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MOTHER 3, ACT SIX



FADE IN

EXT : TAZMILY VILLAGE : FARMHOUSE : EVENING :


The setting sun casts an orange glow on the hilltop where ashen residue from the fire sits beside a newly-built pen. Inside are the remaining sheep. LIGHTER and FUEL stand to one side, looking toward the village and FLINT, who is at the northern end of his property, at the spot where the old pen once stood. He calls for LUCAS.

ALEC and WESS emerge from the FARHMHOUSE as the calls intensify. WESS is supported by a cane, his face swollen and bruised.

WESS
(to FLINT)
Just hold on a minute, there.

He is ignored. ALEC picks up his pace to keep in step with WESS.

WESS (CONT.)
(to FLINT)
Give it a rest. You won't find him that way.

FLINT
(angry)
Where is my son, Old Man?

WESS
I would have thought he'd be here by now.
Then again, I must have misjudged the
distance.

FLINT
Where is my son!

ALEC
Flint-

WESS
Up the railway tracks, to the station at
the end of the line.

FLINT
(furious)
You've sent my son into a death trap!

FLINT turns from them and focus shifts down the hill where a gathering of PIGMASKS, now ten-strong, converses. They acknowledge FLINT with angry squeals.

FLINT
(to WESS, somber)
So, you've lost yours and cost me the
last of mine.

WESS
(offended)
I don't believe that for a second!
My son was an ass, but if I didn't
believe he could do all that I've
asked of him-
(pause)
If that's all the faith you have in
your boy, then shame on you.

Head down, FLINT removes his hat and waits out several moments of silence before he begins to call for LUCAS again.

CUT TO:

EXT : TRAIN TRACKS : EVENING :


His voice carries into the next scene, merging with the blaring roar of a train as it rumbles past the cave. Inside, LUCAS awakens, startling BONEY and the caged pigeon. He stands, clothes held up over his groin. The hot spring has disappeared, replaced with smooth rock as if it had never existed.

LUCAS peers out into the light of the setting sun once the train has passed, then pulls on his clothes as he exits.

CUT TO:

EXT : CLAYMAN FACTORY : EAST END TRAIN STATION : EVENING :


Where the tracks end, a broad valley and red clay cliffs stretch onward, past the metal structure that is the EAST END station. Cattle graze the land where a dense evergreen forest has been cut away, dragging their heads along the ground with long and ungainly necks. This part of their body, along with their tails, has been replaced with the bodies of serpents.

The animals closest to the tracks turn toward LUCAS as he approaches the empty station, exposing the haphazard stitching around their throats, faces riddled with open sores.

BONEY
(growling)
There is something wrong with them.

LUCAS
We're not here for that. There's no way
to tell how long we've been asleep, so
we have to keep moving. Everyone must be
wondering where we are.

They continue northward past the station to a yard enclosed by high cement walls. Within is a factory, surrounded by construction vehicles, mounds of earth and steel, and on the walls are propaganda fliers. LUCAS approaches a conglomeration of such posters, most covered in images of PIGMASKS and a bright city. He takes down a poster upon which the words "CLUB TITIBOO" are printed.

SUPERVISOR
'ello there. What's that y'got?

A PIGMASK enters, followed by a CLAYMAN-- an immense beast constructed entirely of gray and red bits of earth. Its mouth and eye sockets sit empty on its long face, and its body is slumped forward like that of an ape. Atop the head of the CLAYMAN is an antenna, firmly implanted.

LUCAS and BONEY back away until they touch the wall.

LUCAS
(frightened)
Is this Club Titiboo?

SUPERVISOR
(laughing, snorting)
Not quite, wee man, but it's just a
little further on, yeah? Y'got yourself
a pass to get in?
(pause)
Lost your voice, have ya? Don't be tellin'
me you ain't seen one of these before.
Y'look like you just got the wind knocked
out of ya.

The SUPERVISOR pats the CLAYMAN beside him and it groans. LUCAS flinches.

SUPERVISOR
Aw, don't mind him none, lad. He'll only take
your head off if I tell 'im.
(laughing)
And what's all this here? A travelin'
circus? Goin' to try your luck in show
business?

LUCAS
I'm just looking for someone.

SUPERVISOR
Oh, aye. Every man that goes to Club
Titiboo has certainly got somethin' in mind.
But what sorta business is there for a
young lad like yourself, eh? And I suppose
y'ain't got a ticket either then?

LUCAS
No, I don't. I didn't know-

SUPERVISOR
Well that's all right, s'all right.
What's your name, lad?

LUCAS
(unnerved)
Lucas.

