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ANOTHER VIDEO SCREEN shows SKELETAL OUTLINE OF MARISSA'S FACE. Beams of intense light emanate from her throat and forehead.
MOTHER (O.S.)
Dima!
STEPHANOVICH
Mama!
MOTHER (O.S.)
Come and see me right now!
CUT TO:
INT. UNDERGROUND CORRIDORS -- DAY
Stephanovich trots through labyrinth of meandering dark corridors. He enters elevator.
Further underground. Elevator door slides open. Stephanovich exits, trots down another labyrinth of dimly lit corridors. He jogs up to closed door guarded by Gertrude. Her face is stiff as an Egyptian mummy.
CUT TO:
INT. MOTHERS ROOM -- DAY
Small space. No windows. Dim reddish lights. Mother sits on huge pillow. On either side are small candles. Behind her is altar on which rest chalices, other sacramental objects. Next to her is plate of food from which she nibbles continuously. Huge volume, BOOK OF ORDERS, lies besides her.
Stephanovich kneels in front of her in silence, head touching ground. Mother appears to be absorbed in prayer.Every now and again she looks down at BOOK OF ORDERS, murmurs something,then stares up at ceiling.
ROW OF VIDEO MONITORS are placed above entrance. In fact, Mother's not praying but watching them. Her hand grasps remote control device.
VIDEO SCREEN shows Marissa sitting on bed in Bright Room. Other screens show complete security system for underground structure: auditorium; classrooms; hallways; labyrinth-like corridors; entrance doors; elevators; etc. Mother hands Sephanovich remote control device.
MOTHER
Report.
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STEPHANOVICH
The evidence of psychic power in her paintings is indisputable.
Stephanovich CLICKS remote control device. PAINTING OF BRUCE AND SHE-WOLF appears on video monitor. PHOTGRAPH OF BRUCE flashes onto screen next to it.
STEPHANOVICH
The subject painted this portrait seventeen months before their real life encounter. Significantlly, that's how he looked on the day of the encounter.
MOTHER
A very clear future projection. What a sweetie.
STEPHANOVICH
Her subconscious also has tapped into the imagery of our most sacred symbols and depicted...
MOTHER
Don't say it. Move on.
Stephanovich freezes. He CLICKS remote. Video screen shows MARISSA'S PAINTING OF ANTIQUE DRESSER in Simon's store.
MOTHER
Her knowledge could destroy us.
STEPHANOVICH
She immediately recognized this object...
MOTHER
And stole the CD-ROM. She knows too much. But we got her in time, our little treasure.
STEPHANOVICH
Our current studies indicate she cannot call forth her vision at will. Her instinctive expression is propelled by the sixth chakra, a subtle energy center unknown to her conscious self.
Video screen shows PICTURE OF MARISSA'S NERVOUS SYSTEM. Within it is also her complete chakra system.
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STEPHANOVICH
According to my theory, her conscious self is going to show increasing ability to investigate her own psychic power. In order to be precise in my conclusions, I need to conduct a series of experiments similar to the ones I became famous for in Sverdlosk in 1972. It was such...
MOTHER
No experiments. The Book of Orders demands that there must be a final ceremony as soon as Mars enters Scorpio in her 12th house, Uranus square.
Stephanovich looks disappointed.
MOTHER
You may still go and play with her. There's a little time left.
Stephanovich bows thankfully.
Mother reaches for chicken wing, agressively takes bite, puts it back on plate, licking her fingers. She bends towards BOOK OF ORDERS, turns pages. She begins murmuring to herself.
Stephanovich gazes at her, transfixed. She rises, turns her back on Stephanovich and switches on two video screens with astrological charts moving slowly across them.
CUT TO:
INT. CONTROL ROOM -- DAY
Feno Kei stares at ROW OF THREE VIDEO SCREENS.
FIRST SCREEN: Marissa in BRIGHT ROOM with fountain, skylight, flowers, etc.
SECOND SCREEN: Marissa in BARE ROOM. Same angle. Only no fountain, no skylight, no flowers. It's empty except for bed.
THIRD SCREEN: VIRTUAL REALITY IMAGES of objects in room shown on first screen -- fountain, skylight, flowers etc...
Feno Kei is busy changing DESIGN OF FLOWERS in one of vases on THIRD SCREEN. Stephanovich enters.
STEPHANOVICH
What are you doing?
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FENO KEI
A bouquet of orchids. She'll like them much better than ordinary roses.
STEPHANOVICH
Leave it alone. If you change it now, she'll find out that it's just virtual reality.
Feno Kei reluctantly deletes elaborate orchid design and re-enters image of roses.
FENO KEI
Too bad. I've been watching her long enough to know that orchids should be her favorite.
STEPHANOVICH
Mother studied her personality in depth before executing the design.
On FIRST and SECOND SCREENS Stephanovich watches Marissa trying to open locked door.
STEPHANOVICH
Oh, oh, see...she will project a lower chakra energy level here. Let's measure this baby.
He activates FOURTH SCREEN which displays OUTLINE OF MARISSA'S NERVOUS SYSTEM with seven chakra energy centers. Numbers appear at bottom of screen.
STEPHANOVICH
Six. point five. Tough little cookie we have here.
CUT TO:
INT. BRIGHT ROOM -- DAY
Marissa looks up at skylight, then walks over to bed and tries to push it. It's very huge and heavy.
CUT TO:
INT. CONTROL ROOM--DAY
Stephanovich and Feno Kei watch Marissa on SECOND SCREEN, Pushing heavy bed towards middle of bare room.
90
FENO KEI
Ooops, don't hurt yourself, poor thing.
CUT TO:
INT.BRIGHT ROOM -- DAY
Marissa stands on bed, trying to reach skylight. It's far beyond her reach.
MARISSA
Damn!
CUT TO:
INT. CONTROL ROOM -- DAY
Stephanovich and Feno Kei watch Marissa reaching towards ceiling on SECOND SCREEN. There's no skylight. STEPHANOVICH points at FOURTH SCREEN with outline of Marissa's nervous system and numbers underneath.
STEPHANOVICH
Goodie, goodie. Anger! Check it out.
CUT TO:
INT. MARISSA'S HOUSE -- DAY
Rik and Robbie pull up on motor bike. They walk to house. RING doorbell
ROBBIE
Not in, it seems. God, I have goose bumps thinking about the message she left.
RIK
Yeah. Anyway, you can see some of her paintings through the window, here.
They both try to look through the window.
ROBBIE
Eh, this is no good, man. We need to look up close if we're going to find anything in those paintings.
Rik looks around, pulls door handle. It's open.
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