Earthbound Screenplay (ACT FIVE)

Earthbound Screenplay (ACT FIVE)

EARTHBOUND, ACT FIVE

FADE IN

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.

PAULA
Hello?
(pause)
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.
(pause)
We'll find each other. Just keep your mind open.

PAULA looks up, puts her hands down, and opens her eyes. She wears a worried and somber expression. Tears run down her cheeks, reflecting the light of the moon. When she speaks again, she does so aloud.

PAULA
Please, don't let it take too long.

FADE TO:

EXT : WINTERS : NIGHT :

As the camera focuses on the moon, the scene changes to one where snow is softly drifting down to Earth. Mountains and evergreens fringed with white dominate the landscape. They border a hilly valley and icy lake.

At the north end of the valley is a small village. All of its houses and businesses are dwarfed by an elaborate, brown brick building. Its architecture, towers, and finely-crafted but timeworn statuary suggest that it is well over a century old. The camera focuses in on its wrought-iron gate where a sign reading "Winters Academy" can be seen atop the metal archway.

CUT TO:

INT : WINTERS : WINTERS ACADEMY : STUDENT DORMITORIES : NIGHT :

A young man sits up in bed, his face and hair drenched with sweat.

This is JEFF ANDONUTS: intelligent yet reserved. He has the makings of a great scientist in him, but personality and shyness sometimes hinder his efforts. His clothes are always professional, conservative, and practical, though his blonde hair is a bit unruly. It hangs just above his eyes, hiding some of his pubescent acne breakouts. Although his physical appearance is stereotypical of the intellectual/science types, he does have his share of youthful good looks.

JEFF puts a hand over his heart and slowly moves it up to the side of his head, feeling different parts of his scalp. He appears unsure of himself, fearful, and confused.

JEFF reaches over to his nightstand and picks up his glasses, their frames thick and black. He throws back the blankets quietly, but when he steps onto the floor, the wooden boards squeal under his feet and he cringes.

The ruffling of bedclothes is heard across the room. As the camera moves back from JEFF, more can be seen. There are two desks, chairs, and a second bed in the dorm, and the occupant of that bed sits up slowly.

This is TONY: a true friend to JEFF. He is a young adolescent boy with deep brown hair and a gentle personality. Although he makes an effort to dress in a practical and professional manner, his clothes are often wrinkled, rumpled, or somewhat dirty. He is the same age as JEFF--approximately fourteen or fifteen years old--but looks and sounds much younger.

TONY
(groggy)
Jeff? What are you doing up?

JEFF
Nothing. Go back to sleep.

TONY
(worried)
Did you have another nightmare?

JEFF
(sitting at his desk)
I'm fine.

TONY
(getting out of bed)
You did, didn't you? Don't pretend, Jeff. It's
okay. I'll help you.

JEFF
You can't help me, Tony. Just don't worry about
it. I'll be fine.

TONY
No you won't. Something's really wrong. You never
used to be like this. I've seen you get upset
about assignments before, but this is really weird.
(pause, approaching JEFF)
You're soaking wet!

JEFF
I was just dreaming, or something.

TONY
About what?

JEFF
I don't know. I can't ever remember. Except a voice-
(hesitation)
No, nevermind.

TONY
No, Jeff! What voice? You're not hearing things
are you? That's not good, you know. Probably
stress, right? You think?

JEFF
It couldn't be. I don't have anything to be
stressed about--until now, of course.
(pause)
How can I explain? There seems no logical way of
doing so. I know only what I'm feeling.

TONY
(pulling up a chair)
So? Explain it that way then.

JEFF
All right.
(pause)
There is something I need to do, or someplace I
need to be. Possibly both. And if I don't find out
what or where these things are-
(hesitation, fidgeting nervously)
Don't ask me to explain. I'm at a loss. It's
embarrassing. I shouldn't be feeling this way!

TONY
Don't be embarrassed, Jeff. Everyone gets like
this sometimes.

JEFF
(frustrated)
No. There is nothing common about this.
(pause, getting up)
I need to walk for a while.

TONY
Wait, Jeff! What about curfew? If they catch
you out late-

JEFF interrupts TONY with a passive wave of his hand and exits. The camera focuses in on TONY, catching his somber expression before the scene ends.

FADE TO:

EXT : WINTERS : WINTERS ACADEMY : NIGHT :

A distant view of the academy reveals a lone figure trudging through the snow along the eastern wall. The figure is headed toward a smaller white building several meters distant. The lights coming through the windows are the only thing separating it from the near-colorless landscape.

