the mirror across the lobby one more time, feeling the amulet around his neck. He turns toward the elevator. Pushes the button. Steps in and turns and faces us. Pushes a button. The door closes. Off to our right is a window--and outside the window on a pole is perched a falcon.