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Devious Collection by mornil314

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MOTHER 3, ACT THREE


FADE IN

EXT : DEATH DESERT : AFTERNOON :


Sun-baked sands and mountains stretch on endlessly in all directions. There are no distinguishing features, aside from the dunes that rise up to the south and, further on, become much more solid rock formations.

In a flat area, just beyond these sporadic cliffs jutting out of the sand, a cumbersome silver aircraft sits. It is round, with oblong protrusions on either side and an entry hatch at the bow. The hatch is open, a loading ramp deployed, and several PIGMASK soldiers stand in formation just outside it.

One soldier wears a blue uniform with a round fiberglass helmet that, on its face, has narrow eyeholes and a snout. The rest wear the standard pigskin suits and masks, black belts cinched around their waistlines and filled with munitions. A man dressed in civilian attire walks among them.

This is FASSAD:  a mysterious peddler. His most distinguishing feature is the thick, black mustache on his face and his immaculate white clothes, topped off with a suede vest. Around his waist is a gold chain that matches the pendant on his brown taqiyah; and beneath this, a cotton keffiyeh to hide any length of hair running down his neck.

As FASSAD passes in front of them, the PIGMASKS put out their right arms, slightly inclined, and salute him with a round of grunts and squeals. He stops before the BLUE PIGMASK, who holds a small cage with a pair of Squirrel Monkeys inside.

This is SALSA and SAMBA:   male and female, respectively. They are nearly identical in appearance with nothing unusual about them except their intelligence. The female wears a pink bow while the male is fitted with a thick collar.

The BLUE PIGMASK opens the cage and snatches SALSA. Both monkeys flail and scream as they are separated.

From his vest, FASSAD produces a remote control with a single red button. He holds it ready as SALSA is dropped into the sand and the cage door is slammed shut on his screeching mate. Frightened, SALSA darts out of the crowd, but escape is thwarted when seizures overtake his body. He writhes, fur standing on end, and then is released from the torment as FASSAD lifts his thumb off the button.

FASSAD
Works better than I thought.
(speaking to SALSA)
Now listen to me, little monkey. Because I
know you can understand. It seems someone
thought you too good for the plans we had
in store, so you’re going to be useful in
other ways.

SALSA screeches at FASSAD and is treated to a second round of torture.

FASSAD (CONT.)
You’re going to do as I say. If all
goes well you’ll have a happy reunion
with your friend. Disobey, and you
know what happens.
(peers into cage)
Anger me, and the little girl here
will die.

There is laughter as SAMBA screams from within the cage. SALSA leaps at FASSAD, blocked by another electrical shock. He lies still when it ends. His fur is spotted with blood around his nose and mouth.

FASSAD
(speaking to PIGMASKS)
Right. Let’s move out then. I want
armaments coming in on all sides, but
you’re not to initiate any sort of
action until I give word.

BLUE PIGMASK
(saluting)
Mister Fassad, sir! Will we be flying in
over the designated target?

FASSAD
No. We can’t risk inciting a panic so soon.
Have the armored vehicles ready and stay
out of sight until further notice.
(kicking SALSA)
Little monkey here and I will be taking the
scenic route. We’ll be there by sundown.
Now move!

All PIGMASKS salute with a high-pitched squeal. This continues as their voices rise, coupled with the tortured screams of both monkeys. SAMBA rattles her cage as BLUE PIGMASK exits with her, and when SALSA attempts to follow he is shocked. His tiny body convulses, kicking up sand, but his cries are drowned out by the fierce squeals of the soldiers.

CUT TO:

EXT : TAZMILY VILLAGE : FARMHOUSE : NIGHT :


At the edge of the seaside cliff, LUCAS sits with BONEY at his side. He wipes tears from his eyes while waves crash against rock several meters below. BONEY lifts his head when acknowledged.

LUCAS
I hope Dad gets home soon.
(pause)
He must’ve found Claus by now. Right, Boney?

BONEY whimpers and rests his head again. LUCAS pets him.

FADE TO:

INT : TAZMILY VILLAGE : WESS’S HOUSE : NIGHT :


The deep orange glow of a fire emanates from a stone hearth set between two walls, casting long shadows across the room. DUSTER sleeps in a chair beside it, his face showing a significant growth of stubble around his mouth and chin. The sky-blue shirt he wears is covered in food stains.

WESS enters on the right and shakes him on his way to a stool at the other end of the fireplace.

WESS
Wake up, you lazy fool.
(pause, sitting)
They aren’t back yet.

DUSTER
Who’s that?