SUPERVISOR
Lucas, is it? Well Lucas, make yourself
useful then, yeah? Why not help out those
gents down there and we'll see about gettin'
you that ticket.

The SUPERVISOR gestures down the length of the yard toward the open gate at the other end. THOMAS and JONEL, dressed in orange jumpsuits, are working there.

SUPERVISOR (CONT.)
Get on with ya then, there's a lad.
Keep your spirits up-
(salutes)
For the king and Pork Empire!

Their eye contact lingers before LUCAS moves to the other end of the yard.

CUT:

Dressed in dingy orange jumpsuits and with shovels in hand, THOMAS and JONEL load heaps of clay into the bed of a truck. They stop their work when LUCAS enters.

THOMAS
Well hey there! Look who it is.

LUCAS
Mr. Thomas, Mr. Jonel, do you work here?

THOMAS
Of course. Nearly everyone does. You should
know that by now.

LUCAS
I thought you ran the store in town?

THOMAS
That I still do, but lately it seems I
can't keep up anymore. I may pack it in
altogether. They pay you well here, and
even better in the military.

JONEL
The free tickets ain't a bad deal, either.

The men share a laugh as LUCAS looks on. From around the edge of the factory building, a weakened CLAYMAN enters with ISAAC. He prods it with a shovel.

JONEL
(to LUCAS)
Flint doing all right?

LUCAS
Dad's okay. He's got things to do.

JONEL
I know it's hard, even after all these
years, but you should talk to him. We could
get him a job here, help him move on.

THOMAS and JONEL return to their work.

LUCAS
He wouldn't take that too well. All this
change and new things. He hates the Pigs.

JONEL
Ain't done us no harm as far as I can tell.

The CLAYMAN moans as it collapses in a misshapen heap. ISAAC beats on it to no avail.

LUCAS
(to ISAAC)
Wait!

LUCAS takes one arm of the CLAYMAN, urging it gently to walk. With its apelike arms the CLAYMAN drags the lower half of its body across the yard. THOMAS and JONEL stop to watch. ISAAC follows several paces behind BONEY.

ISAAC
Hey kid, I didn't expect I'd ever see
you here. But you're a natural! How'd you
get 'em to move like that?

LUCAS
It's hurt. We need to help it.

All three men laugh.

ISAAC
It isn't alive. Not really, anyway.
Just take it inside to get it recharged.
I'll show you where.

CUT TO:

INT : CLAYMAN FACTORY : RECHARGING STATION : EVENING :


Within corrugated metal walls, the rumble of machinery is twice as loud. Sparks fly off red platforms, above which are mounted electrical rods. The injured CLAYMAN is led to an empty space beside hulking mounds, which are composed of other clay creatures scrapped and fused together.

A man enters and leads the CLAYMAN away while LUCAS watches. ISAAC nudges him to get his attention.

ISAAC
(shouting over noise)
There's more out in the yard. Come on.

They exit.

CUT TO:

EXT : CLAYMAN FACTORY : WORKYARD : NIGHT :


The SUPERVISOR sits beside a vending machine, slouched in a flimsy plastic chair. He grunts while reading his magazine and does not look up until LUCAS and BONEY enter. They are spotted with dirt and clay.

SUPERVISOR
All finished then?
(standing)
Got a bit of mud on ya there, eh?
Ain't nothin' can build a man's
character like rollin' in the mud
with the pigs.

He sets the magazine aside and takes up a clipboard from under his chair.

SUPERVISOR (CONT.)
Y'got talent, lad. Remind me of another
young man I know. You'd be great in the
army, bit o'training, put some meat on
ya. Give it a thought, yeah?

The SUPERVISOR hands LUCAS a small sack of coins and a military flier, which LUCAS folds before walking on.

SUPERVISOR (CONT.)
One more thing-
(gives ticket)
For your trouble. You might consider
workin' here again. One trip to the
Tit and you'll be wantin' more.

He laughs and gives LUCAS a hearty pat. THOMAS and JONEL call from the far end of the yard.

LUCAS
Thanks. Bye.

LUCAS sets off with BONEY but stops near some open lockers. He picks up a few items of stained clothing.

LUCAS
(to BONEY)
I don't like to steal, but I've a
feeling we might need these. We can
just bring them back later, right?

BONEY
Who would want them? They smell awful.

LUCAS and BONEY exit.

CUT TO:

EXT : CLIFFTOP : CLUB TITIBOO : NIGHT :


A small building marked "Ropeway" sits at the eastern edge of a cliff, serving as one end of a cable car track. THOMAS, JONEL and ISAAC step out, followed by LUCAS and BONEY.

