Movie script jihad against arabs

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[edit] Movie script on the History of Islam - Jihad against the Arabs

Evolving Script for movies and video documentaries on the History of Islam
 
We invite professional and amateur film enthusiasts to study this evolving script and TALK with us by writing to us at: <a href="mailto:newsonterror@yahoo.com.sg">Movies on Jihad</a> and by using the my talk link at the top of the page at <a href = http://www.wikiislam.com/wiki/movie_script_jihad_against_arabs>wikiislam</a> for any clarifications, permissions etc. 
This script aims at telling the story of Islam's bloodied march through different countries of our globe across fourteen centuries. We invite innovative and daring cinematographers to use this script and tell this story in a dramatic way through powerful movie and video films to be distributed through CD's, as well as screened as full length movies at theaters and multiplexes and at sites giving encrypted access or viewing these movies on the net. You could also explore emerging technologies and make hybrid usage to use Gaming techniques with Virtual World techniques through the resources and tools available on sites like YouTube, Flickr, Eyespot et al. But in case the traditional way of shooting it with studio-sets, actor casts etc., is not possible immediately, you may also use this script to create a digital version of this movie using digital characters, as you do when you create your own Second Selves in Secondlife on the net :)



We suggest that short-length clips of these movies be made available through plugins at different sites including our site historyofjihad, snippet-clips of the movie can be mailed for viewing on Cellphones, and through sites like YouTube, Flickr and Eyespot to act as publicity to attract viewers to the full-length movies. We are extensively adding dialogues to this evolving script. Do send us your feedback by writing to us at: <a href="mailto:newsonterror@yahoo.com.sg">Movies on Jihad</a> and by using the my talk link at the top of the page at <a href = http://www.wikiislam.com/wiki/movie_script_jihad_against_arabs>wikiislam</a> Note: We have no financial motivation for this venture. We only 'request' that anyone who decides to produce documentaries, video films or feature films based on this script, may mention in their Credits and Acknowledgements List, the sites http://www.historyofjihad.org and http://www.waronjihad.org both orally and in a frame in a prominent manner, at the beginning and at the end of the film. Thank you 
Administrators
 <a href = http://www.historyofjihad.org> historyofjihad </a> and <a href = http://www.waronjihad.org> waronjihad </a> _____________________________________________

Movie Title : The Curse of the Meteor - The Story of Islam about the Jihad against the Arabs

Part One: The pre-Islamic Arabs – Period : Up to 630 C.E. Select References for Part One: The Sword of the Prophet: History, Theology, Impact on the World by Srdja Trifkovic Islam Unveiled: Disturbing Questions About the World's Fastest Growing Faith by Robert Spencer Studies in Muslim Apocalyptic (Studies in Late Antiquity and Early Islam) by David Cook Prophet MohammedLife and teachings of Prophet Mohammed. www.dlshq.org/saints/mohammed.htm Muhammad : Different opinions... www.jewishvirtuallibrary.org/jsource/biography/Muhammad.html
Estimated duration for screening Part One: Five minutes 
Background and script for voiceover(1) for Part One: This movie will tell you the story of Islam's bloodied march through different countries of our globe across fourteen centuries. From times immemorial, the pre-Islamic Arabs worshipped innumerable gods; the more prominent of them were: Allah, and his three daughters Al-Uzza, Al-Lat, and Mann'at. This pagan religion was centered around the Ka'ba, which is a giant cube in Mecca.
 The harsh environment of the Bedouins Arabs had shaped their temperament to be and violently hyper-sensitive in their sense of honor, revenge and retribution. With life as an on-going struggle against the forces of nature that comprise of desert storms and a bleak and monotonous environment, the mental make-up of the Bedouin Arabs has been shaped by the dictum of kill or be killed, even before Islam was founded. This has been the psyche of the Bedouin Arabs who inhabited the inner Arabian peninsula. The people who came from the same ethnic semitic stock and who lived further north in Mesopotamia had a different geographic and climatic environment. They developed advanced riparian civilizations on the banks of the Farath (Euphrates) and Tigra (Tigris) rivers. The Babylonian and Assyrian civilizations of Hamm-ur-rabi, Assur-bin-ipal and Nabu-chad-nazar, were developed by the same Semitic people who lived in peninsular Arabia. So the temperament of a same ethnic people (the Arabs) could be entirely different, depending on the environment in which they resided.

 Scene one: 
Arab Bedouin tribesmen, with women and children traveling to the Kaaba in caravans. The women are not in any kind of face covering or veil. The men sport moustaches and some of them have beards too. But all do not have beards.
Cast (Actors): A group of Arab Bedouin tribesmen and women in pre-Islamic times. A few camels.
Shot timing:: Late afternoon going up to evening to capture the change in daytime colors. This shot should culminate with caravans proceeding against the backdrop of the sunset.
Shot Location: Any desert. Suggestions: Texas, Arizona, Nevada (USA), Gobi (China/Mongolia), Thar (India), Sahara (North Africa), Rub-al-Khali (Saudi Arabia), Dasht-e-kavir, Dasht-e-lut (Iran)
Camera Direction:Start camera with a long shot of the caravan moving across the desert, accompanied by the above voiceover(1).
After completion of the voiceover, zoom the camera gradually in to the center of the caravan, and then pan it to the lead Bedouin.
Camera Position: Place the Camera on a crane or elevated ground or on a chopper for this shot.

 Scene one continued : Another caravan appears over the horizon. There is commotion in the first caravan.
Camera Direction:Again start camera recording with a very distant long shot of the caravan and then gradually zoom in on to the lead Bedouin.
Camera Position: Place the Camera on a crane or elevated ground or on a chopper for this shot.
Dialogues for Scene One: 
Head Bedouin on lead camel to his deputy: "This cannot be an attack, this is the Holy period when we give up fighting and killing from one new moon up to another. We have a truce. Let us send an envoy to the strangers and find out if they come in peace." Deputy Bedouin: "I shall go over and check them out."
 Deputy Bedouin approaching the other caravan: "Assalamaleykum" Reply from the headman of the second caravan: "Waaleykumassalam" Deputy Bedouin from first caravan: Let us join our caravans and proceed towards Makkah and perform the Hajj.
Shot timing:: Late afternoon going up to evening to capture the change in daytime colors. This shot continues into the night to bring in the spookiness of the dancing ritual. The night is lit with bon fires around the Kaaba.
Camera Direction:: Start with a close-up of the head Bedouin’s hand clutching his sword and then pan on to his face when the dialogue begins.

Pan camera to the Deputy Bedouin when he begins to speak (as a rule, pan the camera to the person speaking, unless the character is to be hidden from the audience)
----------------------------------------------------------------- Scene Two: 

The Kaaba is a cube like pillar located at the

center of wind breakers made from Camel hide (skins). There are male and female images erected around the Kaaba. Some of these images are made from palm leaves, dates and citrus fruit, but some are carved in stone.
 Arabs are dancing around the Kaaba in circular fashion. While circumambulating the Kaaba shouting Al-lat, Al-uzza, Mann'at, Baal, Al-lah. Some of them shed their clothes altogether and go around the Kaaba naked. Others are wearing Kaffieyeh's made from camel hide and are wrapped in coarse dusty dishdashas (gowns). This ritual is called the Hajj.
Camera Direction::Start with a distant shot of the Kaaba that seems like a black speck in the vast expanse of the desert and then zoom up slowly on the Kaaba.
Camera Position: Place the Camera on elevated ground, a crane or on a chopper for this shot.
Camera Direction: Pan the camera around all sides of the Kaaba and then pan the camera towards the idols of different gods with their name being mentioned as background voiceover while the camera remains focused on the idol whose name is being mentioned.
Camera Position: Place the Camera on a circular rail that goes round the Kaaba for this shot and move the camera on this rail.
Camera Position:To show the dancing shots, focus the camera on the legs of the dancers and then pan to their faces.

Camera Position:Place the Camera on the ground for this shot.
 Dialogues for Scene Two:
 First Bedouin to another:: From ages we have come to pray before this gift from the Elohim (Gods) – our Kaaba.
Second Bedouin: Yes, ever since the Elohim (Gods) sent hurtling from the heavens, the flaming Kaaba, as a token of their presence.
Camera Direction::Start with the speaker and then pan to the other speaker and then pan towards the sky.

Shot timing::Add shots of meteor showers or of thunder and lightning during the dialogue of the kaaba’s origin as a meteorite accompanied with the following voiceover(2).
 Text for a title on the screen or a script for background voiceover(2): The Kaaba is a meteorite that landed in Arabia in ancient times. The worship of the Kaaba has been first recorded by Babylonians in the 6th century B.C.E and has been mentioned by Medina [Persian] sources and later by Greek sources during Alexander the Great’s campaign through Asia. Elohim is the old Arabic and Hebrew term for all the different Gods which the Semitic people worshipped. The singular was ‘Eloha’ whose plural form was ‘Elohim’ The modern Arabic term for ‘Eloha’ is ‘Allah’. Ever since biblical times different Semitic people used the term ‘Eloha’ as a generic term for divinity. These Semitic [and some Hametic people - ancestors of modern Egyptians, Sudanese, Libyans] people included the Israelites, the Bedouins, the Akkadians, Sumerians, Babylonians, Assyrians and other Mesopotamians.

First Bedouin:And we shall continue to do so till the end of eternity.
Second Bedouin: The end of eternity shall be the day of judgment.
First Bedouin:No power on earth can stop the worship of the Kaaba which is the symbol of the Gods.
Second BedouinYes Sikander (Alexander) failed, Shapur failed. The Shah of Fars, Shapur could capture the Roman emperor Valerian and humilaite him by using him as a mounting stool, but we thwarted his attempts to capture Makkah. First Bedouin (pointing at all the different images before the Kaaba): The Elohim recalled Sikander to the heavens when he was about to invade our lands to destroy the Kaaba.

Second BedouinYes it was his Persian advisers who egged him to subdue us and destroy the Kaaba as a symbol of his power, as he had destroyed the Persian capital of Persepolis. The Persians are ever jealous of us, ever since we thwarted their attempts to invade the Hejaz from their outposts in Bahrain and the Jazeera.
Camera Direction:Start with the speaker and then pan to the other speaker. Show shots of Alexander leading the Greek army, shots of Persepolis being burnt.
 Text for a title on the screen or a script for background voiceover: Jazeera is today’s Oman which was called Jazeera, which means “peninsula”, since ancient times by the Arabs

First Bedouin:Now we hear that Kaleb the Emperor of Axum (Aksum) has threatened to invade Arabia and destroy the Kaaba.
Second Bedouin:He too shall fail. That is the fate, the Elohim have ordained for anyone who violates their symbol – the Kaaba.
Camera Direction: Start with the speaker and then pan to the other speaker. Fade out shots of the speakers and fade in shots of Emperor Kaleb sitting on a throne, above which looms a huge Golden Cross.
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 Scene Three: The Arabs sacrifice animals (goats and camels) in front of the Kaaba, and proceed to offer dates and jewelry to the various images. After this some of them go into a trancelike frenzy and the oldest among them cuts open the images made from dates and fruit and consume them. They are followed by other men, and woman and children, all of whom partake (eat) some part of the images made from fruit and the meat of the goats and camels they have sacrificed. After this ritual all the tribesmen-worshippers depart to their caravans.

 Dialogues for Scene Three: 
First Bedouin to another:May the God’s keep showering their blessings on us from the heavens, as they showered on his their symbol the Kaaba.

 Second Bedouin: The Kaaba is eternal.
First Bedouin:And we are the chosen people of the Elohim, as it is we who follow the ancient custom of imbibing the Elohim to imbibe their divinity.
 Second Bedouin along with all other Bedouins Let us now celebrate the final ritual of the Hajj, to imbibe the gods.
 Second Bedouin along with all other Bedouins raise a hoarse cry and rush at the images of the gods made of dates and fruit. They cut open the images and each one takes a piece and eats it:In the name of the gods we sacrifice your images and make you a part of ourselves in this feast of Eid.

