The Night of Counting Years
The Night of Counting Years
sabzian.be
68-86 minutos
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Christiane Desroches-Noblecourt1
Here they were concealed for the last time, and as the officials
who superintended the transfer left the place a scribe hurriedly
wrote upon the coffins the record of their last removal alongside
similar graffiti hastily scrawled there under similar circumstances
after earlier transfers beginning as far back as a hundred and
fifty years before. These successive records on the royal coffins
and bodies, in which one may trace their transfer from tomb to
tomb in the vain effort to find a place of safety, form perhaps the
most eloquent testimony of the decadence of the age [...] Here
the greatest kings of Egypt slept unmolested for nearly three
thousand years, until about 1871 or 1872, when the Theban
descendants of those same tomb-robbers whose prosecution
under Ramses IX we can still read, discovered the place and
the plundering of the royal bodies was begun again.
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treasure where it had been found, that it might serve them all as
a sort of mummified bank account on which to draw according
to need. […] The hole was in an inaccessible spot and hidden
from direct view. Small wonder that human eyes had failed to
detect it for three millennia. [...]
The shaft proved to be some thirty-five feet deep. [...] Finally the
main mortuary chamber carne into view, seemingly endless in
the dim light. The coffins lay any which way; some of them had
been rudely opened, others were still closed. About the
mummies was a profusion of implements and decorative
articles.
C.W. Ceram3
… every inch ... was covered with coffins and antiquities of all
kinds. My astonishment was so overpowering that I scarcely
knew whether I was awake or whether it was only a dream.
Resting on a coffin, I mechanically cast my eyes over the lid,
and distinctly saw the name of King Sethi the First, father of
Ramesses the Second ... a few steps further on, in a simple
wooden coffin, with his hands crossed on his breast, lay
Ramesses II, the great Sesostris himself. The further I
advanced, the greater was the wealth displayed – here
Amenophis I, there Ahmes, the three Tuthmoses, Queen Ahmes
Nefetari – all the mummies well-preserved, thirty-six coffins, all
belonging to Kings or Queens or Princes or Princesses …
Emil Brugsch4
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Maspero5
Leonard Cottrell6
Scene I
The Archaeologists
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Interior. Night.
Maspero sits and points to the papers which are on the table
before Ahmed Kamal.
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Scene II
Father’s Funeral
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Herbs and pink flowers are scattered tilt the whole frame is
completely covered with their delicate hue.
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Scene III
Luxor. The cliffs at Deir el-Bahri. The mountain slope and the
distant valley. A man gradually rises up in frame: Relative. He
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Uncle (sternly): Keep this boldness for the Effendies and their
guards who are spreading like a sickness all over the mountain.
Wanys rises up from his hiding place among the rocks still
looking absently away toward the valley. He then turns and
faces Uncle.
Wanys moves towards Uncle and Brother with down cast eyes –
like one humiliated. He halts beside them obediently, waiting for
the order to proceed.
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Scene IV
The Tomb
Uncle: Follow, observe, and do not question. Here you are hut
grains of sand in this mountain.
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Wanys approaches and stands beside his brother. They all start
to move round the corner. Wanys is bewildered as he turns the
corner of another ruined tunnel. Light reaches him, revealing
Relative standing motionless, waiting with downcast eyes, torch
in hand. The low-roofed chamber is piled up with fantastic
objects: masks – some faceless; an empty sarcophagus,
another and another; a peaceful face (Amenophis). A covered
sarcophagus in black and gold is visible from among the bodies
and hands of Uncle, Brother and Relative. The lid is thrown
aside, revealing the mummy. Suddenly and unexpectedly a
nervous knife is plunged into the mummy, brutally tearing the
bandages. Wanys observes, sweating, bewildered, a horrified
expression on his face. A hand nervously tears the rest of the
bandages away. A golden pectoral (with the design of an eye)
rests peacefully on the mummy’s chest, glittering in the
torchlight. The nervous hand reaches for it and grabs it – but it
is fastened round the mummy’s neck. In a second, an ax hits
the neck a disastrous blow, separating it from the body. The
pectoral is lifted up in the air and delivered calmly to Uncle's
waiting hand, who turns around and holds it before Brother’s
face.
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Scene V
The Descent
Wanys rises to the mountain top. He runs down the steep slope,
appearing and disappearing among the large rocks. He
stumbles but quickly resumes his descent, lower and lower. He
stumbles once more and falls flat on his face. He rises to his
feet, breathing hard, and horrified. Then suddenly a thought
crosses his mind . He stands dazed for a moment then
thoughtfully descends again. He runs faster and faster. A feeling
of anxiety dominates him. He looks searchingly before him. He
turns a bend and halts trembling with emotion. Hesitantly, he
steps forward. Before him, not far away, the white tombstone,
his father’s grave, rests peacefully, its mourning flowers
undisturbed. He turns violently away from it, hopeless and lost.
He knocks his head against a rock in torment.
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Scene VI
Interior. Day.
From the passage, Brother is seen moving alone into the hall.
He disappears in the doorway.
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Relative (mockingly): Those you call “the Dead” are but ashes
or wood thousands of years old. No one can recall their parents
or their children.
