I'm Actually Doing It!!

Reasons Why I Should Write the Sailor Moon Movie #7: Look! I'm Writing the Sailor Moon Movie!



... by which I mean I'm actually beginning the process of writing a screenplay in my spare time.

The next topic I was going to discuss in this series was how I would handle Luna. Like everything else thusfar, my approach would be different from "the usual." Originally, I was going to write a character sketch for Luna, much like I did for the others so far. However, a couple of things have prompted me to take a different approach this time.

The first is that, while I have layed out a few neat ideas I had, I've not really shown what my movie would actually look like. That is, how would I actually write a Sailor Moon movie? What would my dialogue sound like? How would I structure a scene, or handle exposition of vital information? A big part of this exercise, for me, is trying to prove to myself that I can do something like this. If I can write this screenplay well, then I can write another screenplay well, maybe even better. And that screenplay, unlike this one, would be based on ideas that are entirely my own.

The second thing that happened is related to comment left on the last part. That comment mentioned the need for this movie to be accessible for younger audiences. I agree that this is something that needs to be addressed in this series, and it's something that was bothering me even before I starting writing Part #6. Part of what I wanted to do in those previous posts was to show that my version of Sailor Moon wouldn't be total joke like, say, Speed Racer. But I also realize the worst thing a Sailor Moon movie could do is take itself completely seriously, or alienate the many kids who would want to see it.

So I got thinking: I want to do a Luna post anyway, and my take on Luna would be pretty much laid out at the beginning of the movie, so. . . why not start writing it? Thus. . . I present the beginning of my version of Sailor Moon.

A few things to get out of the way. First, I need to mention that what I'm about to show you is tentative and subject to future revision. Second, I've tried to keep in the technical aspects that go into a real script, e.g. distinguishing between interior and exterior shots, specifying types of shots, and so on, but I haven't obsessed over it. My main goal is to get the story across. Third, there are a few bureaucratic details, e.g. how the Tokyo Metropolitan Police Department is organized, the procedure involved in a Japanese criminal investigation, etc., that are included in the script that I'm not, as yet, 100% sure about. I've tried to be as accurate as I can, but unfortunately "as accurate as I can" is pretty much limited to Wikipedia at this point. Again, I figure it doesn't matter too much at this point since I'm just trying to get the story across. Finally, the script is written entirely in English, but I envision it as a bilingual movie, with the majority of the dialogue in Japanese. I won't explain which parts are in which language unless it's not clear from the context. Typically, when Americans talk to each other, they speak in English, when Japanese people speak it's in Japanese, when Americans talk to Japanese, it's in Japanese unless stated otherwise.

Having finished writing it, I'm not sure how happy I am about it. The part I like least is actually the first part, which is really one of the last revisions I made to the piece. I'm also not terribly happy about the Queen Serenity piece (you'll know what I mean when you see it). I feel it may be revealing too little and too much, if that makes any sense. . . I guess a better way to say it is that it reveals all the wrong things, or reveals things that may be repeated later. I wanted it to be funnier too. However, I wasn't sure if I could add humour without it seeming forced. Again, this is what rewrites are for (Reason I should Write the Sailor Moon Movie #7.5: I Know When I Suck)

Well, with that out of the way, let's dive in to Sailor Moon: The Movie v. 1.0!

NOTE: I case you read this and wonder who the hell some of these characters are, I'll note that "Wakagi," and "Marie" were characters in the Codename: Sailor V manga. As for "Darien Mundy," I'll refer you to a TVTrope.



We open to black. We hear a cellular phone communication between a MALE and FEMALE. The conversation is in Japanese, and we see their conversation in subtitles. The MALE's subtitles occupy the left side of the screen, the FEMALE's occupy the right side.

MALE

What's the status of the operation?

FEMALE

Phase thirteen complete, sir. All energy acquired.

We hear moaning in the background.

MALE

Any sign of our secondary target?

FEMALE

None, sir.

MALE

Hmm. (beat) I trust you made plenty of noise?

FEMALE

Of course sir. I made sure people noticed. I even placed calls to the police and the press myself.

MALE

I see. How rude of an old friend not to visit. . . Return to headquarters.