The cliff rises up a small paved path to another plateau where music and light are blaring. Near the Ropeway is a viewing area. LUCAS stops here and, beyond him, within now-decimated woodland, sits a red iron tower. At the top of this tower is a golden sphere and a metal projection.

LUCAS
There's more out here than I thought.

He exits.

CUT:

The entrance of CLUB TITIBOO is seen, darkly-colored but brightly-lit. A golden glow fringes the doorway and casts shadows over the property, which is lined with statuary, painted urns spouting fire, and other decorative items.

Two burly bouncers stand at the entrance. They admit THOMAS, JONEL and ISAAC while LUCAS and BONEY watch from behind an oriental stone elephant.

BONEY
Is this where we should be?

LUCAS
Yes, but I'm sure they won't allow a dog.

BONEY
I'm following you, no matter where.

LUCAS
Hold on then. I've an idea.

CUT:

The bouncers stand before the painted red door with arms crossed. LUCAS and BONEY, now dressed in dirty human clothing, approach. BONEY struggles to walk on his hind legs. The cage on his back causes an unsightly bulge in his shirt.

BOUNCER 1
What's this here?

LUCAS
(showing ticket)
My friend and I would like to go to
Club Tit-Boob, please.

BOUNCER 1
Think you're smart, do ya? Young punk
like you makin' a mockery out of a fine
establishment.

BOUNCER 2
And don't you know the rules?
One ticket per guest.

BOUNCER 1
And that there's the ugliest I seen yet.
Is it your girlfriend? I must say, she's
quite a dog.

BOUNCER 1 removes BONEY's cap. BONEY cries and drops to all fours.

BOUNCER 2
Whatever you're tryin' to pull, it ain't
gonna work with us.

CUT TO:

INT : CLUB TITIBOO : LOBBY : NIGHT :


Crimson and gold tiled floor makes the club lobby appear bright and boisterous. It is filled with many 21st-century amenities, posters and propaganda. The female staff, decked out in sequin bikinis, tassels and high-heels, gather near the front desk. One, VIOLET, stands closer to the entrance, fussing with her bright pink hair. The sight of LUCAS out the window catches her attention.

VIOLET
Well there he is. I'll be damned.

CUT TO:

EXT : CLUB TITIBOO : NIGHT :


BONEY stands between LUCAS and the bouncers.

BOUNCER 1
I think you best take your leave, punk,
before it gets ugly.

LUCAS
But I have a pass. I earned it.

BOUNCER 2
Oh, got a pass, eh? Would you like VIP
seating as well, sir?

LUCAS
(unnerved)
A what?

VIOLET emerges from the club, placing a hand on each bouncer. She peers between them at LUCAS.

VIOLET
So, you finally decided to show up?
It's about time. I've been expecting you.

BOUNCER 1
Miss Violet, is he a client of yours?

BOUNCER 2
No, don't tell me. And with a dog, too?

VIOLET
I take 'em as they come, boys.

She eases between them and they stand aside.

BOUNCER 1
Right. If they come at all.

BOUNCER 2
(looking at LUCAS)
Gotta get 'em to stand at attention first, eh?

Both men laugh as VIOLET leads LUCAS inside with BONEY in tow.

CUT TO:

INT : CLUB TITIBOO : LOBBY : NIGHT :


Entering with LUCAS, VIOLET pulls him up close as they weave through the crowd.

VIOLET
(whispering)
Don't change your expression. I'm taking
you to the showroom. You'll have to wait
there until I go on break. Meet me in
the lobby afterward.

LUCAS
What-?

CUT TO:

INT : CLUB TITIBOO : CONCERT HALL : NIGHT :


The showroom is dark, with round tables lit by electric candles. Flanking the stage are ceiling-high speakers and, in front of it, several plush sofas.

VIOLET parts from LUCAS and is absorbed into the crowd, leaving LUCAS to make his way across the floor. He is apprehended by THOMAS.

THOMAS
Finally got here? How do you like it?

LUCAS
(bewildered)
I don't know.

ISAAC
Was that Violet we saw you walkin' with?
You're quite the ladies' man.
(passing drink to LUCAS)
Here kid, have a soda. Bet you ain't tasted
anything like that!

LUCAS guzzles the drink and begins to cough as the fizz bubbles out his nose.

Cheers and whistling emanates from the front of the room. Three women, VIOLET among them, emerge on stage. Each takes up a position on one of the narrow catwalks to dance before the audience. The male guests and attending PIGMASKS gravitate toward them.