Camera Direction: Start with the speaker and then pan to the other speaker. Fade out shots of the speakers and fade in shots of the mob of Arabs rushing towards the idols, cutting them open and consuming them in a celebratory orgy, accompanied with the following voiceover(3). Keep the camera moving over the unruly orgy to keep the audience hooked on to the voiceover(3) accompanied with screen titles from the text from the following voiceover(3).
 Text for titles on the screen or a script for background voiceover(3):In pre-Islamic days the ritual of the Hajj and the sacrificial feast of the Eid was a single one during a year during the winter. This ritual was originally linked with the Winter Solstice. A ritual that is still observed by Muslims today during the Hajj and the following sacrifice festival (Eid-ul-Adha or Eid-ul-Zuha). Eid literally means a ‘Celebration’.

From the ritual of rushing to cut the idols and cutting them up to eat them is also derived today’s Muslim practice of rushing to Mina to stone the idols. Mohammed reverted the position of the idols from gods to devils. So the idols that were till then worshipped by the nature and idol-worshipping Arabs became the devils whom the Arabs had to henceforth stone as an act of piety, rather than worshipping them, as they had done in pre-Islamic times.
It was this ritual of cutting open the idols, which Mohammed later transformed in to the ritual of cutting (sacrificing) a goat and appended to it the biblical fable of Abraham sacrificing a goat instead of his son Ishmael, which Mohammed borrowed from the First (Old) Testament of the Bible and made it a part of the Quran. In pre-Islamic days the Arabs observed the Hajj that culminated in the sacrifice of the images of the various gods which the pre-Islamic Arabs ate with celebration.
The ritual of stoning of the devil that was absent among the pre-Islamic Arabs. The stoning ritual also helped in giving expression to the violent tendencies of the Bedouin Arabs which in pre-Islamic times were expressed in internecine blood-letting, which Mohammed replaced with stoning the also devil represented as a pillar – similar to the Kaaba which is also a pillar.)
The present-day Christian custom of making and eating hot cross buns is also derived from the ancient Semitic custom of making the images of Gods and eating these images to imbibe the character of divinity. 
In addition to this Eid feast, Mohammed also added another Eid to the Muslim calendar which he called Eid-ul-Fitr during which he claimed that the Holy Quran "was sent down to him from heaven. Mohammed merged the ritual of observing peace for one month with this new Eid in the form of fasting for one month (of Ramadan). At the end of the month of Ramadan to commemorate the end of fasting the festival of Eid-ul-Fitr was celebrated.
Fitr literally means breaking of fast. Mohammed introduced the ritual of fasting (absent among the pre-Islamic Arabs) to enforce a truce among the constantly warring Arabs. With a universal fast observed daybreak to Sunset, the tendencies to internecine warfare were tempered during the month of Ramadan.
We need to realize that, during pre-Islamic days, the Arabs observed a one single festival of a month long suspension of hostilities. Hostilities were suspended to facilitate the peaceful travel to Makkah that involved rituals at the Kaaba-meteorite, this ritual along with the travel part was called the Hajj, and culminated in celebrations involving the eating up of the images of the gods called the Eid.
The rituals of this single Eid were split by Mohammed in to two different Eids – Eid-ul-Fitr and Eid-ul-Adha or Eid-ul-Zuha. Eid-ul-Fitr today involves the month long fasting corresponding to the month-long suspension of hostilities among pre-Islamic Arabs. And Eid-ul-Adha involves the travel to Makkah and performing the rituals of circumambulating the Kaaba in a ritual called the Hajj and sacrificing goats, instead of sacrificing the images of the Gods, as the pre-Islamic Arabs did.
A third Eid was added named Eid-e-Milad-un-Nabi, by the followers of Mohammed the birthday of the prophet. This Eid was added after Mohammed’s death as an element of Mohammed’s personality cult to be followed by Muslims who were enjoined to use his name ‘Mohammed” as part of their name. And to emulate his behavior in their own behavior. This is called ‘Sunnat’.

Pre-Muslim Arabs had only one feast, and the Arabic word for feast is ‘eid’, hence they named these three festivals also as ‘eid’.
 End of Part One ____________________________________________________________________ 
 Part Two: The Abyssinian (Ethiopian) invasion of Arabia in the Year of the Elephant – Period : 560 - 570 C.E. Select References for Part Two
Islam Revealed : A Christian Arab's View of Islam by Anis Shorrosh 
Christianity And Islam: The Final Clash by Robert Livingston


The Approach of Armageddon: An Islamic Perspective by Muhammad Hisham Kabbani The Cube and the Cathedral: Europe, America, and Politics Without God by George Weigel
 The Origins of the Koran: Classic Essays on Islam's Holy Book by Ibn Warraq
Kaleb of Axum, en.wikipedia.org/wiki/Kaleb_of_Axum Kaleb of Axum: Information from Answers.com, www.answers.com/topic/kaleb-of-axum
<P. Axum, www.selamta.net/axum.htm Kings of Axum - Wikipedia, en.wikipedia.org/wiki/Kings_of_Axum
 Muhammad – Wikipedia en.wikipedia.org/wiki/Muhammad
 CATHOLIC ENCYCLOPEDIA: Mohammed and Mohammedanism www.newadvent.org/cathen/10424a.htm Mohammed, www.atheists.org/Islam/Mohammed.html Abraha - Wikipedia, en.wikipedia.org/wiki/Abraha Abraha -- Encyclopaedia Britannica, www.britannica.com/eb/article-9003378/Abraha

Estimated duration for screening Part Two: Ten minutes 

Background and script for voiceover(4) for Part Two: In the year 570, the emperor of Axum in Abyssinia (Ethiopia) Kaleb, who was a devout Christian, decided to introduce Christianity to the nature worshipping tribes of Arabia. The Kingdom of Axum at its height extended across portions of present-day Eritrea, northern Ethiopia, Yemen, southern Saudi Arabia northern Somalia, Djibouti, and northern Sudan. The capital city of the kingdom was Aksum, in today’s Ethiopia. To achieve this aim, he sent his able and trustworthy generals to conquer Arabia. The most successful of whom was Abraha who attempted to conquer Makkah. Abraha landed at Yemen with a strong army having a contingent of elephants. He conquered Yemen, and built a massive cathedral at the major city of Sanaa. After which he commanded the Arabs to give up worshipping their different idols, and instead to worship Lord Christ at the cathedral. While many Arabs from Yemen and the surrounding areas conformed, some of them did not like this and fled to Makkah further north.
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Scene Four: The Abyssinian court, where Emperor Kaleb sitting on a throne under a massive Golden Cross, is proclaiming in the court that he has asked his council of elders for the right action against the Arab Himyarite king Yusuf Asar Yathar (also known as Dhu Nuwas), who has been persecuting Christians residents in his kingdom of Yemen. The elders advise him to march in to Yemen to relieve the persecuted Christians.
 Dialogues for Scene Four: 

An emissary addressing Emperor Kaleb:Your Exalted Majesty, Emperor Kaleb, the Master of all Axum, I have just returned from a visit to Yemen. I have sad news for Your Majesty. The Christians of Yemen have been forced to migrate out of the walled city and have been resettled outside. There they do not have proper homes. They have addressed this letter, seeking succor from Your Majesty.
The emissary read out the letter addressed to Emperor Kaleb: Please accept our homage Exalted Majesty, the savior of all Christians of Axum. We the Christian of Yemen, pray to Your Majesty and beg for your protection. We have been persecuted by the pagan king Yusuf Asar Yathar (also known as Dhu Nuwas). He has driven us out of the city of Sanaa and has refused us to permission to live inside the city. He has also withdrawn permission for us to trade inside the city. Living is difficult for us. Your Exalted Majesty is our only hope. Please Your Majesty, rescue us from the clutches of this infidel tyrant Yusuf.
Camera Position Direction:Start camera from a massive palace and pan to the main doorway and move through the passage to reach a opulent royal Court (outdoor shot changes to indoor shots) where the above scene is being enacted. Pan camera across the courtiers to focus on emperor Kaleb and then rest on the emissary till he completes his dialogue.
Emperor Kaleb on his throne holding court: I have been getting reports over the last few months that this infidel Yusuf has been persecuting Christians in different ways. Last year he banned Christians from riding camels, this year he has now driven them from the town and refused them a decent life. We shall need to march against Yemen.
Camera Position and Direction:Focus the camera on emperor Kaleb and pan camera across to his courtiers and generals who display angry looks. Mix these camera shots with shots of Christians crying for help being driven by Arabs and end again with emperor Kaleb concluding his dialogue.
The emissary addressing Emperor Kaleb: Exalted Majesty, the savior of all Christians of Axum. We the Christian of Yemen, the infidels of Yemen, have been following the orders of the council of Arab chieftains who decided at Makkah during the last Hajj, to persecute Christians, to drive them off from Arabia.

 Emperor Kaleb addressing the court:As that is so, we shall send in a strong army to not only defeat the infidel Yusuf of Yemen, but also go up to Makkah where the Hajjis decided to harass Christians. We shall not relent till we destroy the pagan temple of Kaaba and convert the Arabs to our True Faith. I Emperor Kaleb of Axum, the protectors of all Christians hereby declare war on Arabia. I appoint Sumyafa Ashwa as the Commanding General for this campaign.
Camera Position and Direction: Focus the camera on emperor Kaleb and move it to his courtiers and generals who nod in acquiescence with emperor Kaleb’s declaration of war. Pan camera on Sumyafa Ashwa who steps forward on emperor announcing his appointment as commander-general. Pan camera on to the courtiers who are shown cheering.

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 Scene Five : Kaleb's soldiers bearing a huge cross, under the command Sumyafa Ashwa (wearing a crown on the top of which is a cross) a devout Christian, land on the coast of southern Yemen. After much fighting, Kaleb's soldiers eventually routed Yusuf's forces and killed the king, allowing Kaleb to appoint Sumyafa' Ashwa', as his viceroy of Himyar.
 Dialogues for Scene Five: 
Sumyafa Ashwa to his deputy on a dhow: Our Lord has favored us with a good tide, our dhows (barges) have reached Yemen in a very short time. The Arabs will not be expecting us so soon. Let us take advantage of this and launch a surprise attack on Sanaa.
Camera Position and Direction:Show dhows in the distance (long camera shots) and close-up on the lead dhow and focus camera on Sumyafa Ashwa.

Sumyafa Ashwa exhorting his soldiers at the battle outside Sanaa fort: Onwards soldiers of Christ, have your faith in our Lord to grant us victory in the war with the infidels.

Camera Position and Direction:Focus camera on shots showing soldiers attacking Sanna fort.

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Scene Six: The fortress of Sanaa, the capital of Yemen is captured and the Axumites build a massive cathedral in the center of Sanaa. A huge cross is erected outside the main gateway in to the fortress of Sanaa.

Camera Position and Direction: Focus camera on shots showing Axumite soldiers shouting orders at enslaved Arabs to erect a Cross outside Sanaa fort and pan camera to soldiers using whips to exhort enslaved Arabs build the cathedral inside Sanna fort.
 Dialogues for Scene Six: 
Sumyafa Ashwa on a throne addressing a court of Axumite soldiers and submissive Arabs:On the orders of my Majesty Emperor Kaleb, I assume the title of Viceroy of Yemen. I shall reign in the name and on the pleasure of my Lord the Exalted Majesty Kaleb, the Emperor of Axum.
Camera Position and Direction:Start shot with enslaved Arabs bound in chains, being led in formation by Axum soldiers and then fade out. Fade in shot of Sumyafa Ashwa on throne. Pan camera over the smiling and gloating courtiers and rest on Sumyafa Ashwa.
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 Scene Seven: Kaleb decides to follow up on the conquest of Yemen, with the conquest of the whole of Arabia. He appoints Abraha as the general to lead the new campaign. He orders a contingent of elephants to join Abraha’s army to overawe the Arabs.

 Dialogues for Scene Seven: 
Emissary to emperor Kaleb in the royal court of AxumYour Exalted Majesty Kaleb, we hear that the powerful infidel Sassanid Emperor of Persia, Anuoshirvan, has planned to invade Arabia and join the Hejaz to the Persian Empire. The Persian army has already occupied the northern Arabian provinces of Bahrain and Jazeera. If we do not go in now, the whole of Arabia might become a province of Persia.