FEMALE

Should I wait?

MALE

No. If she was going to show up, she would have done so by now.

FEMALE

Professor. . . how sure are you that she will turn up? How do we know that there is a target to be found?

MALE

(after a beat)

Return to headquarters.

EXT. Tokyo - NIGHT

Cut to a aerial shot over Tokyo, with a waning moon in the sky. The scene cuts between various Tokyo landmarks-- Shinjuku district, Minato distict, Tokyo Tower, Tokyo Sky Tree, the famous crosswalk in Shibuya, etc.--showing the vibrancy of the city.

We then go to street level. We follow a BLACK CAT, LUNA, as she makes hew way through various Tokyo alleys. Luna has a distinctive UPSIDE-DOWN CRESCENT MOON on her forehead, which looks like a bald spot from a distance. She also wears a COLLAR, which at the moment has an antenna sticking out from it.

As we watch this, we hear various JAPANESE RADIO BROADCASTS in the background. Eventually, we hear and ENGLISH RADIO BROADCAST, which alternates between the JAPANESE ones. The JAPANESE BROADCASTS contain basically the same information as the ENGLISH BROADCAST.

RADIO BROADCAST

In political news, Upper House member Takashi Hino continues to face criticism for his connections to Saturn Airlines executives. . . Renovations continue at the Tokyo Sky Tree. The renovations, which began just a year after the building's grand opening, continue to face delays. . . Big news for fans of anime and manga: Marie Baishaku, creator of the Pretty Soldier Sailor V series, will be making a rare appearance at the DaiCon science fiction convention later thiss week. The reclusive mangaka. . . Dr. Souichi Tomoe, the famous and controversial University of Tokyo geneticist, will be honoured this Friday at a major gala event. Local dignitaries, including Diet members, the U.S. ambassador to Japan, Prime Minister Hatoyama and even Emperor Akihito are expected to attend. . . This just coming in over our news wire. Though we have yet to receive confirmation, it appears that there has been another outbreak of the mysterious "sleeping sickness," this time at a blood drive in Minato ward.

EXT. Blood Clinic Entrance - NIGHT. Police officers and medical personnel swarming a blood clinic. A few reporters are also at the scene, separated from the building by a police barrier. Among them is English speaking reporter DARIEN MUNDY and his TV crew. We DOLLY DOWN to street level to reveal LUNA facing away from the camera toward the building. The antenna retracts into her collar as she comes into frame. We continue to hear the RADIO BROADCAST until the antenna retracts.

CUT to DARIEN MUNDY. He's reviewing his notes with his crew while an assistant applies make-up.

DARIEN

(back and fourth with his crew)

"Sleep from overwork?" Really? Christ, I still cannot believe THAT'S the official line. . . Alright, so this makes it, what, the tenth--? Thirteenth instance, okay. Yada yada thirteenth instance since it first struck in February. . . Never see any hazmat at these things, I don't if that's a good sign or bad. . . I mean, it always happens in public, which to me suggests it's contagious, or -- I dunno. . . I hear Wakagi might be-- superintendent-general Wakagi. I hear he's been coming to the scene. I wonder what his interest is? It's more than professional. Maybe we can catch him, but I doubt it. We'll try though.

As DARIEN speaks to his crew, we see LUNA sneak into an alley behind him.

EXT. Alley - NIGHT.

Two POLICE OFFICERS are standing watch at a rear exit. The door is being held open by a chair.

OFFICER #1

(pointing to street)

All the press out there is gonna be worse by the time Wakagi arrives, so we'll need to get all the paramedics in through the back. We can't find the key to this door, so we're gonna keep it open. Keep watch, no-one gets in other than medical personnel.

OFFICER #2

Yes sir.

OFFICER #1 enters the building, exiting scene. LUNA tries to approach the door, but OFFICER #2 sees her and blocks her way.

OFFICER #2

Hey! Go on, get out out of here.

LUNA tries to run in, but OFFICER #2 pushes her away with his foot, almost kicking her.

OFFICER #2

Get lost!

LUNA runs further down the alley, hiding behind a garbage bin. OFFICER #2 relaxes against the wall. After a few beats, we hear a voice from further up the alley. The audience won't know it yet, but the voice actually belongs to LUNA.