The last words echo in the hall. Uncle glances aside to Relative.
The latter stops confused. The atmosphere is tense. Brother
approaches and stands gacing them, silently. Uncle ignores
Brother’s look and, to divert the mood of the moment, addresses
Mother.
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The alarmed words die away. On the ground at Uncle's feet lies
the golden Pectoral with the eye. Uncle and Relative look,
amazed, from the Golden Eye to Brother kneeling beside it.
Uncle (sternly): Why was that object not delivered to Ayyub the
dealer? The whole tribe is waiting for its price. If your father
were alive ...
Relative: What deal can you make with these arrogant Effendys
from Cairo? They would put you in chains if they found this thing
upon you. They grab what they want. They don’t pay us like
Ayyub.
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Brother springs up from the ground and stands facing them with
hostility. Uncle looks fixedly towards him.
Uncle (with bitter regret): I have lived to hear the heir of Selim
speak in the Effendys’ tongue.
Uncle (with clear authority): Know then that coming out of the
Pharaoh’s cave has made you a different man.
Uncle: My dead brother made you for this day. But I find you
trembling before me like a child. Our way of life is a hard
struggle. But you seem too weak or unprepared for it.
Brother (with finality): What you call our way of life disgusts me!
It is a way fit for jackals.
Brother grabs the golden Eye from the ground and holds it
before his uncle’s face.
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Brother: Better fear the day when your children will ask you: Is
this our bread?
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Mother rises gradually from her seat, weak and worn out with
grief She doesn't wish to resume the argument.
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Mother: That, you shall know someday or never! The only truth
I know is that you have dishonored your father's memory in his
house. (Furious) No one shall touch him with a word in his
resting place – not even his sons.
Mother: Curse you for disturbing what has ended – and now it
shall never end.
Mother: Curse you for disturbing the peaceful look between us.
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Brother (still carried away): She lives in her past. Always ...
Wanys (in agony): Why did you have to show me all this? Why
did it have to be you, my brother?
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brother.
Scene VII
Exterior. Day.
The River Bank. A huge white sail flaps violently. Brother walks
decidedly towards it. He disappears from view as he descends
the steep river bank. A print of two hands in the form of a
butterfly is visible on the bow of the boat. Brother sits
thoughtfully with bowed head on the moving boat. An
unidentified, masked figure is standing still on shore close by a
huge granite boulder. Brother looks up doubtfully towards the
figure on shore, who gestures almost imperceptibly. Two
masked men rise up in the boat. Brother looks uneasily toward
the shore, then suddenly backwards towards the two masked
men. He springs up in anxiety. But a hand grips his mouth. A
glittering dagger stabs. A hand twists round in pain. Brother’s
body is carried away and thrown into the river. A splash.
Brother's body sinks. The water’s surface calms and returns to
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Scene VIII
Uncle: No. Let him cry his childhood away. He will return when
hunger and solitude weary him.
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Uncle (to the masked man): Guard Wanys from a distance, like
a shadow. Let no harm reach him.
Relative: Murad?
He stops and turns around. The two girls walk on, past him, and
stop a few yards ahead, without turning around. The three
cousins walk hurriedly towards Murad. He politely nods to each
cousin in turn. They talk, then Murad lifts both hands in protest.
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Murad goes alone toward the two girls, who turn bashfully round
when he reaches them, then cover their faces at Murad's stern
look. They move silently on towards the valley, disappearing
behind a dune. The three cousins, fascinated, follow the girls
with wide-open eyes. They then head toward Murad.
Murad: We all run to serve him. (Calling the girls) Wait young
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Murad runs to join the two girls. The three cousins follow
eagerly. They then suddenly look aside and halt, observing:
Wanys, alone before the palms at Mit Rahina, is looking fixedly
at the steamer. Murad steps quietly beside him. Wanys glances
at him then looks back towards the steamer.
Wanys looks toward the girls, who cross the three cousins.
Murad: And your kind father left you with a heavy trust.
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Scene IX
The Stranger
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Two huge granite hands rest in the grass. Wanys turns round to
the stranger while touching the gigantic shoulder of a nearuy
fallen Colossus. The stranger joins him. They disappear among
the fragments of the fallen colossus. The stranger looks above
and around him in awe. He sees another colossus' fist.
Wanys turns round amused, looking from the stranger to the fist.
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Scene X
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Ahmed Kamal: We would then lose that link which today exists
and which will guide us to the lost tombs.
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people. I don't trust them. They mock me and the law. They
make us feel like outsiders. Why should they give in now?
Ahmed Kamal: Thotmus III, who carved out the first empire in
history. And, Seti I, father of Rameses II whose legendary name
passed on to a whole Dynasty of Pharaohs.
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Sound of wailing.
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Scene XI
Zyna
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Scene XII
Interior: Day.
Murad: Have you come to know the reason why they came? It
seems that a piece of papyrus fell in the hands of the chief
Effendy. (Shaking his head regretfully) This Ayyub is getting old
and careless (sighs).
Murad: Who?