CUT TO:

INT : WINTERS : WINTERS ACADEMY LAB : NIGHT :

The door opens and JEFF enters the sterile yet cluttered environment of the laboratory. The entryway is a long corridor with several rooms branching off of it. Most of the doors are closed, but one at the other end remains open. Light is spilling out of it and into the hall. The camera follows JEFF to this room and enters with him.

Inside are black countertops and tables, all of them drowning in clutter--boxes, science paraphernalia, empty food packages, and other miscellaneous objects. Open cupboards and metal shelves hold machine parts and tools. At the center of the room sits an older man in a white coat.

This is DR. ANDONUTS: the father of JEFF. Like his son, he wears black-framed glasses and is highly intelligent, but there is an age gap between them that is greater than that of most parents and children. The top of his head is bald, lined with tufts of snowy-gray hair that reach from one ear around to the other. He sports a mustache of the same color.

JEFF approaches his father quietly and takes up a stool beside him, pushing away some of the mess on the table so that he can rest his arms there. A moment passes before DR. ANDONUTS notices him.

DR. ANDONUTS
(surprised)
Jeff! Didn't hear you come in, son.

JEFF
(sorrowful)
Hello, Father. Working late again?

DR. ANDONUTS
I always am. Why are you out after curfew?

JEFF
I've been finding it difficult to sleep.

DR. ANDONUTS
Still? This has been a problem for over a week
now, am I right?

JEFF
It seems like so much longer.

DR. ANDONUTS
Haven't I stressed the importance of downtime?
Keeping up with your studies is one matter, but
setting aside periods of respite is essential to
your physical and mental health.

JEFF
Understood. But academics isn't the issue--not
this time. School has been going well for me, if
you want the honest truth.

DR. ANDONUTS gets up from his chair and approaches another table where a computer rests beneath a pile of old food containers and plastic wrapping. He seats himself at the computer as focus returns to JEFF.

JEFF (CONT.)
I have just been having these urges-

DR. ANDONUTS
(interjecting)
You're a handsome young adolescent with properly-
functioning and highly-active hormones.

JEFF
(sighing)
Not those kind of urges, Father. It's difficult
for me to explain.

DR. ANDONUTS
(confused)
Well, that's unusual.
(pause, staring at the computer screen)
Ah, here we are. You have high marks in all
subjects. Doing fine, as always.

JEFF
Exactly as I said. I know school isn't the issue.
If it was, I believe it could be solved easily.
But I have no idea what my problem is!

DR. ANDONUTS moves away from the computer and to another part of the room. There is a small machine on the table in front of him that he is working on.

DR. ANDONUTS
Try explaining yourself as best you can.

JEFF
I have to go somewhere. That's the urge I feel
inside me. I need to get away from here and go
somewhere.

DR. ANDONUTS
You do indeed--back up to the dormitories.

JEFF
(frustrated)
No, no! It isn't here, whatever I'm looking for.
It's like something I've known all along but have
never seen before in my life.

DR. ANDONUTS
I can't say that you're making any sense at all.

JEFF
(somber)
I know. None of it makes sense, but it's there.

A lengthy span of silence ensues while DR. ANDONUTS continues working on his project. JEFF puts his head down on the table.

DR. ANDONUTS
The end-of-term break is coming up soon. If you
like, I could repair the Sky Runner and loan it
to you for that week. Perhaps a small vacation
is what you need.

JEFF
(looking up, excited)
The Sky Runner!

DR. ANDONUTS
Yes, you remember. It broke down several years
ago and I've been tinkering with it off and on-

JEFF
(interjecting)
Could I help you fix it, Father?

DR. ANDONUTS
Well, I suppose-

JEFF
(getting out of his seat)
Great! We'll be able to finish it much sooner.

JEFF exits the room through a doorway in the far right corner. His father follows as the camera pulls back from the scene, passes through the nearest window, and soars upward, turning its attention to the moon.

FADE TO:

EXT : PEACE VALLEY : LATE MORNING :

As the previous scene ends, the moon dissipates, replaced with the sun and bright blue daytime sky. The camera angles downward to catch the span of PEACE VALLEY. It cuts in to a closer shot of NESS and PAULA walking up a hill together. They are in the middle of a conversation.

NESS
And that's when I decided to leave home. I didn't
want to, but I knew I had to get away. I was
starting to go crazy.

PAULA
I'm sorry if I've caused you any trouble, Ness.
I was only trying to contact you and the others.

NESS
Yeah, who are these others anyway?

PAULA
I don't know. But I can feel their presence just
as I felt yours. Can't you?

NESS
I guess not.

PAULA
But you have Psi Power, too, right? You were
born with it.

NESS
Psi Power?

PAULA
Psychic energy. It's a sort of psychokinetic
force that let's you move objects with your
mind. You can do that, right?