Emperor Kaleb: No we will never allow the infidel Fire worshipping Persians to overrun Arabia. We shall claim Arabia for Christianity. This time I shall also send my special contingent of elephants to trample all the infidels all over Arabia in to submission. I appoint my ablest general Abraha to lead the army of Axum. I also appoint Abraha as Vice-regent of all Arabia superceding Sumyafa Ashwa who has grown lethargic after his victory over Yemen.
General Abraha:I kiss your hand, exalted Emperor Kaleb, I shall bring the haughty and barbaric barefooted and lizard-eating Arabs to your feet. In a few months time all of Arabia would be ours. I shall unfurl the banner of our True Faith over the Kaaba before the feat of our Lord.
Camera Position and Direction:Start shot with the camera panning across the courtiers and rest camera on emperor Kaleb declaring his plan for the conquest of the whole of Arabia and appointing Abraha as the commander-general. Pan camera to Abraha who steps forward, rests his sword in front of emperor Kaleb and kisses emperor Kaleb’s hand. Close-up camera on Abraha’s sword which has a Cross engraved on it and fade out. Fade in a shot of Zoroastrians worshipping fire in a big chalice-like utensil fades in and fades out. Dissolve to a shot of the Persian emperor sitting under a throne with a silver Farohars above (Farohars is the Zoroastrian symbol of two wings on a circle inside which is a Man representing Zoroaster). Pan camera back to Abraha and move camera to Abraha’s sword bearing the engraved Cross. Fade in a shot of the sword displaying the Cross superimposed on the royal Persian emblem of the Farohars, Show distant shots of Axumite soldiers marching in formation accompanied with martial (war) music.
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 Scene Eight: Abraha lands in Yemen with many massive barges that transport the elephants across the Red Sea in to Arabia.
 
Dialogues for Scene Eight: 
Abraha on a barge to his deputy: Have you sent word to Sumyafa Ashwa to make arrangement to land our elephants safely at Yemen and transport them to the special encampments inside the fort of Sanaa.
Abraha’s deputy: Yes Sire, I have. Sumyafa Ashwa has also agreed to spare the spear and flame throwers from his contingent to join us in the march on Makkah.

Abraha to his deputy:Good, we have a long and challenging campaign before us. May the good Lord keep us in his protection and shower victory upon us. Amen.
Camera Position and Direction:Camera begins with a long shot of waves at water level and moves to ships cutting through the waves. After a few frames, a ship with a Crucifix fixed on its brow appears in the frame, followed by many such ships. Pan Camera to Abraha standing atop the Mast of the biggest ship with his hand gripping the sword handle and he looks with fiery eyes across the sea to the seashore that pans into view.
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 Scene Nine and voiceover(5): The Axumite army with their elephants marches in to the desert during evenings and throughout the nights and reaches the outskirts of Makkah. A series of battles ensue along the path, in which the Arabs are defeated due to the use of elephants. Abraha declares that his aim is to destroy the Kaaba and replace it with a cathedral as was done at Sanaa. The Koresh (Quraish) Arabs of Makkah decide to give up and flee in to the surrounding mountains.
 Dialogues for Scene Nine: 

Abraha leading his soldiers through the desert: Brave men, you face a rabble of tribesmen, who have never ridden or even seen an elephant. They very sight of our army puts the fear of death in the hearts of our Arab enemy. Fight bravely and make mincemeat of the enemy every time you meet him. Remember, our good Lord has us in his protection. Very soon, we shall plant the Holy Cross over the pagan temple at Makkah.
Camera Position and Direction:Show long shots of army with elephants marching across the sand dunes during evening that turns to night with wooden torches lighting up the way accompanied with voiceover(5).
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 Scene Ten and voiceover(6): Some of the Koresh (Quraish) Arabs at Makkah, devise a plan to defeat the invading army of Abraha. They bring in a clutch of hawks, falcons and other birds used for transporting letters and decide to use them in the impending war against Abraha that is a mere two days from now.

Dialogues for Scene Ten: Bedouin Arab headman of Makkah:Our scouts tell us that Abraha’s army is two day’s march from Makkah. We should leave Makkah and seek refuge in the caves around the hills of Hudaibiya.
An old Bedouin addresses the Arab headman of Makkah:No sire, we have a fighting chance, if we deceive the enemy.
Bedouin Arab headman of Makkah:But how do we do that?
The old Bedouin addresses the headman of MakkahI urge you to gather all hawks, falcons and other birds we use for transporting letters to (towns like) Muscat and Bahrain across the Rab Al Khali (literally empty place). These are strong birds and have a voracious appetite. If starve them for two days they will be very hungry and attack any object they face if they are released. We can release them on the army of Abraha. This should work and Abraha will be defeated.

Camera Position and Direction:Show a distant shot of a night scene with some Arabs discussing that their best chance is to abandon the cluster of tents that make up the settlement of Makkah. Gradually close up camera on the speakers. Some other dispute this and say that they should devise a plan to defeat the invading army of Abraha. Camera pans across the night desert to the tent light by bonfires. Camera pans across the Arabs with weather-beaten and withered faces to rest on that of the headman seated on a pile of camel skins accompanied with voiceover(6) followed by the above dialogues.

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Scene Eleven and voiceover(7): The Quraish Arabs at Makkah, who have devised a plan to defeat the invading army of Abraha, bring in a clutch of hawks, falcons and other birds used for transporting letters. They starve these birds for a few days and release them at Abraha’s army as it nears Makkah. The starved birds, fly over the barren desert and on seeing the army elephants swoop over them to find food. The flurry of big birds coming down unexpectedly, distracts some of the elephants, who turn around to flee from the hawks. This leads to other elephants also turning back and stampede through Abraha’s army, leading to pandemonium.
Dialogues for scene eleven
Abraha on a elephant to his soldiers who are retreating amidst stampeding elephants: This is trick played by the Arabs. Rein in my elephant, by putting the eyeshade over his head. Let him not see the hawks and falcons flying over his head. Cover his ears too.
Camera Position and Direction:Showing war scene with retreating and trumpeting elephants with voiceover(7). Camera move constantly showing war scenes.
Abraha’s companion guiding the elephant unable to stop the retreating and stampeding elephant:I cannot control even our lead white elephant. By looking at my elephant retreating, all other elephants are also stampeding away from the birds.
Abraha in a tent during the night after the retreat:It was the devil of the Arabs who brought defeat upon us. We will not retreat forever, we shall return. For now we shall retire to Yemen and send word for a camel contingent to launch our next attack on Makkah.
Abraha’s deputy to Abraha: Sire, we have bad news from Axum, Our Emperor, His Majesty has died. There is a power struggle in Axum.

Abraha to his deputies:I shall need to return to Axum immediately. We shall resume the campaign after peace returns to Axum. May the Good Lord bless Axum with his grace. Amen. (Saying so Abraha crosses himself)
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 Scene Twelve: The Arabs of Makkah rejoice that Abraha’s army had to retreat without entering Makkah. This is looked upon as Gods grace. Allah is the main god of Makkah and the Arabs heap praise on Allah and on his daughters Al-lat, Al-uzza and Mann'at. 
 Dialogues for Scene Twelve: 
The Bedouin headman of Makkah:Once again the symbol of the Gods is unblemished. No invader has been able to set his ugly hands on Gods symbol. God has chased away the powerful army with the huge animals – the elephants. In future this year will be known to all Arabs as the Year of the Elephant.
Many Bedouin Tribesmen and women dance: We are saved. Allat-u-akbar, Mannat-u-akbar, Allah-u-akbar Al-uzza-u-Akbar, (Allat is Great, Mannat is Great, Allah is Great, Al-uzza is Great).
 Text for a title on the screen or a script for background voiceover(8):In pre-Islamic days Allah was the main god of Makkah along with other demigods and goddesses like Al-lat, Al-uzza and Mann'at. The Arabs used to heap praise on Allah and on his daughters Al-lat, Al-uzza and Mann'at at every feast as well as after every major sandstorm and also every victory n the many internecine wars they had. This time their joy was redoubled as the victory was over a non-Arab invader who had vowed to trample Makkah and destroy the Kaaba. Allah-u-akbar along with Allat-u-akbar, Mannat-u-akbar, Al-uzza-u-Akbar were pre-Islamic invocations of the main gods of Makkah.