LUNA

What did he do to you?

OFFICER #2

(Towards Luna)

Ma'am?

LUNA

He kicked you.

OFFICER #2

Ma'am, this area is under quarantine. I'm gonna have to ask you to--

LUNA

He KICKED you! (meows) Blood everywhere. Guts. (meows loudly) They sent you. . . frozen in a pod. . . from the moon.

OFFICER #2

(muttering to himself) They said they cleared everyone. . . (into radio) This is Masuo, I need assistance at the east entrance. I have a female subject who has disobeyed quarantine.

LUNA

Five millions years. That Kussotare! He kicked you! (Meows loudly)

OFFICER #2

Subject appears to be mentally ill.

LUNA

Stupid Kussotare. Kono yarou!

OFFICER #2 slowly makes his way down the alley, keeping a watch on the door as he does so. He reaches for his weapon.

OFFICER #2

(to himself)

You're lucky I'm on duty, or I'd. . .

(to Luna)

Ma'am, another officer is on the way.

LUNA

He broke the chip. (distressed sounding meow). Bastard. Now I'll have to operate. (wailing meow)

LUNA's wailing scares OFFICER #2. He pulls out his weapon and makes his way more quickly down the alley, no longer focused on the door.

OFFICER #2

Ma'am! Stop what you're doing!

As OFFICER #2 gets further from the door, LUNA emerges from behind the garbage bin and enters the door the instant before another OFFICER appears.

OFFICER #3

Where's the subject?

OFFICER #2

I can't see her. She was just here. I'll check down the alley.

INT- Blood Drive Hallway & Back Room.

LUNA carefully makes her way down a hallway. A police officer and a few medical personnel are present, but are too busy to see LUNA. LUNA now seems to aware of something beyond the reach of the senses. Let's call it her LUNA-SENSE. This will happen often in the movie, and should be conveyed by a musical cue, sound or visual effects, or a combination of these. As she walks down the hall, we hear some BACKGROUND CHATTER.

BACKGROUND CHATTER

We need to clear out the hall to move the bodies. . . They're not BODIES. They're still alive. . . Well, they're not mobile, so they may as well be. . . Do we have security tape? Maybe we. . . Erased? Who's in charge of security? . . . He's in there with all the rest. . .

LUNA, as if guided, enters a back room. We see an open window, with a blowing curtain. LUNA examines this for a beat with a disappointed look on her face, then quickly darts behind a door as a man approaches down the hall. When the person is past the doorway, LUNA leaves the back room and follows the man. As she follows him, her LUNA-SENSE grows stronger, and she becomes a little anxious. We hear more BACKGROUND CHATTER.

BACKGROUND CHATTER

Why would the tape be erased? Have we confirmed the location of all employees? . . . Most are in that room, everyone else has been contacted. . . Make sure we get a statement from each of them. . . I want something to give to Wakagi. He seems to think this is actually a police matter.

LUNA follows the man through a door into the main clinic.

INT- Main Clinic.

About fifteen people are afflicted with the "sleeping sickness," and are being attended to by MEDICAL PERSONNEL. Some are slumped into chairs, others on the floor, others against the walls. Despite the name, they aren't really "asleep." They're in a state more like extreme lethargy, with a slight pallor.

MEDICAL PERSONNEL

Pulse 40 BPM, skin pallor, no pupil dilation. . . If you can understand me, squeeze my hand. . . non-responsive when prompted. . . Same as in all previous cases. . .

LUNA stealthily approaches one of the victims, a teenage girl. She tries nudging the girl, but she doesn't respond. We hold on this shot for a beat as LUNA examines the lifeless girl. A commotion arises from outside the building.

BACKGROUND CHATTER

Looks like the Superintendent has arrived. . . What the hell do we tell him?

SUPERINTENDENT-GENERAL WAKAGI enters the scene. He's carrying a REPORT. A LIEUTENANT approaches him.

LIEUTENANT

Good evening Superintendent.

WAKAGI

Lieutenant. What's our situation?