NESS
Yeah, ever since I was a baby. Although it would
only happen when I really wanted or needed
something.

PAULA
That's how it is for me, too. It's not like
most people think it is, or how they show it in
the movies. You can't just lift cars without
touching them, read minds, see the future, or
something like that. And it's really not your
mind doing it at all--or your brain, I should say.
The power comes from your soul.

NESS
I don't understand. I thought souls and stuff
were a religious thing.

PAULA
Well they are, but really, your soul is what makes
you conscious. I mean, you could be alive and not
have a soul--like a plant. They still grow, and
there's still energy there, but they can't think or
talk. They don't know what's going on. Does that
make sense?

NESS
(frazzled)
I guess. I never really thought about anything like
this before. It's kinda weird.

PAULA
But it's true. Each soul is different, and how
we live our lives determines what sort of soul we
have at the end. People with our kind of abilities
aren't really good or bad, we're just different.
Our souls can reach things others can't.

Both children walk in silence until, suddenly, NESS perks up and races ahead of PAULA toward a tree where various articles of clothing are hanging from its branches. Some are lying beneath it.

NESS
There they are! The clothes I left behind the
other day. I'm glad they're not gone.

NESS sets down his baseball bat and backpack and begins removing his clothes from the branches. PAULA does not join him.

PAULA
(troubled)
What's that all over them?

NESS looks down at the clothes on the ground and picks up a shirt. It is covered in a molasses-like black substance that slowly runs down the fabric. Profane and insulting words are painted sloppily on the shirt in blue.

NESS
(sighing, frustrated)
Porky. He was here.

PAULA
What's that black stuff? It looks like tar.

NESS
I don't know, but I've seen it before.

PAULA approaches and cautiously touches the black ooze.

NESS
(fearful)
Paula, be careful!

Thin trails of smoke rise up from the point of contact, and PAULA cringes and pulls away.

PAULA
Ouch! It burns!

NESS
I know. I touched some before on this dog.
It came after me on my way to Twoson. I thought
it was just sick or something, but I keep seeing
this stuff everywhere. It was on that Carpainter
guy and the men helping him. Now I guess it's on
Porky, too. That doesn't surprise me. I never
seen so many strange and disgusting things come
outta one person in my whole life.

PAULA
I wonder where he's gone. You told me he drove off
in Mr. Carpainter's car, right?

NESS
Yeah, but he couldn't have gone far. The bridge
is still out.

The camera focuses in on PAULA, who is looking at the river and the smashed wooden bridge that once spanned the width of it.

PAULA
He could've crossed on his own, I guess. But I
don't see a car anywhere around here.

NESS
(abandoning his dirty clothes)
It doesn't matter. I can't wear these anymore
with all this stuff on them.

PAULA
We'll find you something else to wear, Ness.

NESS
(standing up)
Right. But first we gotta get across the river.

PAULA is silent. She looks at NESS shyly. His face turns red.

CUT TO:

EXT : PEACE VALLEY : RIVERBED : AFTERNOON :

With the water rushing around his waistline, NESS shivers and clutches PAULA tightly. She is sitting atop his shoulders, wearing his backpack and holding his baseball bat. Although she is concerned, she looks mostly content while NESS appears to be just the opposite. His facial expression shows great strain.

PAULA
You didn't have to do this.

NESS
Yes I did! Now just hold on. When we get close
enough, you climb up and I'll follow.

NESS struggles all the way to the opposite bank and then stands there, shaking, while PAULA tosses the bat and backpack up into the grass. She crawls off of NESS, turns, and wraps her arms around his to pull him up.

PAULA
(straining)
Oh gosh, you're frozen!

NESS
(shivering)
Water's a bit cold.

PAULA pulls back on NESS, who climbs the rest of the way out and sits, trembling, on the edge of the bank. PAULA smiles at him.

PAULA
At least the sun's out. You'll dry off soon,
once we start walking again. Thank you, Ness.

NESS
(shaking, stuttering)
Yeah-... yeah, no problem.
(pause, standing up with PAULA)
God, I'm so cold! I swear I must have
shrank a few inches.

PAULA
(confused, offering her hand)
You don't look any shorter.

NESS
Nevermind.

NESS and PAULA walk hand-in-hand away from the river, carrying with them the backpack and baseball bat. The camera does not follow, but instead cuts to a view across the river as they walk out of the scene. Then, the camera pans over to the clothes NESS left behind. The pitch-black substance is slowly dripping off, like syrup, and when it touches the ground, all the grass around it smolders, withers, and dies.

