Mother 3 Screenplay-- ACT FIVE
"About this time, too, it was laid down as a rule that when a pig and any other animal met on the path, the other animal must stand aside"
-George Orwell (Animal Farm)
MOTHER 3, ACT FIVE
The voice of an adult Lucas cuts in to narrate the scene through the darkness.
That's how it all began. We thought Mom's
death was the worst of it, but then all of
the violence, the men in strange masks, and Claus.
I've learned how to live again, but Father
never forgave himself for any of it. He spends
all of his time in the mountains, searching, and
comes home at night, sometimes with things he's
sure belonged to Mom and Claus. I take care of
the farm, too afraid to tell him that, after
five years, his son is never coming home...
EXT : TAZMILY VILLAGE : FARMHOUSE : NIGHT :
A view just outside the sheep pen is seen, all animals resting in silence while ocean waves collide with the shore off-screen. Out of the east, a streak of light cuts across t
Mother 3 Screenplay--ACT THREEMother 3 Screenplay--ACT THREE5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT THREE
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
Mother 3 Screenplay-- ACT FOURMother 3 Screenplay-- ACT FOUR5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT FOUR
EXT : TAZMILY VILLAGE : RIVERSIDE : MORNING :
Water brushes up against the shoreline, leaving a stain in the sand. The bodies of WESS and KUMATORA lie further up, half-drowned and covered in bruises. WESS is nudged by the toe of a child's shoe, and then a pair of stronger arms wrap around him, lifting him to his feet.
LIGHTER and FUEL support his body as he comes to.
Old man, you frightened us for a moment.
Yeah I thought you were dead.
WESS stares blankly, eyes half-lidded. He is just barely able to make out the hills and bridge beyond, but attempts to walk. He stumbles. LIGHTER grabs him.
Whoa there, let's not get ahead of
ourselves. You need to rest.
What about that guy over there?
All look to see KUMATORA rising from the sand, brushing herself off. Part of her face is bluish and swollen, though she does not appear uncomfortable.
Duster, where is he?
Mother 3 Screenplay-- ACT TWOMother 3 Screenplay-- ACT TWO5 years ago in Scripts & Screenplays More Like This
"An eye for an eye will make the whole world blind"
MOTHER 3, ACT TWO
EXT : SUNSHINE FOREST : NIGHT :
A view from above the village reveals a seemingly endless forest with rocky appendages of MT. ORIANDER scattered among the greenery. The moon has risen and casts just enough light to make the boldest features of the landscape visible. There is a moment of silence just before a series of sporadic explosions ruptures the trees.
The camera moves in, flying low to penetrate the uppermost level of the forest. Birds and other animals are in chaos. Further in, bright orange flames tear through all that is organic, scattering more wildlife. Camera movement slows, and focus settles on a small cabin at the end of a worn path.
From out of the cabin comes a man in tattered work clothes.
This is LIGHTER: the carpenter and longtime friend of FLINT. He appears much more bedraggled than his last appearance,
Mother 3 Screenplay--ACT SEVENMother 3 Screenplay--ACT SEVEN5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT SEVEN
EXT : UNKNOWN VALLEY : EARLY MORNING :
Sunrise has begun over the valley, but is not yet past the horizon. In the dim light, LUCAS walks beside KUMATORA, DUSTER and BONEY with KUMATORA in the lead.
Grass growth is sporadic, knee-high in some places and ground out by tire treads in others. There is the sound of a distant waterfall, which echoes loudly between the canyon walls. Along the tops of the cliffs is a dense population of evergreens that have been eradicated from the valley floor, replaced with stumps and holes.
The sun's coming up. Been a while since
I've seen it without a window between us.
(pause, then to DUSTER)
Are we close?
Everything looks different now. All the trees
are gone, but I think so.
We've been walking all night.
Hey Dust, do you still have that-...
oh there it is!
KUMATORA grabs for DUSTER's belt and pulls. They struggle as he attempts to pry her hands
Mother 3 Screenplay-- ACT SIXMother 3 Screenplay-- ACT SIX5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT SIX
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.
Just hold on a minute, there.
He is ignored. ALEC picks up his pace to keep in step with WESS.
Give it a rest. You won't find him that way.
Where is my son, Old Man?
I would have thought he'd be here by now.
Then again, I must have misjudged the
Where is my son!