LIEUTENANT

Same as in all previous cases, sir. We've apprehended everyone who was in the vicinity at the time of the incident, and we've set up a search radius. . . sir, if I may ask--

WAKAGI

You may not. (Holds up the REPORT) I trust you've distributed the report from the Public Security Bureau I commissioned.

LIEUTENANT

Yes sir, but isn't this outside of their juris--

WAKAGI FLASHES THE LIEUTENANT A LOOK.

LIEUTENANT

Er, yes sir. Um, I should note, sir, that one of our officers reported a vagrant in vicinity not too long ago. We've not yet apprehended the subject, but we're searching as we speak. She appears to be mentally. . .

WAKAGI and the LIEUTENANT walk out of scene. LUNA looks around the room. She spots an officer set copy of the REPORT on a table at the far end of the main clinic. After the officer walks away from the table, LUNA approaches the table and jumps on top of it. After quickly glancing to ensure that no-one can see her, LUNA stares at the report. As she does so, the report appears to float on the table. Then, in an instant, the report vanishes, appearing to be "sucked" into Luna's collar! LUNA appears to buckle slightly, as though carrying an extra weight.

WAKAGI

(from outside of the main clinic)

What the hell?!

LUNA darts under the table. We hear a commotion outside from one of the hallways.

WAKAGI

(from outside of the main clinic)

How did he get in here?

LIEUTENANT

(from outside of the main clinic)

He was trapped in one of the side offices.

Suddenly, A dog enters the main clinic, pursued by two officers. The dog searches about the room, and eventually finds the teenage girl LUNA was examining earlier. The dog whines and nudges the girl, trying to get her to respond. We hold on LUNA as she looks at this scene, forlornly.

INT- Commuter Train Car- NIGHT

LUNA lies on a bench seat, saddened by what she saw at the blood clinic. Even though this is Tokyo, the train car is mostly empty. The train comes to a stop, and a MOTHER and four year old BOY come on board. The BOY spots LUNA and becomes excited!

BOY

(pointing at LUNA)

Look! A cat! A cat!

MOTHER

(Playing along with the BOY)

Yes, I see it! I wonder where his owner is?

The MOTHER looks around. LUNA raises her head, intrigued by the attention she's received. The BOY tries to go closer to LUNA, but his MOTHER won't let go of his hand.

BOY

Can I play?

MOTHER

We don't know where his owner is.

LUNA stands up and meows.

BOY

He's pretty!

MOTHER

Yes he is! He's a really pretty cat, but I don't think his owner is on the train. I wonder if he was left behind?

BOY

Can we have him?

MOTHER

No, no. We can't have him.

BOY

But he doesn't have an owner.

MOTHER

We don't know that. Maybe his owner forgot him, or maybe he came on the train on his own.

BOY

He can't come aboard on his own!

MOTHER

Yes he can!

BOY

Uh-uh.

Yes he can! There are dogs in Moscow--

BOY

What's Moscow?

MOTHER

Moscow's a city. It's the biggest city in Russia,--

BOY

Bigger than Tokyo?

MOTHER

Well, I don't know about that, but it's big, and there are dogs there who take the subway to get where they need to go. Maybe he's-- (MOTHER'S cell phone rings) Oh, who's that? (into phone) Mushi Mushi.

LUNA is now standing upright on the seat, looking at the BOY. The MOTHER has ley go of the BOY's hand. The BOY slowly walks over toward LUNA.

BOY

Hello kitty!

LUNA meows. BOY jumps with excitement, then covers his eyes.

BOY

Inai inai--

BOY quickly uncovers his face.

BOY

Ba!

LUNA jumps, pretending to be startled. The BOY jumps up and down again. LUNA looks over at the MOTHER, is concentrating on her phone call. LUNA looks back at the BOY, who looks almost like he's waiting for her to do something. So, after a couple of beats, she does. . .

LUNA lies down with her front paws pressed out and hides her face between her front legs.

LUNA

(hushed, but audible to the BOY)

Inai Inai--

LUNA pops her head out from between her front legs, and the audience is given the first definitive indication that LUNA can, in fact, talk.

LUNA

Ba!

The BOY stares at LUNA for a beat. . . and then bursts into tears, wailing loudly!