FADE TO:

EXT : TWOSON : CITY LIMITS : AFTERNOON :

NESS and PAULA enter through the eastern tunnel connecting TWOSON and PEACE VALLEY. Their path is lined with trees that thin out as they approach the city.

NESS is no longer shaking, though his clothes still appear wet. He carries the bat in his right hand and keeps the other wrapped around one strap of his backpack. PAULA walks beside him. She appears concerned.

NESS
Walking back isn't as bad as I thought it
would be. It's definitely easier than the
first trip.
(pause, stopping)
So, you should probably be getting home.
I can walk you there.

PAULA
(shaking her head)
I can't now that I've found you. The others
are still waiting. We haven't solved all our
problems yet.

NESS
But what about your parents? I saw them before
I left Twoson to find you. That's how I found
out you were missing. They said you'd been
kidnapped. And I'm sure they're really worried
about you.

PAULA
And aren't yours worried about you, too?

NESS
(stunned, guilty)
Well, yeah, but I made up my mind. I left for
good, until I finish whatever it is I started.

PAULA
My mind's been made up as well. We've found each
other, and it just so happens that we both left
home. We can't go back now that we're out here.

NESS
But your mom and dad-
(hesitation)
They'll think something awful happened to you.

PAULA
I know. I'm not happy with how everything turned
out. I wish we could've met under nicer
circumstances, Ness, but it's already done with.
(pause, looking over the city)
Come on. I have an idea. I'll need to borrow
your hat a while.

PAULA begins walking ahead of NESS, who appears confused.

NESS
My hat?

CUT TO:

EXT : TWOSON : CITY STREETS : LATE AFTERNOON :

The streets of TWOSON are alive with activity. NESS and PAULA have been swept up in the tide of human bodies and are drifting toward the other side of the city. A closer shot of PAULA reveals that she is wearing NESS's baseball cap. Her blonde hair is tucked under it to help disguise her. She keeps her head down while walking.

PAULA
(whispering to NESS)
Is anyone looking?

NESS
No. Where are we going?

PAULA
To the park, but I don't want anyone to see me.
Lots of people know who I am. They'll tell my
parents if they find out I'm here, and then I'll
never get away.

NESS
But how're they going to know you're all right?
Shouldn't we at least tell them that?

PAULA
We can't, but I can ask someone else to do it for
me. If I go back, I'll never want to leave.

NESS
(sorrowful)
Yeah. I know that feeling.

CUT TO:

EXT : TWOSON : BURGLIN PARK : ENTRANCE : LATE AFTERNOON :

NESS and PAULA enter the park as the sun works its way toward the horizon. Evening is drawing near, but the crowds remain thick, choking the main walk and the vendors that border it.

The children pass all the activity as PAULA leads NESS to the back of BURGLIN PARK where the western edge of the forest begins. There sits the familiar one-room house. NESS stops before they reach it.

EVERDRED can be seen lounging on the roof, though he does not notice his visitors until they begin speaking.

NESS
(confused)
This is where Everdred lives. Paula, what're we
doing here?

PAULA does not respond. She retreats inside the house as EVERDRED sits up and hops down from the roof. He appears angry.

EVERDRED
Hey, you little punk. So you came back? I didn't
expect I'd see you again after you ran off.
(pause, observing NESS)
What happened to your hat?

NESS
(bothered)
Sorry, I don't-
(hesitation)
Could we maybe talk inside?

EVERDRED, still wearing a bitter expression, gestures NESS into the house.

CUT TO:

INT : TWOSON : BURGLIN PARK : EVERDRED'S HOUSE : LATE AFTERNOON :

The camera follows NESS and EVERDRED inside and then pans over to PAULA, who has removed the hat. She smiles, her bouncy blonde curls resting on her shoulders.

EVERDRED stops in the doorway, stunned, when he sees PAULA. He pushes past NESS and rushes toward her, arms out.

EVERDRED
(shocked yet joyful)
Paula! Oh, thank God!

PAULA
(embracing EVERDRED)
Uncle Ian! I've missed you!

EVERDRED
What in the world happened to you? Everyone's
been talkin' you been kidnapped.

PAULA
(pulling away, smiling)
I was. Some men took me to Peace Valley. I didn't
know what would happen. Then Ness showed up.
He saved me.

EVERDRED and PAULA look at NESS as the camera focuses on him.

NESS
(bewildered, shocked)
Uncle Ian?

EVERDRED
Hey don't get cute, kid. The jury's still out on
your case. I reserve judgment for a later date.
(sitting on the couch)
But I can't thank you enough for rescuing my niece.
When I saw you take off the other night, I didn't
know what to expect. You were just some punk kid,
as far as I was concerned--albeit with a few good
tricks up your sleeve.