WESS
Flint and his son! Claus ran off, don’t
you remember? If the boy had been found,
they would have come back by now. I think
it’s safe to assume that whatever got
Hinawa has also done them in.

DUSTER
You don’t know that for sure-

WESS
(anxious)
Yes, but we can’t waste any more time!

A view from within the hearth reveals DUSTER and WESS bathed in firelight. DUSTER sits forward and rubs his dry hands together.

WESS (CONT.)
Forest fires, strange things in the air,
animals transforming--people are starting
to drop like flies around here and you
can bet your ass it’s all connected in
some way.

WESS repositions himself in the chair until comfortable.

WESS (CONT.)
Something terrible is happening. I prayed
I wouldn’t live to see this day, but it’s
here. You’ll have to remember everything
I’ve taught you. Are you up for it?

DUSTER
For what, exactly?

WESS
We’re going to break into Osohe Castle.

DUSTER
(holding back laughter)
Osohe Castle? No one’s lived there for years.
Couldn’t we just walk in?

WESS
The gates are locked. We’ll need to find an
alternate route, but that should be no
problem for you. I’ve taught you the finest
wall-scaling techniques.

There is no response from DUSTER. He scratches his face and avoids eye-contact whenever possible. WESS leans back.

WESS (CONT.)
Back when King Osohe was alive, he entrusted
me with an important object--one that holds
everything dear to us, a knowledge that could
shake the very foundations of our lives.
Fearing something would happen, he asked that
I hide it within the castle where it would
remain safe.
(standing)
Until now.

CUT TO:

EXT : TAZMILY VILLAGE : WESS’S HOUSE : NIGHT :


WESS and DUSTER emerge from their small wooden home atop a hill. At the bottom is a path running west into TAZMILY over a bridge. Further south the land thins outs where it meets the shoreline of a river.

WESS
I’ve got to make a quick stop in town.
You’re not to say anything, understand?

DUSTER
(yawning)
Are you sure this can’t wait ‘til morning?

WESS
(walking off)
We can’t afford to sit still while the
world around us is going to Hell.

DUSTER hesitates, then exits with him.

CUT TO:

EXT : TAZMILY VILLAGE : NIGHT :


They enter from the right on a cobblestone road between tall white townhouses and the YADO INN. WESS steps off-screen, leaving DUSTER alone to pace.

From his point of view, he can see a stout young man, BUTCH, at the well in the center of town. BUTCH wears tattered and worn overalls from which some of his fleshy folds spill over the top. He hangs over the well, peering down into it with an animal skin sack at his feet.

DUSTER glances about the village square before approaching, which sends BUTCH into a panic. With great haste, he attempts to hide the sack to no avail and instead trips over it as DUSTER looks on.

BUTCH
(breathing heavily)
Duster! You surprised me.
(pause, getting up)
Didn’t think no one was here. But hey, if
ya promise not to tell, I can let ya in on
a cool secret.

He gestures for DUSTER to come near, dropping the sack between them with a heavy clinking sound.

BUTCH (CONT.)
Wanna know what’s in it?
(pause, smiling)
Money! There’s money inside! Whole bucketloads!

DUSTER
Money?

BUTCH
That’s right! I don’t reckon I know what
money is, but it’s somethin’ purty, sure ‘nuff!

BUTCH opens the sack to reveal a mass of glimmering gold coins. He runs his hands through them, but closes the bag up tight when DUSTER reaches for it.

DUSTER
So, that’s money? What’s it for?

BUTCH
Be darned if I know! Some funny lookin’ guy
gave it to me in exchange for my pigs. He was
so happy ta have ‘em, though. Cried tears a’joy,
like he ain’t never seen somethin’ so beautiful.
(pause, looking around)
Him, there! That feller right over that way.

He points to the north end of the village square where FASSAD stands, his back toward the screen and a transceiver phone against one ear. SALSA is near him, head down.

BUTCH (CONT.)
Awful strange, if ya ask me. Been talkin’ to
himself for a while now. But he’s a nice
enough guy, I reckon. Says there’s an era of
money about ta start. Anywho, I can’t take
this stuff home with me, so I was gonna hide
it out down here for a while-

BUTCH lifts the sack of coins into the bucket and begins to lower it down the well.

BUTCH (CONT.)
Don’t tell no one now!

DUSTER
(shrugging)
No one to tell that’d believe me.

WESS
(off-screen)
Duster! You lazy bum, get over here!

CUT:

At the far end of town, WESS waits with a leather bag. When DUSTER joins it is given to him. There are metal objects inside that collide noisily each time he moves.

WESS
Wall mounts. Had Bronson fire some for
me earlier today. He only had time to
make a dozen, so let’s put them to
good use.