Up the railway tracks, to the station at
the end of the line.
You've sent my son into a de
Mother 3 Screenplay-- ACT ONEMother 3 Screenplay-- ACT ONE5 years ago in Fan Fiction More Like This
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.
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
Mother 3 Screenplay--ACT EIGHTMother 3 Screenplay--ACT EIGHT5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT EIGHT
EXT : OCEAN : SHORELINE : EARLY MORNING :
A view of the sunrise sends a rainbow of fiery colors over the water and bathes high cliffs rising up to the right. Tossed gently among the waves is KUMATORA. She is drifting, unconscious, toward the rocks, but the dorsal fin of an orca breaks the surface, halting her progress. It rises beneath her and she lies slumped over the back of the animal. In the sunlight, the otherwise black orca appears an iridescent purple.
When it speaks, its voice is soft and somewhat feminine, but deep.
Wake up, sweetie. Come now, you're not
really dead. Just a little tired.
KUMATORA stirs to show she is alive, but keeps her eyes closed.
How did I get here?
That was my doing, of course.
Our dear Aeolia is in a spot of
trouble, I'm afraid.
(sitting up, surprised)
What, how? What can we do?
Nothing, I'm afraid. It's her time.
We simply have to let it happ
Mother 3 Screenplay-- ACT TENMother 3 Screenplay-- ACT TEN5 years ago in Drama More Like This
MOTHER 3, ACT TEN
EXT : MURASAKI FOREST : EAST END : NIGHT :
LUCAS, BONEY and KUMATORA walk together through the forest as the glowing white butterflies gather around them. KUMATORA catches a few on her fingertips.
How do you do that?
By reaching out with my mind to theirs.
Another Psi trick. I bet you could do
it easy, if you tried. You talk to
the dog all the time, don't you?
My name is Boney.
So, try it. In fact-
She stops, releasing the butterflies. They continue on through the forest while KUMATORA forces LUCAS to stand rigid, arms down.
There, now concentrate. Try and feel
out the other animals close by. Each
one will seem different. See if you
can get some to come to us.
Just do it! Concentrate.
LUCAS stands with eyes closed. His facial expression changes several times, becoming tighter. Off-screen, KUMATORA is laughing softly and BONEY begins to bark.
The snout of a
Mother3 Screenplay--ACT TWELVEMother3 Screenplay--ACT TWELVE5 years ago in Drama More Like This
MOTHER 3, ACT TWELVE
EXT : TAZMILY VILLAGE : NIGHT :
Streetlights in the town square cast a yellow glow on the people passing beneath them. The sound of stamping boots soon overpowers all quiet conversations between civilians, and they step aside to allow a troop of PIGMASKS to pass.
Marching through TAZMILY, the soldiers stop at every signpost and bulletin board to attach posters bearing the likeness of LUCAS, KUMATORA and DUSTER. In bold red letters across the top, the signs read, "TRAITORS! Enemies of King and Empire!"
INT : TAZMILY VILLAGE : THOMAS'S SHOP : NIGHT :
Within the meager one-room shop, which bears a brightly decorated counter, full shelves of merchandise, and military propaganda, THOMAS and LISA are busily packing away all items into suitcases. A knock on the door rouses them and they answer.
PIGMASKS are gathered on the front porch. The first holds up one of the posters.
Good evening, citizens. Would you happen
to have a
Earthbound Screenplay ACT TENEarthbound Screenplay ACT TEN6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT TEN
INT : WINTERS : WINTERS ACADEMY : GUEST DORMITORIES : MORNING :
The scene opens on a close-up of NESS, whose eyes are closed and face is stricken with the oblivious joy of sleep. A shadow falls over him and the pillow lying atop his head. This is followed by a sharp metal sound and a voice calling his name.
NESS awakens with reluctance as view switches to his perspective, coming into focus on the open mouth of a long-barreled firearm. In fear, NESS leaps back across the bed, tangled in the bedclothes. He is wearing a t-shirt with an elaborate crest of the WINTERS ACADEMY printed on the front and a pair of blue and white shorts. His dark hair is a matted nest atop his head.
JEFF, fully and neatly dressed, stands at the edge of the bed with an olive green bazooka balanced on one shoulder. He is smiling as he holds it steady.
Dude, what the hell? What the hell are you doing!
