"EARTHBOUND" an original screenplay by Darren Block - January 4, 2010
CLOSE ON: A GREEN METALLIC PEACE-SIGN that hangs from A KEY CHAIN. PANNING BACK WE SEE THE LEGS OF A WOMAN as she drives - shifting hard and using her feet to quickly clutch, accelerate and brake. We hear the tires squeal as the car whips around sharp snowy curves.
PANNING UP THE WOMAN’S LEGS we see that she is wearing A SHORT SKIRT and has a MILK CARTON between her legs. She’s TERRA VERTE, an attractive but somewhat studious looking woman in her early thirties. A JACK-RUSSELL TERRIER is yapping loudly in the back seat. Terra tries to quiet the dog but it seems agitated and nervous. WE CAN HEAR THE CAR RADIO.
RADIO
The Southland is facing the worst winter storm
in a century. A flash flood and mud-slide watch
has been issued for all areas from the L.A. basin
to Palm Springs. Snow levels are at their lowest
ever. Experts say that global warming may be
contributing to the wild weather.
TERRA
(as she turns the radio off)
No shit.
We hear her pee filling the milk carton as she dials her cell phone.
TERRA
(to herself )
If I were a guy I’d get paid more and be
able to pee in a milk carton.
Her car swerves onto the shoulder of the snowy road. She loses control of the milk carton and disgustedly wipes her wet skirt.
TERRA
Oh no. No!
We can hear THE VOICE OF VIVIAN, Terra’s assistant as she picks up the phone at the other end.
VIVIAN
You okay?
Vivian hears the dog yapping in the background.
VIVIAN
You got your baby with you?
TERRA
I couldn’t leave him home in this weather.
He’s pretty freaked out. Can you have
wardrobe dig me out a dry skirt. I lost my
milk carton again.
VIVIAN
I told you - no more Cokes for breakfast.
TERRA
And don’t tell them it’s for me this time.
And can you have the tape ready for the
fox-hunt story by the time I get there.
VIVIAN
Honey - Ivan cut the fox hunt story.
TERRA
What? Why?!
VIVIAN
Because Barbara’s interviewing the President
on Saturday and apparently he’s cut off a few
tails in his day. Ivan calls it a social conflict
of interest.
TERRA
Vivian - I want that story up and ready
in ten minutes and I don’t care what
‘Little Hitler’ says!
VIVIAN
I’ll see what I can do. He’s in a mood. How
was the date.
TERRA
I think he was expecting something more feminine.
He kept calling me doctor - which in any other
context I’d appreciate.
VIVIAN
You didn’t wear lipstick, did you?
TERRA
I can’t sell that Viv. Besides they test it on monkeys.
Terra’s dog climbs up the seat behind her and starts licking her neck.
TERRA
I’ve got my boy right here.
VIVIAN
Don’t give up. They’re not all dogs.
Terra sees A DEER IN HER HEADLIGHTS, misses a curve and her car careens over the side of a steep cliff. The car is flipped on it’s roof at the bottom of a snowy ravine. The overturned car rocks back and forth a few times before it settles and becomes eerily silent. Suddenly the car bursts into flames.
CUT TO:
EXT. ANTARCTICA - ICE-BERG - NIGHT
CLOSE ON A FIRE as it burns inside of AN OLD OIL DRUM and lights the faces of the three men seated around it. As the fire flitters in the drum, a snowy wind is howling as the men struggle to talk above the gale. PANNING BACK we can see that there are SEVERAL HIGH-TECH TENTS lit from within. The tents are rippling and snapping in the wind. We see nothing but ice in every direction. The men are checking some equipment set up on the ice-berg. They are LOU GARDNER, Chief of Operations for Green peace; a large man in his fifties with a very full bushy beard. ERIC DUVAL, a geologist and SID SANTOS, a climatologist. They have to shout to be heard above the wind.
LOU
Anything?
ERIC
Nine point six miles long and four miles wide.
About a mile deep. That’s about sixty trillion
tons of ice. It could fill the Everglades.
LOU
Holy Shit.
ERIC
This is nothing. The next one’s five times
this size and it’s ripe and ready to go.
That’ll be the biggest drifter this ice age.
We’ll be the last to see this one. She’ll be
water in less than a week.
LOU
We’ll leave this station set up ‘til it melts.
We can monitor everything until then.
Hopefully we don’t go with it. How long
‘til the big one breaks off?
SID
I’d give it a week, ten days. And there’s
one behind that.
LOU
Anything we can do?
ERIC
Yea. Buy property in Denver.
CUT BACK TO:
EXT. RAVINE - DAWN
A heavy snow is falling. TERRA’ S OVERTURNED CAR is on fire. Terra has been thrown free of the wreckage and lays motionless a few yards from the burning car. HER DOG lays a few yards away, dead.
AN AMBULANCE is on the scene along with THREE PARAMEDICS. Paramedic #1 (KELLY) desperately performs CPR on Terra. We hear THE FLAT TONE OF A HEART MONITOR indicating no heartbeat.
The other two paramedics stand complacently beside the ambulance. They look as though they’ve given up the effort.
The tone of the heart monitor remains steady as Kelly continues CPR. We get the sense that his efforts are futile at this point. A VOICE comes up over the ambulance radio.
VOICE
Unit 238 - we can’t get L.A. fire up to you.
We’ve got a mud-slide on PCH. You’re
on your own.
The snow turns to rain and extinguishes the burning car. Kelly looks up into the rain.
KELLY
Somebody’s up there today.
Paramedic #2 (THOMAS) stands at the ambulance. Paramedic #3 (FITZ) approaches Kelly who continues the CPR. He puts his hand on his partner’s shoulder and speaks to him softly - consoling - as the rain falls harder. He struggles to be heard. Kelly picks up the pace of the CPR, now even more determined than before.
FITZ
Buddy - it’s been too long.
ON THOMAS at the ambulance as he prepares A BODY-BAG. He pulls a hood over his head as the rain begins to pour down even harder. He pulls out A PORTABLE PHONE.
THOMAS
(on the phone)
County - this is PA 238 confirming that traffic
fatality. She’s a white female - approximately
thirty two years of age. Arrest occurred sixty
seven minutes ago with inoperative brain function
at forty eight minutes. No response to extended
fibrillation or adrenaline. We’re bagging her now.
It’s Terra Verte so you may want to hold back
the press. That’s our third celeb this week.
The rain becomes a torrential downpour as Fitz tries to pull Kelly off of Terra’s lifeless body. Kelly pulls free and frantically pounds on her chest with a renewed, almost angry vigor. Fitz is furious.
FITZ
Kelly - that’s enough!
KELLY
(frantic)
Get me ten more milligrams.
FITZ
No more! It’s over man.
Kelly gets up and pushes Fitz out of the way. He gets to the ambulance and pulls out A PLASTIC PACKAGE and sprints back to Terra, leaving deep footprints in the ever softening mud.
He tears into the package with his teeth. He pulls out a bottle marked Adrenaline - 10mg. Maxdose. He fills A LARGE SYRINGE with the entire contents of the bottle and injects it into TERRA’S I.V. TUBE. She doesn’t respond.
KELLY
Get me ten more milligrams. She comin’
back man. She’s comin’ back.
Fitz ignores him.
Kelly angrily gets up and runs to the ambulance. Fitz stands defiantly in front of him.
FITZ
Kelly - man - I can’t let’cha. We can’t do any
more for her.