Camera Position and Direction:Pan Camera from Bedouin headman to other Bedouins to men, women dancing accompanied with voiceover(8) followed by Arabic music to the accompaniment of dance.
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 Scene Thirteen: 
A sunset over the desert
 Dialogues for Scene Thirteen: 
One Bedouin wizened by age to a young Bedouin watching the sunset: The sun is setting, I feel as if one era is ending and another one is about to begin. For now the worst has passed in this Year of the Elephant. But the Gods know what future dangers await us. May our merciful Gods have us in their protection from all future dangers. May our Kaaba, the symbol of the Gods protect us from all future dangers. Dangers coming from outside. As well as dangers coming from within ourselves.
I say this for I know that if we ever fail in our duty to worship all the Gods around the fiery symbol they sent us from the heavens - the Kaaba, then the curse of the Kaaba will be upon us Arabs. A curse that will destroy all of us someday. We hope none of our future generations ever see that day. May we never ever forsake the worship of all the gods. May we always worship all the Gods around the Kaaba uninterruptedly for all eternity. God save us from any imposter who drives us away from this blessed path. Or else the Curse of the Kaaba will be upon us.
 Text for a title on the screen or a script for background voiceover(9):This is the year 570 C.E., the year in which Mohammed-bin-Abdullah the founder of Islam was born. An event that was to change the history of continents and the map of nations.
Camera Position and Direction: Pan camera from wizened Bedouin to other Bedouins to the sunset. This scene with a sunset is accompanied with voiceover (9) followed by soulful and saddening Arabic music.
SIGNATURE MUSIC This music is to be the Signature Music of this film and would be used during many shots.
 End of Part Two ____________________________________________________________________ Part Three: The Arrival of Mohammed. Period : 570 – 632 C.E. Select References for Part Three: Islam and the Jews: The Unfinished Battle by Mark A., Ph.D. Gabriel The Challenge of Islam to Christians by David Pawson The Prophetic Fall of the Islamic Regime by Glenn Miller, Roger Loomis Prophet of Doom : Islam's Terrorist Dogma in Muhammad's Own Words by Craig Winn The False Prophet by Ellis H. Skolfield Prophet MohammedLife and teachings of Prophet Mohammed, www.dlshq.org/saints/mohammed.htm Mohammed The Prophet www.usc.edu/dept/MSA/fundamentals/prophet/lifeofprophet.html Prophet Muhammad, www.usc.edu/dept/MSA/fundamentals/prophet/ The Official Website of the Prophet Mohammed (Peace Be Upon Me), www.prophetmohammed.co.uk/ Biography of Prophet Muhammad (s) with Links to Comparative Religion www.cyberistan.org/islamic/muhammad.html Sayings of The Prophet, www.twf.org/Sayings.html
Estimated duration for screening Part Three: Two hours 
Background for Scene Fourteen and script for voiceover(10) for Scene Fourteen in Part Three: There have been legends associated with the birth of all our ancestors, who later in their lives influenced the course of the civilizations in which they were born. These legends no doubt, were spun and associated with these powerful personalities by their followers. And in this, the legends reflected the temperament of the personalities which had an overwhelming impact in shaping the temperament of their followers.
 In the case of some of our ancestors, their ideas and influence spread not only to their immediate surroundings, but spread across continents and altered the maps of nations. Spitama Zarathushtra, Gautama Buddha, Jesus Christ were such personalities. But one that was to be far more effective with the use of raw military might, was yet to come. (Pause) His name was Mohammed of the Quraish caln of Makkah. Mohammed was the son of Abdallah or in Arabic, Mohammed-ibn-Abdallah. Mohammed’s birth was not associated by his followers with any soft flowery miracles like the appearance of a star, or the coming of three wise men from a distant land; they miracles were as temporal and devastating as was his temperament and that of his followers. At Mohammed’s birth, the eleven out of the fourteen pillars of the palace of the Zoroastrian Persian Sassanid Emperor are said to have trembled and collapsed. This miracle was to signal the end of the end of the Persian Empire that was to come soon at the hands of the marauding Muslims.
 Scene Fourteen: Arab Bedouin village at Makkah with the Kaaba seen in the background in which tribesmen, with women dancing around a Amina and her new born child to celebrate the arrival of the newborn. The tribesmen, with women are shown dancing around a Amina and her new born child to celebrate the arrival of the newborn. In pre-Islamic times there was segregation of men from women and the sexes mixed freely . Women did not use the veil (Hijab) The baby suddenly starts frothing at his mouth with foam emerging from his lips. The mother Amina, creams for help and calls out for a nurse named Haleema as-Sa'diyyah or simply Halima. Halima rushes in with a hairy black colored blanket, picks up the infant and takes him away. Scene accompanied with voiceover (10) followed by soulful Arabic music.
Dialogues for Scene Fourteen: 
One Bedouin lady to another: After a long time a son has been born in to the house of Abdallah. Blessed is the newborn who will grow under the shadow of the Kaaba and bring glory to the Quraish.
Camera Position and Direction: Pan camera towards the Kaaba in the fading light of the evening and pan camera from the Kaaba to the tent around which the celebrations are taking place to the new born being cuddled by his mother. Pan camera to the infant when he starts frothing and his mother screams. Pan camera to Halima when she rushes in, and then zooms on the hairy black colored blanket. Focus camera and zoom in on the black blanket to blacken out the entire screen with the black blanket. Accompany the conclusion of this scene with voiceover (10) after the dialogues are over, followed by the same sad and soulful Arabic signature music.
Shot timing:: Late evening going up to capture the change from fading daylight to the pitch darkness of the desert. This shot should culminate with the nightfall accompanied with eerie sounds like the baying of wolves and the screeching of owls puncture the darkness.
Shot Location: Any desert. Suggestions: Texas, Arizona, Nevada (USA), Gobi (China/Mongolia), Thar (India), Sahara (North Africa), Rub-al-Khali (Saudi Arabia), Dasht-e-kavir, Dasht-e-lut (Iran)
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 Scene Fifteen: 
Inside a tent, Halima is cuddling the infant Mohammed whom she holds in the black hairy blanket. She tells Mohammed’s mother Amina that she would be Mohammed wet-nurse as Amina is not capable of nursing Mohammed due to an illness she suffered from when Mohammed was in the family way (when she was pregnant).
Dialogues for Scene Fifteen: 
Halima to Amina: Amina, you the blessed mother of this child Mohammed, it is my good fortune to suckle Mohammed. He will grow in to a great man.
 Amina to Halima : Yes Halima, I wish you are right. So many of our relative have taunted me by saying that Mohammed brings bad luck, as he was the cause of his fathers death, even before he was born. And so he shall be the cause of deaths of millions henceforth.
Halima to Amina: Fie on those who say that! I know, Mohammed is going to be a great man, a great conqueror like one whom we Arabs have never seen so far. One who will outshine all other conquerors so far.
Camera Position and Direction: Pan camera to Halima holding the infant Mohammed and then pan on to Amina and back as each of them speak and finally focus camera on the other Bedouin women gathered there.
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 Scene Sixteen 
Once during his childhood Mohammed. and his foster brother Abdullah bin al-Harith (Halima’s son) were playing when Halima, his nurse was nursing him in the desert. Suddenly, Abdullah came running to Halima and cried out that Mohammed was sick and unconscious. When Halima and Abdullah go out, they found a young Mohammed behind the bushes with his clothes turned up.
 Voiceover(11): It is possible that here, Mohammed was sexually assaulted (by a male pervert); however, much later a legend was created by Mohammed himself when he came of age to explain away this event. This also explains his paranoid revulsion for sexual perversion that he included in the Quran.
The possibility that he was sexually assaulted (sodomized) in his childhood seems to have made him a bitter person and could have accentuated his mental illness. His mental illness has been interpreted as a wild form of paranoid schizophrenia that was made worse by the epilepsy that he inherited from his father.
But in spite of this handicap, Mohammed had an uncanny ability to manipulate events to get the results he wanted. He displayed this trait, in floating a belief among his followers who questioned him on his childhood event, by saying : “Two angels in a grey robe came from the heavens and one split open my chest and took out my heart to remove a dark clot, and then when they weighed me, the whole universe weighed less than me!”
Dialogues for Scene Sixteen: 
Abdullah bin al-Harith (Mohammed’s foster brother) to Mohammed: Mohammed, you run and hide, I shall search for you and locate you.
 Mohammed to Abdullah bin al-Harith: Ok Abdullah, you close your eyes and I shall hide.
(Scene Sixteen Supplement One: Mohammed runs and hides in the bushes, a huge person in a white cloak falls over him and smothers his scream. The screen blanks out in a flurry of white with the green foliage flying around. After this scene
(When Abdullah bin al-Harith comes searching for Mohammed, these dialogues follow:)
Abdullah bin al-Harith (Mohammed’s foster brother) to Mohammed: Get up brother Mohammed, what is the matter with you? Are you asleep? Or are you sick?
(Scene Sixteen Supplement Two: Receiving no response from Mohammed, Abdullah rushes to his mother in the village nearby.)
Abdullah bin al-Harith (Mohammed’s foster brother to Halima: Mother, oh mother, come soon, hurry. Mohammed is lying in the bushes and he is unconscious
Halima on seeing Mohammed to Abdullah bin al-Harith (Mohammed’s foster brother: Oh no, he seems to have been assaulted. Abdullah go and bring the black blanket, we shall need to cover Mohammed and seek help. (Mohammed is shown to be lying in the bushes, with his dishdasha (gown) upturned revealing his private parts.
Camera Position and Direction: Pan camera on Abdullah (Mohammed’s foster brother) running and calling out for Halima. Pan camera to Halima when Abdullah speaks with her and both run out to the spot where Mohammed is lying unconscious carrying with them the black blanket. Pan camera to follow their movements and focus on their feet and pan up to their faces that show anguish. Focus camera on Halima when she reaches the spot and then zoom camera on Mohammed and then pan on to the hairy black colored blanket which Halima puts over Mohammed. Blacken out the entire screen again with the camera zooming on black blanket. Scene accompanied with voiceover (11) followed by the sad and soulful Arabic signature music.
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 Scene Seventeen
 Background to Scene Seventeen
Mohammed’s personal misfortune in this kind of a harsh environment, had made him bitter since childhood. But this personal misfortune, was set off against his being born in the Quraish clan that ruled Mecca a pilgrimage town, where all the Arab tribes came once a year in a ritual called Hajj that centered around an object of worship called the Kaaba (literally a cube).
The Kaaba is actually a meteorite which fascinated the ancient tribal Arabs who were awe-struck by its flaming rush from the skies to land at Mecca. Since that day a legend grew around it that is reflected in the various versions of the Books of Semitic peoples that are known as the Tureth or Torah (the Old Testament of the Bible), the Bible (the New Testament) and the Quran. The word Quran itself is derived from the Arabic root word Qurrah which means to collect, implying that Mohammed collected the content of the Quran from other sources, viz., the Old Testament of the Jews, the New Testament of the Christians.
To this content Mohammed added the bloodcurdling Satanic verses that call for slaying the idolaters.
 Voiceover(12) for Scene Seventeen Mohammed’s personal misfortune of bereavement and epilepsy in this kind of a harsh environment, had made him bitter since childhood. His father Abdallah, had died before he was born, so he had the misfortune of being a posthumous son. His mother Amina died when he was just six years old. He was then taken charge of by his grandfather, Abd-al-Mottalib, but the grandfather died within two years and when Mohammed was eight he was in the charge then of his uncle, Abu Talib. Abu Talib was poor and had to work for his living in a very humble occupation. Abu Talib’s son Ali and Mohammed became close friends very early in their lives. Ali was to later become the fourth Caliph of Islam, whose murder led to the first split in Islam between the Shias and the Sunnis But Mohammed’s personal misfortune, was set off against his being born in the Quraish clan that ruled Mecca a pilgrimage town, where all the Arab tribes came once a year in a ritual called Hajj that centered around an object of worship called the Kaaba (literally a cube).
Abu Talib protected Mohammed from all exigencies. Although Abu Talib never embraced the new faith that his nephew Mohammed preached, Mohammed never verbally abused or threatened Abu Talib for refusing to convert. A technique which Mohammed and his followers were to use with everybody without exception throughthout the nearly fourteen centuries of Islam’s history. 
Dialogues for Scene Seventeen: 
Abu Talib to Mohammed: Mohammed, you have had the misfortune to lose all your relatives so early in life. I shall be your foster father. Form now on, I have two sons, you and my son Ali.
Mohammed to Abu Talib : Uncle Abu Talib, I shall always be obedient to you and shall always keep your best interests at my heart along with that of Ali, who from now is my brother, rather than my cousin.
Camera Position and Direction:Start camera with a shot of the Kaaba and then pan towards one of the tents nearby, in which Abu Talib, Mohammed, and Ali are chewing dry pieces of goat meat while conversing with each other. Pan camera from Abu Talib to Mohammed to Ali when each of them is speaking. (when the Scene seventeen starts, Mohammed and Ali are shown to be boys of around eight and Abu Talib a grown up man). 
After the dialogues of Scene Seventeen, pan the camera towards the Kaaba and move camera all across the Kaaba and then back to the tent where Abu Talib, Mohammed and Ali are still shown speaking to each other in the same position and wearing the same clothes (these dialogues are muffled out by the voiceover and now Abu Talib is shown to be very wizened old man, while Mohammed and Ali are shown to be robust strapping young men of around 20 years of age.) At the culmination of this animated dialogue, Mohammed and Ali hold each other in a tight embrace. These shots are accompanied with voiceover(12). After the voiceover (12) ends, the following dialogues of Ali and Mohammed speaking to each other while holding each other in a tight embrace, are audible.

Dialogues for Scene Seventeen (Continued): 
 Ali to Mohammed : Dear Mohammed, I shall be your alter ego, your shadow, all through your life. Never consider yourself to be alone, ever again. The two of us together shall face all challenges of life together.
 Mohammed to Ali : Inshallah, Ali and so it shall be. Your name shall be immortal in Arabian history, and people all over shall remember you with the chant of “Ya Ali”
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 Scene Eighteen

Background to Scene Eighteen:
Ali grazing a herd of goats, reaches the base of a mountain. Some of the goats run uphill, and Ali runs uphill to chase them down. He overhears some commotion, and to eavesdrop on the voices goes near the place from where the voices are hears. He see a meeting of the elders of Qurriash tribe. He overhears their conversation and rushes back to confide in Mohammed what he has heard.
Mohammed’s being a member of the Quraish – the ruling aristocracy of Makkah (Mecca) was his first stepping stone to leadership Mohammed being a member of the Quraish clan which was in charge of the Kaaba, belonged to a privileged clan. But he did not hold a position of distinction within the clan. The turning event of his life was in the year 610 C.E. when during a dispute within his clan about who would be in charge of the annual repairs to the Kaaba. The clan members decided that the person who at that time walks into the Kaaba first would be in charge of the repairs.
Dialogues for Scene Eighteen
Ali to Mohammed: Mohammed, Mohammed, I’ve overheard something important when I was passing the meeting of the Council of Elders of the Quraish. There is a dispute about who will oversee the repairs to the Kaaba this year. They have decided that the man who first walks towards the Kaaba, at the first light of the day tomorrow, will be the person ordained by the Gods to oversee the repairs to the Kaaba.
 Mohammed to Ali
:But Ali , how did you manage to get within earshot of the meeting of the Council of Elders of the Quraish? They always meet on the rocky mountain of Mina.

