MOTHER 3, ACT ONE

EXT : TAZMILY VILLAGE, NOWHERE ISLANDS : LATE NIGHT :

Ocean waves crash against high cliffs at the southern end of TAZMILY VILLAGE. At the top, on a grass-covered slope, sits a small FARMHOUSE from which the glow of a fire emanates. This is the home of a young couple. A sheep pen composed of only guardrails and a roof comes into view as the camera pans around the eastern side of the house. The animals within make little noise, but this relative silence is interrupted by screams from inside.

CUT TO:

INT : TAZMILY VILLAGE : FARMHOUSE : LATE NIGHT :

The screams continue as a woman sits up in bed, face drenched with sweat. A tight focus is kept on her.

This is HINAWA:  young wife and very soon-to-be mother. She is heavily pregnant. Her light brown hair hangs past her shoulders, and she currently wears a handmade nightgown, the bottom end of which is stained.

Panning out, the rest of the room is revealed. It is furnished with wood, each item expertly-crafted. The bed that HINAWA rests on has a mattress filled with grasses and feathers.

From off-screen, the fire casts its light on her as she sits with legs apart. She is overcome with the pains of labor.

The door on the left wall opens and a man enters.

This is FLINT:  the husband of HINAWA. He is tall, with lean but rugged features. His clothes and boots are made from varying qualities of leather, except for the cotton shirt he wears and his brown cattleman hat. He looks to be in his late twenties or early thirties.

FLINT removes his hat upon entering, revealing a wide spot on the top of his head where the hair has begun to thin. A second woman enters behind him, her arms filled with handmade towels and blankets.

This is TESSI:  the local nurse and midwife. Her appearance is not unlike that of HINAWA--thin and fair-skinned--but her hair is darker and the dress she wears is a much brighter color, suggesting it was only recently made.

Pulling up a chair to the bed, TESSI sits and spreads towels around HINAWA.

TESSI
(to FLINT)
Clean water. Warm it up as quickly as
you can, but not boiling.

FLINT moves into the main room where a large square table sits against the left wall and across from it a wood stove, mirror and storage shelves. Beside the table is the front door, which FLINT opens. He is brought to an abrupt halt when he sees the two men standing behind it.

The first is WESS:  an older man in his late forties. His brown hair has grayed considerably and begun to recede. He is short in stature, with a constant scowl on his face. His clothes are dull and dirty.

Behind him is DUSTER:  the son of WESS, much taller and thinner than his father. His facial features are vastly different--long and a bit timeworn, though he is not yet twenty years old. His hair bears the color that WESS has lost, a soft and sandy brown.

WESS
(smiling)
Hello there, Flint. Followed you back from
the Inn when we heard the news. Betsy asked
that we come and help.
(frowning)
Where you off to at a time like this?

FLINT
(exiting)
Water.

WESS
Well I hope you'll let us help, if we can!

WESS and DUSTER enter the FARMHOUSE. A young girl sneaks out from between their legs and darts over to the bedroom door.

This is KUMATORA:  a princess from the castle north of TAZMILY, and a family friend to WESS and DUSTER. Despite her title, she wears clothes that have become dirty and tattered, and often goes without shoes. Her short, dark hair is an uneven mass atop her head, colored bright pink at the tips. She is about six years old.

WESS snatches KUMATORA away from the door and sits at the dining table across from DUSTER.

KUMATORA
(frustrated, struggling)
Let me go, Old Man! I want to see the baby.

WESS
It's not here yet. Now keep still. We've only
come to help Mr. Flint.

KUMATORA
Well when's everybody else going to get here?
I want someone to play with.

KUMATORA breaks free from WESS and flees to DUSTER. The screams from HINAWA can be heard off-screen.

KUMATORA
Who's that? What's that lady screaming for?

WESS
That's Hinawa. Keep quiet.

KUMATORA
Well why's she got to scream like that?
Shouldn't we go and help her?

There is no response, so KUMATORA climbs into the chair beside DUSTER, who is idly fingering a ceramic bowl. WESS smacks his hand.

WESS
Don't touch people's clean dishes with
your grubby hands. You moron.

KUMATORA
Yeah, you moron.

WESS
Here now, don't be using such language.

A knock at the door. WESS gets up to answer it.

CUT:

Sitting forward on the mattress, HINAWA cries out again. She is holding hands with TESSI, who wipes her forehead.

TESSI
It's all right. Just keep at it.

HINAWA
(exhausted)
Flint?

TESSI
He'll be here soon.

CUT:

The front door opens and there stands FLINT with a bucket of water. He hesitates on the threshold as the camera pans around the room, now full of people.

WESS, DUSTER, and KUMATORA are still at the table, and on the remaining chairs and firewood crate sit several men and women. Among them are THOMAS, the dark-haired shop owner, and his wife LISA, a slender blonde; LIGHTER, a carpenter and childhood friend of FLINT; a burly woodsman with a recognizable plaid shirt, ISAAC; and a stout woman in her thirties named JILL, whose hair has already begun to gray.

LIGHTER stands and pats FLINT on the shoulder. JILL shoves past him to begin conversation, which is interrupted by more sounds from the other room.

LIGHTER
I came to be of help, any way I can.
If there's something that you need-

FLINT
(passing off the bucket)
Here.

He exits.

CUT:

FLINT enters the bedroom. An older man is sitting at the head of the bed.

This is ALEC:  the father of HINAWA. He is a middle-aged man with a beard that has begun to grow in. His clothes are caked in dirt, glasses smudged. An equally dingy hat complements the attire.

A silent gesture is passed between them as FLINT kneels on the opposite side of the bed. HINAWA looks at him. She is breathing rapidly.

TESSI
It won't be long now. Did you get the water?

FLINT
It's taken care of.

Another scream from HINAWA as she sits forward. FLINT takes her by the hand.
TESSI
Come on, Hinawa! Push hard!

HINAWA falls back again and ALEC wipes her face with towel.

TESSI (CONT.)
That's all right. I see the head clearly
now. One more good push should do it.
When you're ready.

The camera cuts in close to HINAWA's hand squeezing FLINT. Her screams are heard again, agonizing and exhausted; and then, the cries of a baby.

Focus returns to TESSI, who cradles the newborn in her arms and wraps it in blankets. FLINT stands to receive it.

TESSI
(smiling, close to tears)
A boy. We need the water to clean him off.

ALEC embraces HINAWA and FLINT exits.

CUT:

In the main room, all guests surround FLINT when he enters. KUMATORA is seen worming her way between the adults. FLINT pushes through the crowd and takes the bucket of water from over the fire.

JILL
Oh Flint! I heard the baby. Is it all right?

LISA
Is Hinawa doing well? Do you need anything?

FLINT
Water.

He exits, shutting the bedroom door. KUMATORA squirms past JILL and LISA, only to be grabbed by WESS.

CUT:

FLINT sets the water beside TESSI and returns to his wife. He takes her hand, kneeling, and kisses her head.

FLINT
(smiling)
Our son-

HINAWA
(breathing heavily, exhausted)
Claus. That's what we'll call him.

ALEC
Claus? I can't think of anyone I've known
with that name.

HINAWA
I like it.

The newborn, CLAUS, cries as he is bathed. TESSI wraps him in a new blanket and passes him on to FLINT. They stand together in silence before HINAWA leans forward again, a hand over her stomach.

HINAWA
(frightened, in pain)
Another one! There's another one!

TESSI
(sitting before HINAWA)
It's all right, dear. Push when you feel it!

FLINT stares at his wife. The baby in his arms is silent, even as HINAWA screams. ALEC keeps hold of her right hand.

A few rounds of pushing and HINAWA falls back. ALEC wipes her face.

TESSI
Something's wrong.

ALEC
What's that?

TESSI
(panicked, stammering)
It could be turned around the wrong way!
I can't see its head.

HINAWA rocks forward, both hands on her knees, as though she is using the full force of her body to move the baby. The rest of the room falls into silence.

TESSI
There. There, I see it! Again, Hinawa!
Just once more!

After pushing, HINAWA collapses. Focus turns to TESSI, who holds the second newborn--a male and considerably smaller than his brother. The umbilical cord is wrapped around his throat.

TESSI
I don't think he's breathing.

HINAWA
(exhaling)
What!

FLINT hands off his first son to ALEC and snatches the smaller twin. He unwinds the cord. TESSI cuts it and FLINT moves into the center of the shot with the lifeless baby in his arms.

The newborn CLAUS begins to fuss. His whimpering turns to a full-blown tantrum. Off-screen, the fire is flickering wildly. It blazes within the hearth. Then, the second baby begins to stir.

CUT TO:

INT : SUNSHINE VALLEY : AEOLIA'S HOME : LATE NIGHT :

Soft music plays in a room awash with colors and lights. The scene is kept out of focus so that all of the images blend together. Movement can be seen, but objects are indistinct.

VOICE #1
(elated)
Did you feel that?

The camera cuts over to one corner where a tall, thin individual wearing a green dress leans toward a mirror on a purple vanity. The head and face of the character are cut out of the shot.