LUCAS
(wiping face)
Sorry, gotta go!

He leaves the table for the stage, inciting laughter from THOMAS and friends. BONEY becomes hung up in the crowd.

CUT:

LUCAS ducks between the couches to get at the center catwalk where VIOLET is performing. He leans on the stage and waves at her.

LUCAS
Hey. Hey, Miss Lady! Miss Lady, look here!

He is snatched from behind by a man of inhuman proportions.

This is the PORK TROOPER:  a higher-ranked member of the army, his body and muscle mass have been artificially enhanced, making him abnormally large. He wears standard, custom-fit uniform, gold cuffs on his wrists, and a pig-shaped helmet with curved demon horns.

With one hand the PORK TROOPER holds LUCAS back from the stage. A pair of richly-dressed women, one on each muscular arm of the PORK TROOPER, watch in silence.  

PORK TROOPER
(deep and aggressive)
Pardon me, but this row is reserved.

LUCAS
(frightened, stammering)
Sorry, sorry! I didn't know. I was trying
to talk to the lady-- she invited me!

He pulls away and is grabbed by the wrist, arm bent. The PORK TROOPER begins to crush inward slowly. LUCAS struggles.

PORK TROOPER
One thing I can't stand is low-life little
shits who don't know their place, who try
and pick a fight with their superiors.

LUCAS
(flinching, crying)
Please! I wasn't trying to fight with anyone!

The PORK TROOPER pulls LUCAS closer and smells him through the snout of his mask while BONEY crawls between the couches, becoming entangled.

PORK TROOPER
You know I eat little maggots like you-
(squeezing)
But not before crushing every bone in your body!

He laughs just before BONEY squeezes through the gap and lunges at him. The PORK TROOPER shouts, releasing LUCAS. Both women on the couch cry and recoil in fear.

From the catwalk, VIOLET watches. Men are setting up instruments on the stage behind her. She takes notice and exits.

PORK TROOPER
(violently angry)
So, going to get tough, are ya?

The PORK TROOPER swings one arm, casting BONEY aside, and takes LUCAS by the throat.

PORK TROOPER (CONT.)
I promise this mistake will be your last.

Cheers fill the room as the lights come up over the stage, illuminating instruments and members of the DCMC band. The PORK TROOPER drops LUCAS instantly, his attention diverted, and joins the audience in shouting.

LUCAS rejoins BONEY, holding his injured arm against his chest. He struggles to breathe and removes BONEY's shirt to check the caged pigeon.

LUCAS
Hey boy, are you hurt?

BONEY
No, but your paw-

LUCAS
Let's go. I have to find that lady.
Maybe she can help us.

They exit the showroom. The band begins to play and focus is held on one member, a tall and stringy man with a huge mass of curly brown hair.

CUT TO:

INT : CLUB TITIBOO : LOBBY : NIGHT :


LUCAS enters with BONEY. From the far right wall, in an open doorway, VIOLET gestures for them to follow.

CUT TO:

INT : CLUB TITIBOO : VIOLET'S ROOM : NIGHT :


All three enter a plush purple and pink room, complete with living space, vanity and wardrobe. Once the door is closed, VIOLET lets down her hair and brushes the mascara off her face, revealing herself as the now twenty-year-old PRINCESS KUMATORA.

KUMATORA kicks off her heeled shoes and slips on her blue dress like an old shirt.

LUCAS
(stunned)
I know you-

KUMATORA
Yes, you do. Nice to see you again, kid.

LUCAS
How did you get here!

KUMATORA
Long story. That was stupid of you to
rush the stage in front of the big guy.
Let me see your arm.

She kneels beside him and holds his injured wrist. A soft blue light emanates from her. It is absorbed by LUCAS, who tries to pull away.

LUCAS
What's going on!

KUMATORA
Shut up! I just saved you a few weeks worth
of healing time. You should say thanks.
Fixing a broken bone with PSI isn't easy.
You'll have to do it yourself next time.

LUCAS
(stammering)
But I can't-

KUMATORA
Of course you can! I can feel the power
coming off of you. You've been Awakened,
and you're probably one of the most awesome
powers I've ever felt.
(pause)
What's with the bird dog?

LUCAS removes the pigeon cage from BONEY's harness.

LUCAS
It's from Mr. Wess. He told me to come
here because of some rumor about his
son. I'm supposed to let the pigeon go
if it's true.

KUMATORA grabs the cage and takes it to the window.

KUMATORA
I'll save you that trouble.
(releasing pigeon)
Lucky, the bass player in the DCMC,
is Duster.

LUCAS
Really! You know for sure? Why didn't
you come home?