Thomas joins him with A STRETCHER AND A BODY BAG. As Kelly sees the body bag, a look of anguish comes over him. Thomas pats him on the shoulder.
THOMAS
I phoned her in.
Kelly starts to cry as he stops the CPR.
Suddenly Terra is standing next to her own lifeless body. She looks down in wonder. She sees THE SHROUDED FIGURE OF A WOMAN SITTING ON AN OLD TREE STUMP in the mist about fifty yards away. She slowly goes toward the woman. The commotion of the accident scene fades away as Terra sees the woman beckoning her. Terra can’t see her face through the shroud.
WOMAN
Hi. Rough day?
TERRA
A little. (She looks around) Am I dead?
WOMAN
That depends.
TERRA
Who are you?
The woman takes Terra’s hand and breathes into it. Terra hears a humming in her head.
WOMAN
I’m part of you.
Terra opens her hands to find ONE FRESH RED ROSE PETAL.
TERRA
What’s this for?
WOMAN
It’s the meaning of life. What everyone wants.
Terra feels her vision dissolving as the bright fog turns to dark rain.
TERRA
What does it mean?
The woman fades into the fog.
TERRA
What about my dog?!
WE PAN BACK to the paramedics at work on Terra’s lifeless body. Kelly is distraught and his emotions are out of control as he crouches over Terra.
KELLY
I’m not lettin’ her go. She stands for something.
Nobody stands for anything any more.
Kelly rushes to the ambulance and returns with A HUGE SYRINGE WITH A FOUR INCH HEART-NEEDLE. Before Fitz can react, Kelly plunges the needle into Terra’s chest and empties the syringe. Fitz and Thomas step back in amazement and horror as Terra’s body jerks.
FITZ
I hope you can handle the consequences.
The heart monitor now shows a heartbeat.
KELLY
She was dead. Now she’s alive.
THOMAS
She’ll never come out of a coma.
KELLY
She’s alive. And I brought her back.
The rain suddenly stops.
FITZ
Let’s get her on the truck.
THOMAS
What do we do with the dog?
Fitz is disgusted and angry.
FITZ
Leave it. She’ll never know the difference.
Thomas is on the phone.
THOMAS
What do I tell base?
FITZ
Tell’em Kelly’s a God.
CUT TO:
INT. HOSPITAL ROOM - DAY
Terra is up and stuffing A GREEN DUFFEL-BAG full of everything she can find that isn’t nailed down (RUBBER GLOVES, BED PANS, PILLOWS, SOAP, SHAMPOO, TONGUE DEPRESSORS, MOUTHWASH, etc.)
AN OLD FUSSY NURSE stands by and helplessly watches.
TERRA
I paid for all this crap and I’m takin’ it with me.
NURSE
I’ve notified the doctor.
Terra continues to pack the duffel-bag until it bulges at the seams.
TERRA
That’s fine. Where are my clothes?
NURSE
He’ll be here in just a minute.
TERRA
Great. Good for him.
NURSE
He’s going to be very upset that you’re
leaving.
TERRA
Look nurse Ratchet, I’m a big girl. Go suck
someone else’s blood.
THE DOCTOR ENTERS the room and sees Terra packing.
NURSE
I couldn’t stop her.
DOCTOR
What’s going on?
TERRA
What’s going on is you’ve done nothing
but stick me with needles and feed me
sleeping pills and over cooked vegetables
for two weeks. I’m leaving.
DOCTOR
Your blood is still way off - way off. You
shouldn’t be out of bed. Technically you
shouldn’t be alive, so if we could just...
TERRA
Well you better check you equipment - cause
I’ve never felt better in my life and I’m leaving.
DOCTOR
Please.
TERRA
Look - I had an accident, you patched me up
and now I’m fine. How complicated is that?
DOCTOR
You were clinically dead for sixty seven minutes.
TERRA
Detail. Where are my clothes?
DOCTOR
I have a friend that wants to see you. I think it’s
important.
TERRA
Look you’ve been a sweetheart. My clothes.
The doctor knows he can’t stop her. Terra can see his disappointment and frustration. She takes his hands and sits him down on the bed.
TERRA
Look - Doctor Burnell - Robert. I know you’re
worried about me but I’m fine. Really. (Terra hops
up and down a few times.) See. I’ll be back in a
few weeks and you can check me out. I just can’t
afford to stay here.
DOCTOR
Will you do me one favor. Will you see Doctor
Bridgeport before you go.
TERRA
I don’t need a shrink.
DOCTOR
He’s a clinical parapsychologist. He’s
an expert in near death experience - past life
regression and paranormal phenomena.
TERRA
Well thank God I’m an atheist.
DOCTOR
He’s a doctor. A specialist.
TERRA
You’re a doctor - act like one.
DOCTOR
You won’t let me.
TERRA
Don’t insult my intelligence Robert - I’m a die
hard scientist. If I can’t see it, hear it, touch it
or taste it - it doesn’t exist. It keeps life much
simpler. So I’ll come back and let you poke
around the body but stay out of the head okay.
At that moment OTTO BRIDGEPORT opens the door and stands in the doorway smiling. Otto is heavy-set and looks more like an old fashioned newspaper-man than any sort of doctor. He wears a BIG FLOPPY HAT, DISHEVELED CLOTHES and smokes A LARGE CHEWED-UP CIGAR.
TERRA
Thanks.
DOCTOR
Please.
Otto bounces into the room puffing on his cigar. Terra glares at the cigar and it immediately goes out.
OTTO
(to himself)
Impressive.
DOCTOR
Dr. Bridgeport, this is Terra Verte. She’s the
Earthlady - on television.
OTTO
I don’t have a television but it’s a pleasure to
meet you. Dr. Burnell’s told me all about you.
TERRA
All bad I hope.
OTTO
It’s not everyday that I get to probe the psyche of
someone who was dead for over an hour. It must
have been fascinating. (Otto eyes a tray of food that’s
left on Terra’s night-stand.) Is that chocolate pudding?
Otto picks up THE PUDDING CUP. Terra snatches it from him and throws it into her duffel bag. She tosses the duffel bag over her shoulder.
TERRA
Well ‘doctor’- you can find yourself another dead
woman. Look I don’t mean to be rude but I didn’t
see any tunnels or white light or angels beckoning me
through the clouds - so I really don’t think we have
anything to discuss. I’ve gotta go - maybe I’ll see
you on Oprah.
DOCTOR
At least talk to him.
OTTO
Everyone’s experience is different. If you feel like
talking - give me a call. (He hands Terra a business
card.) If you have any trouble sleeping, nightmares...
TERRA
I sleep like a baby.
Terra walks by Otto and out of the room letting the door shut in his face. She opens the door and pokes her head back in to add something.
TERRA
And I don’t dream.
As Terra walks out the door and down the hospital corridor, we can see her butt wiggling through the crack in her hospital gown. She marches forward defiantly. Heads turn to watch her leave.
CUT TO:
INT. TERRA’S HOUSE - DAY
TWO YOUNG MEN struggle to get A PIANO through Terra’s small front door.
TERRA
Don’t scratch it.
PIANO MOVER #1
It’s the door or the piano.
PIANO MOVER #2
The piano’s too big.
TERRA
Just be careful. That’s twenty five hundred
dollars - and I can’t even play.
PIANO MOVER #1
Then what do you need a piano for?
TERRA
The lessons came with it.