PAULA sits beside EVERDRED as he reaches under the couch for his box of cigars. PAULA stares at him and, when he notices this, he appears embarrassed and puts the box away.

EVERDRED (CONT.)
I have to say, as thrilled as I am that you brought
little Paula back home, I'm ain't surprised one bit.
I knew there was somethin' strange about you.

PAULA
He's not strange, Uncle Ian. He's a hero.

NESS
No, I'm confused. You two are related?

EVERDRED
(annoyed)
Ain't you been payin' attention? Here's a tip
for ya: take notes. It helps.

NESS pulls out the wooden chair from the table and sits down. He folds his hands in his lap, knees spread wide apart, and stares at the floor.

NESS
I'm still just really confused. Everything's been
happening so fast.
(looking up at PAULA)
Why didn't you tell me Everdred was your uncle?

PAULA
I didn't even know you two had met. You never told
me you spoke to Uncle Ian before coming to find me.

NESS does not respond.

EVERDRED shifts into a more comfortable position on the couch and wraps an arm around PAULA, drawing her into another embrace.

EVERDRED
Hey, all that matters to me is that you're back
now. And if I ever see the sons of-
(hesitation, glancing at PAULA)
The guys who did this, I'll have more than a few
things to say. You can count on that.

NESS
(somber, distant)
You won't find them.

EVERDRED
Oh? And what's that supposed to mean?

PAULA
Uncle Ian, could we--well, could I ask you for a
favor? A really, really big favor?

EVERDRED
Why so heavy all of a sudden, little one?

PAULA
Could you please let Mom and Dad know I'm all right?
I can't go home and I don't want them to worry
about me.

EVERDRED
(shocked)
Paula! What're you sayin'?
(turning to NESS, angry)
You show up, break your mother's heart by runnin'
away from home, and now you're tryin' to convince
my Paula to do the same? Get the hell out!

PAULA
No! It wasn't him, Uncle Ian. I've-
(hesitation)
If you really want to know, I've been planning this
for a while. I can't explain it to you. I'm sorry.
I wish I could, but it won't make any sense.
(standing up)
Please, Uncle Ian. You can't be upset, and you
can't make a big deal out of this. It's something
that has to be done. There are places we have to
go, things we have to do and find.

EVERDRED
(standing up, angry and stunned)
Oh, I imagine there is. But you can forget about it.
(taking PAULA by the hand)
Paula, listen to me. You're a sweet girl--the angel
of our family, of this town! I don't like to say
these kinna things to nice young ladies like you,
especially not to my own flesh-and-blood, but I
was a young punk teenager once. And I'm not
suggestin' you would ever do anything, but-
(hesitation)
But you know there's only one thing a
teenage boy thinks about.

PAULA
(shocked, offended)
Uncle Ian! Please! I've never-
(hesitation)
Ness would never-

NESS
(interjecting, blushing)
Could we just pretend I don't exist right now?

EVERDRED
(furious)
Shut your trap, boy, because I'd love nothin' more
than to make that a reality.

PAULA
(approaching NESS and taking his hand)
I'm sorry, Uncle Ian, but I've made up my mind.
You know I wouldn't do anything to hurt you, or Mom
and Dad. I'd love to go home more than anything, and
so would Ness. But we can't--not while there's still
unfinished business to take care of.

NESS
(lifting his hand and PAULA's)
This isn't what you think. We're not together...
(pause)
In that way.

EVERDRED
(speaking to PAULA)
I'm calling your parents.

PAULA releases NESS and puts her hand out toward EVERDRED, eyes closed. Her fingertips glow for a second before a sharp jolt of electricity darts out from them, splitting the air between EVERDRED and the table. The bolt hits the wall and leaves a jagged black mark. EVERDRED stops sharply in his tracks. Both he and NESS appear frightened.

EVERDRED
(stunned)
Paula... what're you doing?

PAULA
I'm sorry, Uncle Ian. But you have to give us some
time. At least let us get out of town.

EVERDRED
Out of town!? But you just got back-

PAULA
(interjecting)
I know. I'm sorry. We don't really have time to
explain. We're looking for something and we need
answers, but we're not running away. I promise.
(turning away)
Come on, Ness.

EVERDRED
(sorrowful)
You know you're breakin' my heart, Paula.

PAULA stops in front of the door. She puts the baseball cap on her head and tucks her hair up into it. Tears are beginning to form in her eyes.

PAULA
It won't be forever.

PAULA exits and NESS walks out behind her, slowly. EVERDRED races outside to catch up with them.

