Before them is a sizable military base, well guarded, where no soldier sleeps without permission. Tents and buildings surround an inscrutable installation with an iron dome, which thrills the director in its resemblance to his original vision. Except the real installation is ten times bigger. Is this just a facility intended to provide early warning to the nearby nuclear plant, or is it a new reactor?
There is no one here willing to disclose the secret even if he knew it. In fact, it is the unexpected guests who are suspected of knowing something and coming to sniff around. They are requested to identify themselves. Even the woman is not exempt from reaching into her robes and producing her identity card. Moses tells the soldiers about the film that was shot here decades ago and is curious whether an ancient Nabataean ruin might have been swallowed by the facility at this base. His question is ignored; no one has heard of the film, but they still express respect for a director who proudly lists the names of two of his recent films. Yes, one of the guards has heard the titles.
If you’ve come to make a new movie here, we’re ready to be in it, they joke, and call their commander, an officer wearing a knitted skullcap, who considers what to do with the improbable visitors, deciding in the end to release the director and detain the Bedouin for further questioning. As for the woman, she can do whatever she wants.
Moses is upset and fights for the release of his tour guide. “What do you want from him? What did he do? He helped me get here. Besides, we didn’t go into your base, we’re in a public area, open to all citizens.”
The commander calms him down. “Don’t worry, we just want to get to know this man a little better.” “What’s to know?” screams Moses. “You can see, he’s an ordinary innocent person I happened to meet.” But the commander again calms him down. “Every person holds a surprise. No one is out to harm him. In the morning he will surely be set free. Meanwhile he’ll get food and lodging, but someone who understands Bedouins needs to find out how and why this man happened to take you to this place, and to clarify what he knows and what he doesn’t know. A few small questions before we let him go.”
As they take the man away, he remains composed and impassive, and he says to Moses, “No big deal, don’t get upset, I know them, this is nothing. But take the woman with you and bring her back to the place you took her from, and from there she can make her own way. Now, pay me what we agreed.”
Moses compensates for the inconvenience by paying him double and checks whether the woman, whose identity and status remain unclear, may sit in the front seat beside him so he doesn’t get lost. “No need,” says the Bedouin, “from the rear she can tell if you are going the right way.”
THOUGH IT IS not yet five in the afternoon, they drive in total darkness, the headlights revealing one dirt road, which takes them to the main road. In the darkness of the back seat sits not an actress but a real woman, a slender Bedouin whom a husband, brother, or uncle has left unsupervised, and she is relieved to drop her veil and gaze brightly at the world. Moses studies her delicate face in the rearview mirror and inhales her scent but is wary of speaking to her. Finally he dares, almost shouting: “Do you know a little Hebrew? You learned a little Hebrew?”
“A very little,” she answers in singsong, suddenly adding, “next to nothing.”
Maybe she knows more Hebrew than she lets on, he says to himself, but would rather concentrate now on the glittering lights of the world than be cross-examined by an old Jew. Yet Moses feels an urge to talk to her for the few kilometers they will be together, so he asks if she belongs to the al-Azama.
When she hears the Jew mention the name of the strongest and most famous tribe in the area, she flinches. “La al-Azama,” no, and hastily wraps her face in her veil. “Al-Jarjawi.” She defiantly pronounces the correct name.
He decides to back off and leave her foreignness free of interpretation. And from then on the ride takes place in silence, till he feels the woman’s light touch on the back of his neck, as the time has come and this is the place. “Here?” He is bewildered, for the place is entirely barren. “Here, here,” she asserts with utter confidence, and even before the car comes to a complete halt the rear door opens, and she escapes with a moan that might be Arabic or Hebrew, her dress flapping till she vanishes in the darkness.
The storm in Tel Aviv has abated, but the street is carpeted in twigs and leaves plucked by its force; water runs along gutters and collects in puddles. He turns on his apartment lights and heat and listens to his voicemail, but no one needs him. He looks at his e-mail but is too weary to answer or delete. He has an urge to surprise Amsalem with the real installation that sprang from the ruins of Trigano’s creative vision, but he resists. First I have to digest the truth myself before I share it with anyone else. He takes off his clothes for a shower and feels the scent of the Bedouin woman whispering to him. Has she reached her encampment yet? Or did she take advantage of the ride to join up with another tribe?
Slowly Ruth assumes her character, a temporary Bedouin in the small screening room of the Spanish archive, veiled and laughing, until she is shot by the commander. “Debdou,” he says to himself, Debdou, and the unfulfilled passion of the hotel room shoots through his body. He goes to the shelf that holds the twenty movies he has made since Trigano left him and pulls out the film that might be the only one he is still able to watch. He puts it in the video player and finds the scene he desires.
The film is not one of his best known or most highly praised, but it does have some strong scenes. Ruth was about thirty then, eight years after the break from Trigano, still finding her own way. In this scene she played a young woman waiting in a hotel room for an older married man who has expressed interest in her. The scene wasn’t long, not more than a minute, but once it became clear to her and the audience that she was waiting in vain, Moses had her remove her clothes and get into bed naked, then wrap herself in a sheet.
They had to reshoot the scene three times to get the right camera angle, the right light, and the precise mood. This was not the first time that Ruth had bared her body to the camera, and she usually did it easily and calmly. But in this scene, sadness and loneliness shrouded the breathtaking nudity. Maybe it was the small, neglected room contrasted with her beauty, or maybe the pensive, disappointed gaze directed at the camera.
In the studio, made to resemble a hotel room, Toledano and the soundman were with him. But because the scene was supposed to take place mostly in silence, Moses decided to remove the soundman and do the sound himself, thus making it easier for Ruth to undress. But Toledano, who had been in love with Ruth since childhood, grew more excited by the moment, as did the director, and thus it happened that the nudity, lasting no more than ten seconds, shimmered with intense eroticism even after Ruth was wrapped in the sheet.
Now the Bedouin woman disappearing in the darkness blends again with the actress of his film, and he himself stands before her naked, for he knows that he wants and can bring relief, and he does.
Seven. Virtual Mapping of the Heart
THE FOLLOWING MORNING, when he’s sure she’s awake, he calls to ask how she is.
“You again?” Ruth is surprised to hear the voice of someone who has just spent three nights beside her in the same bed without incident. “And I thought you wanted a little time off.”