PIANO MOVER #2
It’s really hard to learn when your older.
Terra takes offense.
TERRA
Just get it in here. I have my first lesson in
ten minutes. And I’m not older.
They squeeze the piano in and roll it to an empty wall.
PIANO MOVER #1
There you go.
They stand and wait for something.
TERRA
What - you expect a tip or something?
You can get a drink from the hose
outside.
There’s a light knock at the open door. It’s MRS. FINCH, the piano teacher.
MRS. FINCH
Hello. Who’s ready for their first piano
lesson?
She looks around the room, expecting a child.
TERRA
That would be me.
MRS. FINCH
Well I always look forward to my older students.
PIANO MOVER #1
She’s not older.
TERRA
Get out.
CUT TO:
INT. TERRA’S LIVING ROOM - LATER
Terra and Mrs. Finch sit at the PIANO BENCH in front of Terra’s new piano. Mrs. Finch is fumbling through some SHEET MUSIC.
MRS. FINCH
I’ve seen you on television. You look
so much prettier on person. I used to
play at Fenway Park - do you follow
baseball - oh my goodness that was
probably before you were born. So what
made you decide to take up the piano?
TERRA
I had a little brush with death and I thought I
should - you know - learn to play the piano.
MRS. FINCH
My brother was killed in a thresher. It’s
a very large farm machine that’s used to
separate the husk of the wheat from the
the kernel.
TERRA
I know what a thresher is. Could we get
started.
MRS. FINCH
Well since this is your first lesson, we should
begin with proper finger position and maybe
some simple scales.
She places Terra’s hands above the keys. Terra’s hands are shaking as she places them on the keys.
ON THEIR FACES as a beautifully skillful melody powerfully explodes from the piano. They both have a look of shock.
PANNING DOWN to the keyboard we can see that it’s Terra that’s playing. She continues to play as Mrs. Finch disgustedly gathers her papers.
TERRA
I’ve never played, I swear. Don’t leave.
MRS. FINCH
I’ve been the butt of some jokes in my day
but I simply don’t see the point in wasting
someone’s valuable time. You show-business
people are a sick bunch. You’ll will be billed
for the entire six week session - so the joke
madam is on you.
She leaves and slams the door.
CUT TO:
INT. OFFICE BUILDING HALLWAY - DAY
Printed on A GLASS WINDOW is the name PAMCO. Through the glass window we see THREE MEN standing around A LARGE CONFERENCE TABLE. They are dressed in EXPENSIVE BLACK SUITS. They look very serious. One of the men looks at his watch. He is SAM RICHOFF. He stands less than five feet tall but has the tenacious look of a bulldog. We can tell that he’s in charge. HE LIGHTS A CIGARETTE and paces angrily around the room. He suddenly yells, breaking the silent tension.
RICHOFF
Where is that tree hugging son of a bitch?!
OTHER MAN
He’s only two minutes late.
Richoff shoots him an angry glare.
RICHOFF
One more law suit from these environmental
ass-holes and we’ll be out of business. I want
Elliot Ross on our team. And remember we’re
in the ‘fishing’ business. And only the fishing
business. Just keep your mouths shut.
Richoff throws his cigarette on the ground and grinds it out with contempt and laughs to himself as if he really enjoys it.
We see ELLIOT ROSS enter from the hallway. Elliot is A TALL MAN IN HIS EARLY FORTIES. Elliot has just returned from saving a rain forest in South America and is uncharacteristically tan. He wears ROUND GLASSES, his hair is long and his clothes are outdated.
As Elliot enters the office, Richoff turns from angry to charming. The other two men remain silent.
RICHOFF
Dr. Elliot Ross - welcome. Please sit down.
Richoff looks sternly at one of the other men who instantly gets up and pulls the chair out for Elliot. Elliot sits down and Richoff sits in the chair across the table from him. RICHOFF’S CHAIR SITS JUST A BIT HIGHER to make him look like a bigger man.
RICHOFF
I hear you’ve been out of the country.
ELLIOT
You do your homework.
Richoff pushes A FANCY CIGARETTE BOX in front of Elliot.
RICHOFF
Cigarette? No of course not. So where have
your little travels taken you?
ELLIOT
Saving a rain forest. And you? Still raping the
oceans? Why am I here Sam?
The familiarity strikes a sensitive cord. Richoff becomes a bit more tense.
RICHOFF
What do you make a year now? Elliot.
ELLIOT
I make a difference.
RICHOFF
How noble. How naive. Doctor Elliot Ross,
protector of the planet, saver of the whales and
the rain forests. Do you have any idea what you
and your little green friends cost me last year?
Richoff stands and looks as if he’s going to blow his stack. He composes himself and calmly sits back down in his chair.
RICHOFF
Pamco is prepared to offer you a large sum of money
to protect their interests in the fishing business. I said,
“why not just kill him and be done with it?” Apparently
it’s against company policy...so far. So very simply,
you offer us the time and location of one of your stalking
missions and for each you will receive twenty
thousand dollars. You’re bad for business Mr. Ross.
ELLIOT
Green peace rule number one - don’t do
business with pirates. How many of our
boats do you think you’ve put on the bottom?
RICHOFF
You have my word that no more of your ships
will be touched...ever.
Elliot thinks hard. Now the offer tempts him.
ELLIOT
Why should I believe you?
RICHOFF
I’m not a pirate. I’m just a company man.
ELLIOT
So am I.
RICHOFF
Every action you take against us costs our
company money. And costs your company
money. Who’s making money? Certainly not
you - look at you. You’re a smart man Elliot.
ELLIOT
Fortunately I’m not motivated by money.
The other two men break out in inappropriate laughter. Richoff produces A BLACK SATCHEL and slides it in front of Elliot.
RICHOFF
How much money are you not motivated by?
Everybody’s gotta eat.
CUT TO:
INT. TERRA’S HOUSE - DAY
Terra lovingly empties A BUCKET CONTAINING A SMALL FISH into ONE OF HER MANY AQUARIUMS.
TERRA
(to the fish)
You guys get along.
THE LITTLE FISH swims up to the glass. ANOTHER LARGER FISH swims up behind it and swallows it whole. Terra gasps.
TERRA
Ugh - nature.
Terra hears a humming in her head. A knock at the door snaps her out of it.
TERRA
Who is it?
ICE BOY
Ice.
Terra opens the door. A TEENAGE BOY stands on the porch. He’s tall and gangly with an adolescent mustache. He tries to act like a man when he sees Terra. He’s wearing LEATHER CHAPS and A T-SHIRT. He has A LARGE BLOCK OF ICE slung over his shoulder between A LARGE PAIR OF TONGS.
TERRA
What happened to Tony?
ICE BOY
Bad back. Where to?
Terra looks him over playfully.
TERRA
Do you have some identification.
He looks up at the block of ice melting on his shoulder.
ICE BOY
You’re kiddin’ me - right?
TERRA
Of course I am.
She pulls him in by his T-shirt.
TERRA
What’s your name?
ICE BOY
Matt. Where to Ma’am?
TERRA
How old do you think I am?
ICE BOY
Ma’am - this is heavy.
TERRA
Though here.
He looks around her house at all the aquariums.
ICE BOY
Cool.
He stands in front of one of the aquariums, mesmerized by A STARFISH. The block of ice is melting onto the floor.
TERRA
Excuse me.
He notices the dripping ice.
ICE BOY
Sorry.