Murad (honestly): From his assistants ... and they are shrewd
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Cousins I and Il (casually): Don't fill your thoughts with the Ef-
fendies like the old ones of our tribe.
Cousin II: How many more strangers will come to our mountain
and gorge themselves, son of Selim?
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Cousin III (in admiration): Well! What a fine dealer you are
cousin! He wouldn't give us the pretty one.
Wanys (carried away): What kind of deal is this? And for what?
The Girl (her pride offended): For what? Why, am I not better
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than a stone?
The girl walks away, hurt. Cousins stand amazed, yet still in
good humor.
Cousin II (equally firm): Can you tell that to the Effendies? You
are now our leader.
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Wanys: No more!
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Murad: Why can't I have it? I am always here with you, serving
you.
Wanys: Don't ever cross my path Murad! Let none of you ever
cross mypath!
Wanys: Never!
Cousin II: We the Horabat know but one path and that is up to
the mountain.
Scene XIII
The Storm
Exterior, day.
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A pause.
Masked Man (brief but stern): Pay for this and set sail, Ayyub!
The masked man swiftly looks around and hands him an object:
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the Golden Eye. Ayyub inspects it, then re-wraps it, contended.
Ayyub gives the masked man a small sack of money. The latter
puts the sack in his pocket, then runs back to the sand dune.
Masked Man: Set sail Ayyub! Ask no more! I have said enough.
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Ayyub: Yes I'll call you Son, for your father was more than a
brother to me.
He steps forward.
Ayyub (annoyed): Give it back! l've paid for it (tries to grab it),
as l've paid for the wealth of your wretched mountain-tribe.
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One of the porters holds and raises Wanys’ hands, one of which
still holds the Golden Eye.
The other porter knocks Wanys with a strong blow on the head
with his stick. A second blow. (Fade away to darkness.)
Scene XIV
Fade-in
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the boulders the bow of the deserted boat rocking lazily, with
two blue hands painted on it in the form of a butterfly. A breath
of silver smoke. He follows it to the boulder’s edge and looks
down. Two men in dark clothes sit on the sand counting some
coins. They notice Wanys and spring up in fright, as if looking at
a vision. They dash away, disappearing among the boulders.
Wanys, curious and suspicious, follows them, appearing and
disappearing through bushes and boulders. But there is no trace
of them, only emptiness and void.
Scene XV
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Wanys tries to reach him. But the more he tries, the more the
stranger moves away. Wanys follows him behind the row of
colossi. They stand at a distance, facing each other.
No answer.
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Stranger: They say they seek people upon whose ruins we live
today. They call them ancestors, and can read their writings and
their names on the stone. They care for them ...
Wanys leans his head against the wall, not daring to look back.
Scene XVI
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Wanys (wild with rage): How could you play with such words?
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Murad: The boat he set sail upon bears the sign of two hands in
the form of a butterfly. It is anchored outside the harbor, its
owners awaiting the price of their evil deed. Wanys gradually
lets go of Murad’s collar, remembering everything: the blue
hands and the two men in dark clothes counting some coins.
Murad falls on the ground. Wanys moves away thoughtfully.
Murad crawls behind him.
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you! (Nervously) You must decide alone, now. If not, your uncle
will take all. And if he does not, the Effendies will take it. And
what will be left for us? We are not like the village people. Trust
me! I know how and where Ayyub deals with the foreigners. All
the gold shall be ours. We will sell it in Cairo.
Scene XVII
Exterior, night.
The river steamer, with its lights on, is visible from the shore.
Murad is trying to hold back Wanys, who, disturbed, moves on,
dragging Murad behind kim.
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Murad: They will pay you nothing. Deal with me the way you
wish. l'll be a brother to you.
Murad (frantically): No! You shall not reach them, son of Selim!
You shall not go further! You shall not go further! You shall not
reach them!
Wanys grabs him by the neck. They fight ruthlessly, falling to the
ground, rolling in a cloud of dust.
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El-Badawy: Approach!
Wanys: What makes you come to the mountain with all this
might? What you have is worth more than the gold of the dead.
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Wanys goes towards the bridge that connects raft and steamer,
passing El Badawy, who stands observing him suspiciously. He
steps off the bridge and ascends the steamer’s steps. From the
windows of their cabins the archaeologists watch him curiously.
He moves on, dusty and in rags: an odd sight, like one stepping
out of a cave. A stranger from another world. Yet only this
morning at the harbor, it was Ahmed Kamal who looked a
stranger from another world. Wanys steps on deck and stands
facing Ahmed Kamal. Both are silent. El-Badawy reaches them.
Wanys looks uneasily from El-Badawy to Ahmed Kamal. El-
Badawy interrupts the silence by nervously grabbing Ahmed
Kamal aside.
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Scene XVIII
The Discovery
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great priest found the body of our lord the Great God Seti I, son
of Ra, violated in its resting place in the great valley by the evil
tomb-robbers. There we caused it to be carried to another place
of safety and re-buried.
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A sarcophagus rises from the shaft. Two assistants help lift it. A
third assistant is seated nearby, recording.
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Arise . . . thou shalt not perish. Thou hast been called by name.
Thou hast been resurrected.
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