Ali to Mohammed:Yes Mohammed, they do and so they did this time too, but I had been shepherding some goats below the mountain when some of them went uphill. To chase them below, I ran uphill too, that is when I heard the commotion. This prompted me to sneak out to where they were meeting. This is when I overheard what they decided. Mohammed to Ali : Did you tell this to anyone else, dear Ali? A frightened Ali to Mohammed:No brother, I know it is prohibited for any ordinary person, except the elders to venture near the mountain of Mina. Will the curse of the Gods be upon me, will I be punished by the elders? Mohammed to Ali (tersely with his eyes narrowing to slits):Good, now listen carefully, if you do not tell this to anyone else, then I too shall forget what you have told me, and you too should not breathe a word of this to anyone. Forget what you have heard. And no one shall ever know that you have overheard what they have decided. And so no one will ever punish you. But if you do open your mouth, then the curse of the will be upon you and the elders will severely punish you. You know the punishment for this crime is stoning. But thank the Gods that you have told me this and I shall seal my lips, so should you and you shall be safe. Ali, do you understand? A relived Ali to Mohammed: Oh Gods forgive me for my indiscretion. Thank you Mohamed, you really are an apostle of the Gods who can always find a way to save this errant brother of yours. Saying this Ali departs towards the flock of his goats. Mohammed to himself when Ali is out of earshot (again with his eyes narrowing to slits): This goatherd Ali, has got the brains of a goat himself, or else he would not have told me this but would have decided to become the Chosen One himself!. Now I shall realize my ambition of being the Chosen One. Ya Allah. Camera Position and Direction for Scene Eighteen:Focus the camera on Ali taking a herd of goats for grazing to the foot of a mountain. Pan camera on some goats running uphill, and then pan it on Ali running uphill. Pan camera on the meeting of Elders and Ali eavesdropping on them. Pan camera on Ali and Mohammed speaking to each other and focus camera on the Kaaba after the dialogues are over. Fade out the Kaaba gradually, and fade in and close up on the fiercely determined face of Mohammed that dominates the entire screen for three seconds. ---------------------------------- Scene Nineteen Background to Scene Nineteen: The Quraish Elders have assembled at dawn around the Kaaba. There is muffled talking amongst the assemblage. At the crack of dawn when the first rays of sunlight, a man comes walking towards the Kaaba. There is a hushed silence in the twilight of the dawn. Mohammed nonchalantly walks towards the Kaaba and pays obeisance to the Gods and announces as if speaking to the Kaaba that he is Mohammed-ibn-Abdallah, the son of Abd-Allah and Amina and the nephew of Abu Talib. After announcing this he begins to depart pretending to show that he is unaware of the presence of the Elders in the tents beyond the Kaaba. When he begins to depart, he is called back by Abu Sufyan, the Chieftain of the Quraish and told of the decision of the Council of Elders and the destiny that has been decided for him. Dialogues for Scene Nineteen Mohammed to the Kaaba: I am Mohammed-ibn-Abdallah, the son of Abd-Allah and Amina and the nephew of Abu Talib. I have come here so early to pay obeisance to the Gods and begin my day’s work. Abu Sufyan to Mohammed : Mohammed-ibn-Abdallah, you do not know what is your destiny. By the right of having come here first today, you are the Chosen One. I Abu Sufyan accept the command of the Gods and anoint Mohammed-ibn-Abdallah as their chosen one to repair the Kaaba this year. Mohammed to the Abu Sufyan: Oh Abu, what destiny are you talking about, I am puzzled. Abu Sufyan to Mohammed :You see, as we could not agree upon which one of us should be eligible to carry out the annual repairs to the Kaaba. So we decided yesterday that he who first walks in to the sanctum sanctorum of the Kaaba today will be the Chosen One to supervise the repair work. You are the Chosen One of the Gods. Mohammed smirking to himself addresses the Council of Elders Oh enlightened elders of the Quraish , as it is you who have decided to cast this role on the first person to pay obeisance to the Kaaba and as I have innocuously walked here today, I humbly submit to the will of the Gods and take up honorably the work of supervising the repairs to the Kaaba. From today this pair of hand shall serve the Kaaba and the Gods! Although I am the chosen one, I want all clans to share the honor of raising the Kaaba in to place. So the heads of each clan will raise the Kaaba on a cloth, so all have an equal honor of lifting it. I shall then put the Kaaba into its place. Camera Position and Direction for Scene Nineteen:Focus the camera on the darkness of the dawn and then pan it on the Elders of the Quraish who are assembled at the tents around the Kaaba. Pan camera to Mohammed who is walking towards the Kaaba. Pan camera towards the Kaaba and back to Mohammed as he speaks addressing the Kaaba. Pan camera to Abu Sufyan and Mohammed as they speak and then pan camera at the sunrise that is talking place on the sandy horizon. The sun is shown to be blocked out as a dark cloud pass over the sun. (If a suitable surise with a clod is not available use the shot of a sunset and rewind it to show it as a sunrise). Accompany this scene with Voiceover(13) when the dialogues are over. Voiceover(13) to Scene Nineteen: And it so happened that Mohammed after coming to know of this arrangement made by the Elders of the Quraish tribe, seized the opportunity to thrust himself on a higher pedestal. Little did the Quraish realize that the person walking towards the Kaaba was not the chosen one, but one who held within him a diabolical genius who by this petty but powerful act grabbed unto himself an exalted position of being in charge of repairs to the Kaaba and paved the way himself to elevate his position in the eyes of the Meccans. This shrewd and diabolical act of the evil genius Mohammed was to start a trail to bloodshed thru Persia, Byzantine, Egypt, North Africa, Spain, France, Balkans… and of which 9/11 was the most dramatic example a trail which has not ended till today, nor will it end till Islam is brought to its full and final end. Till that point in time, Mohammed was any other Arab, any other Bedouin, any other Quraish tribal. But from then onwards, his stature changed in the eyes of his compatriots. And most importantly, it changed in his own eyes. He began considering that he had to fulfill a mission, an extraordinary mission. His delusion was nurtured by his being an epileptic and he hallucinated that he was in direct communication with god. He began to rationalize his ideas about his personal grandeur by telling people that god had chosen him as his messenger. His claims were met with ridicule. Mohammed’s epileptic. fits now began play a pivotal role making him hallucinate that he was in communion with some god But his innate ambition to be a leader of men, had been fuelled by his having managed to be chosen to undertake repairs to the Kaaba. An ambition, which he consciously and deliberately nurtured through his epileptic fits using which he fibbed that god had communicated through the Jibril (the Bedouin word for our angel Gabriel) and commanded him to be the leader of all men by asking for their submission. The concept of submission was so overriding, that the faith he founded was also named Submission or in Arabic Islam. The term Islam is derived from Al-Silm which in Arabic means “Submission”. ----------------------------------------------------------------- Scene Twenty Background to Scene Twenty After he was chosen to repair the Kaaba, Mohammed’s stature among the Quraish (and generally among the Arabs). He now started helping his uncle Abu Talib in his business. In the course of this he accompanied his uncle’s caravans to along with his cousin Ali to Persia and Syria. Dialogues Scene Twenty Abu Talib to Mohammed: Mohammed, from the next new moon, you should join our caravan to Jerusalem. I want you to learn the tricks of our trade, skills of negotiating a good price, when you buy or sell goods. Ali shall also be with you. I want both of you to be ready to take on the challenges that life has in store for you. Mohammed to Abu Talib:Yes uncle Abu Talib, I shall be ready, till then I shall hone my skills at swordplay with Ali. Abu Talib to Mohammed: Do as you please, but be ready in two days, for on the day of the new moon, we leave for Palestine. And remember no unwanted bloodshed, we go to trade not to fight. Mohammed to Abu Talib:Yes uncle I understand. Camera Position and Direction for Scene Twenty:Begin shooting with a long shot of a person loitering among the sand dunes. Close up on the person, to reveal that it is Mohammed singing a tune to himself. Pan the camera to Abu Talib who is calling out to Mohammed from the top of a sand dune. When Mohammed approaches Abu Talib, record the dialogues of Scene Twenty. ----------------------------------------------------------------- Scene Twenty One Abu Talib, Mohammed and Ali are traveling slowly in one caravan. After some time another caravan appears on the horizon. Abu Talib asks Mohammed to go and check if the other caravan is that of traders or brigands and if it is a trading caravan to enquire where it is heading. Mohammed, then a strapping lad of 25 comes faces to face with Khadija, his future wife, who is leading the other caravan. The year is 595 C.E.. Mohammed approaches Khadija who asks him to join her for refreshments in her tent, They get to know each other. Their courtship begins. Background to Scene Twenty One In the course of these travels the wealth Mohammed saw in cities like Jerusalem, Damascus, Ctesiphon stoked the fires of ambition in his heart. He despaired over the frugal life which the Arabs lived. After the episode of repairing the Kaaba at Makkah, Mohammed had begun to think of ways and means to build on his enhanced reputation and standing among the Arabs. He recognized that the one thing he needed to command was wealth, if he was to command men. It was during the course of his travels he met a middle-aged Christian woman named Khadija. This was the year 595. Dialogues for Scene Twenty One Abu Talib to Mohammed:Mohammed go over to the other caravan and find out if they come in peace. If so, find out where they are headed? Maybe we can join them, if they too are going towards Damascus. Mohammed to Abu Talib :Yes uncle Abu Talib, I shall do so (and he rides off on his camel towards the other caravan). Mohammed (on approaching the headman of the other caravan):Assalamaleykum. Khadijah to Mohammed:Wahaleykumassalam. I am Khadija, the leader of this caravan. Mohammed to Khadija:I am Mohammed-ibn-Abdallah, the nephew of the leader of my caravan, Abu Talib. I am surprised and pleased to see that this caravan is led by yourself (pause), a lady. Khadijah to Mohammed: Young man tell us what brings you here, and whom does your caravan carry - traders or brigands? Mohammed to Khadija: Honorable lady, we too are traders and are heading for Damascus. Where are you heading towards. I can see from your cargo, that you too are a merchant caravan. Khadijah to Mohammed: Yes we too are heading towards Damascus, and are still a full six nights march away from there. Mohammed to Khadija:My uncle Abu Talib is the leader of my caravan, he sends a message of peace and invites you to join our caravan, so that we can travel together with better safety and security. Khadija to her deputy Asif: Asif, do we trust this young man and join our caravans together. Khadija to her deputy Asif: Madam, let me accompany this young man to his caravan and speak to his uncle. Then we shall decide. On second thoughts, let this young man remain here, just in case this is a trap. Khadija to Mohammed:Young man will you remain here in our custody, till my emissary Asif, speaks with your uncle and finds out if you too come in peace? Mohammed to Khadija: Yes Madam, I consent to remain here till your emissary returns safely. Khadija to Mohammed: You are a brave and a handsome man, what is your name. Mohammed to Khadija:Mohammed-ibn-Abdallah of Makkah (Mecca). Khadija to Mohammed:Oh from the holy town, come be my guest till we settle the formalities between our two caravans. Khadija to Asif:Order the guards to be in position, but also make a tent ready with some fruits and refreshments, so that I could chat with our young guest. Khadija to Mohammed: Come we shall retire to my tent till Asif returns. Mohammed and Khadija go inside a tent that is hurriedly set up on the leeward side of a sand dune (to protect the occupants from the gusty sandy winds). Mohammed to Khadija (inside the tent): I mentioned my surprise at a lady leading this caravan, usually it would be your husband who would be leading. Khadija to Mohammed (after along steady glance):No I lead his caravan now that he is with our Lord in heaven – the one true god. (Khadija brings out a crucifix and kisses it). Mohammed to Khadija : I am sorry for my indiscretion. I should not have asked this question. Khadija to Mohammed :It is OK, but I too have aquestion for you. You are a young man with your entire life ahead of you, why did you consent to be the scout, normally older people who have lived their lives take the risky task of going out as scouts. Many of them do not return. Why did you choose to risk your life? Mohammed to Khadija :Of death I am not afraid. I love death more than others love life, hence am never afraid of anything, but our gods. Khadija to Mohammed : You are brave indeed, but who are these gods whom you mention in plural. There are so many in the Hejaz, every tribe have many of them. Some worship fountains, as they worship the Zem Zem at Makkah as also many hills like Arafat along with the fetishes they create from dates and fruit. We believe in only one true god our Father and his son who was crucified for the sins of others. Mohammed