EXT. TERRA’S HOUSE - SAME
A GREEN VAN pulls up in front of Terra’s house with the single word Green peace printed on the side. The two men in the van are arguing. Elliot and Lou Gardner. Elliot holds A CRUDELY WRAPPED GIFT in his lap.
Lou gets out of the van and comes around to the passenger side. Elliot is not getting out. Lou leans in the window.
ELLIOT
I’m just not ready - it’s too soon.
LOU
It’s been over a year since you’ve seen her. I’m
sure you’ll find things have changed.
ELLIOT
Some things don’t change Lou. Especially women.
Especially this woman.
LOU
I think I know a little about women.
ELLIOT
I’m having second thoughts. I lived here for
three years and it just seems like a blur. I’m
really uncomfortable. Do I have to?
LOU
Be a big boy.
Lou opens the door of the van.
INT. TERRA’S KITCHEN- SAME
Matt and Terra stand in the kitchen in front of AN OLD FASHIONED ICE BOX. There is another knock at the door and Terra leave Matt alone in the kitchen.
Terra answers the front door and sees Lou standing on the front porch. Elliot stands off to the side, out of Terra’s view. By Terra’s reaction we can tell that she hasn’t seen Lou in a long time.
TERRA
Lou!
She runs out onto the porch and throws her arms around Lou, giving him a big warm bear hug. She greets him like a father.
TERRA
I can’t believe you’re back - God - how was it?
LOU
Cold.
Terra squeezes him with delight.
TERRA
I wish I could have been with you.
Terra sees Elliot standing off to the side. She is visibly affected by his presence. The energy between them is not good. There is obvious tension. Terra continues to hug Lou for support.
TERRA
Elliot... you’re so... tan.
ELLIOT
It’s good to see you too.
Terra and Elliot stare awkwardly at one another. Lou breaks the silence.
LOU
Can we come in?
TERRA
I’m sorry - of course.
She ushers them in the door. At the same time, Matt comes out of the kitchen and into the living room. He stands in the middle of the room. He has the block of ice still slung over his shoulder. It looks as if the heavy load is beginning to take it’s toll. Lou and Elliot look at each other curiously.
ICE BOY
You’ve got a full block ma’am.
TERRA
That’s not possible, it’s been two weeks.
ICE BOY
You’ve got a full block.
She storms into the kitchen as Matt follows.
Elliot sees the new piano and begins to play a little chop-sticks. He shouts to Terra in the kitchen.
ELLIOT
Nice. Trying to stimulate that old right
brain. That’s good. You’ll probably be
a lot less anal.
Terra shouts back to him.
TERRA
Don’t touch the piano!
ELLIOT
She’s still got it. And I don’t want it.
Elliot goes over to the WET-BAR and fixes A DRINK for himself. Lou sits on the couch and begins to thumb through A BOOK.
ELLIOT
Getcha anything?
Lou is totally engrossed in what he’s reading.
LOU
Huh? No thanks.
INT. TERRA’S KITCHEN - SAME
From inside the ice-box we see Terra open the door, letting in the light. A PERFECTLY FORMED BLOCK OF ICE is inside with no apparent sign of melting. THE LIGHT BULB is burned out. Terra jiggles it but it won’t come on.
TERRA
I’ve got a full block.
ICE BOY
Yes ma’am.
TERRA
How can that be?
INT. LIVING ROOM - SAME
Elliot is staring into one of the aquariums. Lou is still engrossed in the book.
ELLIOT
I’m not sure this is such a great idea.
Elliot takes AN ICE CUBE from his drink and drops it into the fish tank. It bobs about half way down into the water and lightly bonks one of the fish on the head before it floats to the surface.
LOU
You’d make a great team. You have such
interesting chemistry. It’s like you’re already
married. She can’t stand the sight of you - you
fight all the time and you don’t have sex.
Out of reflex Lou tears a page from the book he’s reading and stuffs it into his coat pocket. He looks up as Terra comes out of the kitchen. She sees Lou with her torn book and Elliot with his drink leaning against the fish tank. She gets annoyed.
TERRA
You boys just make yourselves at home.
Matt is following her - bantering.
ICE BOY
I can’t take it back ma’am - it’s melting.
TERRA
I can see that. (to Elliot) Don’t lean on that.
(to Matt) I have a full block - what am I going
to do with another one?
ELLIOT
You could take it to bed with you.
Terra hears him.
TERRA
Then I’d never know you left.
ICE BOY
Ma’am.
TERRA
Just leave it on the porch... and tell Tony
I hope his back feels better.
As Terra shuts the door behind Matt she watches the block of ice slide off of the porch. She shakes her head.
ELLIOT
You sure told him.
TERRA
I thought some time in the jungle would have
improved your social skills. Jerk
Elliot slams his drink down on the coffee-table. He picks up the gift he brought her and heads for the door.
LOU
Kids - kids. Why don’t we all just sit and have a drink.
ELLIOT
I’m sorry Lou - I just don’t think this is gonna work
out.
LOU
Elliot - sit.
TERRA
What - just isn’t going to work out?
Lou smiles and makes the announcement as though they should be thrilled.
LOU
(to Terra)
Your first Green peace intervention. We’re going
after Pamco. Driftnet fisherman. Scum of the earth.
ELLIOT
You didn’t tell me it was Pamco.
LOU
What difference does it make - they’re all
bastards. You’ll make a great team.
TERRA
With him? Ha.
LOU
Before you say anything, at least let me give
you my pitch.
TERRA
Forget it Lou. I have a TV show remember.
A job. You know - a life.
LOU
There’s a new island forming in the arctic
circle. It’s just about to break the surface.
The water’s super heated and teeming
with life. Pamco’s gonna strip-fish thousands
of miles of virgin ocean. They’ll probably
destroy one of the richest new biosphere’s
we’ll ever see. This place is gonna be the new
Galapagos. We could alter the course of nature
forever if we don’t go....
Terra hears a humming in her head.
LOU
...I need you on this one.
TERRA
Why now?
LOU
I just think it would be great to see you two
kids together on a mission like this - that’s all.
You’re on hiatus after Friday and it’s a once
in a lifetime opportunity.
TERRA
Lou?
LOU
Okay - we need the publicity. The world’s changed
my dear and nobody pays attention unless there’s a
celebrity, a scientologist or a firefighter attached.
We’re losing Terra.
TERRA
What makes you think I’d prostitute myself
for publicity?
LOU
Because you care.
TERRA
I’ll go.
ELLIOT
Lou - do you really think...
TERRA
It’s settled - I’m going. If you want to come along
fine. If not - stay home and work on your tan.
ELLIOT
You are the most conflicted, confused, complicated...
TERRA
And you’re the biggest ego-maniac I’ve ever had the
displeasure of wasting three years of my life on - and
if you think you’re gonna keep me off of this because
your tiny little whatever is threatened then think again
jungle boy.
LOU
So it’s settled. We have a fully modified surveillance
ship. You’ll be briefed by Richardson on Friday
and we’ll ship out at dawn on Saturday morning.
TERRA
This Saturday?
ELLIOT
Here we go.
TERRA
Saturday’s great - fine. Saturday.
Lou pulls A LARGE MAP from his coat pocket. He unfolds it and spreads it out on the coffee table. He moves the gift that Elliot brought for Terra.
LOU
Give ‘er the gift.