They exit to the north as the camera pans out. Focus turns on FASSAD, who watches WESS and DUSTER. When they are gone, he approaches the well with SALSA by his side and pulls up the bucket, laughing to himself.

CUT TO:

EXT : TAZMILY VILLAGE : CROSSROAD : NIGHT :


WESS and DUSTER enter on the center road adjacent to the bell tower. LEDER is beside it, stone-faced, and he stares southward at the village. DUSTER slows to look at him.

WESS
(calling to LEDER)
See any more fires up there, Beanstalk?

There is no response. DUSTER catches himself idling and hurries to catch up.

WESS
Leder--he never talks, never has.
It’s like his mouth’s been sewn shut.

CUT:

Further ahead, the CROSSROAD meets the hilly, ashen-gray land of the CEMETERY. It is bordered by a wrought iron fence. Gravedigger NIPPOLYTE stands at the half-open gate--an older man with stringy silver hair that hangs like cobwebs around the back of his head. He wears layers of dull old clothes and, when he approaches WESS and DUSTER, walks with a hunched back.

NIPPOLYTE
(smiling)
Wess! What an uncommon sight. Out for an
evening walk?

WESS
Bit more than that. We need to get into
the castle.

NIPPOLYTE
I’m sorry to say the drawbridge is up.
What business did you have-

WESS
Please, could you help us?

A pause, then NIPPOLYTE leads them north through the CEMETERY to a shack beside the road. Further on are small cliffs, which curve around the crumbling structure of OSOHE CASTLE and its moat.

NIPPOLYTE pushes open the door. The inside of his shack is cramped, with a small bed in one corner, a cluttered table, and various items piled around a bookcase at the opposite end. He removes a box from this gathering, offering it to DUSTER.

NIPPOLYTE
(opening the box)
I thought this might help.

A coiled, scaly red object lies inside. When DUSTER reaches in, it slithers out and up his arm, coiling about his waist where it falls asleep again.

DUSTER
(uncomfortable)
Did that belt just move?

NIPPOLYTE
It’s a Rope Snake. Very rare, but also
very useful. They’re filled with a
special magic that can help you whenever
you might need it.
(taking a lantern from the table)
And now, to get you into Osohe.

With his shoulder pressed against the bookcase, NIPPOLYTE shoves it away from the wall where a staircase to subterranean tunnels is hidden. Only DUSTER hesitates before entering.

CUT TO:

EXT : TAZMILY VILLAGE : CEMETARY : UNDERGROUND TUNNEL : NIGHT :


Wooden archways placed every few meters keep the earthen walls from collapsing. What little light is coming out of the lantern does not show the flooded walkway or the constant dripping of water from the ceiling, but it can be heard. Occasionally, there is a scuttling from off-screen, which causes DUSTER to look around. WESS and NIPPOLYTE remain unfazed.

NIPPOLYTE
I should tell you now that you won’t be
able to simply walk in the front door.
I’ve had the castle closed up years ago,
after King Osohe died.

WESS
It’s no trouble.

NIPPOLYTE
(smiling, approaching a ladder)
I didn’t expect it would be.

CUT TO:

EXT : OSOHE CASTLE : FRONT GARDENS : NIGHT :


Along the eastern wall, NIPPOLYTE, WESS and DUSTER emerge from an opening in the ground, beside which lies rusted metal grating. The gardens are overgrown, except on either side of the drawbridge where soil has been tilled and put to work growing vegetables.

Across from this is the castle--tall, imposing, made entirely of mortar and gray stone; but it is crumbling. Large chunks from the towers have fallen away, taking sections of the surrounding wall with them into the moat.

WESS approaches the front of the castle and feels along the stones. He leans back, head up, to get a better view of the balconies.

WESS
(pointing)
There--one level up. There’s an open doorway.
(gesturing to DUSTER)
We’ll be needing them now, I suppose.
Don’t waste them!

DUSTER joins him, opening his leather bag. Within are metal rods bent at either end like giant staples. He places the first just below eye level on the wall and begins to pound it between the stones with a small mallet.

NIPPOLYTE
(handing WESS the lantern)
I’ll see to the drawbridge.
(walking off)
Will make it easier for you once you’re done.

WESS watches him leave while, in the background, DUSTER hammers another mount in. He climbs them to put in the third. WESS looks back, silently waiting.

CUT:

Upon the castle balcony, a greater ruination of the structure can be seen in pieces that have fallen and crushed what was once an open space for relaxation. DUSTER climbs up through a break in the balustrade, then lies exhausted on the floor as WESS enters moments later.