VOICE #2
I did indeed. Something wonderful is
going to happen!

VOICE #1
Perhaps something terrible. For the good
of love or the tragedy of the world,
change is on its way.

The figure in green uncaps a tube of lipstick.

VOICE #2
One never knows. I'd like to think the best.
(giggling)
Call me a hopeless romantic.

The figure finishes and then steps out of the shot.

CUT TO:

INT : TAZMILY VILLAGE : FARMHOUSE : LATE NIGHT :

Bathed by the firelight, FLINT smiles at his second son, whose newfound voice wails like a siren. The baby is wrapped in a blanket and taken to HINAWA.

ALEC
There we are. Just listen to that! He's
perfectly healthy. I knew he would be.

HINAWA
Twins. Who would have thought?

ALEC gives up baby CLAUS to HINAWA. Both children are at peace in their mother's arms.

In the background, TESSI removes the soiled blankets. She exits and FLINT kneels beside the bed.

HINAWA
What are we going to call this one?
Our little one who almost wasn't.

FLINT
Lucas, perhaps? Or did you have another
name in mind?

HINAWA
Lucas. Your grandfather's name, right?
I like that.

TESSI reenters.

TESSI
Are you accepting any visitors?

A beat of silence, and then the bedroom door opens. KUMATORA is the first in. She races to the bed as the adults follow. DUSTER takes her up onto his shoulders.

LISA
Oh my goodness, twins!

JILL
I thought so. She looked far too big to
be carrying only one child.

Subdued laughter fills the room.

LIGHTER and WESS stand apart in one corner, watching. Through the crowd, FLINT gives them a smile and nod.

The voices of everyone present meld together as the scene ends. Focus is moved briefly to the hearth and a warm glow envelops the screen.

FADE TO:

EXT : MT. ORIANDER : ALEC'S HOME : LATE MORNING :

(Nine years have passed)

Above the cliffs, the sun comes into view against a cloudless sky. A quick shift in focus to ground level shows an uneven landscape where the vegetation is sparse and the grass exists in patches. At the northern tip of the plateau, the soil has been tilled and a garden thrives. It is enclosed by a fence, positioned just to the right of a log cabin. This is the home of ALEC.

From the east, a young boy with fiery red hair races toward the house.

This is CLAUS:  the first-born twin, now nine years old. He is thin, but strongly-built and full of energy. The shirt and shorts he wears are handmade, brightly colored like his hair, which is turned up at the front in a wide swirling cowlick.

CLAUS passes the garden and enters the house.

CUT TO:

INT : MT. ORIANDER : ALEC'S HOME : LATE MORNING :

The interior of the cabin consists of a single room, with stairs and a bed against the right wall. The rest of the space is devoted to the dining table, storage shelves and crates, and an overlarge wood-burning stove with cooking surface.

HINAWA is at the stove, clothed in a red dress. She has not aged much. Her long hair is kept up in a bun. CLAUS passes her and ascends the stairs.

CUT:

The second floor contains a smaller wood stove, beside which is a table with wash basin. There are two large beds against the far wall. In one of them, buried beneath wool blankets, is the other twin.

This is LUCAS:  the youngest. His precarious situation at birth has left no mark on him. He is healthy, but less daring and far more timid. Both boys are strikingly similar in appearance, apart from their hair and the colors of their eyes.

CLAUS leaps onto the bed.

CLAUS
Wake up, already! Come on! You have to
come see this.

A faint response from LUCAS. CLAUS sets him upright and pulls off his clothes. They are replaced with daytime attire similar in style to what CLAUS wears, thus enhancing their appeal as twins. Once LUCAS is dressed, they exit.

CUT:

Both boys race down the stairs with LUCAS stumbling behind.

HINAWA
Food's almost up-

They exit.

HINAWA
(shouting)
Don't be gone long!

CUT TO:

EXT : MT. ORIANDER : DRAGO PLATEAU : LATE MORNING :

To the east the cliffs rise over flat earth, populated by dry, twisted tree trunks and boulders. There is a natural walkway enclosed by these cliffs that extends out from ALEC's property and into DRAGO PLATEAU.

CLAUS races into the open with LUCAS, who stops to rub his eyes. The camera swings around them to take in the rest of the area. Giant creatures, similar to dinosaurs, inhabit this region.

These are the DRAGOS, built like tanks with teeth, claws and thick skin. They have a fearsome appearance, but a friendly disposition.

CLAUS guides LUCAS along the western cliffs to a nesting site where a mated pair of DRAGOS sits among shards of egg. They do not react when the twins approach.

CLAUS kneels beside the nest--a deep crater with rounded edges--and points to a newly-hatched young DRAGO resting between its parents.

CLAUS
They had their baby, Lucas. Look!

The creature stirs. It is nudged out into the open by one of its parents and chatters. There is little shape to the body of the young DRAGO. Its snout and claws have yet to grow out, but it stands nearly as tall as the boys.

CLAUS
It's cute, isn't it?

LUCAS
Can we touch him?

LUCAS reaches for the DRAGO, shaking. It cries and hops back to the nearest parent, leaving LUCAS to fall in the dirt.

CLAUS
(laughing)
What're you scared of? It's just a baby.

LUCAS pouts as his brother wrestles with one of the adults.

LUCAS
(starting to cry)
I'm not scared.

The DRAGO rests low to the ground. CLAUS rams it and it falls with a great cry, feigning injury.

LUCAS
(wiping eyes)
I said I'm not scared!

CLAUS
Okay, then. Your turn.

LUCAS stands and charges the DRAGO. It fakes death upon hitting the ground, after which CLAUS climbs onto its back.

CLAUS
You are defeated!

The DRAGO roars, and both children scream. LUCAS stands with hands over his ears while CLAUS laughs.

ALEC enters from the left. His beard has grown out in full across his face and he appears to have aged gracefully in nine years' time.

ALEC
(loudly)
Boys! Your mother says lunch is on.

CLAUS
All right! I'm starving!

CLAUS exits and ALEC takes LUCAS by the shoulder. The younger twin is crying.

ALEC
What's all this about now? What do you have
to cry about on a beautiful day like this?

LUCAS
Claus teased me.

ALEC
Teased you? Is that all?

They begin walking toward ALEC'S HOME.

ALEC (CONT.)
Brothers will do that sometimes. You have
to toughen up, forgive them, and go on
with your life.

CUT TO:

INT : MT. ORIANDER : ALEC'S HOME : AFTERNOON :

The family sits around the table with plates full of homemade food. CLAUS eats hastily.

HINAWA
Slow down, Claus. You'll choke yourself.

CLAUS
Can we go back out and play after this?

HINAWA
For a bit, I suppose. We're heading home today.
(pause, to LUCAS)
Are you all right, dear?

LUCAS
What? Yes, sorry.

CLAUS
He got scared of the Dragos' baby.

LUCAS
Nuh-uh! No I wasn't scared!

HINAWA
Enough, boys. Finish up now. I'll be sending
a message out to your father shortly.

CLAUS bolts from his seat with LUCAS close behind. They exit and HINAWA walks to a smaller table where a cage holds two carrier pigeons. They coo when she removes one, rolling up a strip of parchment and attaching it to the leg of the bird.

HINAWA releases the pigeon from the doorway, and then a rolling thunder cuts in. It rattles the porch frame. HINAWA holds tight to the door as a shadow passes over them--the product of a bulky silver aircraft. It is gone from sight within seconds, disappearing behind the eastern cliffs. She stares after it.

CUT TO:

EXT : MT. ORIANDER : GRAZING VALLEY : AFTERNOON :

From a distance, HINAWA and ALEC walk swiftly across a lush patch of land on MT. ORIANDER. Livestock are scattered about, visibly bothered. Partway down the slope, HINAWA stops and screams. The camera pans away from her to a spot in the field where the grass is soaked with blood. Pig carcasses lay freshly-slaughtered, throats slashed. The skin on their faces has been pulled away, leaving only white skulls behind.

The sound of flies buzzing grows in intensity.

CUT TO:

EXT : MT. ORIANDER : DRAGO PLATEAU : LATE AFTERNOON :

The sky has clouded over and darkened the landscape. CLAUS and LUCAS roughhouse in the dirt. When they come too close to the edge, LUCAS pulls away.

LUCAS
Don't, Claus! You almost made us fall!

CLAUS
No I didn't. You're just scared. There's
nothin' scary about it, look.

CLAUS rolls onto his stomach and looks over as the camera cuts to a view straight down the cliff. There are other narrower edges below, sloping toward pure green forest and a winding river at the bottom.

Focus returns to LUCAS.

LUCAS
(wiping face)
I just don't want to fall off, that's all.

CLAUS
(standing)
I wouldn't let you fall! I'd grab you
before you even got the chance.

LUCAS
But you're not strong enough to lift me up.

CLAUS
(offended)
Says who?

Taking up a small stick, CLAUS swings it like a sword.

LUCAS
What do you suppose that big noise was earlier?

CLAUS
Mom said some pigs died, and that she saw
something weird before that. I dunno.

LUCAS
Maybe it was a Drago?