Lou hands the gift up to Elliot. Elliot takes the gift and reluctantly hands it to Terra.
ELLIOT
It’s a jar of dirt.
Terra takes the gift as if it were a newborn baby and gently unwraps it. It’s A JAR OF DIRT. Terra is delighted. Her attitude toward Elliot changes dramatically.
TERRA
Where’s it from?
She holds it up to the light.
ELLIOT
The outer rim of the El Ratigo rain forest in Brazil.
We saved sixty million acres - less that jar.
Terra hurries into the den. Elliot follows her.
CUT TO:
INT. TERRA’S DEN - SAME
DOZENS OF DIRT-FILLED JARS line the walls of the den, each on an individual shelf. Terra and Elliot enter the den. Terra proudly places the new jar on a shelf in the center of the wall.
TERRA
Thank you.
She kisses Elliot on the cheek. Ellliot looks around the room at the other jars of dirt.
ELLIOT
I didn’t know you saved all these.
Elliot picks up one of the jars and looks it over reminiscently.
TERRA
Never know when you’re gonna need dirt.
ELLIOT
I’m flattered.
TERRA
Well don’t be.
ELLIOT
Why do you keep the old ice-box?
As she answers him, he mirrors her - knowing exactly what her answer will be.
TERRA & ELLIOT
Because refrigeration uses fourteen percent of all
the worlds energy.
TERRA
That’s right.
There is an uncomfortable pause.
TERRA
And because it’s the first thing we ever bought
together.
ELLIOT
Will you have dinner with me tonight?
TERRA
I have an early show tomorrow. I’m the earth lady.
He gives her a puppy dog look. Terra points an accusing finger at him.
TERRA
An early dinner. No wine. No good conversation.
And no touching.
ELLIOT
Promise.
TERRA
By the way, you look really stupid with a tan.
DISSOLVE TO:
INT. TERRA’S BEDROOM - THAT NIGHT
Terra is standing in front of her mirror. She looks stunning. She looks closely at her face. She grabs a tissue and wipes off her lipstick. She shakes her head in disgust. She takes THE LIPSTICK TUBE and angrily throws it in her DRESSER DRAWER.
There’s a knock at the door.
Terra answers the door. IT’S POURING DOWN RAIN. Elliot is standing on the porch soaking wet. He’s wearing A VERY EXPENSIVE SUIT and holding A DOZEN LONG-STEMMED ROSES. He presents the roses to Terra.
ELLIOT
Hi.
TERRA
(to the flowers)
Oh you poor babies.
Terra grabs the roses and rushes them into the kitchen.
ELLIOT
(to himself)
Thank you Elliot. Can I get you a towel Elliot?
Terra returns from the kitchen with A LARGE PAN FULL OF WATER. Using it as a crude vase, she spreads the flowers out in the pan. Purely functional.
TERRA
They looked so thirsty. Take off your shoes.
Go dry off in the bathroom. Don’t drip.
What happened to you?
ELLIOT
The limo got a flat. And the driver’s kind of old.
TERRA
Limo?
Terra looks out the window and sees A VINTAGE ROLLS ROYCE LIMOUSINE. THE DRIVER blows the horn and waves at her.
TERRA
You can’t afford a limo. What kind of mileage
could that get?
ELLIOT
Just enjoy it. Do you still have any of my socks?
TERRA
Second drawer on the left. I use them to clean
with. Can’t we take my car? It’s new...and
it’s electric.
ELLIOT
Does it have a bar in the back?
CUT TO:
INT. LIMO - NIGHT
Terra and Elliot are DRINKING MARTINIS in the back of the limo.
ELLIOT
Why did you say yes to me tonight?
TERRA
I’ve been through some changes lately.
ELLIOT
You let your hair grow out. I like it long.
TERRA
Inside. Changes inside.
ELLIOT
Oh right.
TERRA
You could use a trim.
ELLIOT
It keeps the mosquitoes off my neck.
CUT TO:
EXT. FANCY OCEAN-FRONT RESTAURANT - NIGHT
At the entrance to A VERY FORMAL JAPANESE RESTAURANT, THE MAITRE D greets Elliot and Terra at the limousine. He opens A LARGE UMBRELLA and holds it over them as they are escorted down A SHORT PIER to the restaurant.
MAITRE D
Doctor Ross. Your table is waiting sir.
Terra is surprised at the attention that Elliot is getting.
As they walk through the restaurant there are BEAUTIFUL AQUARIUMS. Terra pauses to watch some of the fish. She whispers to the fish through the glass.
TERRA
Stay away from the chef.
They walk past THE SUSHI BAR where there is A LARGE ICE SCULPTURE in the shape of a mermaid. Around the sculpture there is a beautiful display of fresh fish.
In the front, A LARGE LOBSTER-TANK filled with LIVE LOBSTERS. As Terra and Elliot pass by, THE SUSHI CHEF plucks one of the lobsters from the tank and walks it over to A KETTLE OF BOILING WATER. Terra stops and watches.
As the chef drops the lobster into the water, there is A HIGH-PITCHED SOUND as the lobster boils. The people seated around the sushi bar all cheer as the lobster hits the water. Terra cringes. Elliot pulls her by the arm to rejoin the maitre d at their special table.
TERRA
(to the maitre d)
Do they have to do that?
MAITRE D
It’s very fresh.
There’s A BOTTLE OF DOM PERIGNON in the middle of the table.
Terra hears the high pitched sound of another lobster being boiled alive and snaps her head around toward the sushi bar as all the people cheer.
TERRA
That’s barbaric.
Elliot imitates the maitre d.
ELLIOT
It’s very fresh. Look - champagne.
Terra is dwelling on the lobsters.
TERRA
It’s torture. How would you like to be boiled alive?
ELLIOT
I’ve come close. Borneo, 1982.
TERRA
And all those people - cheering liked Romans.
Again she hears the sound. She closes her eyes tightly. She hears the humming in her head.
The lobster tank explodes, drenching the crowd and sending the hundreds of lobsters and water flowing through the restaurant. Terra and Elliot jump up from their table as water and lobsters flow under their feet. Elliot grabs the bottle of Dom and two glasses as they make a dash out of the restaurant and out onto THE PIER. They sit at the end of the pier with their legs dangling over the edge.
TERRA
So who died?
ELLIOT
Nobody - why?
TERRA
Cause you don’t even have enough money
for a haircut. Now you’re riding around in limos?
ELLIOT
If I tell you - don’t judge me. I don’t want to
be judged.
TERRA
Porn star - bank robber. What do I care?
ELLIOT
I cut a deal with Sam Richoff.
TERRA
Pamco?! What’s wrong with you?
ELLIOT
It was a true compromise. Everybody wins.
TERRA
I can’t believe this.
ELLIOT
Pamco is a huge company. They’ve got
their fingers in every evil pie that’s out there.
There’s nothing anyone can do to stop it. Now
at least none of our boats get sunk. And we
don’t have to be poor.
TERRA
We?
ELLIOT
I thought... about the future okay. I did it for us.
TERRA
Oh please. Don’t try to drag me down with you.
ELLIOT
Look - my whole life has been colleges and causes.
With no pay back. I have nothing to offer you.
TERRA
You had principal. That’s all I ever wanted.
ELLIOT
I can’t live on principal anymore. I’m tired and I’m
lonely and I’m getting old - too old to hang on to a
dream that never comes true.
TERRA
It will come true.