KUMATORA
That's the hard part. He doesn't have
any clue who he really is. A bad case
of memory loss. I stayed because I
hoped he'd snap out of it. He's the
only one who could tell us what
happened to the Egg of Light.

LUCAS
The what?

She sits on a red sofa and pulls LUCAS down beside her.

KUMATORA
(continuing)
Plus, I was told to wait for you.

LUCAS
For me? But why? Who said?

KUMATORA
It'll have to wait 'til later. Now that
you're here, we can't sit around anymore.
Once the encore is over, I'll get the
band together. You and me are leaving
here tonight, and we're taking Duster
with us.

LUCAS
But how're we gonna convince him-?

A knock upon the door cuts their conversation short, followed by piggish grunting.

PORK TROOPER
(off-screen, cajoling)
Miss Violet? Miss Violet, are you there?

KUMATORA
Damn!

KUMATORA drags LUCAS across the room to her bed and stands on the mattress. She pulls out a ceiling tile from the corner.

KUMATORA
(whispering)
Go through here. Head right and meet
me in Duster's room. Lucky's, I mean.

LUCAS
(panicked)
What about you! What if you get hurt?

PORK TROOPER
(rattling doorknob)
I can smell you in there, Miss Violet.
Come out, come out.

KUMATORA
(helping LUCAS)
I'll take care of Tall, Dark, and Ugly. Just go!

The pounding on the door becomes more insistent. LUCAS flails as he climbs into the attic, then turns to help BONEY as KUMATORA lifts him. She replaces the ceiling tile, hops down, and removes her blue dress. When she opens the door, the PORK TROOPER leans in.

PORK TROOPER
(flirting)
Well hello there. Could I ask the
lovely lady for an autograph or a kiss?
I've got the perfect place for you to
put those lips of yours.

KUMATORA
(sliding around PORK TROOPER)
Funny you should mention autographs.
Didn't you know they're giving away
free signed DCMC merchandise up front?

PORK TROOPER
(astonished)
What, now!

KUMATORA
Well, not now. But if you like I can
get you the good stuff before anyone
else even sees it.

PORK TROOPER
(chuckling)
Oh-ho, naughty girl.

He pats her bottom as they exit, KUMATORA wearing a sour expression.

CUT TO:

INT : CLUB TITIBOO : ATTIC : NIGHT :


Sporadic patches of light break through the darkness, marking the trail for LUCAS and BONEY as they crawl along in the dust. At each vent opening, LUCAS peers into the room below.

LUCAS
No one there. How do we know which room
we're supposed to be in?

A loud crash of wood against metal is heard off-screen and LUCAS jumps. Trails of dust clear around an old bass guitar, which has fallen among piles of broken snare drums. LUCAS turns it over, revealing a painted face that comes alive.

JEALOUS BASS
Oh look, a human, all tattered and worn.
Have they put you away with the unwanted
junk as well?

LUCAS
No, sorry. I'm just looking for someone.

JEALOUS BASS
Out with the old, in with the new! Go on
then and stare at the shiny bass I've
been replaced with. He's down there.

LUCAS
I'm just looking for the guy they call Lucky.

JEALOUS BASS
Well that's where you'll find him. Get going
then, don't worry about me! I'll just be up
here rotting.

LUCAS sighs, dusts off the guitar and sets it upright before exiting through the vent. BONEY follows.

CUT TO:

INT : CLUB TITIBOO : LUCKY'S ROOM : NIGHT :


In a richly-furnished room, walls decked out in green paneling that clashes with the carpet, LUCAS drops into an armchair. BONEY falls on his lap moments later, winding him.

DCMC band member LUCKY, the tall man with thick curled hair, enters. He is indeed the amnesic DUSTER, now over thirty-years-old and wearing the same clothing from his life in TAZMILY. There is little sign of aging in his face.

LUCAS
Duster! I mean, Lucky.

DUSTER
Hello, who are you? How did you get in here?

LUCAS rolls off the chair, catching his breath.

LUCAS
Mr. Wess told me to come find you.
Do you remember us?

DUSTER
You look like someone I know.
Like from a dream, almost.

A second band member enters. This is OJ, a man as tall as DUSTER with blonde hair and sideburns. Behind him are BACCIO, sporting a thicker patch of blonde and dark sunglasses; MAGIC, whose head is shaved except for the gelled mohawk; and SHIMMY ZMIZZ, decked out in shoulder-length beaded dreads. They are dressed similarly, with white pants and suede jackets.

OJ
Hey, Lucky! Tonda Gossa, man.