CLAUS
The Dragos wouldn't kill Grandpa's pigs!
They hunt for other animals in the forest.
And besides, a Drago wouldn't sound like
what this noise was.

A pause as the roar of a DRAGO echoes among the cliffs.

CLAUS
(smiling)
There! That's a real Drago. Come on!

CUT:

High cliffs wrap around the top of the plateau and end abruptly in a drop-off with nothing but greenery several hundred meters below. CLAUS moves toward the edge with LUCAS behind. The top of a round, silver object is visible between the trees.

CLAUS
(pointing)
Hey, what's that?

LUCAS
I don't know. Mom said we have to go home soon.

CLAUS
Scared?

A roar in the distance. The twins look about and point in the direction of a DRAGO herd, which is moving northward across a distant valley. Several of the animals lag behind, injured.

CLAUS
Look at that.

LUCAS
(fearful)
Something's happened to them.

CUT TO:

EXT : MT. ORIANDER : ALEC'S HOME : LATE AFTERNOON :

The roars continue. HINAWA is seen descending the front steps. She begins to call for LUCAS and CLAUS.

CUT TO:

EXT : MT. ORIANDER : DRAGO PLATEAU : LATE AFTERNOON :

The twins walk along the northern wall of the plateau, from which a few small pieces fall. CLAUS stops to play with them.

LUCAS
I think I heard Mom call.
(pause)
We should get going.

CLAUS
Wait-

CLAUS shows the shards of rock in his hand. They are smeared with blood.

CLAUS (CONT.)
It looks like something's got on them.

A shadow descends and both boys are still, then stunned as a DRAGO launches itself from the upper cliffs onto the plateau. Its body has been transformed. Hind legs, tail, left eye and lower jaw have been replaced with mechanical replicas. There are open wounds in its flesh running across its shoulders and face. Strings of saliva fly from its open mouth as it moves.

LUCAS
(frightened)
What's wrong with it?

CLAUS
It looks sick.
(shouting)
Hey, Drago! What's the matter?

LUCAS
No! Claus, stop!

CLAUS
Stop being such a baby, Lucas!

Jaws open, a light appears within the mouth of MECHA DRAGO and fires off toward the cliffs. The impact shatters rock as both children scream. They race to the eastern rim of the plateau and the MECHA DRAGO gives chase.

CLAUS stops at the edge while LUCAS clings to him.

LUCAS
What do we do!

CLAUS
(shoving away)
Be quiet! And stay still. Maybe it's
just forgotten who we are.
(to MECHA DRAGO)
Hey! We're Claus and Lucas! Remember?
It's us! We're your friends!

The creature roars. LUCAS covers his ears.

LUCAS
(crying)
No! Claus, don't-!

CLAUS rushes the MECHA DRAGO but backs off when it lunges for him. He tumbles backward down the sloped rock wall to an outcropping below and there lies motionless.

LUCAS
(screaming)
Claus!

The MECHA DRAGO dives at LUCAS and is struck from the right side. It rears backs, wailing, as blood pours from its face.

HINAWA stands aside. She is holding a thick tree limb. The bottom of her dress is dirty, and her hair has fallen out of its bun.

Off-screen, the MECHA DRAGO is reeling. The sound of its heavy footfalls and screams can be heard.

LUCAS
(dumbstruck)
Momma-!

HINAWA
(shaking, stern)
Go! Get out of here, now!

LUCAS
But Momma!

HINAWA is flung against the rock wall as the MECHA DRAGO swings its tail. She is slow to recover, now covered in streaks of fresh blood. LUCAS starts in her direction.

LUCAS
(wailing)
Momma!

HINAWA
(winded, crippled)
Get your brother and go! Run!
Don't look back, whatever you do!

The MECHA DRAGO charges HINAWA just as the camera cuts in close to LUCAS. In a fit of tears, he eases down the slope to where CLAUS lies, kneels beside him, and shakes his body.

LUCAS
(stammering)
Claus? Claus, get up! Hurry!

CLAUS lifts his head. His face is smattered with dirt and blood.

CLAUS
(disoriented)
Where's Mom? I thought I heard her-

A scream from the plateau draws their attention. HINAWA falls just as the MECHA DRAGO dives for her.

LUCAS
(wailing)
Mother!!

CUT OUT.
END ACT ONE.

EARTHBOUND, ACT ONE


EXT : ONETT HILL, EAGLELAND : MORNING : 198X :

A swath of green envelopes the area and slowly becomes more defined as the camera changes focus. There is a leaf at the center of the screen, a crystal-clear bead of dew rolling off toward the very tip where it hangs for several seconds and catches the distorted reflection of the grass and sky behind it--a near-microscopic parody of the Earth itself.

The dew drops off and the camera pans away from the leaves, which are part of a bush, and focuses in on a small boy, sitting atop a hill, with a red and blue baseball cap.

This is NESS:   about five-years-old, his unruly jet-black hair is held in place by the oversized hat. All of his clothes, in fact, are too large for his almost frail-looking body. They are bright and colorful, unlike his dark and distant eyes that remain fixed on the town a few miles off. A dirty wooden baseball bat rests in the grass near his outstretched legs, his name colored on the surface with crayon.

NESS remains silent and still as a wide shadow is cast over him. He glances up, and there is a look of recognition about him, though his expression does not change.

The camera pans up and around to focus in on the face of an older, larger boy standing over NESS.

This is PORKY MINCH:   big and brutish, he appears to be the complete opposite of the first character in every way. The soft blonde hair on his head is brushed down neatly and starting to grow over his eyes. It perfectly accentuates his round face and body, unlike his clothes, which he has already grown out of. The fly of his blue shorts is unbuttoned and his chubby belly has spilled over the waistline, peeking out from under his stained white shirt. Though he looks closer to ten, he is barely eight-years-old.

PORKY
(smiling, a mocking tone to his voice)
Hey there, neighbor. Whatcha doin'?

NESS says nothing. He looks away from PORKY and down the hill at the town of ONETT.

PORKY (CONT.)
(frustrated)
I said hey there, neighbor! What's the matter, Ness?
Too stupid to talk?

Still, NESS says nothing and his face remains blank. It seems as if he is not participating mentally in the current scene.

PORKY (CONT.)
(smiling, but with a devious expression)
You know, my mom's got some new cooking knives in
the kitchen. I could steal ‘em easy and we could play
doctor. You be the patient, and I'll operate on you--just
for pretend, of course. I promise I won't really cut you.

There is still no word from NESS, though he looks up at PORKY again with his blank and innocent eyes.

PORKY (CONT.)
(after a short pause)
Or, we could fight--like superheroes! But you can only
use your hands. No cheating.

PORKY kicks the baseball bat and it rolls down the hill. Emotion suddenly returns to NESS and he stands up, devastated, but before he can chase after the bat, PORKY grabs his collar and swings him around.

PORKY (CONT.)
(releasing NESS and readying himself)
I'll say ‘one, two, three' and then we go, okay? One...

NESS regains his balance after stumbling backward, and then looks down the hill again where his baseball bat has fallen.

PORKY seizes the opportunity to rush his neighbor without counting to three. He runs at NESS, who curls inward and closes his eyes. PORKY grabs the front of his striped shirt. There is a bright flash and PORKY is flung several feet up and away by an unseen force. He lands hard on his back.

PORKY
(dazed, and then violently angry)
... Nobody pushes me! Ness, I'll get you!

After a short struggle, PORKY rolls up off the ground and charges toward NESS again with the full force and weight of his body. Before he even reaches the boy, there is another bright flash and he is flung back once more.

The camera focuses in on PORKY, who realizes that NESS has pushed him without using his hands. He stands up again, but has lost all will to fight.

PORKY
(frightened and hiding this with anger)
Freak! You're a freak! No wonder nobody wants to
play with you! There's something wrong--you're not
normal!
(pause, catching his breath)
You'll never have any friends. No one will ever talk
to you now that they know you're a freak!

Thunder rolls in the darkening sky above as PORKY exits the scene.

NESS uncoils his arms from around his tiny body and watches PORKY running scared. Then, he slides down the grassy hill, the rain at his back, as a woman's voice calls his name from somewhere off-screen.

FADE TO:

INT: ONETT HILL : NESS'S HOME : AFTERNOON : 199X :

The camera focuses in on a bright ray of sunlight streaming in through a window. It falls on a shaggy white dog resting on the floor beside a couch, upon which a boy is sleeping.

This is NESS:   eight years have passed, and he has grown a bit taller. Now thirteen, he has taken his first step into puberty. His bright clothes--a striped t-shirt and pair of frayed denim shorts--appear to fit him better here, as does his red and blue cap. There is still an ethereal but innocent look about him.

A knocking sound is heard off-screen. It wakes NESS and he slides off the couch with the dog watching.

The dog is KING:   a sheepdog-mix with dirty white fur. His tired eyes suggest age and wisdom, as well as a fair amount of apathy about much of the world around him. He communicates with NESS through a disembodied voice, suggesting a telepathic bond between them.