ELLIOT
Wake up and smell the toxins honey. It’s only
getting worse. And the tragedy is that we’re
the dinosaurs now. We’re the ones that are
obsolete. Ecology isn’t even a word anymore.
It’s a business - cause now there’s big bucks
in the clean up. And a logger or a paper company
or a developer only gives a shit about a forest
is when there’s no fucking trees left. The fishing
stops when there’s no more fish. The drilling
stops when there’s no more oil. It won’t come
true. It won’t come true ‘til there’s not a God
damned stick left and then they’ll pay someone
ELLIOT
(continued)
to figure out a way to make a stick out of
something else. And the person they pay
might as well be me.
TERRA
You can’t justify it.
ELLIOT
I’ve been right in the eye of the storm - and that’s
just what it is. This elusive eye wandering around
from place to place like me and it never ends.
TERRA
You’re pathetic.
ELLIOT
Look - you and I are phased out. There’s nothing
to do about the ‘environment’ except make money
off of it. You should know - you do it every day.
Why should I be the only one that dies broke?
TERRA
And what about the kids that come after us?
ELLIOT
The gameboys? The Butthead generation? Go
out and ask just about anybody the first president
they remember. It’s Clinton! They don’t
know what it was like to have a choice and it’s
not even their fault. It’s been happening for so
long that the truth changed. It got replaced by
a new and improved truth. And if I thought for
a second that there was still a chance I’d stay
and fight like hell. I’d give my life. But I won’t
give my life for nothing. Not anymore.
TERRA
How dare you? And even if it were true -
which it isn’t - who are you to dictate other
peoples hopes. This isn’t about the ‘environment’
it’s about you and the fact that you’re a sellout and
now you need an excuse. Well nobody’s buying
your bullshit.
ELLIOT
Big words coming from the earth lady.
TERRA
What’s that supposed to mean?
ELLIOT
You’ve thrown your whole life up in my face.
You. Your job. Your ideals. Your
money. Doctor Terra Verte the gallant earth
lady - fighting for the cause from a cushy chair
with a big fat paycheck at the end of her grueling
day. And good old Elliot - in the trenches.
Sleeping in the mud.
TERRA
Not the poor me speech - please. You’re the
one that’s always throwing ideals around. I
saved the rain forest - I saved the ocean -
I’m Elliot Ross, the macho crusader of the
earth and everyone should praise me and feel
sorry for me. And now they should pay me.
ELLIOT
Do you know when I started eating meat. Not at
some gourmet restaurant - in a backward ass
country in the middle of nowhere in a civil war
with no food except termites and beetles to
keep me alive. So good luck saving the world
from in front of your insipid camera because
you’re too damn scared to give up your pathetic
fantasy life to go and see what’s really out there.
TERRA
I know what’s out there.
ELLIOT
You can’t even swim. You have a degree
in marine biology and you can’t even swim.
TERRA
I hate you.
Terra hears a humming in her head - she closes her eyes and suddenly A LARGE WAVE comes up and sweeps Elliot off of the pier.
DISSOLVE TO:
EXT. TERRA’S FRONT PORCH - LATER THAT NIGHT
Terra and Elliot stand awkwardly on the front porch. Elliot is still wet.
ELLIOT
Well - I had a good time.
TERRA
You did?
ELLIOT
Well I was wet most of the evening but I’m
used to it.
TERRA
Yeah.
ELLIOT
Well.
TERRA
You don’t want to come in? Dry off again.
ELLIOT
No. I’ll just go grab a hot shower at home.
` TERRA
Well then.
ELLIOT
Well.
They share a long stare. A cross between love, hate and general confusion.
TERRA
Goodnight.
She closes the door and takes a deep breath.
TERRA
(to herself)
He’s a dork. A wet, pathetic dork - and yet
somehow that makes me horny. How twisted
am I?
She closes her eyes and abruptly opens the front door. Elliot is driving away.
TERRA
Damn right. Dork
She slams the front door in frustration and struts into the kitchen.
INT. KITCHEN - SAME
Terra opens the old ice-box and mutters to herself.
TERRA
You’ve got a full block ma’am.
She pulls out A BOTTLE OF CARROT JUICE.
TERRA
Healthy.
She pulls out A CAN OF COKE.
TERRA
Unhealthy.
She pours the carrot juice into a glass.
TERRA
Healthy.
She opens the can of Coke and pours it into the carrot juice. The mixture foams over on to the counter. Terra slurps the foam from the rim of the glass. She takes her drink and wanders into the den.
INT. DEN - SAME
She looks fondly at the jar of dirt that Elliot gave her. She takes the jar from the shelf and goes back to the living room..
INT. LIVING ROOM - SAME
She sits on the couch and places the jar gently on the coffee table. She moves the jar about an inch toward her and to the right, treating it as if it were a piece of art. She begins to leaf through the books the Lou had left for her on the subject of drift net fishing. As she begins to read, the books reveal HORRIFYING PICTURES OF DOLPHINS BEING CUT FROM FISHING NETS then hacked to death. Terra is appalled and suddenly becomes very interested and begins speed reading - waving her finger frantically across the pages.
DISSOLVE TO:
INT. LIVING ROOM - LATER
Terra is asleep on the couch. We DISSOLVE INTO HER DREAMS...
DISSOLVE TO:
EXT. WHEAT FIELD - DAY
A SEVEN YEAR OLD TERRA is standing in A VAST FIELD OF WHEAT. The sun shines brightly on her face. She basks in the warm sunlight. A GRASSHOPPER lands at her feet. She picks it up by the wings and it lightly kicks her fingers with it’s hind legs. She smiles.
Another grasshopper lands - then another. Several land on her shoulders and then on her head. The sky begins to grow dark and we can hear the hum of millions of grasshoppers as the sky grows ever darker. Terra begins to run through the wheat field frantically scraping the insects from her body. As she is about to come out of the field she sees HER FATHER with A TORCH LIGHTING THE FIELD OF FIRE.
TERRA
(yelling to him)
Daddy!
Her father screams as he continues to light the field on fire.
FATHER
They’re not gittin’ my crop! No damn bug’s
gonna git my crop! I’ll see it burn first.
Across the field there is AN OLD YELLOW FARMHOUSE. The field goes up in flames quickly. The wind shifts and begins to blow in the direction of the house. TERRA’S MOTHER sits in a wheelchair in an upstairs window. She has fiery red hair and green eyes. She’s smiling and waving at Terra. She’s can’t see the fire outside. Terra runs toward the house. Her father stops her and hands her a torch.
FATHER
Take and set the lower forty on fire. You do what
I tell ya. No damn bug’s gonna get my crop.
The wind picks up as GRASSHOPPERS ON FIRE begin to race through the air pushed by the wind toward the house. As they pelt the house, Terra’s mother is forced to close the window as the flaming grasshoppers explode on the walls and on the roof. The roof ignites and bursts into flames. The house is fully involved.
TERRA
No!
Terra runs toward the house. Her father tackles her from behind.
FATHER
Terra - it’s natures way.
Terra closes her eyes and it begins to pour down rain. The house collapses as the rain extinguishes the raging fire. It’s too late, there’s nothing left but smoldering rubble.
CUT TO:
INT. TERRA’S LIVING ROOM - MORNING
The sound of thunder wakes Terra from a deep sleep. She’s sweating profusely. As she wakes up, the jar of dirt rolls from her arms and breaks on the floor. She’s flustered and bewildered. She’s hyperventilating, not used to dreaming.