SHIMMY ZMIZZ
What's the dealio? Some kind of
meeting or what?

DUSTER
Got me. Apparently security's been
slacking 'round here.

BACCIO
(to LUCAS)
Oh, sorry kid. We're done with the
autograph signing tonight.

KUMATORA enters, slamming the door behind herself. All stare at her and she glares back, then puts on her blue dress again.

KUMATORA
I swear, if that fat freak touches
my ass one more time, I'll shove my
foot up his.
(to LUCAS)
Good, you're here. Let's make this quick.

All band members except DUSTER take a seat on the sofa or bed. KUMATORA approaches.

KUMATORA
(to DUSTER)
I'm sorry I have to do this, and sorry
for any confusion this has caused, but
Lucky you aren't who you think you are.

There is an audible response from the band members.

BACCIO
This again?

DUSTER
I know you've told me before.

KUMATORA
Right, and now I'm telling you for the
last time. Your name is Duster, not
Lucky. You grew up in Tazmily before
the Pigs came. You were with me when
Hinawa had her twins and when the
forest caught fire.

DUSTER
I'm sorry, but none of this is ringing
a bell. This is my life. It's all I've
ever known.

KUMATORA
That's not true.
(pointing to LUCAS)
Look at that kid there and tell me
you don't know who he is.

DUSTER
I don't know. He looks kinda familiar-

KUMATORA
And what about this?

She snatches his hair and pulls. It is a wig, beneath which his natural hair is much shorter, unkempt. KUMATORA brushes it back to reveal a scar on DUSTER's forehead.

KUMATORA
There. It's from when you fell in Osohe
Castle the night you and Old Man Wess
snuck in to get the Egg. We were swept
out from the waterway into the river,
where we lost you.

BACCIO whistles. The rest of the DCMC is silent.

DUSTER
(stunned)
The Egg!

KUMATORA
If you could just tell us what happened-

DUSTER
How do you know about the Egg!

KUMATORA
It's the Egg of Light. You and the
geezer were meant to keep track of it.

DUSTER shuffles past LUCAS to the armchair and sits quietly for a moment. The scene transitions into a memory.

CUT TO:

EXT : RIVER : AFTERNOON :


A younger, dazed DUSTER crawls up the riverbank with the Egg of Light cradled against his chest like a child. He is dripping wet, stumbling into the woods.

DUSTER
(narrating)
I woke up on the bank of some river,
lost and terrified. The only thing I
really knew about myself was that this
Egg was important and I had to take
care of it.

DUSTER continues through the forest. The sound of machinery is heard. He moves in that direction.

DUSTER (CONT.)
It was a matter of life and death,
but if I died I had to make sure the
Egg was safe first. I heard some
people nearby, and I can't explain
the feeling that I got other than it
made me nervous.

Past the trees, PIGMASKS are hard at work clearing away the forest with bulldozers and logging equipment.

DUSTER (CONT.)
They couldn't know about the Egg, so
I hid it in a small valley not far
from here and kept going.

DUSTER retreats into the forest again and the memory ends.

CUT TO:

INT : CLUB TITIBOO : LUCKY'S ROOM : NIGHT :


KUMATORA stands before DUSTER, who looks up after his story is finished.

KUMATORA
Unknown Valley. That's just past the falls.
(pause)
Could you take us there?

DUSTER
I could. I remember exactly the spot, it's
never left my mind.

MAGIC
Dude, Lucky, you never told us this.
Why tell her and this kid?

There is no response. KUMATORA puts both hands on DUSTER's forehead and waits, eyes closed. Seconds later, she backs off. DUSTER is pale with shock.

DUSTER
How is that possible!

KUMATORA
I've transferred my own memories of
you into your head. I know it's not
perfect, but maybe it'll help jar
you a bit.

OJ
Wait, say what?

LUCAS
(to KUMATORA)
Why didn't you do that before?

KUMATORA
I was told to wait for you. Again, I'll
explain all this later. We can't waste
any more time here.
(to DUSTER)
Are you coming with us or not? If just
for the Egg. A lot is riding on this.
That Egg belongs to the people of Tazmily.
We're not asking you to give up the band,
but please take us to the Egg, Duster.
You can come back then, live as Lucky the
rest of your life. That's your choice,
but this is for something much bigger
than us, and it is about life and death.

Silence follows. DUSTER hesitates before standing, moves over to a bureau, and pulls out a leather knapsack that he straps across one shoulder.

DUSTER
I don't know what to believe, but I
can't ignore this. I'll take you to
the Egg.

KUMATORA smiles, patting LUCAS, who smiles in return. BONEY wags his tail.