to Khadija :But why do you have only one true god? Khadija to Mohammed :Because the maker of this universe cannot be many, it is only one god, Him who made us all alongwith all that we see. Mohammed to Khadija : It is indeed surprising to here such novel thoughts from person of pristine beauty like you. Normally at Makkah, it is old men who speak this way. Khadija to Mohammed :In our culture, all of us are educated in the realities of creation and the beauty of the Merciful Creator. Mohammed to Khadija :Indeed, I want to know more, but here comes Asif with my uncle Abu Talib Asif to Khadija : Madam, this is Abu Talib, the leader of the other caravan, he asks if we may merge our caravans. They too are merchants and are heading for the same destination – Damascus. Khadija to Asif : Yes we should do that. Invite our guest Abu Talib in to the tent, I want to offer him our hospitality Khadija to Abu Talib: You Sir have a bright nephew. I am impressed with his bravery and curiosity. Abu Talib to Khadija: Mohammed has been unusual from birth. But he has had the misfortune of losing his parents at an early age. Since then he has been my ward. Khadija to Mohammed : Oh, I understand, I too have recently suffered a bereavement, when I lost my husband during a brigand raid on our caravan. Since then I am very cautious about any caravan that approaches us. Abu Talib to Khadija ( a little tersely):Oh is that why you held Mohammed captive till you confirmed what we are? Khadija to Abu Talib:It is I really who is captivated by his intellect and bravery. Abu Talib to Mohammed : What is it dear Mohammed that you have told our host that has impressed her so much? Mohammed to Abu Talib : Nothing much uncle, I only asked after her and was myself impressed with what she said. Abu Talib to Mohammed :OK, let us now join our caravans and move towards Damascus. We still have many nights to march. (Mohammed and Khadija march alongside each other and talk along the way. They also talk inside their tent when the caravan takes a break from the journey. They are together in all the towns and conduct transactions jointly. These extended scenes are accompanied with Voiceover (14). Camera Position and Direction for Scene Twenty One:Begin shooting with a long shot of a caravan. Pan camera to another caravan in the distant horizon. Pan camera from one speaker to another during the dialogues. Voiceover (14) at the conclusion of dialogues of scene Twenty One In the course of these travels the wealth Mohammed saw in cities like Jerusalem, Damascus, Ctesiphon stoked the fires of ambition in his heart. He despaired over the frugal life which the Arabs lived. After the episode of repairing the Kaaba at Makkah, Mohammed had begun to think of ways and means to build on his enhanced reputation and standing among the Arabs. He recognized that the one thing he needed to command was wealth, if he was to command men. It was during the course of his travels he met a middle-aged Christian woman named Khadija. This was the year 595. After some months of acquaintance, Mohammed proposed to Khadija in spite of the fact that she was older than him and a widow with children from her previous marriage. After marrying her, Mohammed began accompanying her caravans and became her partner, eventually taking control over her entire business. This way he ensured that he climbed the ladder of material progress. His conversations with Khadija grew more intense and he learnt more about the Biblical anecdotes from here. It is from these conversations, than Mohammed adapted many Biblical anecdotes into his new set of beliefs that was later to be named – Islam. It was Khadija who introduced the illiterate Mohammed to the biblical stories of Abraham, Issac, Sarah, Hagar, Ismael, Moses, etc. This is how Mohammed incorporated a arabized version of the bible in his compilation that he called the Quran (from the Arabic word ‘Qurrah’ – to collect). So it was Christianity that also gave the iconoclastic angle to Mohammed’s ideas, as also the entire Judeo-Christian hangover that is to be seen in Islam. The pre-Islamic pagan Arabs, knew nothing about the Bible or the Torah. The only link that they had with the Jews was the Arabic language that belonged to the Semitic family. Pre-Islamic Arab lore and poetry had no references to Moses, Solomon, Abraham. This Islam owes to Mohammed’s Christian wife – Khajida. ----------------------------------------------------------------- Scene Twenty Two Mohammed and Khadija traveling in a caravan and later inside a tent where Mohammed suffers from an epileptic fit. Voiceover(15) to Scene Twenty Two As during his travels with the caravans, Mohammed found his regular epileptic fits to be quite embarrassing, he devised a way to turn this handicap in to an advantage. He claimed that he was in communication with God, and that an angel (Jibril, the Arabized name for Gabriel) communicated with him. Mohammed claimed that he received his first revelation from angel Jibril at Mount Hira, and he popularized the belief that he suffered epileptic attacks only when the angel had to communicate something to him. This way he transformed his disability in to an uncanny blessing! The compilation of these thoughts which he disclosed every time after an epileptic fit were collected to become the Quran. In fact the word Quran is derived from the Arabic verb “Qurrah” which means “to collect”. To give legitimacy to his Quran, Mohammed floated the fiction, that as the text came from a god (allah), so no man could change what has been given by god. In fact, the Quran is basically the same book, as the Bible, that he learnt from his Christian wife Khadija. So his epileptic fits were to play a pivotal role in his later life in the evolution of Islam, as he used every attack of epilepsy to preach what he had in mind to suit the occasion. In his later life, during his 'revelations' he groaned like a she-camel having a baby (which by the way is not a pleasant sound). He had directed his followers to cover him up with the black blanket (associated with him from his birth) whenever he suffered from the epileptic fits and that's why he carried this black blanket with him all the time. This narration is the kernel of historical truth that has come down through ages of Arab-Muslim folklore that grew around him. This made the Quran as we know it today a collection of Mohammed’s ideas to which other Caliphs added there ideas. To this collection many Mullahs, Imams and Alims (learned Muslim men) made modifications over a period of time, a tradition continued later by Islam’s many adherents, after Mohammed’s death to introduce the techniques of dealing with the defeated non-Muslims, especially those who were not “people of the book” i.e. those who were not ethnic Arabs or Jews and Christians. In Mohammed’s time the Muslims had not conquered non-Arab people who were neither Jews nor Christian. This clearly establishes that the passages from the Quran dealing with Kafirs were added after Mohammed’s passing. Mohammed used his epileptic fits to hypnotize his followers in to believing that he received orders from god. He used the allegiance among his followers to inculcate in them qualities of unity, discipline, ruthless determination motivated by submission to one single aim - World Conquest. It was this feeling of submission to one aim that determined the Islamic mission of Jihad or War of Global Conquest. And so the religion founded by Mohamed was named after this mission - Islam based as it is on submission (Submission in Arabic is Al Silm, from which is derived the term Islam). Background to Scene Twenty Two Khadija and Mohammed are leading a caravan. After a long night journey, they decide to break their journey and pitch a tent to camp and rest for the hot hours of the day. After a meal of roasted desert lizards and dates, watermelon and other citrus fruit, they retire to their camp bed which is a heap of camel skins. Mohammed and Khadija are shown making love. Suddenly Mohammed starts frothing at his lips and starts feeling groggy. He complains to Khadija that he is suddenly feeling unwell. A concerned Khadija is about to call out for help. Mohammed restrains her and says, that she should keep this moment absolutely private and put the black hairy blanket that he always carried over him. After this he goes into an epileptic fit and shiver violently while groaning like a wounded animal. After some time, the groaning and shivering ceases, he casts aside the blanket and emerges. Khadija inquires what was the matter with him. Mohammed tells her that these occurrences have been happening since childhood and are a major embarrassment for him. Khadija suggests that they should meet with a mendicant to cure him of his illness when they visit Jerusalem. That being a city of God, should find some cure for his illness.Mohammed is pensive on what Khadija suggests. He tells her that rather than discussing this with a mendicant, they should keep this a secret to themselves and not disclose it to any of their mates on the caravan. Khadija asks Mohammed, what if he suffers from an attack during their journey. Then it would be difficult to explain it to their caravan mates how Mohammed could lead a caravan, if he has this disability.Mohammed agrees with Khadija but his eyes narrow down to slits as he tells her in a muffled voice that they should tell everyone immediately, that an angel had appeared to him and when the angel was communicating with him, Mohammed went through the violent spasms. Khadija suggested that they mention the name of the angel Gabriel who is mentioned in the Book (Bible). Mohamed agrees but is unable to pronounce the word “Gabriel” as he is unlettered and he pronounces “Gabriel” as Jibril. He says that this Arabized from of the name of angel Gabriel would be easy for him to pronounce as also for his unlettered Arab clansmen to do so. Both Khadija and Mohammed agree. And so starts a tale of an angel communicating with Mohammed whenever he suffers from an epileptic attack. Dialogues for Scene Twenty Two Mohammed to Khadija: Let us rest our camels, they have had a hard trek across the sandstorms tonight. Khadija to Mohammed : Yes, it is nearing dawn, let us wit till we reach the leeward side of the next Wadi (Arabic term for Valley in a desert), and we shall pitch our camp for the day. Mohammed to one of the caravan mates:Habibi (Arabic honorific title) Abdul, just run over the next sand dune and see if there is a suitable place on the leeward side for us to pitch camp for the day. Abdul to Mohammed : Yes Sire, I shall do so (and he goads his camel into a faster trot over the sand dune). Abdul returns after some time Abdul to Mohammed : Sire, we are in luck today, there is an oasis on the leeward side, where we cam pitch tent. Shall I go out and look for some green lizards which we can break our fast with? Mohammed to Abdul: Yes do that. Mohammed to Khadija: I wish that someday we Arabs also give up the eating of these lowly creatures, and have the meat of goats as do the Romans and Persians to our north. Khadija (with a smile) to Mohammed : Great man, you have great dreams! The caravan breaks journey and a clutch of tents made of Camel hides is set up in the oasis. Abdul and his mates go foraging into the buses and catch a clutch of desert lizards for their morning meal, before the siesta. A campfire is lit on which some of the catch of the day (the desert lizards) are roasted. Mohammed to Khadija (eating one of the roasted lizards): Mmmm.. the lizards do taste luscious here. Looks like the oasis has fattened them quite well. In fact, I shall institute a practice of people to fatten a goat for a long time, till it is ripe for sacrifice. A fattened animal tastes much better than a skinny one. Khadija (again with a smile) to Mohammed : May all your dreams come true. Mohammed to Khadija : I am feeling groggy, I wonder if it has anything to do with the lizard meat that I ate. Khadija (with a concerned expression) to Mohammed : Shall I summon Abdul for help? Mohammed to Khadija : No don’t do that. We shall keep this to ourselves. Put that black hairy blanket over me and do not allow anyone to enter our tent till I recover. (Khadija put the black blanket over Mohammed and he shudders violently while groaning like an animal below the blanket.After some time the shuddering and groaning subsides and Mohammed is calm, but still below the blanket) Khadija (with a concerned expression) to Mohammed :Shall I remove the blanket now? Mohammed to Khadija :Yes do so, but do not call in anyone as yet. Khadija to Mohammed :Fine I shall do so, but what was the matter with you? Mohammed to Khadija : I have been having these spasms from birth. It must be some curse from the Gods! Khadija to Mohammed : What if you suffer from an attack during the journey. Then how do I explain this to our campmates. They would urge me to remove you from the position of caravan leader. And if I disagree, they would summon a Shoora (meeting of all tribals) and elect a new leader. I am the owner of this caravan, but the person who leads the caravan is elected by the Shoora. And this person has to be absolutely fit. The shoora will force me to make you abdicate in favor of someone else, as you very well know! So what is the way out. Mohammed (his eyes narrowing to slits) to Khadija : We shall convert this disability into a strength. Khadija to Mohammed : And how my lord, do we do that?? Mohammed (his eyes narrowing to slits) to Khadija : You shall tell everyone that an angel appears to me and when the angel is communicating with me, I go through the violent spasms. Khadija (suppressing a laugh) to Mohammed : You are a genius! I suggest that we tell them the name of the angel Gabriel who is mentioned in our holy the Book the Bible. And as most of them are Christians, they will not question our claim. (Mohamed agrees but is unable to pronounce the word “Gabriel” as he is unlettered and he pronounces “Gabriel” as Jibril. He says that this Arabized from of the name of angel Gabriel would be easy for him to pronounce as also for his