TERRA
I don’t dream. I don’t dream. I don’t dream.
THE PHONE RINGS. Terra staggers to her feet and tries to get to the telephone. She cuts her foot on A SHARD OF GLASS from the broken jar.
TERRA
Damn you Elliot Ross.
She looks closely at the broken jar of dirt on the floor. There is A SMALL SPROUT growing out of the dirt. THE ANSWERING MACHINE picks up the call before Terra can get to the phone. We can hear the voice on the other end. It’s THE VOICE OF VIVIAN, Terra’s assistant.
VIVIAN
Please God don’t pick up. Please be on your way.
Please don’t answer - please...
Terra picks up the phone.
TERRA
Hey Viv.
VIVIAN
Shit. Why are you home?
TERRA
What time is it?
VIVIAN
Well we’re five minutes into the lead story - I have
an evil Hungarian director barking up my ass and I
have a warm camera pointing at an empty chair.
What time does that sound like?
Terra looks over at THE CLOCK. It’s stopped at five am.
VIVIAN
Terra please get here - I’d make a really
bad earth lady.
CUT TO:
EXT. CITY STREET - TERRA’S ELECTRIC CAR - MORNING
Terra speeds down a busy street in her NEW ELECTRIC CAR. She passes A BANK CLOCK that reads 8:22. She punches the accelerator to the floor. Nothing changes.
TERRA
Ample acceleration my ass.
CUT TO:
INT. NEWS STATION - SAME
A broadcast is in progress. We see the action from behind the cameras. There are TWO ANCHOR-PEOPLE, BARBARA MACAINE AND TOM STRIFF.
BARBARA
And coming up next a special behind the
scenes report from our earth lady Terra
Verte on the controversy surrounding
desalination.
Music comes up and they go to commercial.
TOM
Controversy? Why can’t she do something
with some meat?
BARBARA
The sponsors are vegetarians.
THE DIRECTOR approaches the stage. He is an imposing figure with a bad attitude, a thick Hungarian accent and A GOLD FRONT TOOTH.
ASSISTANT DIRECTOR
And we’re into commercial.
DIRECTOR
(screaming)
Vereza hell iz she!!?
His face turns red. He looks up at THE DIGITAL CLOCK that ticks off backwards.
Twenty eight - twenty seven - twenty six...
EXT. PARKING LOT - SAME
Terra has a special parking space with A RECHARGING STATION FOR ELECTRIC CARS. Terra pulls into her parking space and without missing a beat or a second she plugs her car into the charging station in one single motion with one hand. She has A BULGING SATCHEL UNDER HER OTHER ARM.
ON THE CLOCK as it ticks backward: Twenty - nineteen - eighteen...
CUT TO:
INT. STUDIO - SAME
Terra races down a corridor and into the studio and looks up at the backward ticking clock.
ON THE CLOCK as it ticks backward: Eleven - ten - nine...
Vivian meets Terra at the stage door and hurries her onto the set. Vivian hands her THE SCRIPT. Terra hands the script back to her and gives Vivian A VIDEO-TAPE from her satchel.
TERRA
How fast can you cue this up?
VIVIAN
Don’t do this to me.
TERRA
I’ll need it in thirty-one seconds.
VIVIAN
I could have been an air traffic controller
and had a stress free life.
Vivian takes off running toward the control booth carrying the video tape and the script that Terra was supposed to read. The director approaches the stage as Vivian runs past. He is coming toward Terra. He is visibly irate. As Vivian runs by him, she hands off Terra’s script football style. She disappears into the control booth. Just as the director is about to reach the stage, Terra settles into her chair as a buzzer goes off. A voice comes over a loud-speaker:
VOICE
And we are live in three - two - one...
THE CAMERA-MAN points to Terra. She is totally composed.
The director stands just off camera wildly waving Terra’s script. She ignores him. She begins her show.
TERRA
Today we were going to address the controversy
surrounding desalination. But something much
more important came across my desk this week.
The horrors of drift net fishing.
The director is irate and beats Terra’s script into his hand. Terra looks up toward the control booth and nods to Vivian.
INT. CONTROL BOOTH - SAME
Vivian punches some buttons and puts her hands together in prayer.
VIVIAN
Fingers do your stuff.
Vivian hits the last button hard and a picture comes up behind Terra. She pulls in her fist triumphantly.
VIVIAN
Yes!
Behind Terra there’s horrifying VIDEO OF DOLPHINS being clubbed and hacked to death, being slaughtered by the hundreds. We hear a gasp from the crew.
ON THE ANCHORMAN:
TOM
(whispering to the Barbara)
This is gonna be good.
ON TERRA:
TERRA
Every day all over the world scenes like
this take place. The world’s sea mammals
suffer and die by the thousands. They die
brutal and torturous deaths due to this
vicious and illegal practice.
The scenes of slaughter are horrifying.
ON THE ASSISTANT DIRECTOR in the booth as he signals the director. The director looks into the booth. The phone lines are lit up. The director is furious. He storms into the booth and yanks the PHONE CORDS out of the wall.
DIRECTOR
(to the assistant director)
Your fired!
ASSISTANT DIRECTOR
What’d I do?
The director storms out of the booth leaving the assistant director with a perplexed look on his face. The director looks up toward the control booth and shoots Vivian an angry glare. Vivian slouches in her chair.
ON TERRA:
TERRA
Scenes like these have been outlawed. But
companies such as Pamco, Redina, Stillwell
and scores of others continue to slaughter
thousands of sea mammals every day. The
animals are clubbed to death or butchered in
nets, some as long as thirty six miles. Their
carcasses are left to rot on the decks of ships
like these in oceans all over the world. And
some of these companies actually sponsor
programming on this network. Why?
The director signals to the CAMERA MAN to cut away by gesturing a finger across his throat.
Terra hears a humming in her head and stares the director down. The director clutches his chest and falls to the floor.
VIVIAN
Go to commercial. Go to commercial.
Vivian races down the stairs from the control booth and runs onto the set. Terra runs to the director’s side and takes his hand. Vivian reaches him at the same time.
VIVIAN
(yelling)
Call an ambulance!
TERRA
(whispering to him)
Ivan - I’m so sorry.
IVAN
(to Vivian)
Keep her away from me.
CUT TO:
INT. OLD BOOKSTORE - DAY
Terra enters AN OLD BOOKSTORE on the corner of a city street. She wanders among the dusty shelves and pulls out SEVERAL BOOKS. She opens one of the books. The binding crackles with age. The book is written in Braille. She runs her fingers over the pages.
AN OLD BLIND WOMAN sits in front of AN EASEL on A HARD WOODEN STOOL in a dimly lit corner of the bookstore. She wears DARK SUNGLASSES and AN OLD SMOCK COVERED IN PAINT. We can’t see what she’s painting. The old woman doesn’t look at THE CANVAS as she paints. A SMALL BELL ON THE FRONT DOOR JINGLES as Terra closes the door behind her.
DOTTIE
Another angel gets it’s wings.
The old woman doesn’t look up but continues to paint even more feverishly.
TERRA
Excuse me.
The old woman gruffly responds to Terra’s intrusion, not looking up from her painting.
DOTTIE
I’m not deaf. Can’t see ya. But I can hear ya.
I’m Dottie. Don’t just stand there.
The old woman seems to sense something and stops painting for a moment.