LUNA

No! No! Err-- (meows)!

The BOY continues to wail, pointing at LUNA. The MOTHER runs up to the BOY, pulling her away from LUNA.

MOTHER

Mongrel!

The MOTHER swings her purse at LUNA, who is just barely able to dodge it!

EXT. Train stop - NIGHT

The TRAIN has stopped, and the door is open. We hear the voice of a CONDUCTOR from inside.

CONDUCTOR

GET OUTTA HERE!

As the CONDUCTOR says his line, we see LUNA being thrown out of the train, screeching and twirling through the air!

EXT. Abandoned mansion- NIGHT

LUNA walks on top of a fence surrounding an abandoned mansion.

LUNA

(muttering)

I meet the one toddler in Japan who knows cats aren't supposed to to talk. Me and my rotten luck. . .

LUNA jumps off the fence and onto the main walkway, heading toward the mansion.

INT- Mansion, Main Hall, First Floor.

We see that the once ornate mansion isn't really abandoned, but is in fact occupied by dozens of cats! A few dozen bowls lie on the floor, indicating that someone has been feeding them. The cats play, fight, sleep, and run from one part of the house to the other as LUNA makes her way up a flight of stairs.

INT- Mansion, Second Floor Hallway.

There are a few cats present, but not as many as on the first floor. LUNA walks up to a large door. She then stares down at the ground. After a beat, a KEY quickly emerges from her collar onto the ground, a reverse of the process by which the report was sucked up into her collar. Luna picks up the key with mouth and looks up at the door handle. LUNA takes a breath-- what she's about to do isn't easy.

LUNA jumps up, grabs the door handle, and puts the key into the lock. LUNA turns the key with her mouth, and the door unlocks and opens. LUNA quickly runs inside and closes the door behind her.

INT. Luna's Room.

LUNA'S room was a master bedroom once. While hints remain of the room's former splendor, the room is now quite delapidated-- you wouldn't live here if you had a choice. On the far wall hangs a large window, from which the lights of the moon and the city pour in. The bottoms of the other walls are adorned with old newspapers-- don't ask how LUNA put them up, she found a way and that's that. LUNA stares at the floor again, and the REPORT materializes in front of her.

FLASHBACK- EXT. ALLEY- Day

We see a small black kitten, YOUNG LUNA, with her mother and siblings in the background, next to the back door of a restaurant. Her siblings are playing around, but YOUNG LUNA stands apart from them. YOUNG LUNA stares into the ground, and suddenly her COLLAR appears. YOUNG LUNA jumps back, startled, and then examines the collar.

FLASHBACK- EXT. Crowded Tokyo Sidewalk- Day.

YOUNG LUNA sits on the sidewalk with the COLLAR in front of her, meowing, trying to get someone to notice her. After a couple of beats, a pair of junior high girls notice YOUNG LUNA. They "ooh" and "aww", as expected.

GIRL #1

What's wrong, kitty?

YOUNG LUNA meows, pushing the COLLAR forward. GIRL #1 picks up the collar.

GIRL #1

(jokingly)

Oh, I see. You need help. And here I thought you wanted to be friends. I feel so used.

GIRL #1 starts putting the collar on LUNA.

GIRL #2

Man, what's with the crescent moon?

GIRL #1

She looks like Artemis. (playfully) Maybe she's magic!

GIRL #1 finishes putting the COLLAR on YOUNG LUNA. YOUNG LUNA meows in gratitude.

GIRL #2

What kind of magic cat needs your help? It's just a scar. She's probably diseased!

GIRL #2 tickles GIRL #1. The two girls leaves, waving bye to YOUNG LUNA. YOUNG LUNA looks at them as they leave.

YOUNG LUNA

(to herself, slowly and quietly)

Ar-te-mis.

INT. Luna's Room.

Back in the present, we focus on the newspapers on the wall. They're not clippings, but rather whole pages attached to the wall. We see various headlines in Japanese and English. These newpapers display photos and artisitic renderings of a blonde, Sailor suited girl, SAILOR V, and her white cat, ARTEMIS. ARTEMIS, like LUNA, has an upside-down crescent moon on his forehead. Most of the newpapers date back to 1991 and 1992. As we look at the newpapers, we once again hear various RADIO BROADCASTS.