KING
That smell again... it's the large one, Ness, and his
littermate. I would bark if I thought it would drive them
away. You'll just have to let them in.

NESS does not respond to KING. He opens the door to reveal two blonde boys, one fat and tall, the other thin and a bit shorter.

The tall, fat boy is PORKY MINCH:   now well into his teens, he has retained his ponderous shape and it is obvious that height has done nothing to hide this. His thick blonde hair has grown completely over his eyes, though it is well taken care of. Only his clothes--a white shirt tucked into a bright blue pair of overalls--are dirty. There is still something troublesome about this young man.

The thin blonde boy is PICKY MINCH:   the younger brother of PORKY. Despite the difference in height and weight, the siblings look like twins. He is the same age as NESS. Although he has reached puberty, his voice and demeanor are still soft and childish, and show no signs of changing soon. He is the thinnest of the three boys. His dark shirt and baggy jeans hang on him like a blanket on a wire, hiding many of the bruises given to him by his brother.

PORKY
(faking politeness)
Hey there, bestest friend.
(pause, sniffing the air)
Is lunch ready?

PORKY shoves past NESS to get inside. PICKY is much more reserved and remains on the doorstep until NESS gestures him inside with an exasperated expression.

PICKY
He hasn't had his third lunch yet. Is it okay?

NESS nods but says nothing in response.

The camera pans away from NESS and PICKY to capture the rest of the residence. It is a small but comfortable home, furnished lightly and decked out in scratched wooden floors. The wallpaper is bright and cheerful, as is the woman working diligently in the kitchen.

This is NESS'S MOTHER:   a caring and loving person who is closing in on the middle-aged era of her life. Her hair is still a youthful, shining blonde, unlike that of her son, and she wears an equally radiant pink dress to match her upbeat personality.

NESS'S MOTHER is heard speaking to PORKY off-screen as NESS and PICKY join them in the kitchen. PORKY is eating when they arrive.

PORKY
(speaking with a mouthful of food)
Thank you for lunch, ma'am. What a beautiful dress you
have on. And is that wallpaper new? It so perfectly
matches your lovely blue eyes.

NESS
(seating himself beside his neighbor)
Calm down, P. You've already gotten the food.

NESS'S MOTHER smiles and sets down plates for NESS and PICKY, but makes no response to the empty compliments being thrown at her. Her facial expression speaks volumes.

PORKY (CONT.)
Ness, don't you think we have the most wonderful mothers
in the whole world? So lovely and charming, and such
talented cooks.

PORKY waits for NESS'S MOTHER to walk out of the kitchen before he starts to gag on the food he has been holding in his overstuffed cheeks. It is obvious he dislikes the taste, but is overreacting about just how much.

PORKY
(spitting the half-eaten mush onto his plate)
Sick! What the hell is that? Tastes like carrots and
dog crap.

NESS
No one's making you eat it. No one's making you
stay, either.

PICKY eats with a mix of gratitude and apprehension. The camera focuses in on him for a moment as he glances back and forth between his brother and NESS from across the table, but he chooses to stay out of the brewing argument.

PORKY
Ness, we're best friends, right? We've had good times
and bad. You'd tell me if you had any goodies in the
cupboard, wouldn't you old pal, best friend?

NESS shies away from PORKY as the larger boy attempts to drape an arm over his shoulders.

Undaunted, PORKY slips off his chair to raid the cupboards, though he races back to his seat the moment he hears NESS'S MOTHER reenter the kitchen. She smiles at the boys, and they all smile back, though NESS appears bothered.

NESS'S MOTHER
You boys haven't seen Tracy today, have you?

NESS
Must still be upstairs. She was busy this morning.

NESS'S MOTHER
I'll have a look. You boys are free to go when you
finish, just don't leave the dishes lying around for
someone else to do.

NESS'S MOTHER exits.

PORKY chuckles under his breath and watches her leave.

PORKY
(leaning in close, whispering)
Did your mom finally decide to go out and get that job?

NESS
(refusing to look at PORKY)
What're you talking about?

PORKY
(grinning)
C'mon, Ness. We're best pals. I know your family's
poor. Your dad's been beggin' money from my dad
since we were little. And I'm pretty sure I saw your
mom standin' on the corner in town.

NESS drops his eating utensils and they clatter loudly on the plate. The noise stuns both PORKY and PICKY.

PORKY (CONT.)
Just thought you should know.

PICKY
(glancing up nervously)
Porky, don't make jokes like that. You know Mum
doesn't like it.

NESS
(standing up, angry)
Take it back.

PORKY
Why? What if it's true? Then what, Ness?

NESS
(shouting)
It's not true! Take it back!

NESS shoves PORKY off his chair. The force and weight of the two boys is enough to snap one of the wooden legs.

PORKY sits on the floor for a moment, stunned, before picking himself back up. PICKY flinches and shrinks in his seat.

NESS
Get out.
(pause)
Go!

PORKY
(blushing, angry)
Fine! I didn't want to eat your stupid crap lunch
or play with a freak like you, anyway! You're a
loser, Ness! A stupid, freaky loser from a freaky
loser family! See if my parents help yours out
anymore.

PORKY exits in a shame-filled rage.

PICKY slips out of his chair and approaches NESS with caution.

PICKY
I'm sorry. He doesn't mean what he says. He likes
to fight sometimes. Mum says he's just being a
teenager. Dad says it's gas.
(pause)
We're still friends, right?

NESS does not respond.

PICKY
See you later, Ness. And sorry, again.

PICKY exits.

NESS'S MOTHER enters. She looks stunned at the sight of the broken chair and her angry son.

NESS'S MOTHER
Sweetheart?

NESS
They left.
(pause)
It's nothing, Mom. Don't worry.

NESS'S MOTHER approaches NESS and places a hand on his shoulder as he picks up the broken chair.

NESS'S MOTHER
(in a quiet, soothing voice)
You're a good boy, Ness. Don't worry about that
now. Just go out and play.

NESS exits.

CUT TO:

EXT : ONETT HILL : NESS'S HOUSE : NIGHT :

A view outside the home of NESS. It is a quiet summer night, save for the chirping and whirring of insects. The camera lingers on the humble two-story house for only a moment before the view changes again.

CUT TO:

INT : ONETT HILL : NESS'S HOUSE : NESS'S BEDROOM : NIGHT :

The warm glow of a lamp bathes the far corner of the bedroom in a golden light. NESS drops his baseball cap over the top of the shade and props his bat against the nightstand. He is wearing striped pajamas and a distant expression, but a sudden knock at the door snaps him out of his reverie.

A petite blonde girl enters the room.

This is TRACY:   the younger sister of NESS. She is just a child, but precocious. Her intelligence makes it easy for her to get along with adults as well as children her own age. Wearing her soft pink pajamas, she appears to be a nearly identical copy of her mother, and bears a similar, cheerful personality.

TRACY
(speaking softly)
Hey there, bro. Feeling better?
(pause)
What's wrong?

NESS remains silent. The small smile on his face fades in an instant.

TRACY (CONT.)
Ness? Did I interrupt you?

NESS
No. Sorry, I'm fine. I just feel a bit off tonight, that's
all. I have a headache, and-...
(pause)
Did you need something?

TRACY tiptoes across the room and over to the bed happily, throwing her arms around her brother.

TRACY
I've been on the phone almost all day and it's finally
paid off! I spoke to the district manager of Escargo
Express and she agreed to hire me! I can start working
the phones in Customer Service tomorrow!

NESS
(stunned, but pleased)
Tracy, really? That's great! I never understood why you
wanted a job so badly, being a kid and all.

TRACY
(cutting in)
I'm not just a kid, Ness. I think this will be good for me.
Maybe you should work on getting a summer job, too.
At least you're old enough.

Before NESS can respond, his mother peeks into the room from behind the door left ajar.

NESS'S MOTHER
Time for bed, guys. Especially you, Miss Tracy. That
fancy new job of yours isn't going to sound so exciting
at 7 a.m.

TRACY
(smiling)
Yes, Mom. In a minute.

NESS
Is Dad coming home tonight, Mom?

There is a period of awkward and somber silence as NESS'S MOTHER stares at NESS from the doorway.

NESS'S MOTHER
You know he isn't, sweetheart. Work has got him tied
to the wall, and we need the money.
(pause)
You'll just have to be the man of the house a bit longer.
This dry spell won't last. He'll be home soon. Until then,
I think he'd appreciate a phone call once in a while. Why
don't you do that in the morning?

NESS and TRACY nod in unison and their mother points a stern finger at them.

NESS'S MOTHER
Bedtime.

NESS'S MOTHER exits.

TRACY waits until she is out of earshot before speaking again.

TRACY
(in a hushed voice)
Mom told me you and Porky got into a fight.

NESS
(embarrassed and hesitant)
He's just a jerk, that's all.

TRACY
But you two have been friends for years, ever since we
moved here. And yeah you fight a lot. Porky's always
been a brat, but you guys never stay mad long. I'm sure
you'll be outside playing tomorrow, just like you are
every day.

When NESS provides no response, TRACY embraces him gently and walks back toward the door.