WESS
Get up, you lazy fool. The real work
hasn’t even begun.

He picks his way around the fallen sections of tower to a doorway where tattered curtains hang, brushing them aside as he melds with the darkness. DUSTER follows shortly after.

CUT TO:

INT : TAZMILY VILLAGE : YADO INN : NIGHT :


The bright lights of candles and lanterns illuminate the bar area as if it were midday. BETSY, a plump blonde woman in a blue dress and apron, shuffles among the men, refilling mugs. Her husband, the bartender JACKIE, leans against the counter near ISAAC, LIGHTER and BRONSON. His long face and thinning hair make him appear much older.

BRONSON
(speaking to ISAAC)
So you saw him then?

ISAAC
(nodding, hesitation)
Can’t say I’d ever want to again, though.
Not like this, I mean.

LIGHTER
And Claus?

ISAAC does not answer, but instead lifts his mug to his face, staring directly ahead. There is a sigh from BRONSON as he shakes his head.

BRONSON
The kid’s dead.

ISAAC
Wouldn’t know. Flint didn’t say anything.

BRONSON
If he came back without him, then he’s dead.

ISAAC
But why wouldn’t he have brought the body?

BRONSON
Must not have found it.
(taking a drink)
Or maybe there wasn’t one to bring back.

Visibly unnerved, JACKIE pulls away from the counter and starts to wipe out empty mugs with a rag.

LIGHTER
Terrible thing to happen to a man like
that, or any man for that matter. And
after he risked himself for my boy.

ISAAC
You staying here at the inn now?

LIGHTER
Until I can start building again.

The door opens, attracting the attention of everyone at the bar. FASSAD enters with SALSA at his heels. He ignores the stares.

LIGHTER
(whispering)
Who the hell is that?

BRONSON
Don’t know. Looks like he’s made towels
a fashion item, though.

LIGHTER, BRONSON and ISAAC laugh to themselves as FASSAD approaches.

FASSAD
Pardon my intrusion. Could I speak with
the owner of this establishment?

After some hesitation, BETSY approaches.

BETSY
Aye, you can speak with me. Was there
somethin’ you might be needing? A place
to sleep, perhaps?

FASSAD
(smiling)
Oh that’d be just fine. How much?

BETSY
(confused)
Beg pardon, sir. How much?

FASSAD
How much do you charge a night?
(pause)
Money. How much money?

The men at the bar gesture to one another and make faces in an attempt to mask their laughter. BETSY wipes her hands on her apron, her face a bright red.

BETSY
I don’t reckon we have anythin’ like
that here, sorry. You can stay however
long you need. We don’t ask for anythin’
in return.

FASSAD
Oh, but please allow me to give you
something for your troubles.

FASSAD fishes a handful of gold coins from his jacket and gives them to BETSY, who stares blankly. She puts them into a pocket on her apron while the men at the bar resume conversation.

BETSY
Very pretty, thank you.
(pointing at SALSA)
That’s a cute thing there. I never seen
anythin’ like him before.

FASSAD
Oh yes, my little friend-
(speaking to SALSA)
Come now, monkey. Dance for the nice lady.

Though he looks downtrodden, SALSA leaps up and dances about, which sends BETSY into a fit of laughter. She smiles and claps.

BETSY
How wonderful! Jackie, Jackie come and
see the wee thing. He’s puttin’ on a
show for us.

FASSAD steps up to an empty seat at the bar where the men abruptly move aside. Frightened, SALSA climbs BETSY’s apron and coils around her neck like a child wanting its mother. She laughs as she tries to catch him.

BETSY
Look Jackie! See how friendly he is.

JACKIE fills up a mug and pushes it to FASSAD before joining his wife. FASSAD is watched as he takes a drink, gags for a moment at its bitter taste, and then smiles and offers up his mug.

FASSAD
Here’s to a new and better life.

A pause, after which the men relent with laughter and join mugs.

CUT TO:

INT : OSOHE CASTLE : DINING HALL : NIGHT :


There is a loud clattering as candlesticks and tarnished silverware fall from the broad dining table. DUSTER stands at one end with the cloth in hand, a look of disappointment upon his face. WESS pops up across the room, near a dust-covered piano, and glares at his son.

WESS
Idiot! What are you doing over there?
Trying to wake the dead?

DUSTER tosses the cloth back onto the table.

DUSTER
I suppose that’s the only thing I’ve
managed to do. You’re awake, aren’t you?

WESS
Don’t get smart with me! We’re in here
for a reason. It would help if you’d
pay attention. Stop mucking about!