EVERDRED
Wait!
(speaking quietly)
Listen, don't expect me to keep quiet about this.
Your mom and dad are gonna know the instant I get
to them, but if you ever need help-
(hesitation)
Dammit, I can't believe I'm sayin' this to you kids.
Go down to the theater--and go now, before they take
off. Ask for a guy called Gorgeous and
tell 'em I sent ya.

PAULA
Thank you, Uncle Ian.

NESS
Thank you.

EVERDRED looks at NESS sternly, making a fist with one hand. Blushing, NESS exits the scene after PAULA.

EVERDRED
(sighing)
Dammit. I've gone soft if I'm givin' in this easy.
(pause)
Linda's gonna kill me.

CUT TO:

EXT : TWOSON : TWOSON THEATER : EVENING :

The setting sun has painted everything in the city a shocking reddish-orange. As the camera moves in toward the TWOSON THEATER, NESS and PAULA walking toward it, it becomes clear that the neon displays have been lit, though they are difficult to see against the backdrop of natural light. There is a black bus parked just outside the theater entrance. The name "Runaway Five" has been spray-painted in yellow on its side.

PAULA leads NESS up to the ticket booth. The camera cuts in to a closer shot of the scene.

Inside the booth sits a red-headed woman with glasses. She is filing her nails and does not immediately notice NESS and PAULA.

NESS
Hello? Is there someone named Gorgeous here?

The woman gives NESS and PAULA a sidelong glance. She continues to file her nails.

WOMAN
Lemme guess, you kids want an autograph or
somethin'? Go around to the side. They ain't left
yet, but I can't make promises.

PAULA takes NESS by the hand and pulls him quickly around the front of the theater. The camera cuts to a different view of the scene to catch them rounding the corner.

Gathered near the wall is a group of five men, all of them dressed in bright suits and fedoras. They are smoking, talking, and laughing together. A few of them are sitting on black leather instrument cases.

The men stop talking when NESS and PAULA approach. One member of the group approaches them.

This is GORGEOUS: forthright and charismatic. His clothes and personality are the brightest and loudest of all. Though his pants are dark in color, the jacket he wears is a stunning magenta--the same shade as his sunglasses. He is short and pudgy, but nothing about him suggests that he is a slouch.

GORGEOUS
Hey, kiddos. If you're lookin' for an autograph,
you're outta luck. We're done signing for tonight.

NESS
Are you Gorgeous?

GORGEOUS
(grinning and laughing)
If the name fits!

PAULA
My Uncle Ian asked us to speak to you--Ian Everdred.

The other men stand up, appearing both surprised and joyful. They approach GORGEOUS, NESS, and PAULA, forming a crowd around them.

GORGEOUS
Hey, Everdred! I know that old goat.
He's a big fan of ours!

NESS
Fan? Who are you guys?

GORGEOUS
(stunned)
You gotta be kiddin' me! Who is this kid? He from
another town or has he just been livin' under a
rock the past few years?
(speaking to PAULA)
You said Uncle Ian, didn't you? That must make you
Paula Polestar. Am I right?

PAULA nods in response and the men gather around her, talking, laughing, and shaking her hand. NESS backs up from the crowd.

GORGEOUS
Wow, Paula. We been itchin' to meet you! They say
you're some kinda special kid with all these crazy
magical powers. That's wild, man. Think you could
give us a little show before we take off?

PAULA
Take off?

NESS
Where are you going?

GORGEOUS
Headin' off to Threed--next town over. We're a
travelin' band, y'see. The Runaway Five! And, hey,
just like everyone else, we need money. Music's
what we love. Anywhere there's music, that's where
you'll find us.

NESS
Could you maybe tell us how to get to Threed?

GORGEOUS
(grinning)
We'll do better than that. For Everdred's niece--
Miss Paula Polestar and her friend, we'll drive ya
there ourselves.
(pointing, putting out his cigarette)
The bus is out front. Come on.

CUT TO:

INT : TWOSON : RUNAWAY FIVE TOUR BUS : EVENING :

An inside view of the tour bus reveals that it is spacious, comfortable, and lived-in. The seats are a plush red fabric. Some have a tabletop surface between them. At the far end, on the left, are storage racks. This is where the band members put their instrument cases after entering the bus after NESS and PAULA.

PAULA sits in one seat and gestures for NESS to sit beside her. She removes the baseball cap, freeing her blonde curls, and returns it to NESS.

GORGEOUS stands in the aisle beside them.

GORGEOUS
(proud)
Welcome to the Runaway Five Grand Tour Bus. It ain't
much, but hey, it's a home on wheels as far as we're
concerned. And it's your home-away-from-home if ever
ya need it. So relax, and don't worry 'bout the
drivin'. We'll take care of that.
(laughing)
But where are my manners? Allow me to introduce the
rest of the guys.