NEWSPAPER HEADLINES

CODENAME: SAILOR V -- Police Search for Sailor Suited Vigilante. . . WAKAGI DENIES EXISTENCE OF "SAILOR V" -- Describes Purported Vigilante as "Regrettable Rumor". . . V FOR VENDETTA -- Police Arrest Sailor V Suspects, Claim They Are Apprehending "Imposters" . . . RUNSPOTRUN TO RELEASE "SAILOR V" MANGA-- Police Accuse Publisher of Perpetrating Hoax. . . POLICE DROP HOAX CHARGES AGAINST RUNSPOTRUN, MARIE BAISHAKU, CITING LACK OF EVIDENCE -- Charges Have Not Dampened Manga's Enourmous Popularity. . .

We cut to LUNA standing at the window, with an antenna once again sticking out of her COLLAR, establishing that she can listen to radio signals.

FLASHBACK- EXT. Roof - NIGHT.

We see YOUNG LUNA, listening to various RADIO BROADCASTS from a rooftop. There's a FULL MOON out. LUNA listens to both Japanese and English broadcasts, and is able to mimic the speech she hears in both languages fluently.

We CUT to a shot of the FULL MOON. Suddenly the RADIO BROADCASTS cease. Utter silence.

CUT to YOUNG LUNA, staring up at the FULL MOON. She can clearly hear something we cannot-- the message she hears is conveyed by SUBTITLES.

SUBTITLES

Are you there Luna? I hope you can hear this, and I hope you're alright. This is a very special message, one that only you can hear. By the time you hear it, I will have been long dead.

CUT to FULL MOON.

There was a beautiful land once, on that place the people around you call the Moon.

CUT to various orbital shots of the Moon's desolate surface.

I was Queen of that land once. . . but a great evil destroyed that land. The evil Queen Beryl, her four generals, and an evil force, the source of their power-- Mettalia. They came, and killed everyone. Our armies, our greatest warriors, our families. . . our children. My child, a beautiful princess.

CUT to orbital shots of EARTH.

I was able to cast away that evil. . . but by the time you hear this. . . that evil is returning, gaining strength. But there is hope.

INT- LUNA's Room - NIGHT. We continue to read LUNA'S message as she sits by the window.

SUBTITLES

You sat by my side once, but you were killed. . . yet you live again on Earth. So too do our greatest warriors, and my daughter, the princess. You must find them, Luna. They are the only hope your new world has of survival. I want to help you, Luna, but my time is short. . . it took so much, to bring you all back, to cast away the evil. . . I'm too weak. You'll have to find them on your own. I know you can do it.

LUNA retracts the antenna, and walks toward one of the side walls of the room. Adorned on the wall is a poster of SAILOR V, but with a question mark drawn over her face with a magic marker. Again, to ask how is to miss the point.

LUNA

(to poster)

Hello-- or good morning, or evening, or. . . whatever. My name is Luna. Don't be scared! Yes, I can talk, but that's nothing to be afraid of -- though just try telling that to the stupid brats that ride the metro, I mean how badly messed up must a kid be to cry at a. . .(sighs) Anyway. I've been looking for you my whole life. You may not believe this, but fate has big plans for you. You're one of the guardian senshi, and I when I do find you, I'll have a special gift just for you!

From LUNA'S COLLAR materializes a golden brooch, the MOON PRISM.

LUNA

This is the Moon Prism. With this, you'll be able to transform into a powerful--

At that moment, the SAILOR V poster's tape peels off the wall, and the top corners of the poster fall down. LUNA sighs.

LUNA

We haven't met yet, but someday we will. . . It's just a matter of time. (beat) Until then, here I am, living in this feline commune, practising the speech I'm gonna give you, and living off of the generosity of others.

Just then, from outside the house we hear a young woman singing a French song, which grabs LUNA'S attention.

LUNA

Speaking of which. . .

INT- Mansion, Main Hall, First Floor.

The young woman, who for name's sake we'll call JESSY, enters the house carrying a large bag of cat food. She's blonde and wears a LARGE, RED BOW in her hair. The cats all gather round, eagerly awaiting their dinner. Unless stated otherwise, assume her dialogue is in FRENCH.