All band members stand. They form a circle around DUSTER, shake hands and embrace.

OJ
Come back to us soon, man.

SHIMMY ZMIZZ
Nantekodda, my brother.

MAGIC
Farewell and good luck to you.

BACCIO
There was never a better bass player
than our man, Lucky.

The well-wishing continues as the scene ends.

FADE TO:

EXT : TAZMILY VILLAGE : RETIREMENT CENTER : LATE NIGHT :


Across the moonlit sky, a small black shape wheels in over the village, its sights honed on one building in particular.

CUT:

There is a flutter of wings as the carrier pigeon alights on a windowsill and slips between the bars. It glides the rest of the way down, to a rusted metal serving cart illuminated by moonlight.

In the darkness, WESS wraps his hands around the pigeon and, with trembling hands and tears in his eyes, takes it to its cage.

WESS
(stroking pigeon, whispering)
My son.

The pigeon pokes about its cage before settling down to sleep.

FADE OUT
END ACT SIX.
** ACT ONE: [link] **
** ACT TWO: [link] **
** ACT THREE: [link] **
** ACT FOUR: [link] **
** ACT FIVE : [link] **
** ACT SEVEN: [link] **

:bulletblue: Visit our official site! [link]
:bulletblue: And our Facebook page! [link]


Wow, sorry. I know I've been majorly lazy and unproductive. Stuff is crazy and stressful around this time of year, plus I still can't find employment. Might as well keep writing, right?
This is an act for those with a dirty mind, so if you're as bad as me you'll catch all the adult jokes I stuffed in there. And if you're more innocent, you'll probably skim right over them, no harm done. Enjoy~

REVIEWS PLZ!!!


This act dedicated to:
:iconsassobabe:



This script is an adaptation of the Mother/Earthbound video game series created by Shigesato Itoi.

*************
PLEASE NOTE: An adaptation means just that. It is adapted from an original plot and not meant to be an exact copy. Movie scripts are never the same as the novels they emulate. One must take into consideration the pros and cons of both mediums and adapt the story to fit. I have added, deleted, and changed dialogue and character action in order to provide a richer story for [possible] moviegoers.
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:iconmonkeyemoness:
monkeyemoness Featured By Owner Apr 21, 2011
I have to say I'm really enjoying where this is going.
The Wess' confrontation with Flint made me feel good on the inside, mostly because of the hate I had for him near the end of the game. Sure, I can understand why he so caught up in the past and why he neglected his only living son, but I still can't forgive him. (Wow...getting a little personal there)
I also really enjoyed the clayman scene. I jumped a little when I felt Lucas's concern for the lump of earth, it just makes him out to be very compassionate and caring. Seems like he really was born to help the world, even if he's still (tripping repeatedly) on his way to greatness. :D

I also feel a little sick for getting all of the filthy jokes and references you made...
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:icongalenalarkin:
GalenaLarkin Featured By Owner Apr 21, 2011  Professional Writer
Thanks so much! :D I liked working with the small details and giving more of a voice to characters that really don't do much in the game. Flint does pretty much nothing after you finish playing his part, and Wess pops up just once in a while but even still, he was amazing to write for. He definitely became one of my favorite NPCs just from doing this project
Reply
:iconhyrulepirate:
HyrulePirate Featured By Owner Dec 10, 2009
"So, you've lost yours and cost me the
last of mine." Dammit, WHERE have I heard that before?! :tantrum:

As soon as the Clayman comes into play, I immediately thought of your design drawings. (I can't very well call them sketches, now, can I?) Geez, I'd be afraid of them, too!

Lol I like the Pigmask's accent. Way to add some character to even the smallest of people! :heart:

"Ain't done us no harm as far as I can tell." :crazy: ...ARE YOU FREAKIN' KIDDING ME?! :onfire: hfuhjkdebfdghdfj!!

Awww! Lucas is so nice! Even to the Claymen! :aww:

"Ain't nothin' can build a man's
character like rollin' in the mud
with the pigs." :thanks: Very well done with this one, dear. A lot of meaning behind this.

Nice job explaining where Boney's clothes came from! Thanks for that! :nod:

Foreshadowing of the Lightning Tower. Classy. :D

"My friend and I would like to go to
Club Tit-Boob, please." :rofl: That's just FUNNY! And I'm glad your bouncers aren't as stupid as the ones in the game.

Huh? Violet's "client"? What do they mean? And what's with the ridiculously skimpy clothing?

YES!! A fight! Perfect way to introduce the Pork Trooper!