GORGEOUS grabs the first man to his right--a tall individual with a black suit, fedora, and glasses.

GORGEOUS
This here's Lucky, and he's almost as good a
dancer as I am.

LUCKY
Pleased as can be to meet you, Miss Paula.

The men laugh, LUCKY shakes hands with NESS and PAULA, and then he slips past GORGEOUS toward the front of the bus. GORGEOUS continues to introduce the rest of his group.

GORGEOUS
Next up we got Slim, our main sax player. Then
our man on bass, Bobby-Blue, and last but not least,
our drummer and expert driver, Big G.

The other band members pass by in order. SLIM is also tall and thin, wearing a red jacket and forest-green fedora; BOBBY-BLUE sports a suit and hat of his namesake color; and BIG G has dressed almost as loudly as GORGEOUS. He is the only dark-skinned member of the RUNAWAY FIVE, and around his mouth and chin is a thick patch of black hair.

SLIM
Welcome to the tour bus, all.

BOBBY-BLUE
Glad to have ya on board.

BIG G
(grinning, laughing)
Please to meet you. Remember, I take requests,
but not while driving.

All men shake hands with NESS and PAULA before taking their seats. GORGEOUS sits as well, his feet out in the center aisle.

GORGEOUS
So tell us about yourselves. What business do a
couple of kids like you have in Threed? Or were
ya just lookin' for a free ride with a pack of
cool cats like us?

GORGEOUS laughs, eliciting a smile from PAULA. NESS, however, appears somber and his expression does not change.

NESS
Just need to get out of Twoson for a while.

GORGEOUS
Awful funny story. What about your parents. You's
two are brother and sister, ain't ya?

PAULA
No! Ness is-
(hesitation)
We're cousins. He lives in Onett and was visiting.
He doesn't get out much, so I promised to show him
around a bit.

NESS looks offended but remains silent.

A motor is heard rumbling off-screen as the tour bus starts and begins to pull away from the TWOSON THEATER.

GORGEOUS
(uncertain)
I see. And your parents are all right with this--
you two takin' a little trip on your own and all.
'Cause I don't want this to turn out bad, you get
in trouble, and the rest of us get thrown in the
slammer for kidnapping or somethin' crazy like that.

PAULA
(laughing)
No, it's nothing. Our parents know where we are.
We go on vacations together all the time. Uncle Ian
told us we should come see you guys. He knew you
were leaving town and said you would give us a ride.

NESS, who looks flabbergasted, grabs the sleeve of PAULA's dress, but she ignores him.

GORGEOUS
Just a couple of old pals out for a night on the
town, eh? Probably goin' to one of them clubs
where they play all that computer-generated music
you kids like nowadays. But hey, if you're ever
in the mood for some good old-fashioned jazz, or
you're in a bluesy kinda mood, you know who to call.

PAULA
Yes, thank you. And thank you for the ride.

NESS
(thoughtful, distant)
Yeah, thanks.

GORGEOUS
(standing up)
You two look a little tired. Lemme have a talk with
the guys and see what we can do about getting' you
both some grub. Feel free to kick back and stretch
your legs a bit.

GORGEOUS exits the scene and the camera focuses in on NESS and PAULA, who speak together in whispers.

NESS
What're you doing! Lying to people? Our parents
aren't all right with this. They don't even know
where we are!

PAULA
I know, but we can't tell everyone that. They'll
just send us back home, and if that happens, it's
all over. We'll never be able to leave. I'm sure you
know what I mean, Ness.

NESS
Yeah, I do. I didn't wanna leave Mom and Tracy.
But I had to and it kills me. I can't stop thinking
about it. And that's a thousand times worse than
lying or anything I've ever done up 'til now.

PAULA
Right, see? We can't worry about the little stuff.
When we get to Threed, we'll just keep on going
until we find what we're looking for. I've got a
good feeling about the place.

NESS
Oh, really? I've been feeling just the opposite.

PAULA
Look, don't worry about it. Go to sleep if you
don't want to be bothered anymore.

NESS
I'm too hungry to sleep. I haven't eaten since-
(pause)
Gosh, since I left home. It's been almost three
days now, counting this one.

PAULA
I'm sorry, Ness. I didn't mean for it to turn
out this way.

NESS
It's no one's fault. This is just how it happened.
And you're right, I guess, about lying. We can't
really avoid it if we want to keep going, but I
still don't like doing it.

PAULA
I can't believe I did it myself. That's not who I
am. I feel like everything's different now--not
just because of that, but because of all that's
happened. And that feeling--that wanting to be
somewhere else and find what we're looking for--
it's still there.