Sorry. Didn't mean t
EB Screenplay- ACT THIRTEENEB Screenplay- ACT THIRTEEN5 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT THIRTEEN
EXT : UNDERWORLD : THE ORIGIN : HORN CAVE : TIME INDISTINCT :
Out of pitch blackness, streams of light race across the screen. They are joined by a streak of pure silver. It flies in the direction of the camera, comes to an abrupt stop, and in that instant takes on the shape of the Phase Distorter--calm, still and pristine, as though it has never moved from its former location.
At that moment also, the landscape comes into view. The vehicle sits upon a narrow and winding track of land covered with untamed grass. It is a natural bridge sitting high above a dark, seemingly-bottomless void. In various places it has broken apart, leaving innumerable extensions that continue on to eternity. The horizon is black as the sky. It is important to note here that all objects are illuminated by a non-existent light source.
Focus is placed on the Phase Distorter as its round port-side door slides open. The four souls within their metallic bodies step o
Mother 3 Screenplay-- ACT NINEMother 3 Screenplay-- ACT NINE5 years ago in Scripts & Screenplays More Like This
MOTHER 3, ACT NINE
EXT : MURASAKI FOREST : AFTERNOON :
Panning over a small clearing, LUCAS and BONEY come into view beside the towering LIGHT PHOENIX, who glows even within the shadows.
Well now, this is as far as I will take you.
Must be getting back to my Needle, but if
you walk east you should find Doria, the
Magypsy who lives in this forest.
I hope we are fortunate enough to meet again.
And now, if you please-
The LIGHT PHOENIX ascends and LUCAS exits the clearing with BONEY.
They continue on together through patches of dappled light. The forest around them has begun to thin out, exposing more stumps. BONEY darts back and forth around LUCAS with his nose to the ground.
I still don't understand this. All of these
things I never knew existed-
Strange smells around here.
And Psi, I never really got to ask the
Princess about that. But it must have
something to do w
EarthboundScreenplay ACT ELEVNEarthboundScreenplay ACT ELEVN6 years ago in Scripts & Screenplays More Like This
"You do not have a soul. You ARE a soul. You have a body."
EARTHBOUND, ACT ELEVEN
INT : SOUTHLANDS : DEEP DARKNESS : LUMINE HALL : LATE MORNING :
The shuffling of feet and metal clinking against metal can be heard through the dark, which melts away slowly to reveal a blurred orange glow. As the scene comes into focus, TEBARI stands at the center with his spear and lantern in hand.
View switches to NESS. He draws himself out of a sleep-induced stupor as the rest of the group assembles. The wall behind them is dark, except for a small gathering of lights around NESS. They scatter when he moves.
(groggy, rubbing his eyes)
Whats up? What time is it?
Couldnt tell you. Apparently watches that are
waterproof arent sludge-and-slime-proof.
We cannot wait longer. We must go soon, before
everything is lost.
I think the only thing Im losing is sleep.
PU kneels and takes
EarthboundScreenplay ACT SEVENEarthboundScreenplay ACT SEVEN6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT SEVEN
EXT : SATURN VALLEY : NIGHT :
The skies have grown dark and are filled with clouds that billow out over the valley like deep purple contusions. Flashes of lightning dart between them, bringing thunder and, soon after, torrents of rain. The camera descends slowly, coming in along the eastern cliffs toward the cave entrances on the north end. It eases inside the hot spring chamber, catching the wavelike reflection of water on rock walls, and then focuses in on the children asleep on their woven grass mats.
Even as the thunder rolls and lightning flashes outside, casting a white glow across his face, NESS does not awaken; but he begins to stir as two forms move in close to him.
The camera pulls back, revealing PAULA and JEFF. They have abandoned their own sleeping areas to get closer to NESS, who opens his eyes when he feels them make contact.
Oh, sorry. We didn't mean to wake you up
EB Screenplay ACT EIGHT- pt. 1EB Screenplay ACT EIGHT- pt. 16 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT EIGHT (PART ONE)
EXT : ETHEREAL SPACE : NIGHT :
Darkness withers and reveals an endless void--a featureless landscape starved of both illumination and color. The camera pans to the right where NESS and JEFF are lying comatose. Though the world around them is black, visibility of the characters is unaffected. It appears as if an unseen light source is focused on them, yet it casts no reflection.