A wider view of the room reveals its cobweb-encrusted walls, broken furniture, and stained banners that hang in rows along the ceiling. There is a broad space between the piano and table--a floor for dancing--and ornate double-doors at either end. A smaller doorway rests halfway between.

At the piano, a transparent apparition materializes--a distinguished but now deceased gentleman known as LORD PASSION, wearing his conductor’s uniform and powdered wig. With great skill he plays, but the keys do not move.

LORD PASSION
(speaking to WESS)
Ah yes, my latest and greatest work.
Care for a listen?

WESS
(walking away)
Get lost, Beaumont, you’ve been dead
for years and your playing hasn’t
gotten any better since.

LORD PASSION
(standing, offended)
Still jealous, I see. Fine then. I know
what you seek, but I refuse to say.
I shall only tell you not to go looking
below ground. It can only lead to
great misfortune and a terrible loss.

LORD PASSION disappears, at which WESS scoffs and approaches the smaller doorway, lantern in hand.

WESS
(pacing, thinking aloud)
Dining hall, and that way’s the kitchen...

DUSTER
Any idea yet what we’re looking for?

WESS
Yes. Something shiny. Keep your eyes open.

DUSTER picks up one of the candlesticks and turns it over. In the dim light, it appears quite dull. His attention is grabbed by something along the wall to his left, which has caught the glow of the lantern and reflects it back twice as brightly.

DUSTER
(elated)
Here! I’ve found it!

He races to the object with WESS close behind. It rests on a pedestal--a bronze spittoon that appears to have been polished recently. DUSTER holds it with caution.

DUSTER
(excited)
You said shiny, right? I’ve never seen
something as bright as this.

WESS
Here now, let me see that.

WESS takes the spittoon in one hand, scrutinizes it, and flings it across the room where it collides noisily with the opposite wall.

WESS
(shouting)
You moron! Have you lost all sense?
(smacking DUSTER upside the head)
Do me a favor and keep quiet until
we’ve finished.

He moves off-screen while, frowning, DUSTER rubs his head. A moment of silence passes through the scene for several seconds before it is broken by a scuffling in the hallway beyond. DUSTER looks to WESS, whose back is turned, and then approaches the set of doors ahead.

CUT:

Light from the lantern stretches out into the corridor, which holds a stairwell littered with fallen pieces of OSOHE CASTLE. At the bottom of the stairs, a sapphire pendant on a chain shines among the debris. DUSTER picks it up.

Above and directly behind him, on the landing at the top of the stairs, a figure in shadow peers over the rail. It yells sharply and leaps down.

CUT:

WESS looks up from the kitchen doorway when he hears the screams and runs to the stairwell. The glow from his lantern is cast onto DUSTER, who lies on his back beneath a young woman straddling his chest. Her face is filled with anger and she struggles furiously to pull the pendant out of DUSTER’s hand.

This is KUMATORA:  now fifteen years old. Her hair is cropped short, bright pink in color. She wears only a blue dress, which fits and looks more like a long shirt.

WESS
What the hell is going on here?

The struggle ends. KUMATORA shields her eyes from the light.

KUMATORA
(angry)
Dirty thief stole what’s mine!
(snatching the pendant)
If you’re here to do any looting-

WESS
As a matter of fact, we are.

WESS approaches, taking KUMATORA by the chin to examine her features. She backs off and DUSTER stands.

WESS
Princess Kumatora.

KUMATORA
(surprised, pausing a moment)
Old Man Wess?

Laughing, WESS and KUMATORA meet at the bottom of the stairs where they embrace. DUSTER is left gawking.

WESS
It’s been years!

KUMATORA
It has! You’ve lost all of your hair.

WESS
Have you been staying here all this time?
You could have come lived with us, you
foolish girl.

KUMATORA
Oh no! It’s all right. I’ve been looked
after, and I’m a lady now.

WESS
(scoffing)
A lady, hardly. Just look at those clothes!
Not befitting of a princess. And where are
your shoes?

KUMATORA
(putting the pendant on)
Around, somewhere. Stop talking like a
woman, Old Man.

WESS
Start behaving like one.
(pause, gesturing to DUSTER)
Oh yes. My son, Duster, as you might
remember. Or perhaps you were too young.

KUMATORA steps up to DUSTER, who is at least a head taller than her, looks him over, and then returns to the stairs, which she ascends to the first landing.

KUMATORA
I remember him all right. His breath
still stinks, I see. Well...
(sitting on a fallen column)
What brings you here all of a sudden?
You weren’t looking to get upstairs,
I hope. That way’s been cut off.

WESS
(ascending)
We’ll see about that.