JESSY

Bonsoir, mes amies! I'm so sorry I'm late! I bet you're all starving!

JESSY sets the bag of cat food down and tears it open. She empties the food into the various bowls scattered about. The cats scramble around the bowls and devour their meals.

JESSY

Bon appetit!

INT- Mansion, Second Floor Hallway.

LUNA hangs off of the door handle, like she was before, only this time locking the door. She drops to the ground and "sucks" up the key just as we hear JESSY coming up the stairs.

JESSY

Scarlet? Scarlet? (spots LUNA) Ah, there she is, the lady of the manor!

JESSY curtsies, and LUNA meows in return. JESSY produces a can of fancy cat food.

JESSY

(In English)

Here's Miss Scarlet's vittles. You gonna eat every mouthful of this!

JESSY opens the can and sets it in front of LUNA. LUNA calmly approaches the open can and starts to eat.

JESSY

(in English)

Now isn't this better than sitting at a table. . . (spots something behind LUNA). And if it isn't Rhett Butler from Charleston. He has the most terrible reputation!

LUNA looks behind her and sees "Rhett Butler," an incredibly fat red cat. JESSY gets up and starts for the stairs.

JESSY

I just have to get the water out of the car. I'll be right back.

LUNA

(whispering)

Merci.

JESSY stops, turns back for a second, and then heads down the stairs. LUNA continues to eat while "Rhett" scratches at the door and sticks his paws underneath the crack. Just as LUNA finishes eating, "Rhett" walks up in front of LUNA and, after a beat, slowly slumps over to one side. LUNA is not impressed.

LUNA

Great balls of fire, don't bother me any--

Suddenly, the turns toward the stairs. The LUNA-SENSE is in overdrive. "Rhett Butler" senses something is wrong as well. In an instant, we hear dozens of cats wailing from downstairs. We hold on the stairs for a moment. Suddenly, dozens of cats rush up the stairs, passing by LUNA and "Rhett." While "Rhett" joins with the other cats, LUNA runs down the stairs.

INT- Mansion, Main Hall, First Floor.

LUNA cautiously travels down the stairs into the main hallway. There is an uneasiness to the place without all the cats around. The food bowls are still partly filled. A large bottle of water lies on the ground. LUNA slowly makes her way to the front door, the LUNA-SENSE still in high gear. When she gets there, she notices that it is partly open. She peeks her head out, and sees JESSY on the sidewalk for just an instant before she walks behing the fence. LUNA runs after her.

When LUNA exits the yard and looks in the direction JESSY was heading. She sees JESSY rounding a corner two blocks away-- impossibly far. LUNA sprints down the sidewalk toward JESSY, slowing down as she approaches the corner. She sneaks up to the corner, her LUNA-SENSE wailing.

As she comes up to the corner, she waits. The LUNA-SENSE is getting stronger-- something is coming. LUNA waits for a moment, readying herself for whatever is coming. . .

Suddenly, a TEENAGE BOY runs past the corner and across the street. He's 17 years old, tall and well built. He's wearing a mask and dark clothing, and carrying a bag. The audience doesn't know it yet, but this boy is actually MAMORU CHIBA. In the distance we hear police pursuing MAMORU on foot. LUNA realizes that it was MAMORU who triggered her LUNA-SENSE as she was rounding the corner. Torn between following the boy and continuing to look for JESSY, she chooses to go after MAMORU.



I'll be honest with you. . . I don't feel like writing the next scene just yet, even though I was going to. It deals with stuff that I'll go over in the Mamoru Chiba character sketch, which will come maybe in part #8 or #9. Also, frankly, I haven't put the kind of thought into that scene that I really need to, and I really don't have the time to do it if I want to keep these going at a reasonable pace.

Suffice it to say, MAMORU-- er, Mamoru evades the police, gets onto a subway, and travels to Azabujuuban, with Luna in pursuit. However, LUNA runs afoul with J-Punks, they put a bandage over her crescent and, exhausted, she sleeps in a tree. She'll meet up with a certain American crybaby the next day. . .