TRACY
Don't worry too much. It isn't worth it.
Goodnight, Ness.

TRACY exits.

NESS ponders her words for a moment, shuts off the lamp on his nightstand, and crawls into bed with a heavy heart.

The camera closes in on his somber face. It zooms straight up into his left eye as he rolls onto his back and continues toward a single bright spot on the lens.

FADE TO:

EXT : EARTH :

The bright spot turns a deep blue as it morphs into a view of the Earth against the endless black backdrop space. There is an almost surreal quality about the scene, as if it is not truly happening.

The camera cuts to a closer shot of one quadrant of the planet, showing an indistinguishable landmass that is EAGLELAND. From the right side of the screen, a reddish-orange glow appears and races toward Earth.

It is a meteor. Though not very impressive in size, it survives the harsh and fiery ride through the atmosphere on is way toward the surface.

CUT TO:

EXT : ONETT HILL SUMMIT : NIGHT :

The camera pans upward to a bright red speck in the sky. It grows larger and brighter with each second, until it collides with the Earth.

Dirt, grass, and other debris are thrown violently into the air once the flaming rock hits. This scene continues for only a moment as the dust begins to settle.

CUT TO:

INT : NESS'S HOUSE : NESS'S BEDROOM : NIGHT :

NESS bolts upright in bed, eyes wide and filled with fear. His heart is pounding and this is obvious from the look on his face. Although he suspects he may have been dreaming, his fearful state is heightened by the sound of police sirens wailing somewhere outside.

NESS climbs out of bed and stumbles across the room in total darkness. A light flips on in the hallway, casting a yellow glow on the floor that floods into his room. He follows this out and finds TRACY in the hall, her eyes half-lidded in the overwhelming light.

TRACY
(disoriented)
Ness? Did you hear it, too? I was hoping that it
was just a dream.

NESS'S MOTHER enters, wrapping the band of her thin white robe around her waist.

NESS'S MOTHER
I thought I might find you both out here. Are you
all right?

TRACY
Fine, Mom. What happened?

NESS'S MOTHER
I don't know. A small quake or something, I expect.
Nothing's broken, nobody's hurt, so I want you both
back in bed.

NESS
(frightened and curious)
Mom-

NESS'S MOTHER
Now, mister. You, too, Tracy. You're not going to
use this as an excuse to stay up late.

Her lecture is interrupted by a frightful pounding coming from downstairs. She jumps suddenly with surprise, and then groans when she realizes the source of the sound.

NESS'S MOTHER
(exasperated)
Oh, for God's sake...

NESS
(racing down the hall)
I'll get it!

NESS'S MOTHER calls after him, but he clears the stairs in seconds and is soon out of range. The camera follows him all the way to the front door, which is flung open to reveal PORKY, still dressed in his daytime attire.

Without a word, NESS closes the door. His movements are intercepted by PORKY.

PORKY
(pushing himself against the door)
Wait! Ness, you've got to help me.

NESS allows PORKY to stumble inside and closes the door after him. The expression on his face is one of pure anger. He is holding his emotions in check.

PORKY
(out of breath)
Picky's gone. We snuck outside to see what
happened.
(pause, taking a few deep breaths)
I looked up, and he was just gone.

NESS
Well then go find him. You're wasting time.

PORKY
(desperate)
No! Please, you've got to help me. I don't-...
(hesitation)
It'll be faster if we look together. Please, Ness?
I swear I'll take back all the things I said about
your mom being-...

NESS'S MOTHER enters with TRACY on her heels. She is genuinely concerned to see PORKY and approaches the two boys.

PORKY
(faking politeness)
Oh, good evening, ma'am. You're looking lovely as
ever. I'm sorry if I disturbed you.

NESS'S MOTHER
Is everything all right, dear? What are you doing out
so late? Your parents must be worried.

There is a brief pause from PORKY, who is formulating his thoughts.

PORKY
I'm sorry. I only came to ask Ness if he would help
me find a toy I lost. I really need it.

NESS'S MOTHER
Well I'm sure it's around here somewhere. Why don't
you boys look for it in the morning?

PORKY
(interjecting sharply)
No! ... it's for Picky. It's his stuffed animal. He can't
get to sleep without it. Please help me, Ness. Please, oh
please help me look? It won't take long if we both go.

NESS looks to his mother, whose heart has begun to melt at the display of emotion. Her eyes are filled with concern. The camera focuses in on her, and then switches to NESS and PORKY briefly before changing scenes.

CUT TO:

EXT : ONETT HILL : NIGHT :

NESS and PORKY are seen trudging up a steep portion of ONETT HILL. Their movements are guided by moonlight and the timeworn dirt path beneath their feet.

PORKY is walking uncomfortably close to NESS. He grabs hold of him to avoid losing his way in the dark.

NESS
(mildly annoyed)
You know I'm only doing this because my mom
felt sorry for you, though I don't know why you
had to lie to her. Or why I didn't say anything.

PORKY
Are you kidding? If your mom finds out Picky is
missing, she'll tell my mom. And if my mom
finds out Picky is missing, she'll tell my dad, and
then they'll blame me. They'll say-
(speaking in a high-pitched, squeal-like voice)
Porky! Why aren't you watching your brother?
You're the older one. You should be responsible.
Blah, blah, blah! Nag, nag, nag! Stop leaving your
dirty poopies all over the bathroom floor!

NESS halts suddenly and looks back at PORKY.

PORKY (CONT.)
(speaking normally)
Underwear.
(pause, begin walking again)
You're such a good friend, Ness. And I mean that.
What other guy would give up his whole night to
sneak out with his best friend and go check out
that big glowing spaceship at the top of the hill!

NESS
(stopping again)
Say what?

PORKY runs off ahead of NESS, puffing and panting all the way up the path. He disappears behind a ridge, continuing on.

NESS follows up shortly.

CUT TO:

EXT : ONETT HILL SUMMIT : NIGHT :

An orange glow dominates much of the landscape on the summit. As the camera pans away, it becomes clear that the light is coming from a crater in the ground--roughly the size of a large car. In the center of the crater is a rock black as the void of space from which it came, its edges and grooves fringed with fire.

A few trees dot the area. Their leaves have caught the glow from the rock, making them appear to be engulfed in flames.

At the base of one tree rests PICKY. He peers out from behind the trunk as, from off-screen, the sound of heavy footfalls draws near.

PICKY
(surprised, but pleased)
Porky! There you are! I've been waitin' for
almost an hour. Where'd you go?

PORKY
(hunched over and panting)
Shut up, Picky! Ness is coming!

PICKY
What did you bring Ness for?

PORKY hesitates a moment to catch his breath, and then glances over at the smoldering meteor.

PORKY
(disappointed and angry)
Aw, lame! What the hell is that? A rock?
I thought there were gonna be spaceships and
burnt-up satellites, or somethin' cool. Who the
hell is gonna pay to see some dumbass rock?

NESS enters. He is pleased to see PICKY, but otherwise looks frustrated and tired. When he notices the meteor, his facial expression drops. A mix of horror and awe envelope his visage. He presses a hand to his left temple, closing his eyes.

To avoid being overheard, PORKY sidles up close to PICKY.

PORKY
(whispering)
We can't let Ness know what we're doing. He'll
ruin everything.

PICKY
(whispering)
But Porky, you're the one who brought him along.

PORKY
(whispering)
He's the cover-up! Incase we get in trouble, we say
it was all his fault.

PICKY
(whispering)
That doesn't sound right. Maybe we should just go.

PORKY
(whispering, a bit louder)
What are you an idiot? This is our chance to be famous!
We were the first ones up here. Therefore, we have
every right to set up shop. We charge people admission
to come see this thing. It's just a rock, but we'll say it's
from Mars or an alien's butthole or somethin' crazy
like that. People will believe it! And they'll pay big
money to come see it!

The camera pans away from PORKY and PICKY to catch NESS falling onto his hands and knees. He looks to be on the verge of tears.

PICKY
Ness! What happened?
(rushing over)
Porky, maybe we should just go home. There's
something not right here. And Mum and Dad
have to know we snuck out by now.

PORKY
(angry and red-faced)
Fine! You two losers go home! But I came all the
way up here and I'm not leavin' until I get what's
mine! I'm not just gonna walk away only to have
some idiot come and take all this!

PICKY
Take what? It's just a rock! And the police are
prob'ly gonna have this area blocked off by
morning anyway. They'll just make you leave.
And then you'll really be in trouble. You know
how Dad is...

PORKY is silenced for a moment, though he retains his anger.

PICKY puts an arm around NESS, who responds with an ear-splitting scream . The sound is heard for only a moment before it is drowned out by a much louder one: a metallic wailing that fills the area.

NESS covers his ears. His eyes are shut tightly and his mouth is open, but his screams are unheard.

A sudden flash more brilliant than daylight accompanies the unearthly sound. It disappears a second later, and the noise melts away into the night air.

PICKY and PORKY appear stunned, but not incapacitated. NESS remains hunched over on the ground several feet from the crater.

PORKY
(dumbfounded, on the edge of fear)
Did you guys hear that?