KUMATORA
(standing)
Here, put down that lantern, Old Man.
I’ll take care of it.

Her right hand out, index finger extended, a tiny flame appears at the end. KUMATORA blows and her breath guides the stream of fire up the walls to every mounted candelabrum and into the rooms beyond. She puts out the lantern before tossing it aside, smiles, and ascends the stairs.

KUMATORA
Carry on then, gentlemen.

WESS and DUSTER stand dumbstruck.

CUT:

The following corridor is a straight shot, lined with threadbare red carpet and bronze torches, each of which has been lit. Near the center, the floor has given way and collapsed into the room below, leaving a gap more than a meter across. WESS approaches with DUSTER at his side.

WESS
(speaking to KUMATORA)
You certainly weren’t lying.

KUMATORA
No indeed. Unless you can jump it, I
guess you’ll have to go home.

WESS
Is there another way up? Preferably
a quick and easy one.

DUSTER stands beside one wall, staring at the nearest torch.

KUMATORA
Quick and easy, no. The west tower is
crumbling badly--the stairwell’s blocked.
Unless you feel up to climbing a big pile
of stone while hoping the rest of the
tower doesn’t fall on you...

WESS
Damn!

DUSTER pulls the Rope Snake off his belt and looks it over. Holding it by the tail, he flings it toward the torch as it springs to life, latching on with its teeth and swinging him across the gap. WESS and KUMATORA turn to see him land on the other side.

DUSTER
(smiling)
It worked! I don’t believe it.

The Rope Snake coils up again in his hand. WESS stares with visible disbelief while KUMATORA reaches out.

KUMATORA
Come on then! Pass it here.

She catches the Rope Snake with a smile and swings across, colliding with DUSTER, who has his arms out to catch her. With an air of nonchalance, KUMATORA tosses the coiled Rope Snake over her shoulder to WESS and he fumbles to receive it.

CUT:

The corridor ends with a solid wall, upon which is an inlaid pattern of stone shaped into a massive frowning face. On either side are crude carvings of human figures striking awkward poses. DUSTER and KUMATORA approach with WESS not far behind.

KUMATORA
So, here’s our next dead end.

WESS
(moving past her)
Not quite. It’s a Laughing Door--a special
lock sealed with emotional magic. There is
a way to open it, but-

KUMATORA
But you’ve forgotten the key, right?

WESS
Laughter is the key.

DUSTER
Can’t remember the last time you’ve done
something like that.

WESS
(annoyed)
Just turn around! Both of you! Go on,
there you are. Such disrespect for
your elders.

DUSTER
(turning away)
I’ve always had respect for my elders,
but isn’t there a cut-off point to
that rule?

KUMATORA laughs. Grumbling, WESS looks at them over his shoulder. Their backs are turned, so he begins to dance in front of the door.

WESS
This won’t take long. Don’t look now!

KUMATORA
Why not, Old Man?

WESS
(huffing)
It’s a secret! Very big, deep secret.
The late King Osohe trusted only me
with it.

KUMATORA
(smiling)
Oh did he?

She and DUSTER steal a look at WESS, who is swinging his hips  and waving his arms in circles side-to-side, buttocks out. KUMATORA and DUSTER immediately turn away.

KUMATORA
(confounded, speaking to DUSTER)
Let’s not speak of this again.

DUSTER
Agreed.

WESS spins in place. When he stops, the stone-faced door opens wide, its mouth upturned in a giant smile as though it were laughing. WESS wipes his face, which is now deep red and dotted with sweat.

WESS
(walking off)
Bit more out of shape than I realized.

CUT TO:

EXT : TAZMILY VILLAGE : CROSSROAD : NIGHT :


Silent and still, LEDER stands at the bell tower looking over the village. From the west comes the sound of armored vehicles, which shatters the concentration of the otherwise stoic lookout. LEDER turns as a line of ponderous white tanks roll into the CROSSROAD and turn north toward OSOHE CASTLE.

CUT TO:

EXT : OSOHE CASTLE : UPPER BALCONY : NIGHT :


WESS, DUSTER and KUMATORA enter on a double-ended BALCONY--one which caters to both sides of the castle and provides a view over the central COURTYARD at the far end. Beside the door, underneath the stone archway, is a damaged-yet-passable stairwell.

KUMATORA moves off-screen, to the forward end of the BALCONY, as DUSTER takes note of a golden object in the COURTYARD. It is shaped like a sword, with downturned wings on its hilt, and stands upright, lodged in the ground inside a circle of stones. WESS approaches.

WESS
Before you ask, no. That isn’t what we’re
looking for, I’m certain. I couldn’t
even tell you what that is.