unlettered Arab clansmen to do so. Both Khadija and Mohammed agree. And so starts a tale of an angel communicating with Mohammed whenever he suffers from an epileptic attack. Mohammed to Khadija :Yes that sounds good, but what was the name you said? “Jibril” Khadija (suppressing another laugh) to Mohammed : No it is Gabriel. Say that now. Mohammed to Khadija :Jibril, Jibril. I can only say it this way. So what do we do? I suggest we say that this is the Arabic name for your angel. This way it would be easy for many Arab tribesmen to pronounce this name. Khadija (with a sigh) to Mohammed : Ok, we shall do so, I shall have to do some explaining about why the angel’s name has to be changed. But I shall do so. And tell them that the angel communicated with you whenever you suffer from such an attack. But instead of floating a lie, can we simply wind up our caravan merchandizing business and retire to some pretty little town in Syria? Mohammed to Khadija : No life has just begun, I have many things to achieve. I want to build up on the lucky break that I chanced upon when I led the repairs to the Kaaba. Khadija to Mohammed : Oh, so you want to regain the Chieftainship of the Quraish Clan at Makkah, as you and Abu Sufyan (the current chieftain) are descendants of the same ancestor. And so you too have a right to that position by virtue of belonging to the same bloodline? Mohammed to Khadija : No my aim is far higher. I want to wield the Arabs in to a conquering force like one that the world has never seen before. I want the Arabs to outdo Alexander, Hannibal, Kuroush and Julius Caesar in the conquest of the World. Khadija to Mohammed : And how my lord do you plan to do that? Mohammed to Khadija : I shall inculcate in the Arabs, unity, discipline, ruthless determination motivated by submission to one single aim - World Conquest. This conquest many take many Moons, maybe thousands of Moons, but at the end we Arabs will prevail over everyone else. We have to succeed, for if we do not the world will eventually unite against us and destroy us utterly. So to prevent this defeat, a life-and-death commitment of submission to the aim of world conquest, is strictly necessary. And it is this One Aim that will determine my mission. So it will be called “Submission” or as we call it in Arabic Al Silm, from which I shall name my mission as – Islam. Camera Position and Direction for Scene Twenty Two: Begin shooting with a long shot of a caravan. Pan camera to Mohammed, Khadija and Abdul as each one of them speaks. After the dialogues are over pan camera across the desert and show Arab warriors marching to war followed by a collage of shots that fade out and fade in that show Arabs fighting Romans and Persians, Franks, and the pre- Muslim Turks Russians, Austrians followed by shots of the WTC attacks, London and Madrid train bombings accompanied with Voiceover (15) ----------------------------------------------------------------- Scene Twenty Three Mohammed preaching to Bedouins at Mecca. He is challenged and then chided by Abu Sufyan, the chieftain of Mecca, who is also Mohammed’s cousin. Background to Scene Twenty Three Mohammed begins his preaching of Islam and calls for the Meccans to give up their worship of the gods of the Quraish of Mecca. The Meccans saw this as a direct threat to their predominant position among the Arabs, all of whom came to Mecca to pay homage to the Kaaba during the annual Hajj. They rejected Mohammed’s preachings and tried to first restrain him, and later to murder him. During this phase between 610 and 620, Mohammed was protected by his uncle Abu Talib, who was among the powerful clansmen of Mecca. Dialogues to Scene Twenty Three Mohammed to a crowd of Arabs with the Kaaba as a backdrop.: Fellow men, these idols that you worship are a fake, they are man made. Give up worship of these idols, destroy them and submit to the will of Allah – the One formless unseen god. Abu Sufyan (the mustachioed but beardless chieftain of Mecca) to Mohammed: Dear Mohammed, have you taken leave of your senses? You are asking us to forsake our ancient gods? Why Do you want to bring ruin on the Quraish by stopping their worship. No Arab will ever come to Mecca, if we stop worshipping the gods and the symbol of the gods – the Kaaba. Please stop this nonsense. Mohammed to Abu Sufyan : Nay cousin Abu, it is you who are misguided. Repent you past actions of worshipping the false gods and Come and submit to the worship of Allah. Abu Sufyan to Mohammed: I know the worship of Allah. All of us worship Allah, alongwith Al-Uzza, Al-Lat, and Mann'at. We have Allah’s image alongwith that of all the other gods around the Kaaba/ You know that very well. Then why do you ask us to worship Allah, whom we anyway do worship? Mohammed to Abu Sufyan : Worship of Allah’s image is Haram (forbidden) as is the worship of any man-made images or idols. Worship Allah as an unseen power that is behind the creation of everything, including us who are made of congealed blood. So we need to give up the worship of the idol of allah. We need to destroy the idol, along with those of the other gods whose worship we should stop and worship only the idea of allah. Abu Sufyan to Mohammed: Cousin Mohammed, your mind has gone astray. What do you seek to achieve with this heresy? You shall bring upon us Quraish the wrath of all the gods, including that of all Arabs, who shall descend upon Mecca to defeat your heresy. Do you want the Chieftainship of Mecca for which this is a tactic you are playing? Mohammed to Abu Sufyan :The power of allah will defeat all his adversaries. So you need not worry. Give up the worship of the old faith and embrace. As far as the chieftainship of Mecca is concerned, I have with me something immensely powerful, that of being the Nabi, the Paigambar (Messanger) of Allah. I seek nothing else but to make everyone submit to the will of Allah. So submit to the will of Allah, and repent your past Kufr (infidelity). Abu Sufyan to Mohammed:Mohammed you have either gone stark mad, or this is your gamble to dethrone me. I shall order your arrest and deportation, unless you stop forthwith. Mohammed to Abu Sufyan :Abu Sufyan, you will regret your words. Repent before it is too late. Abu Sufyan to Mohammed: Why are you against our worship of Al-Uzza, Al-Lat, and Mann'at? Have you forgotten that worship of these has been bequeathed to us by our forefathers. And if we forsake them, the curse of our ancestors will be upon us? Mohammed to Abu Sufyan : Al-Uzza, Al-Lat, and Mann'at can be considered to be Allah’s favored angels. Abu Sufyan to Mohammed: Yes that sounds better. Retire for the night and we shall discuss this tomorrow. Camera Position and Direction for Scene Twenty Three: Begin shooting with a long shot of Mohammed addressing a gathering of Arabs at Mecca against the backdrop of the Kaaba. Pan camera to Mohammed, Abu Sufyan as each one of them speaks. After the dialogues are over pan camera across the desert and show Arab tribal villages listening to Mohammed speaking excitedly and animatedly. ----------------------------------------------------------------- Scene Twenty Four Mohammed and his first wife Khadija in a tent discussing the aspects of Biblical traditions. Background to Scene Twenty Four After the dialogue between Mohammed and Abu Sufyan, Mohammed retires to his tent and ponders to himself, how he compromised the position of allah as the sole object of worship. This defeats his purpose of making Allah the exclusive object of worship and of him himself as the prophet of Allah. He feels that he has made a mistake by recognizing that Al-Uzza, Al-Lat, and Mann'at are the angels of Allah. It was these momentary thoughts of when he considered Al-Uzza, Al-Lat, and Mann'at to be Allah’s angels that came to known as the Satanic verses, which Mohammed later repudiated and claimed that he had said this under the influence of Satan. After Mohammed repudiated these verses, the Meccans decided to drive him out of Mecca and when they failed in this they tried to murder him. He escaped the murder attempt by fleeing at night to the rival settlement of Yathrib which was later renamed by him as Medina. Dialogues for Scene Twenty Four Mohammed to Khadija: I made a strategic blunder by accepting Al-Uzza, Al-Lat, and Mann'at as angles of allah. This will please the Meccans, but it will take away my exclusive status of being the Messanger of the one god allah. There will be others who will claim to be the messengers of Al-Uzza, Al-Lat, and Mann'at! Now how do I preclude that from happening. I shall have to revert to my firs view of allah being the only god and myself as his only Messenger. Khadija to Mohammed : People will ridicule you if you say you are the only messenger. There will b others who will also claim that they too are messengers. This can happen while you live. But it will certainly happen after you are no more and are not there to defend your legacy. Mohammed to Khadija: So how do I prevent that from happening once and forever? Khadija to Mohammed : Why do you not say that you are the last prophet of god and tell people that the earlier prophets were Moses and Jesus. Mohammed to Khadija: Were there only two prophets till now? Khadija to Mohammed :No there were many others too. Adam was believed to have been the first, as was Prophet Job (Ayub in his Arabized form), Prophet Abraham (Ibrahim in his Arabized form), Prophet Issac (Issak in his Arabized form), Ishmael (same in the Arabized form) and many others. The Biblical fable of Hagar and Sarah and their sons Ishmael and Issac can also be co-opted and linked to the making of the Kaaba. This way the symbol of spiritual and economic superiority of the Meccans will be retained in the new religion and reduce the opposition of the Meccans to Islam. And if you say that you are the last prophet, then all other after you who claim to be prophets will be looked upon as imposters and fraudsters. Mohammed to Khadija: Yes this certainly is a good idea. I shall declare it tomorrow and tell the people that the angle Jibril came to me and told me this. You as my wife are my convert and shall declare your faith in Islam. I shall command Zaid our slave to declare likewise. Camera Position and Direction for Scene Twenty Four: Begin shooting with a shot of Mohammed speaking with Khadija. Pan camera to Mohammed, and Khadija as each one of them speaks. After the dialogues are over pan camera across the desert and show Mohammed wandering in to the desert. ----------------------------------------------------------------- Scene Twenty Five Mohammed and Ali in tent, when a messenger comes with the news of Abu Talib’s death. Mohammed uses this occasion to commiserate Abu Talib’s death and emotionally exploits Ali to convert him to Islam when he is emotionally depressed Background for Scene Twenty Five After the first few years of preaching Mohammed’s teaching drew increasing hostility from the Meccans. Amidst this opposition Mohammed’s wife Khadija died in the year 619 and the next year Mohammed suffered another bereavement. His guardian and uncle Abu Talib (Ali’s father) died in the year 620 and Mohammed used this opportunity to convert Ali to his new religion using emotional blackmail on the simple mind of Ali who had physical prowess, but was mentally and emotionally weak. The death of Abu Talib also meant that Mohammed along with Ali inherited the business of his uncle and managed it along with that of his wife Khadija. While Abu Talib lived Mohammed got the support of this powerful uncle, who himself never embraced Islam and remained an idolater all his life till his death, but he stoutly defended his nephew Mohammed and his rants against the gods of the Quraish of Mecca. Mohammed desperately tried to increase his following and he used threats and subterfuge to convert people. He initially targeted his message towards his relatives who were near to him and who could be easily fall for his pernicious plot. His first convert was his wife Khadija who was followed by his slave Zaid. But even in his family circle, he encountered resistance. His trusted cousin, who later also became his son-in-law, Ali (Abu Talib’s son) was honor bound to defend Mohammed’s life and limb, but he too initially resisted Mohammed’s coercion to give up the worship of the gods of the Kaaba and to embrace Islam. His father Abu Talib forbade him to embrace Islam, as he himself never did till his death. But both of them as they were close relatives of Mohammed, were honor bound to defend Mohammed and prevent the Meccans from harming him. After Abu Talib died in 620, Mohammed blackmailed Ali by saying that he could not intercede with allah on behalf of Abu Talib, since he had not given up the worship of the gods of the Kaaba and so Abu Talib was now burning in Hell (Jahannum). Ali who was then grieving from the loss of his father was emotionally weak as his resistance to Mohammed gradually broke during this emotionally weak phase. He finally fell prey to Mohammed’s blackmail and sought refuge in Mohammed’s cunning subterfuge. This was how Mohammed got his first major youthful convert. Ali was then a strong and brave teenager who was to play a major role in the attacks that Mohammed was to launch on the Meccans and later in the Muslim invasions of Persia and Byzantine. Voiceover(16) for scene Twenty FiveMohammed was a superlative but warped genius. A genius who combined in himself the role of a military strategist, a psychologist, motivator and commander of men. He himself was driven by a paranoid desire to dominate his own clan of the Quraish and use this to dominate over all Arabs, and further to use this to dominate over the whole world. He smartly used the innate belief of humans that there is a superior power called god, to further his personal ambition. His psychology is evident from the Kalima (declaration of faith in Islam) “a Allaha Il Allaha, Mohamm Ur Rasoolallah” There is no god but allah and Mohammed is his prophet. And “Allarzu Lilaah, Walhukumu Lilaah” The world belongs to Allah and the rule of Allah shall prevail all over the