PICKY
Let's go now. Please! There's something not right
here. Look at Ness!

PORKY
Who gives a damn about Ness! In times like this, it's
every man for himself. Don't expect me to cover for
you if Mom and Dad get upset.
(looking at NESS)
Nothin' personal, pal. But I ain't walkin' you home.
C'mon, Picky.

PICKY
(desperate and afraid)
But we can't just leave him!

There is another sudden burst of light, this time from the other side of the summit. The boys shield their eyes, except for NESS, who is still on his hands and knees in shock. When the light fades, a tall, almost statuesque figure is left in its place.

This is STARMAN #1:   a being not of the Earth. Although it has the ability to speak and shows great intelligence, it appears to be more like a machine than a living creature. It stands several feet above the average adult human, makes use of both teleportation and bipedal movements, and is completely cloaked in a silver "skin" not unlike steel. There is a black visor where its eyes ought to be, and no signs of a soul inside.

PICKY and PORKY recoil at the abrupt appearance of STARMAN #1. NESS glances up from his vulnerable position, though he still is immobile.

STARMAN #1 gazes at all characters present as the camera focuses in on its face, acknowledging them individually. It then directs its attention to NESS.

STARMAN #1
This is the child. The one who will lead the four.

STARMAN #1 raises an arm, the end of which tapers off to a rounded point. A sharp red beam fires from it, whizzing directly past PORKY and PICKY toward NESS.

Still frozen, NESS lowers his head and closes his eyes only seconds before the beam makes contact with an unseen barrier. It bounces off, sending ripples of prismatic light down a domelike shape.

NESS remains still. PICKY and PORKY look on, awestruck.

From within the invisible dome comes a return attack: rapid jets of green that punch holes through the metallic body of STARMAN #1.

STARMAN #1 stumbles backward, injured.

STARMAN #1
Do not assume you have arrived here without my
knowledge. Destroy me now, if you wish, but in
the grand scheme, your efforts mean nothing. This
child and the other three have been marked for
death.

NESS, PORKY, and PICKY do not respond.

Another, thicker jet of light from inside the protective dome bursts forth, driving straight into the heart of STARMAN #1. The metallic being falls. Black globules of an ethereal, viscous blood bubble out of the wounds. Its body begins to disintegrate.

All three children are stunned.

VOICE
You are safe, but only for a time.
(pause)
Ness! You may stand up now.

NESS looks around, hesitates, and then stands. The throbbing pain in his head that had been bothering him only moments ago is no longer an issue.

NESS
(grateful, yet confused)
My headache... it's gone! I feel so much better.
But what-...
(hesitation)
Where are you? Who are you and what are you?

VOICE
Keep still. I am right beside you.

A small insect with clear wings and an iridescent carapace lands on NESS, crawling up his hand to his shoulder.

This is BUZZ-BUZZ:   a powerful being with psychic abilities that has taken on the form of an arthropod. He is wise and dedicated. There is no way of knowing what the shape of his true form actually is.

BUZZ-BUZZ
Please don't be alarmed, Ness. I've come from a
time in the not-too-distant future with the hope of
correcting the destruction that has come to Earth.

There is a pause as the camera pans away from BUZZ-BUZZ and NESS to focus on PORKY and PICKY, who are still shaking off the fright from the encounter with STARMAN #1. They are oblivious to the presence of BUZZ-BUZZ.

PICKY and PORKY move up cautiously to the fallen body of STARMAN #1 to be certain it is dead while BUZZ-BUZZ continues to speak.

BUZZ-BUZZ
That being was a Starman, Ness. It followed me to
this time to seek out you and three other children.

NESS
To kill me--us. Whoever those other kids are.

BUZZ-BUZZ
Yes. Although, unlike myself, it was able to travel
safely in its original form. I, however, am a being
like you: I have an organic body, and in that
body is my soul.

PICKY and PORKY kick and prod the body of STARMAN #1. They receive no response. PORKY is interested in taking a closer look, but PICKY has grown more fearful.

BUZZ-BUZZ
In order to protect myself, I was forced to travel in
as compact a body as I was able, and so I chose the
form of an insect.
(flitting his wings restlessly)
I protected you from this single threat, but I cannot
remain here long. Already my body is growing weak.
The threads of my soul and coming apart, detaching
themselves from the physical realm. So we must be
quick. Come this way.

BUZZ-BUZZ takes off from NESS and alights onto a small rock a few meters away. NESS approaches. PORKY and PICKY take notice, but they say nothing.

A gentle blue light emanates from BUZZ-BUZZ and spreads across the rock like a stream of water, smoothing out all rough edges until it is uniformly even.

BUZZ-BUZZ
Take this. Hold it close to yourself. Press it to your
forehead and allow your mind to wander.

NESS takes the stone as BUZZ-BUZZ crawls back up his arm. He places it against his forehead, gasps as a sudden chill hits him, but does not pull away.

BUZZ-BUZZ
This is a Sonograph Stone, or Sound Stone for short.
What was once a lifeless rock is now imbued with
the ability to record sound, but only that which
reaches your heart. This power of this stone is in
your very soul, Ness.

PORKY and PICKY watch NESS hold the stone to his forehead. They exchange glances, but still say nothing.

NESS
(removing the stone)
But I don't understand. When I hold this rock,
I can feel something inside me.

BUZZ-BUZZ
(interjecting)
Yes. Your heart beats within that very stone just as
it beats within your chest. If fate is kind, soon the
rhythm of the Earth itself will join yours. Believe
me when I tell you, Ness, that you must seek out
the eight sanctuaries of your earthbound soul and
unite with the other three children.

NESS
That's what I don't get.
(hesitation)
Well, I don't get a lot of it, to be honest. None of
this is making any sense.

PICKY
(cutting in meekly)
Ness? What's wrong? Who are you talking to?
(pause)
We should be getting home. We'll be in trouble.

BUZZ-BUZZ
He is right. Before my body withers and my soul is
cast off, let's take shelter. I will explain more to
you then.

NESS looks up from the Sound Stone at PORKY and PICKY.

NESS
Right. Come on then. I'll walk you guys home.

CUT TO:

EXT : ONETT HILL : PORKY AND PICKY'S HOUSE : NIGHT :

The scene outside the MINCH residence is not much more peaceful than the scene atop Onett Hill, but the building itself is elaborate and beautiful with a spacious and well-tended garden. It is more than twice the size of the house NESS lives in, making it quite an awesome sight against the natural green backdrop.

Every light is on, bathing the boys in a harsh glow as they stroll up the path toward the front gate. Shouting can be heard. It is coming from inside the house, though the words are indiscernible.

PORKY
(exhausted, physically and mentally)
Aw, damn. Mom sounds pissed.

PICKY
So does Dad. I told you they would find out we
were gone! Now what're we gonna do?

PORKY
Ness is comin' in with us. We'll tell Mom and Dad
that...
(pause)
That we needed to find Ness. He got lost and his
mom cried and cried for us to help her find him.

PICKY
(speaking sarcastically)
Yeah, great. And how do we explain us sneaking
out of the room then?

The discussion is interrupted by the opening of the front door. A tall, portly woman dressed in a thin nightgown stands in the doorway, casting a wide shadow onto the boys.

This is LARDNA MINCH:   the mother of PORKY and PICKY. She is a heavyset woman with thick blonde hair. Her personality is as erratic as her application of mascara. To look upon her is both bewildering and frightening.

LARDNA shuffles down the walk to the front gate and opens it for her boys. The colorful powders and creams on her face are running off in rivers from all the tears she has shed. Her eyes are bloodshot.

LARDNA
(relieved and angry)
There you are! How dare you go off in the middle
of the night. And without saying a word to either of
us!
(ushering the boys inside)
Climbing out the window? These are the sort of
stunts five-year-olds pull. And here you both are,
young men of the world, sneaking out of your
bedrooms at night like a pair of hooligans!
(shouting to someone off-screen)
Al! Come take a look at your boys, the state
they're in. Clothes all dirty, hair a mess! I do
hope you haven't been wrestling in the dirt
again!

NESS is prepared to leave, but PORKY grabs hold of his hand and drags him inside with the rest of the family.

The door closes and a tall man approaches the group.

This is ALOYSIUS MINCH:   the father of PORKY and PICKY. His appearance and demeanor are sharp, cold, and stand-offish, as are the clothes he wears. He is often dressed in a business suit of a drab color, with golden hair slicked back over his head and mustache neatly trimmed. Behind his crystal-clear glasses are a pair of malicious eyes, and behind them an even more malicious soul.

ALOYSIUS turns to meet the three boys as they are led inside. He takes note of NESS, but keeps his attention, first and foremost, on his sons.

ALOYSIUS
(sternly, almost dangerously)
Out late at night after an earthquake, the police
patrolling in droves, people starting riots in town.
Did it seem like the perfect time for a midnight stroll?

A moment of silence ensues before either of the MINCH siblings can gather enough courage to respond.

PORKY
We were out looking for Ness.

ALOYSIUS strikes his oldest son across the face, leaving a bright red print in place of pale flesh.