TERRA
I was looking for this address.
Terra tries to show the old woman OTTO’S BUSINESS CARD but realizes that the old woman is blind. The old woman doesn’t look at the card. She finds something amusing and lets out a chuckle.
A SMALL BOY enters the bookstore. The old woman snaps her head toward the door and barks at the small boy.
DOTTIE
Who’s that?
The small boy freezes. A look of terror comes over him. His voice shakes as he speaks.
BOY
Nelson Bennett. My mother sent me.
The old woman pulls her sunglasses down and stares at him with her gray eyes.
DOTTIE
You here for the bee keeper’s job?
The old woman lets out a screeching laugh that sends the boy bolting from the store.
DOTTIE
Can’t get good bee keepers these days.
The old woman takes Terra’s hand and rubs it all over.
DOTTIE
You ever tried you hand with the bees?
TERRA
Actually my mother raised bees.
DOTTIE
You got the hands for it. Gotta work out
in the damp. My bones can’t take the damp.
You know without bees, the world would
die.
TERRA
I did know that.
DOTTIE
Me and Theo used to love to go out and listen
the hives. That was before the child. You
don’t have children.
TERRA
No.
DOTTIE
Well they’re fun for a while.
The old woman pulls out A BOX OF CANDY.
DOTTIE
Care for a horehound? They last. Not like chocolate.
TERRA
No thank you.
DOTTIE
C’mon take it - I’m an old woman. Their to suck on.
Not to chew.
The old woman puts her hands on Terra’s face and senses something in her.
DOTTIE
Otto sent you.
TERRA
Yes.
DOTTIE
He’s a good boy. A few drones short
but he’s my only. I guess you always
have a soft spot.
TERRA
We met when I was in the hospital.
DOTTIE
For my eyes.
TERRA
Excuse me.
DOTTIE
He sent you here for my eyes. He’s a good boy.
You were very kind to come.
TERRA
I came for his help.
The old woman becomes a bit disoriented.
DOTTIE
You here for the bee keepers job?
Otto comes through the door of the bookstore carrying A LARGE BUNDLE OF BOOKS. The little bell jingles. Otto greets Terra warmly.
OTTO
Doctor Verte. I’ve been expecting you for
some time.
DOTTIE
I don’t need no damned doctor. Wipe your feet!
OTTO
Mother please. She’s not that kind of doctor.
Otto obediently steps back outside the door and wipes his feet on the mat.
OTTO
I hope I haven’t kept you waiting. And I
hope mother hasn’t been bothering you
with her goings on. Have you mother?
None of your bee stories I hope.
DOTTIE
Just you mind yourself.
TERRA
She’s charming.
DOTTIE
She’s come for my eyes but she’s a bee keeper
too. She told me all about it.
Terra looks at Otto. He turns away uncomfortably.
OTTO
We can talk in my office.
Otto leads Terra through an ORANGE DOOR in the back of the bookstore. The door opens with a creak. Terra looks back at the old woman.
TERRA
Thank you for the candy.
DOTTIE
That’s to suck on now.
INT. OTTO’S OFFICE - SAME
Otto’s office is dark and cramped. A LARGE OAK DESK takes up most of the room. Otto turns on A DESK LAMP that casts an amber light on the scene. The walls are lined with OIL PAINTINGS all signed by Otto and all depicting a figure of a woman standing in a beam of light. The faces are complete except that they have no eyes. Behind his desk is A WINDOW with A PURPLE CURTAIN drawn over it.
TERRA
Why does your mother think I’m here?
OTTO
My mother’s very old.
TERRA
My injuries didn’t leave me stupid doctor.
Otto opens his desk drawer and pulls out A CHUNKY CANDY BAR. He unwraps the candy and breaks off a piece.
OTTO
Chunky? Instant gratification.
TERRA
Dr. Bridgeport - is this your institute?
Otto points to his head.
OTTO
My institute is in here. I’ve been waiting for
someone like you for a long time.
Terra gets up and looks at the paintings on the wall.
TERRA
You do very nice work.
OTTO
They’re my mother’s. They’re self
portraits. You see - the faces don’t
have eyes....they’re blind.
Terra looks at the signatures at the bottom of the paintings.
TERRA
Your signature.
OTTO
She makes me sign them. She says she sees
them through my eyes.
Terra sits down and rubs her forehead with her hands. Otto sits at his desk.
TERRA
I started dreaming.
OTTO
Started?
TERRA
I’ve never dreamed.
OTTO
Everybody dreams. Never?
TERRA
Since I was seven.
OTTO
What happened?
TERRA
My mother died when I was seven. When she
was sick I prayed every night that she wouldn’t
die and every night I’d dream about us running
up to the waterfall behind the farm. That was
her favorite place. She loved the waterfalls. One
morning I went into her room with a special
breakfast that I made for her. French toast and
poached eggs with fresh squeezed orange
juice and lots of pulp like she liked it. She
smiled so big that morning. She didn’t touch
a bite - just smiled. I went into the fields that
day to help my....... She was so afraid of fire.
I thought I could save her. He wouldn’t let me
go back into the house.
OTTO
I’m sure that left a lot of unanswered questions.
TERRA
That’s why I became a scientist. All the questions
have answers.
OTTO
Do you believe in God?
TERRA
I’m an atheist. People save the world doctor.
Not messiahs.
OTTO
Is that the seven year old who lost her mother?
TERRA
You asked me a question and I answered. Don’t
psychoanalyze me.
OTTO
I didn’t mean anything by it.
TERRA
There isn’t a shred of evidence that points
to the existence of a higher power.
Otto pulls A CIGAR AND A LIGHTER from his pocket and attempts to light it. His lighter won’t work. He tries over and over.
OTTO
This is a brand new lighter.
TERRA
Maybe God’s trying to tell you something.
OTTO
Touché. Tell me about your dreams.
TERRA
It’s more than just dreams.
OTTO
I knew it. Do you remember anything just after
your accident.
TERRA
I remember waking up in the ambulance and three
guys cheering. No white light. No tunnels. There
was a woman.
OTTO
A woman?
TERRA
Maybe. A woman. I don’t know.
Otto becomes suddenly agitated and abrupt.
OTTO
Think.
TERRA
Look - maybe I shouldn’t have come. I don’t know
what I was thinking. What’s a few stupid dreams?
OTTO
I want to take you back.
TERRA
What?
OTTO
I can take you back to the experience of
physical death.
Terra laughs.
TERRA
I’m a big girl Doctor Bridgeport.
OTTO
Are you familiar with Michael Skalton? He
has an institute in Missouri. A very famous
institute that deals in specialized regression.
He started out as a scientist much like you
- and me. He was the quintessential skeptic.
But he knew that there were questions that
no scientist would ask because there would
be no answers. He wanted to open pathways
to science that were taboo - places that no
other scientists would go because they didn’t
want to be laughed at by the main stream -
petrified of being ostracized by their peers.
He took a risk that paid off in a big way. He
took science and applied it to the human soul.
He proved beyond any doubt that the soul exists.
Not only that it exists, but that it exists outside
the human body. Like a shell. You see
everyone was looking inside. That’s why
we can create. The body is just the core
and the soul is like this great warm ocean
surrounding it - giving it life. The body
provides the gravity that holds the soul
to the earth. When your body died the
gravity dissolved and your soul was set free
for sixty seven minutes. I can set it free
again. Free to explore - free to create - to create Terra!