NESS
I can't shake it, but I can't explain it either.
Sometimes I feel like I'm gonna die. It's so
bad, I didn't even think about being hungry until
just now. I wanted to find you, and then I wanted
to keep moving, to get somewhere.

PAULA
(shifting closer to the window)
The world's really strange sometimes.

PAULA turns away and stares out at the passing scenery. The camera angle changes view so that her face can be seen through the window. She appears somber and tired. The focus holds on her for only a few seconds before pulling away from the bus and up over the trees. Slowly, the sunset scene begins to dissipate.

FADE TO:

EXT : WINTERS : WINTERS ACADEMY : NIGHT :

The fiery sun is soon replaced with a view of the moon and nighttime sky, flooded with heavy blue clouds. Snow is drifting to Earth and the camera follows it down to take in the rest of the mountainous landscape.

The WINTERS ACADEMY sits dark and quiet, but the much smaller laboratory building adjacent is filled with activity. Lights are on inside and they cast a warm glow on the snow-covered ground.

CUT TO:

INT : WINTERS : WINTERS ACADEMY LAB : NIGHT :

When the setting changes, focus is put immediately on DR. ANDONUTS. He is kneeling on the floor, his front half hidden by a machine that cannot be seen fully.

JEFF walks on screen and the camera turns to him. A small brown and blonde capuchin monkey sits on his left shoulder. It is chewing something and holding a tool in one paw. The monkey hops down and gives the tool to DR. ANDONUTS.

DR. ANDONUTS
Thank you, Bubble. Jeff, did you find that other
part for the engine?

JEFF
The compressor? Yes, it's in storage. We'll need
two of us to carry it.

DR. ANDONUTS stands, using the machine for support, and the camera pulls back to take in more of the room.

The walls are a dull corrugated aluminum. Each one is lined with shelving units except for the wall at the far end, which instead has a row of windows and a wide metal door that, presently, is closed. The room appears to be used both as storage space and as a hangar. Sitting in the center is the machine DR. ANDONUTS is concentrating on.

The Sky Runner is a sleek, streamlined and silver with round portholes running along its body. The short, curved wings on either side make it look like a small jet. It is just large enough to accommodate four or five occupants, including one to operate the vehicle.

JEFF and DR. ANDONUTS exit with the monkey in tow.

CUT TO:

INT : WINTERS : WINTERS ACADEMY LAB : STORAGE : NIGHT :

Darkness obliterates everything until a door opens on the left, letting in a flood of light from the hallway. JEFF and DR. ANDONUTS enter. They begin to rummage through the flood of boxes on the floor while BUBBLE, the monkey, hops up onto a nearby table, still chewing busily.

JEFF
(moving a box off the top of the pile)
It's underneath this one. We'll have to remove it
first, and then carry it out.

DR. ANDONUTS
(scratching his head)
No, leave it. It will be easier to lift the box,
rather than deal with the part itself. We'll put
it in the hangar and then call it a night.

JEFF
(dropping the first box, appalled)
What? You want to quit already!

DR. ANDONUTS
I teach class early tomorrow morning, Jeff. And
you have your own classes to attend as well. We
couldn't possibly finish a project like this in
one night--not if we intend to get any decent
amount of sleep.
(patting JEFF on the shoulder)
End-of-term break is still two weeks away, son.
We have plenty of time to repair the Sky Runner.
Try to stay optimistic.
(pause)
I think I'll go and get a dolly cart for that.

DR. ANDONUTS exits as JEFF stands alone in the stream of white light, his face somber. The monkey leaps from the table to his shoulder. It pauses to blow a bright pink bubble with the gum in its mouth, and then exits as well.

A close-up of JEFF is seen a moment before the scene changes. The glare on his lenses swells, washing out the entire screen, and then dissipates.

FADE TO:

INT : THREED : RUNAWAY FIVE TOUR BUS : NIGHT :

When the brightness fades, the only light remaining is that of the moon shining in through the windows on the bus. The ivory glow outlines the face of NESS and PAULA as they rest beside each other. PAULA is using the backpack as a pillow while NESS holds the Sound Stone protectively in his lap.

Noises can be heard from off-screen and the camera pans over to GORGEOUS and BIG G standing in the center aisle. They are conversing quietly.

BIG G
You think we should wake them up?

GORGEOUS
They're out. Let 'em sleep. We gotta be on stage
in five minutes anyhow. Just lock up the bus.
They'll be fine for a few hours.

BIG G
Right-o, Boss. Consider it done.

GORGEOUS and BIG G exit. Focus returns to the sleeping NESS and PAULA before everything fades to darkness.

FADE OUT
END ACT FIVE.