Slowly, NESS awakens and sits upright beside JEFF. He is disoriented but unharmed, and he scans the area in a daze. His baseball bat is lying beside him. NESS picks it up, examines it, and then begins to prod JEFF. The surreal elements of the scene have not yet sunk into his conscious mind.
Hey. Hey, wake up. Come on.
JEFF stirs. The camera cuts in close to him as he opens his eyes, glasses askew, and lifts his head to look at NESS.
You all right?
I believe so. What about Paula?
(looking around, panicked)
Earthbound Screenplay ACT FIVEEarthbound Screenplay ACT FIVE6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT FIVE
EXT : PEACE VALLEY : LILLIPUT STEPS : NIGHT :
Darkness reigns, making it clear that some time has passed since NESS and PAULA first entered the area of LILLIPUT STEPS. As the scene fades in, the moonlight becomes a bit brighter, revealing the shape of objects around.
NESS is asleep on his side--exactly where he was when the previous scene ended--but PAULA is no longer with him. The camera pans over the center of LILLIPUT STEPS to where she is kneeling. A close-up shot of her face reveals that her eyes are closed. She is lost in thought.
When PAULA speaks, her mouth does not move, suggesting that the voice is coming from within her. Her body remains still, head down and hands together in a reverent prayer position.
Hello, are you there? It's very hard to reach you,
but I'm trying. Our other friend is here. He's
found me. Though I know you haven't met us, you
will soon. I feel it.
We'll find each other. Just keep you
Earthbound Screenplay ACT FOUREarthbound Screenplay ACT FOUR6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT FOUR
EXT : PEACE VALLEY : EARLY MORNING :
The world is dark for only a moment before the pale blue light on the distant horizon is seen. It grows until it has enveloped the screen, and the recurring girlish voice joins it soon after.
You're getting close! I can feel it! Please,
hurry. There's not much time left. Listen close--
not with your ears, but with every part of your
heart and soul.
Ness, that's your name. I know it now. I'm Paula.
Please, come find me.
EXT : PEACE VALLEY : MORNING :
With the camera focused in on his face, NESS awakes in a cold sweat. Clear beads of perspiration are running down his forehead. Though he appears heated and exhausted, he soon begins to shiver beneath the clothes he has piled atop himself.
The landscape is bathed in misty white fog. Every tree is nothing more than a ghostly gray-green figure. It is impossible to see more than a few meters into the distance.
Shaking, NESS ga
M3 Screenplay-- ACT FOURTEENM3 Screenplay-- ACT FOURTEEN5 years ago in Drama More Like This
MOTHER 3, ACT FOURTEEN
EXT : NEW PORK CITY : SOUTH END : EVENING :
More than one-thousand PIGMASK soldiers are gathered before a stage. To the north are the rising skyscrapers of NEW PORK, its central tower illuminated by spotlights and a yellowish haze.
The soldiers are chanting, "All hail the king!"
The stage itself is composed of a central platform and large Happy Box screen, which sits at the back.
FASSAD stands at the forward end of the stage. His body has been reconstructed, face scarred, legs replaced with mechanical replicas. A breathing device fits over his nose and from it sprouts brass tubes that roll down the front of his chest. He smiles, peels and eats a banana as the MASKED MAN enters. His appearance sends the crowd into a frenzy.
Focus is turned on the MASKED MAN as the screen illuminates, and then the crowd is silent. A voice from the screen, deep and aged, speaks, but the camera remains on the Commander.
Welcome, maggots, and good evening.
M3 Screenplay-- ACT THIRTEENM3 Screenplay-- ACT THIRTEEN5 years ago in Drama More Like This
MOTHER 3, ACT THIRTEEN
EXT : NEW PORK CITY : OUTSKIRTS : NIGHT :
Rusted cattle cars rumble down the tracks and come to a stop before a gathering of PIGMASKS, who slide open the doors. TAZMILY villagers, identified by their civilian attire, jostle one another as they step out with their belongings.FUEL emerges from the crowd and rushes forward to meet LIGHTER, who is wearing his uniform.
He is lifted into his father's arms.
Is everyone here?
Just about. The whole village will be here
by the time the next train rolls in.
They move out of the swelling crowd and onto a tarmac as soldiers, civilians, and a few attending Claymen pass by.
Did you talk with Mr. Flint?