ALOYSIUS
(violently angry)
Get the hell upstairs. Both of you. Now!
(turning to NESS)
And get your ass out of my house. I've told my
sons time and again not to associate with the
trash of the neighborhood.

LARDNA takes NESS by the shoulders, guides him toward the door and away from her husband.

BUZZ-BUZZ crawls up to the cap NESS is wearing, but LARDNA spots him immediately.

LARDNA
(frantic and screaming)
Oh my God! Al! Al! Get it out of here!

LARDNA flails and strikes NESS in an attempt to kill BUZZ-BUZZ. The palm of one fat, swollen hand lands on the frail insect body.

Though NESS puts up his arms to shield himself and his passenger, BUZZ-BUZZ is crushed and LARDNA recoils from the sight.

LARDNA
(screaming)
Get out of here! Get out, you dirty thing!

NESS is ushered roughly out the door. He takes off, hopping the gate and turning east on the dirt road toward home.

The camera switches to a more personal shot of NESS as he stops near a swath of trees along the path and removes his hat. BUZZ-BUZZ rests atop it, his body smashed.

NESS
(emotional)
Hello? Hello, are you there?
(pause)
Please... I'm sorry. But you can't be gone
now. What about this rock? This stupid
thing you gave me!

NESS removes the Sound Stone from his pocket and holds it in his unoccupied hand. He concentrates on it for a moment, and it begins to glow a faint blue.

BUZZ-BUZZ
(weak, nearly inaudible)
There. It has begun.

NESS
(frustrated)
What! You haven't told me anything!

BUZZ-BUZZ
But I've told you everything, Ness. You are a boy
with an immeasurable gift.

There is a short pause before dialogue continues.

NESS
You mean a freak. That's what they call me, right?

BUZZ-BUZZ
There is goodness in your heart and a light in your
soul. A great evil is descending upon this world.
Things will begin to change, your merits will be
tested. Every ounce of sanity in you will be torn
to shreds.

NESS
I must be halfway there already.

BUZZ-BUZZ
(stern)
Listen to me now. Keep the stone with you at all
times. It is both your memory and guide. As for
the other children...
(pause)
The bodies need only catch up with the souls.

NESS
What does that mean?
(pause)
Hello?
(pause)
Hello! Please, answer me! I don't know-...
I don't know what to do!
(to himself)
I feel like I'm losing my mind.

NESS waits, but there is no more response from BUZZ-BUZZ. Certain that the creature is dead, he scrapes the insect remains off his cap with a leaf and buries the crushed body in a small hole that is dug out by hand.

NESS covers the grave and stands, head down, for a minute in contemplative silence as the camera pans around him and cuts to different angles of the scene. A final close-up shot of his face shows him wiping tears away just before he dons his cap.

FADE TO:

INT : ONETT HILL : NESS'S HOUSE : NIGHT :

Inside the house, TRACY and NESS'S MOTHER sit with KING in front of the television, which is providing their only source of light along with a floor lamp in the corner. All three are startled by the sound of the front door opening.

NESS enters.

NESS'S MOTHER
(turning)
Ness! Oh, my baby!
(rushing over to her son)
I was starting to worry. What happened. Did
you boys find what you were looking for?

NESS halts and allows his mother and sister to embrace him. KING approaches the group, wagging his tail lazily.

TRACY
I suppose you made it a late night after all, didn't
you? I wouldn't expect anything less from my
big brother.

NESS does not respond.

NESS'S MOTHER
The boys have gone back home, I assume?

NESS
(looking up, exhausted)
I don't want to talk about our neighbors anymore,
Mom. I just want to sleep.

NESS'S MOTHER
Of course. Go on up, then. And you, too, Tracy.

NESS exits with KING on his heels.

CUT TO:

INT : ONETT HILL : NESS'S HOUSE : NIGHT :

The camera is set at the top of the stairs to catch NESS as he ascends. KING is padding along beside him, looking as world-weary as ever.

KING
The world is changing fast. It's enough to make
me never want to set paw outside again.

NESS enters his bedroom as KING follows.

NESS
I hear you, boy. Loud and clear.

NESS flops onto his bed with the Sound Stone still in hand. It continues to glow a faint blue until he sets it aside on his nightstand and falls asleep.



END ACT ONE

**CONTAINS SPOILERS**
___________________________________________________


A Lesson in PSI : PSI Basics and How it Relates to the Mother Fandom

Psychic power is a prevalent force in the Mother/Earthbound series. It is the main constituent in all three games, but it has come to my attention that not much is known about it among the fandom, other than how players can best use it to destroy swarms of crows, hippies, and other-worldly bosses. Psychic phenomenon, or Psi, is a very real concept, and has been used and studied for centuries-- increasingly so since the start of the 20th century. In this essay I will explain the very basics of what Psi is and how it works.

What is Psi?
Psi is a term used to describe and classify different areas of psychic ability. Technically speaking, Psi is the 23rd letter of the Greek alphabet and looks sort of like a three-pronged Y or a trident. The word literally means "breath" or "soul," which makes sense considering that our psychic ability comes from within us. By now, you're probably thinking about the fact that the Mother games included Greek letters with their Psi attacks (ie. PK Rockin alpha, beta, gamma, etc).
The term Psi, in relation to psychics and the study of them, was coined in the 1930's by a man named J.B. Rhine, who had a strong interest in psychic ability and was one of the driving forces behind the development of the lesser-known field of science, parapsychology. His experiments, published works, and contributions to research and education in this field have helped launch it and its subjects into the future.

What's the difference between Psi and PK?
The simple answer is, there is no difference! While these terms are not exactly interchangeable, one does seem to beget the other. Psi is actually a broad category of paranormal science. Some people expand its meaning to include strange, unexplained events such as alien abductions and UFO sightings, but to be more accurate, Psi is just an encompassing term for both PK and ESP.

PK and ESP?
PK is psychokinesis-- literally, "movement with the mind." In the past it has also been referred to as telekinesis, or TK. They are both the same idea: the ability to move things at a distance with the power of your mind alone (think of spoon-bending). Most of the offensive psychic attacks in the Mother games are forms of PK, but greatly exaggerated. It is highly unlikely that any normal person with psychic ability, however talented, could shoot fire or cause earthquakes.
ESP is extrasensory perception, or the ability to "know" or receive information by some means other than the five senses. Indeed we have more than just the five senses we learned about in school (some experts think we have well over twenty!). You are probably familiar with the term "sixth sense," and that is related to our psychic abilities. Ninten gives us a great example of ESP in Mother 1, with his use of telepathy. Telepathy is actually one of the sub-categories of ESP, along with clairvoyance (and the other 'clairs,' which I will explain in a moment), and precognition or foreknowledge-- knowing something before it happens.
Perhaps an easier way to think about ESP and PK is to imagine them in terms of receiving and transmitting messages. People who use ESP are receivers-- they bring information in-- and people who use PK are transmitters-- they send energy out.
As I have already said, the games do exaggerate things a bit, not that this is bad. Their outlandish, fantastical qualities are part of what we enjoy about them. But let me make one thing clear...

PSI AND MAGIC ARE NOT THE SAME THING!!
The difference? Magic is fantasy, parlor tricks, and illusions. Psi is something we can really tap into and experience. Am I saying that there are some people out there who can actually use PK Fire? Of course not. That is all part of the fantasy element of the games, but however outlandish they are, there is some very real knowledge being put to work.

How does Psi work?
Very much like a lot of other matter in our universe. It is all energy and vibrations, and we are subject to them constantly, whether or not we realize it. Have you ever been somewhere and gotten a terrible feeling or a "bad vibe"? Or maybe you were around someone once, who never said anything or acted out in any way, but you could just tell they were in a bad mood. That's your psychic "sixth sense" or intuition at work. But how? The mental vibrations you were receiving. There are many varieties of mental matter and each has its own appropriate vibration. Our bodies are constantly emanating waves of energy, either from metabolic activities or from our own thoughts and mood swings.
Everything comes to us by means of vibrations-- light, color, and sound, for example. Rays of light or waves of sound vibrate and cause us to hear or to see, but we are also able to see and hear with our psychic senses as well (clairvoyance and clairaudience). Some of these rays or waves vibrate at levels much higher or lower than our eyes and ears can detect, such as ultraviolet light and supersonic sound. We may not be able to detect them, but they still exist. We can use machines to help us experience them. There is no need to use a machine to catch the higher, finer vibrations of the astral plane, though! One simply needs to learn how to tune into them properly.
Remember, the First Law of Thermodynamics (which Jeff could probably recite in his sleep): energy cannot be created or destroyed. It can only change form, and everything, including our own thoughts, has energy. 1973 Nobel Prize-winning physicist Brian Josephson stated that some people with psychic abilities may be able to "direct random energy on subatomic levels." He has written articles about parapsychology and telepathy, which were subject to harsh criticism by colleagues, yet he believes that quantum physics may, in the future, be able to tell us more about the workings of Psi.