world”. Mohammed shrewdly bundled the imperialist designs of Alexander and Caesar in to the psychology of religion, so it became binding on all his followers to be adhered to slavishly forever. It was the same mentality that drove the 19 hijackers to plunge civilian airlines in to the Twin Towers and the Pentagon, and commit heinous acts of bloodletting across the fourteen centuries since Islam was launched by the warped mind of Mohammed. Mohammed did not lose any opportunity to enroll ordinary people in to his mission. He started with those who were either under his influence, as he did with his wife Khadija, and his slave Zaid, and used psychological blackmail with his cousin Ali. To enable his following to be feared, he enrolled those who had an innate criminal mentality and spurred them with motivation of women, booty and a comfortable life, if they won a war, or the same temptations in heaven through the Houris (nymphs) in superlatively comfortable garden over laden with luscious fruit and made up on gurgling springs and refreshing fountains. So Mohammed shrewdly presented a win-win bargain to his followers who found their innate criminal mentality garnished and made respectable by Mohammed teachings of violent Jihad with the temptations of carnal and lucrative gains either in life on earth or in heaven, if his followers met the misfortune of death. So either way, this gave a motivation of fight to death against all opponents for all time to come. Meanwhile Mohammed suffered another bereavement. His guardian and uncle Abu Talib (Ali’s father) died in the year 620 and Mohammed used this opportunity to convert Ali to his new religion using emotional blackmail on the simple mind of Ali who had physical prowess, but was mentally and emotionally weak. The death of Abu Talib also meant that Mohammed along with Ali inherited the business of his uncle and managed it along with that of his wife Khadija’s business. Dialogues to Scene Twenty Five Ali to Mohammed (camped in their tent in desert on their way to Bethlehem): There is bearer from Makkah, he says he has important news for you. Mohammed to Ali: Bring him in. The messenger to Mohammed and Ali: Sire I bring sad tidings to both of you. Mohammed to the messenger: After the hostility of my clansmen from Mecca and the loss of my beloved wife, what other news can be more sad? The messenger to Mohammed and Ali: Sire your uncle Abu Talib is no more. He passed away on the day of the last new moon, ten days back. (Hearing this news Ali breaks down sobbing uncontrollably, but Mohammed is unmoved and looking at Ali his eyes narrow down to slits) Mohammed to the messenger: You may leave us in privacy for now. The messenger to Mohammed and Ali: Yes Sire (and the messenger walks out of the tent.) Mohammed to Ali: Have forbearance dear cousin. I feel a greater grief than the departure of my beloved uncle. Ali to Mohammed: What other grief can there be than the loss of my father, your uncle who was your benefactor all his life? Mohammed to Ali: My grief is that Abu Talib died an infidel. And I shall not be able to offer supplication of allah for his soul to rest in peace. He shall forever burn in the flames of hell as an infidel. Ali to Mohammed: I do not understand what you say, my father lived an honest life, he always kept his word. As he did when he promised our grandfather, that he will be your custodian all through his life. Was he not so? Mohammed to Ali: Yes he indeed was. But in the eyes of allah, he died an infidel. He never gave up infidelity and never accepted Allah as the sole god and me as allah’s prophet. Ali to Mohammed: So what of that now. I have lost my father. Mohammed to Ali: Do you want to reduce your father’s pain in the after life? Ali to Mohammed: Yes of course I do want to. Mohammed to Ali: Then you should without delay repent your past actions of living in infidelity, give up the worship of the false gods and surrender to allah and accept me as his prophet. Ali to Mohammed: Dear cousin Mohammed, I have lost my only benefactor, my father. Now with his loss, you are the only elder relative I have. So I shall do as you say. I accept Islam and shall live as a true Muslim as you command me to. Camera Position and Direction for Scene Twenty Five: Begin shooting with a shot of Mohammed speaking with Ali . Pan camera to the messenger and to Mohammed, and Ali as each one of them speaks. After the dialogues are over pan camera across the desert and show Mohammed smiling to himself displaying a feeling of self-satisfaction. These shots should be accompanied with Voiceover(16). ----------------------------------------------------------------- Scene Twenty Six Mohammed speaking to a group of Bedouin at Mecca. What Mohammed says is disputed by Abu Sufyan the chieftain of Mecca. There is a heated exchange between them. Later, Mohammed goes to his tent where he is joined by Ali, where they discuss the plans for Mohammed escape from Mecca. Background to Scene Twenty Six and Voiceover(17) With the increasing shrillness of Mohammed’s rejection of idol worship by the Meccans, and his cursing them, that they would all burn in hell made the Meccans hostile to Mohammed. What increased their ire against him, was that he told them that all their ancestors (including his own) were burning in hell, as they lived and died as infidels. The Meccan Quraish aristocracy, looked upon this as a direct threat to their position and they plotted to murder Mohammed. Eventually the Meccans said enough was enough and decided to put an end to his rants by murdering him. Ali got a whiff of this plot and forewarned Mohammed. But the cunning chap that he was, decided to give his enemies the slip and escaped in the dead of the night to Yathrib (Medina). He played a double game, by getting a headstart to cover his retreat by asking Ali to don his clothes and lie on the heap of camel skins that he used to sleep on everyday in the tent where he lived. The Quraish believe that this was Mohammed and went after him. But Ali, a hefty and burly youth, gave a tough fight and he too escaped. Had Ali been unlucky that night, it is he who would have been murdered, while Mohammed would be safely on his flight out of Mecca. Dialogues to Scene Twenty Six Mohammed to Quraish Arab tribesmen at Mecca: Kinsfolk, all these years you have been misguided by our elders. You have indulged in Kufr (infidelity) by mistakenly worshipping man-made idols. These are not gods. The Kaaba is also an object. And no object can be god. God Allah is eternal, unseen and unheard. Abu Sufyan (Chieftain of the Quraish Arab tribesmen at Mecca) Mohammed : If Allah is unheard, how is it that you claim that an angle Jibril talks to you? Mohammed to Abu Sufyan: Because I am the Chosen One. The only one with whom Allah wishes to communicate when I meet the angel Jibril. Abu Sufyan to Mohammed : Hah and why are you the chosen one and not me? Even I can claim to receive messages from Allah, as can anyone else here? So why you alone can claim to be a Chosen One? Mohammed to Abu Sufyan: Because it is only me who experiences palpitations and spasms when Jibril communicates with me. It is with a greater purpose that Allah bestowed me with this power. Abu Sufyan to Mohammed : Hah! This is all about power. Power is what you want. Why do you not say openly. Mohammed to Abu Sufyan: Power is what I shall have enough of and that power is beyond your wildest dreams. I shall rule the whole of Arabia, bay the whole world in the name of Allah for the world belongs to Allah and the rule of Allah shall prevail all over the world (Allarzu Lilaah, Walhukumu Lilaah). Abu Sufyan to the assembled tribesmen : Clansmen, this is a madman, he has nightmares, due to bad eating, and he should be ignored. What do you say Hind? (Hind was Abu Sufyan’s wife and in the pre-Islamic days ruled the Quraish as the consort of the chieftain. Arab ladies did not use the Jilbab, nikab or hijab) Hind bint 'Utba (Abu Sufyan’s wife) to the assembled tribesmen : This Mohammed is a dangerous man, he is a liar and a cheat. We should summon the council of Elders on Mount Hira to decide his punishment. We should get rid of this cancer, before it spreads amongst us Arabs. Mohammed to Hind bint 'Utba : Curse of Allah will be upon you. There will be a day when you shall repent and come and submit to Islam. (Muhammad then circumambulates the Kaaba furiously and then turns to the Quraysh and says) Mohammed to the assembled Quraysh : "By him in whose hand my life is, I bring you slaughter." Hind bint 'Utba to Mohammed : Be quiet you ambitious imposter, your fate shall soon be sealed by the Council of Elders. Come follow me clansmen, let us not listen anymore to this dangerous madman. (all the tribesmen leave the gathering and Mohammed is left alone with Ali and Zaid). After some time Mohammed enters his tent and Ali comes rushing in and the following dialogues are said: Ali to Mohammed: Mohammed, Mohammed, I hear that the Council of Elders has voted in favor of of… (his voice trails off) Mohammed to Ali : Of what dear Ali? Ali to Mohammed: Of sending in a group of assassins to murder you tonight. Mohammed (his eyes narrowing to slits) to Ali : And so it shall be, Inshallah (God willing)! Ali to Mohammed: What do you say dear cousin? They want to murder you and you do not ask me to attack them. Shall I get together, our followers Umar, Uthman and kill these infidels, before they can lay their dirty hands on you? Mohammed to Ali : No the time for fighting will come later, Inshallah. Today I shall have to seek refuge in the arms of outsiders. Ali to Mohammed: Which outsiders Mohammed. And why outsiders when the six of us including Utman, Umar, Abubakar Zaid myself and yourself are there to fight these criminal dogs sent by Abu Sufyan? Mohammed to Ali : We are six but they are six hundred. We will all be slaughtered. So I shall seek Allah’s intervention to seek a way out. Ali to Mohammed: Allah’s intervention, but you just said that you will seek refuge amongst outsiders. I am confused! Mohammed muttering to himself: This goathead Ali will suspect me if I reveal my plan to him. Let me use him to get out of Mecca and also get this goathead out of my way forever. Mohammed to Ali : Look cousin Ali, I am about to get a message from Allah. Jibril is on his way. I can feel him coming. Bring the hairy black blanket and leave me alone for some time. Mohammed muttering to himself: This time I am not suffering from an attack of epilepsy, but shall have to pretend having spasms and palpitations. The blanket will make me sweat, due to the heat. This should look real enough as an usual attack, when I tell these yokels that Jibril has been communicating with me. Mohammed (after some time) to Ali :Ali, Ali come in. Help me out of this blanket. Ali to Mohammed: Mohammed you are sweating profusely, is anything the matter with you? Are you OK? Mohammed to Ali : I have received orders from Allah. He has asked me to undertake Hejira towards the North West. Ali to Mohammed: Fine we shall all go with you. Do we start immediately. Mohammed to Ali : No we shall not start now. We start at night, all of us except you. Ali to Mohammed: Except me? why? Mohammed (with a slight crooked smile) to Ali : Because you are the chosen one of Allah to stay behind. Ali to Mohammed: And what do I do? Mohammed (his eyes narrowing to slits) to Ali : You will wear my clothes and pull over this black blanket and sleep peacefully on my bed of camel skins in my tent. Ali to Mohammed: Your wish is my command. But I am puzzled. Why should I not join you in the Hejira. Mohammed (again with a slight crooked smile) to Ali : Because as I said Allah has chosen you to stay behind. Ali to Mohammed:And what do I do when the assassins come looking for you? Mohammed (his eyes narrowing to slits) to Ali :Tell them that Allah has taken Mohammed off on along journey to Heaven. Mohammed has gone, but will return as a conqueror! Ali to Mohammed: Fine I shall do as you say, and if the Quraish try to murder me should I fight. Mohammed to Ali : Let them do what they want to, you do Allah’s bidding, as I have told you to. Ali to Mohammed:Ok Sire. I shall do as you say. Camera Position and Direction for Scene Twenty Six: Begin shooting with a shot of Mohammed addressing the Bedouins on the backdrop of the Kaaba and subsequently speaking with Abu Sufyan and his wife Hind. Pan camera to the Abu Sufyan and Hind and Mohamed as each one of them speaks. After the dialogues are over pan camera across the desert and show Mohammed sitting in a tent speaking with his followers Ali, Utman and Umar. These shots should be accompanied with Voiceover(17). ----------------------------------------------------------------- Scene Twenty Seven Mohammed hiding in a cave at Thawr during the night after escaping from mecca. Mohammed is visited by Ali with whom he is shown speaking with Ali. Background to Scene Twenty Seven and Voiceover(18) At Mecca after nightfall on the night of assassination, Mohammed, Umar, Uthman and a few others dress up as merchants and join a caravan leaving Mecca. After the caravan goes over some sandunes, Mohammed and his companions halt their camels and let the caravan proceed on its way. This does not arouse suspicion, as it was a practice among caravan merchants to halt their camels for answering a call of nature. After the caravan disappears, Mohammed and his companions disperse and go in different directions, but proceed towards the settlement of Medina. Mohammed hides in a cave at Thawr to shake of possible pursuers from Mecca. At Thawr, he is later joined by Ali who tells him what transpired at Mecca. The question to be emphasized here is : Why had Mohammed to use his human guile to escape from his Quraish assassins at Mecca in the dead of the night using Ali a

Movie script jihad against arabs

From WikiIslam

[edit] Movie script on the History of Islam - Jihad against the Arabs

Evolving Script for movies and video documentaries on the History of Islam

Movie Title : <P>The Curse of the Meteor <P>- The Story of Islam about the Jihad against the Arabs<p></B>