LIGHTER looks at FUEL but does not respond.
Is Lucas going to be okay?
They haven't told me anything. It's out
of my hands now, son.
FUEL embraces his father as the camera pans out, up over the rusted structure of the train station, th
Earthbound Screenplay- ACT TWOEarthbound Screenplay- ACT TWO6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT TWO
INT : ONETT HILL : NESS'S HOME : NESS'S BEDROOM : EARLY MORNING :
The world is dark. Nothing can be seen until a small, pale blue light appears in the distance, giving the illusion of a far-off black horizon.
A voice is heard--soft, young, and feminine. It is unfamiliar.
Hello, is someone there? I've been trying for
days now, but I still don't even know your
name. Please, say something.
The light source grows brighter slowly until it overwhelms the screen, and the once youthful female voice recedes, to be replaced with one much older and more womanly.
Adjusting focus, much of the brightness fades to reveal a close-up shot of NESS'S MOTHER. She is wearing a cheerful smile and the sunlight is turning her hair golden.
There you are. I was wondering when you were
going to wake up. This isn't like you.
The camera switches to a wider view of the bedroom as NESS sits upright in bed, his mother standi
Mother3 Screenplay--ACT ELEVENMother3 Screenplay--ACT ELEVEN5 years ago in Drama More Like This
MOTHER 3, ACT ELEVEN
EXT : FIRE MOUNTAIN : FOOTHILLS : LATE AFTERNOON :
From above, the table and its passengers can be seen moving swiftly across a crater ridge in a barren landscape. Here the earth is made of rock and hardened lava, a dark contrast to the distant SNOWCAP MOUNTAIN.
A closer view of LUCAS, KUMATORA and BONEY. They cling tightly to one another to keep from being rocked off the table. BONEY is sprawled out, his claws slipping across the surface as LUCAS holds him steady.
How much longer!
It's going back to where it came from.
To be honest, I don't know. I never
been out this way before, but I know
Phrygia lives close!
LUCAS presses himself closer to BONEY and clings to the front of the table. The camera pans out again.
They ascend a steep incline, passing construction vehicles that have become buried in the earth. The table slows once at the top, allowing a wider view of the landscape, the ro
Earthbound Screenplay- ACT ONEEarthbound Screenplay- ACT ONE6 years ago in Scripts & Screenplays More Like This
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 colo
Earthbound Screenplay- ACT SIXEarthbound Screenplay- ACT SIX6 years ago in Scripts & Screenplays More Like This
EARTHBOUND, ACT SIX
INT : THREED : RUNAWAY FIVE TOUR BUS : NIGHT :
The pitch darkness of the scene is coupled with a few subtle yet distinguishable sounds: keys rattling, hushed voices, and the movement of feet. Slowly, the moonlight outside becomes visible, combating the overwhelming black. It outlines the shape of two youthful faces--NESS and PAULA--whose eyes are closed in sleep.
Both children are resting against one another. They shift their positions slightly when the bus rumbles and begins to move, but they do not awaken. Streams of both natural and manmade light wash over their faces as they are driven through town.
PAULA opens her eyes for a moment. There is a blank look about her, suggesting that she is not fully coherent. She stares out the window, and then looks to the front of the bus as the camera follows her point-of-view.
There are several large male figures seated near the front. Their backs are turned to the children. When the camera returns its f
EB Screenplay- ACT TWELVEEB Screenplay- ACT TWELVE5 years ago in Scripts & Screenplays More Like This
"Faith is the daring of the soul to go farther than it can see."
~William Newton Clarke
EARTHBOUND, ACT TWELVE
INT : SOUTHLANDS : THE ORIGIN : FIRE SPRING : NIGHT :
Black obliterates the screen. From a singular point in the distance, NESS emerges and falls toward the camera. Patterns of color swarm around him until they have fused with his body on the way down. He becomes a blue haze, which tapers off at one end like a comet tail.
This continues as the camera pans downward into FIRE SPRING near the lava fountain where the lifeless body of NESS lies in a circle of his friends. PAULA, JEFF, and PU have gathered and laid him on his back, their belongings scattered around.
The stream of blue light enters the shot from above, drifting like air into the open mouth of NESS. Only PU makes a visible reaction. His expression changes to one of intrigue.
Focus shifts to PAULA and JEFF, who are rubbing their eyes, faces re