It is true that some people are born naturally gifted psychics, such as the characters in the Mother games, and they tend to be more skillful with it than others, but we can all learn to develop and utilize Psi. There are many different ways of receiving information psychically. Understanding these methods and identifying which one is your strongest can really be beneficial.

The Four 'Clairs'
Most of you are probably familiar with clairvoyance (literally "clear vision"), which is a way of seeing with more than just your eyes; but there other ways of receiving information, and they are called: clairaudience, claircognizance, and clairsentience. Each of the 'clairs' provides us with information in a certain way, sort of like tuning in to a different television or radio channel.

Clairvoyance: also called "second sight." It can be precognitive (visions of the future) or retrocognitive (visions from the past). Because it is associated with sight, the psychic information received by a clairvoyant comes in the form of images, symbols, omens and oracles. Clairvoyants tend to be drawn to the visual arts, fashion design, and other such like-minded professions.
Fun fact! Many people do not dream in color. Those that do, especially if it is vibrant, lifelike color, may have some natural talent in clairvoyance. What about you?

Clairaudience: psychic hearing, which operates outside our normal range (or what we can usually hear with our ears). People who are clairaudient may be sensitive to loud sounds and avoid places that most people tend to enjoy (ie. rock concerts), or they may hear sounds in their ear that cannot be attributed to any disease process, mental or physical.
It should be noted that hearing voices through clairaudience is not the same as hearing voices as part of a mental disease, such as in schizophrenia. Schizophrenics suffer from delusions and auditory hallucinations that are destructive and malevolent ("the voices are telling me to kill you" and that sort of thing), and will often display very bizarre behavior. Clairaudients receive real, beneficial information, not part of a hallucinatory process.

Claircognizance: also called "clear knowing." It comes to its recipient as a sudden thought or idea, as if they all of a sudden know something. Unlike the previous two 'clairs,' it does not come in the form of a vision, image, or sound. It is as if a thought has suddenly popped into your head, completely unrelated to whatever you may have been thinking about or doing at the time. I have experienced claircognizance several times in my life. It is always very striking, so pay close attention if anything like this happens to come your way.
People who are claircognizant tend to be logical, the type that needs to analyze everything in every situation, and they may be very inventive and hard-working. Although Jeff had no Psi abilities in Earthbound, he fits this description exceptionally well and may have great talent in claircognizance!

Clairsentience: a type of psychic "feeling." You may have heard of people who are empaths and can absorb emotional energies and vibrations, thus taking on the feelings of others. They are incredibly sensitive to suffering and this may manifest itself physically-- in other words, they may start to feel pain in their bodies just from being around people who are suffering emotionally. Many clairsentients can learn about your emotions by holding an object that belongs to you. Lucas is likely very clairsentient, and his segment of the series seems to focus a lot on emotional burdens. There are a lot of recurring scenes in Mother 3 that involve finding and touching objects, and gleaning some sort of information from them, including the seven Needles.
On another note, clairsentients can be highly sensitive to certain waves of light, such as fluorescent lighting, and may become dizzy, tired, or develop headaches from them.

What else is there to know about Psi and psychics?
Well, a lot, really. Much more than I'm going to say here, so if you are interested you can look into it on your own time, but here are a few more things to think about...

Not all psychics receive information in the same way, as you can already tell. Being more proficient in one 'clair' and less in another is just like being good at art, but terrible at math. And, on that same note, being skilled with your psychic abilities is no different than being a good doctor, or a good chef, a good painter, and so on. It is something you can learn, practice, become better at, but certainly does not make you perfect.

But wait! Don't psychics know EVERYTHING?
Absolutely not. If you knew everything, that would make you omniscient (all-knowing), and, therefore, not human. Psychics are just as human as anybody else. They make mistakes, they have good days and bad days, and they're sometimes wrong-- same as you and me. The ability is dependent upon how the person is feeling, whether they are healthy or ill, sleepy or awake, sober or inebriated, and so on. Would you care to have a doctor operate on you if he is running on two hours of sleep, or a good night's rest? The same idea applies here.
When it comes to predicting the future, keep in mind that time is not stagnant. We all have free will, the ability to shape our destinies, and, as we all know, our life changes in the most unique ways. Psychics can "see" or "feel" something happening in the future, but the future is never set in stone, and it is up to you whether to take any advice they offer you.
Keep in mind that everything we experience is processed through our own personal filter. Not everyone views things the same, and that goes for psychics, too.

Another common thought is that psychics ought to use their gift to get ahead-- predict lottery numbers, the outcome of cards in a gambling game, and so on. But to do this is immoral. Using your talent for selfish, personal gain will ultimately result in a loss of the gift. Can Psi be helpful in your life? Most definitely, and developing it will open up so many doors, but be mindful of it and use it to help others, not cheat the system. Think of it this way: would you rather someone with great psychic talent be more like Lucas or Porky? That's what I thought.

Are there fakes out there? Certainly, and they give those with real talent a bad name. They are no different than those online scams looking to get your money and credit card numbers. Most often, a fake will tell you things you want to hear, rather than the things you need to hear.


And now, to relate some of this back to the fandom...

Other Psi-related process seen in Mother
besides the attack sets, of course...

-Connections to the Astral Plane or to Spirits: seen in both Mother 1, where Ninten meets with Maria, later revealed to be already dead; and in Mother 3, where Lucas interacts with the spirit of his deceased mother.

-Astral Projection (Out-of-Body Experience):  a very memorable theme from Mother 2/Earthbound, in which Ness passes out and his spirit enters the realm of Magicant. Also may be related to events at the end, where Dr. Andonuts puts the Chosen Four's souls into the robots.

-Psychometry: based on the idea that our thoughts, actions, and events leave impressions on objects. It can be a way of learning about someone or uncovering past truths simply by holding an object. A relation to this idea is seen with the Egg of Light in Mother 3, which contains memories and helps the characters to remember themselves. This idea may also be related to retrocognition.

-Precognition: receiving knowledge of an event before it happens. The most notable occurrence is in Mother 3, when Wess and Alec are visited by the late Hinawa in a dream, and told to pile up hay at the bottom of a cliff-- a move that later saves Lucas's life.

-Uses of Clairvoyance and Clairaudience:  seen in Mother 3, where Lucas has visions of his mother. At the end of the game, her voice is heard by Claus.

-Aura Reading:  a psychic perception of the emotional energy field surrounding people. There is no clear mention of auras in the games, but the Magypsies in Mother 3 say that they feel very strong Psi from Lucas and Claus, which suggests they may be able to see auras.

-Apportation: teleportation of an object, or the paranormal transference of an object from one place to another. Likely related to the teleport move used in Mother 1 and 2. This idea is sometimes associated with poltergeist activity.

-Biofield Energy Healing:  healing by channeling a form of energy. Unlike other forms of psychic healing, this is more of a hands-off approach. A similar idea is seen in all three games.

-Telepathy and Thought-Transference:  used in Mother 1 by Ninten, and also used in Mother 2 by Paula to contact the other protagonists. Porky also mentions it briefly at the end of the game. Telepathy does not appear to play a major role in Mother 3, though Lucas seems able to read animals' thoughts.


This is not an exhaustive list of all the examples of Psi in the Mother games, nor are they completely accurate representations of the real thing. I just picked out examples that are most easily remembered and relatable, which will hopefully make things clearer for the reader.

Finally, you may be wondering how proficient your Psi is. Children tend to be more adept at sensing different things, but can be treated unfairly or told not to believe in these abilities when they share them with others. The way we think and act affects how open we are to receiving information from sources outside our usual five senses. Below is a short, easy quiz containing yes-or-no questions. Answer them truthfully, never lie or kid yourself about any of the answers because doing so will certainly not make them a reality. If you are unsure about a question, the answer is probably no.

1. Do you see shadowy figures at night?
2. When the phone rings, do you "know" who is on the other end?
3. Do you have dreams that come true?
4. Are you a good judge of character?
5. Do you sometimes get "bad vibes" in crowded places?
6. Do you see auras or color fields around other people?
7. Are you easily affected by the moon or planetary changes?
8. Do you have an exceptionally good sense of direction?
9. Can you tell if someone is lying or being untruthful?
10. Are you good at finding things that are lost or hidden?
11. Do you have a lot of coincidences occurring in your daily life?
12. Have you ever heard voices when no one is in the room with you?

If you answered yes to 7 or more questions, you could have very strong Psi abilities. But that you will have to discover on your own. I encourage you to learn more on the subject if you are truly interested, to check out my sources list below, and perform some of your own research. You have nothing to lose and a whole world of enlightenment to gain.


It is my hope that this essay has both educated you on Psi and encouraged you to look at the Mother series in a whole new light.




===========================================
SOURCES

"Clairvoyance and Occult Powers" by Swami Panchadasi

"The Human Aura, Astral Colors and Thought-Forms" by Swami Panchadasi

"The Astral Plane, Its Scenery, Inhabitants, and Phenomenon" by C. W. Leadbeater

"Clairvoyance" by C.W. Leadbeater

Psychic abilities quiz and other information obtained from:
"Psychic Intelligence" by Terry and Linda Jamison