Oh my God...I love Kumatora. She is pure. Epic. AWESOMENESS. :iconbigheartplz:

Awwwww...that last scene...! :happycry:

It's soooooo AWESOME! I'm still loving all of your acts! Keep 'em coming! :heart:
Reply
:icongalenalarkin:
GalenaLarkin Featured By Owner Dec 10, 2009  Professional Writer
Haha :D Thank you again, dear! You're very sweet, as well as observant!

By "client" I mean in terms of prostitution. Club Titiboo is an adult entertainment venue, as well as being a place to hear music. I took it in a more adult approach than what we get in the game, but the basis for all of this is already there in the way the male visitors to the club (and they are nearly all male) talk about the female staff. I assume there would be a lot of promiscuous activity, so the waitresses also double as exotic dancers and, if they so choose, prostitutes.

NOW, while Kumatora worked there, one could debate for hours on whether or not she actually performed as a prostitute. It's obvious that many of the men assumed she did, but I personally don't think she's the type to sink so low (she was angry enough about having to take the waitressing/dancing job in the first place!). I'm sure she used it as a cover-up, though. This way she appears to be just a normal civilian who is conforming to the Pigs' way of life, but can still keep an eye on Duster.

Kumatora is epic, isn't she? :D I'm having so much fun with her! She's a great subject.
Reply
:iconmastershambler:
Mastershambler Featured By Owner Nov 30, 2009
Mind blowing accuracy and love in this act! This one really felt straight out of the game and I followed each scene in my head perfectly! Lucas his adorable and innocent. I love watching him learn about current culture and the ways of Porky. The Pork Trooper was much more evil in this! He wasn't quite as goofy but still a DCMC hardcore fan~ Scary and Womanizing? You bet he is! HE was such a perv! Kumatora should have whooped his ass on the spot but i'm sure that will come later<3 I really loved Wess crying over his son at the end because you can see that he really loves Duster, even if he is a moron lol. I also enjoyed the back story on Flint going to look for Lucas. Lucas was smart to avoid the sluggish cattlesnakes! The addition of the jealous bass was a really nice touch. I was almost expecting the Violet shower scene with her yelling but I like the direction you took it in. This act would have looked amazing on the big screen~ I'll dream on for all of us fans!!
Reply
:icongalenalarkin:
GalenaLarkin Featured By Owner Nov 30, 2009  Professional Writer
:iconbigheartplz:
Chasen you're always way too nice to me. I feel like I don't deserve it. Especially since I've been fat and lazy lately. I'll work extra hard on the next chapters just for you! Well, for everyone else too of course. But I know you'll be appreciative.
Thanks so much! Can't wait to write for the Pig King!

:iconpigmaskplz:
oink oink SQUEAL!!
Reply
:iconcruxianazelf:
CruxianAzelf Featured By Owner Nov 28, 2009  Hobbyist General Artist
Club Tit-Boob. Wahaha.
I swear, Lucas, you're innocently adorable in your own little way.
It's hilarious.

Anyways, I loved this act/chapter/whatever, especially all of the spunk Kumatora shows -- especially her restrained anger towards the Pork Trooper. If she wasn't working there, she probably would've turned him into bacon!
Reply
:icongalenalarkin:
GalenaLarkin Featured By Owner Nov 28, 2009  Professional Writer
Lol oh yes, that perv would have been diced ham. I think Lucas and Duster are in for it now, going to have Kuma dragging them around by their heels XD What fun! I'm glad she's in play again because I love writing for her.

Thank you so much for the fav!
Reply
:iconyami-mono:
Yami-Mono Featured By Owner Nov 28, 2009  Hobbyist Digital Artist
Wow, nice work as always! I really liked the interaction between Lucas and the Clayman, as well as your use of dialects.

"The cliff rises up a small paved path to another plateau where music and light are blaring. Near the Ropeway is a viewing area. LUCAS stops here and, beyond him, within now-decimated woodland, sits a red iron tower. At the top of this tower is a golden sphere and a metal projection." <--I don't know why, but that paragraph gave me a really clear vision of what it was like, it startled me a lot. Your writing is so riveting... it's epic, to put in the simplest terms.
Reply
:icongalenalarkin:
GalenaLarkin Featured By Owner Nov 28, 2009  Professional Writer
Wow thank you so much! :'( You guys are really making me feel like the king of New Pork XD or maybe the queen. It's nice to have a reader point out something that maybe I thought was minor or insignificant. I'm glad it touched you so deeply. I can't say thanks enough to all my readers! Thank you, thank you!

:iconpigmaskplz:
OINK SQUEAL!
Reply
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