KUMATORA
(off-screen, startled)
Hey, look! There’s something coming this way!

WESS and DUSTER join her at the other end, looking over the FRONT GARDENS. The drawbridge is down and NIPPOLYTE tends to a vegetable patch beside it, but his attention is drawn to a sound like thunder over the ground. The white tanks roll into the GARDENS and crush the plants beneath their treads, leaving behind fat caterpillar tracks. NIPPOLYTE withdraws.

The first tank comes to a stop and a pair of PIGMASKS emerge. They close in on NIPPOLYTE, who holds up his shovel in defense.

NIPPOLYTE
(frightened)
What are you? What are those things,
those monsters!
(swinging the shovel)
Get away from me!

One PIGMASK tears the shovel from his hands and swings, sending NIPPOLYTE to the ground with a single hit.

CUT:

On the BALCONY, KUMATORA screams. She is promptly silenced by WESS, who drags her to the floor with a hand across her mouth.

WESS
(unnerved, whispering)
Keep quiet! We can’t let those beasts
know we’re here.

KUMATORA
(struggling)
But Nippolyte--they’ll kill him!

WESS
They’ll kill us!

KUMATORA
What the hell’re we supposed to do?

WESS
Pray for the dead and move on.

WESS moves off-screen, sliding along the floor. DUSTER follows. KUMATORA is left hidden behind the balustrade. Her facial expression shows a growing concern as noise from the GARDENS intensifies-- the shouting of men, tank engine roars, and inhuman squeals. Still angry, she exits.

CUT TO:

INT : OSOHE CASTLE : INNER CHAMBER : NIGHT :


All three are seen running through a hall, the end of which is dark. A wooden door blocks their path. WESS and DUSTER press their weight against it, trying to force it open.

CUT TO:

EXT : OSOHE CASTLE : FRONT GARDENS : NIGHT :


FASSAD enters via the drawbridge, smiling, SALSA at his side. When the PIGMASKS notice him, they stand at attention with salutes and squeals. He continues ahead, past the battered body of NIPPOLYTE to the front door. It is no more than a woodpile now.

CUT TO:

INT : OSOHE CASTLE : MAIN HALL : NIGHT :


On a wide, moth-eaten rug, a PIGMASK waits. The room around him is uncluttered, but stricken with dust and age. Three doors line the opposite wall, and to the left is a stairwell, blocked by fallen pieces of the western tower.

FASSAD enters with SALSA.

FASSAD
Report, Private.

PIGMASK #1
(saluting)
Sir, we have found no viable access to
the upper floors, but there is a cellar-

FASSAD
Take me there.

They exit.

CUT TO:

INT : OSOHE CASTLE : INNER CHAMBER : NIGHT :


From the doorway, a short flight of stairs is seen leading up to a stone platform. WESS, DUSTER and KUMATORA ascend. Stone lion heads glare at them from the opposite wall, positioned on either side of a pedestal like sentries. Soft white light is pouring from a goblet on the pedestal, its source an egg with wing-like appendages and a shell boasting intricate red patterns.

DUSTER and KUMATORA stare with mouths open. WESS approaches.

WESS
(elated)
There it is. I remember it now, and can
still feel it in my hands! The Egg of Light.

KUMATORA
All this for a glowing egg?

WESS
Not just an egg. It holds the answers and
memories of our past. It is the most
important thing in our world!

KUMATORA
(confused)
But why? I mean, how-

WESS
I don’t have time to explain it now.
Duster--no! It’s too much of a risk to
trust a moron with something like this.

KUMATORA
(approaching)
Old Man, let’s just grab it and get out!
Those monsters out there are probably
looking for a way in.

WESS
(frightened)
No, Princess! Wait-!

KUMATORA snatches the Egg of Light from its hold. A short pause follows, and the platform gives way beneath them. DUSTER grabs for the Egg as it flies out of KUMATORA’s hands, cracking his head against the wall on his way down. Together they fall, screaming, into darkness.

CUT TO:

INT : OSOHE CASTLE : CELLAR : WATERWAY : NIGHT :


A ground view is seen of a stone stairwell, the black boots of FASSAD and PIGMASK #1 moving down from it onto a bridge. More than a hundred feet below is the WATERWAY, unmoving.

The bridge ends atop an arch over the water. Here FASSAD stands, looking north toward the stairs.

FASSAD
(angry)
It isn’t here... damn!

PIGMASK #1
Sir?

FASSAD
(pause, speaking to PIGMASK #1)
Find another entrance. I don’t care how
or where. Search the castle. Make sure
it’s empty. Kill anyone you find.

PIGMASK #1 salutes and exits.

FASSAD pulls the remote from his jacket, fingering its button as he looks over SALSA. Then he turns as, from the corner of his eye, he notices a rusted lever at the edge of the bridge.

CUT TO:

INT : OSOHE CASTLE : CELLAR : RESEVOIR : NIGHT :


Brown stone walls encircle a flooded chamber, leaving no way in-- except for the fall from above--and no means of escape. On the southern side is a wide door, but it stands closed. There are no handles on it.

WESS breaks the surface, flailing and gasping for air. He is joined shortly by KUMATORA, who supports him.

KUMATORA
It’s all right. Hold still, Old Man!
Stop struggling. You’re going to make
it worse.

WESS
You-!
(inhaling deeply)
You’re too impatient. I told you to wait!

KUMATORA
I never listen to anyone. And how was I
supposed to know you had set up some
king of pitfall around the Egg?

WESS
(struggling)
The Egg! My God, where is it?

The body of DUSTER floats to the surface face-down, rivulets of blood streaming down his scalp. WESS and KUMATORA turn him over. He is unconscious, but cradling the Egg of Light with both arms.

WESS
(relieved, exhausted)
Duster! Oh bless you, you stupid fool!

KUMATORA
He’s hurt! We have to get out of here.

Both doors open behind them, sucking the contents of the chamber out into the WATERWAY. WESS, DUSTER and KUMATORA are pulled from one another, dragged under by the current where their screams drown.

From the bridge, FASSAD stares at them, bewildered. He is seen only for a moment as the roaring water tumbles down its path, beneath a series of arches, and out into the river running alongside OSOHE CASTLE. The sudden outpouring has calmed by this point and, gently, the water carries on toward the village.

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

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


This one took a bit longer because I hit a lazy streak, but I feel confident in the way I meshed the events around Duster and Fassad. This will all culminate in the next act, and then... well, you Mother fans know what comes next ;)
Yes, I cut out the part with the snake because it's not vital to the story and I want to keep things moving. Got any ideas? Please do send them my way.

~~On Fassad's clothing...
This is a Keffiyeh: [link]
This is a Taqiyah: [link]


REVIEWS APPRECIATED!!



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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:icontailsprowerdzx:
tailsprowerdzx Featured By Owner Aug 28, 2012
Amazing as always. I love how you blended the two chapters together. And Fassad was spot on. Poor Salsa.... And the castle was good, especially the nod to Mr. Passion. The humor is here, slightly, and the ending was great. Keep up that damn good work!
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:icongalenalarkin:
GalenaLarkin Featured By Owner Aug 28, 2012  Professional Writer
Thanks very much X3
Reply
:icontemenai:
Temenai Featured By Owner Aug 22, 2012  Hobbyist Traditional Artist
I know this is a really old scripture here,but is this animated or recorded,if its animated,it should have the monsters,if its recorded,then forget I said anything
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:iconmichelieu:
Michelieu Featured By Owner Nov 4, 2010
Forgive the flooding of your messages. I didn't mean to spam. >_< Was trying to paste a link to Wikipedia's squirrel monkey page, but it posted my comment instead before I was done with it!

Anyway, I always thought they were capuchin monkeys. Was there an artistic reason behind making Salsa and Samba squirrel monkeys? Just wondering. *not very good at articulating her thoughts*
Reply
:icongalenalarkin:
GalenaLarkin Featured By Owner Nov 4, 2010  Professional Writer
Well I made Bubble Monkey a Capuchin in my Earthbound screenplay. Capuchins are bigger than squirrel monkeys and can be, I don't want to say meaner, but pushier. Squirrel monkeys are smaller and I just thought their personality and looks fit what Salsa and Samba might be :3
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:iconmichelieu:
Michelieu Featured By Owner Nov 4, 2010
All right. (I was just wondering.)

Thanks.
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:iconmichelieu:
Michelieu Featured By Owner Nov 4, 2010
Oops. I meant to post <a href="
Reply
:iconmichelieu:
Michelieu Featured By Owner Nov 4, 2010
I really enjoyed this one. Yay, Wess dance! :dance: I'm also glad you included what the names of those garments Fassad wears on his head are.

However, I don't think Salsa and Samba are squirrel monkeys.
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:icongalenalarkin:
GalenaLarkin Featured By Owner Nov 4, 2010  Professional Writer
I just chose a species that seemed to fit them :) Squirrel monkeys are very cute. And thank you! I did lots of research to find out the names of the clothes XD
Reply
:iconmichelieu:
Michelieu Featured By Owner Nov 4, 2010
You're welcome.
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