As I mentioned in Part #7, there was more of the script that I wanted to include, but didn't. Specifically, I wanted to include a scene introducing Mamoru Chiba and explaining how Luna makes it to Usagi's neighborhood. I stopped where I did partly due to time constraints, and partly because it getting pretty clear that I would need to put more thoguht into how I introduce Mamoru. I had the basic idea already, it was just that I needed to sort out the details. I think I've at least a good tentative job of that, so we can continue. I also mentioned in Part #7.5 that there were a few things I would like to change in what I've already written. Mainly, as far as this part goes, is how I would describe the Luna-sense. I'll give a bit of a taste of that in this part.
This section of the script begins with the very last chunk of the previous exerpt. You may notice that it's been changed slightly from the previous version to reflect the changes I noted in #7.5. As I noted before, I'm not familiar with certain police and transportation procedures, and my knowledge of drug use (you'll see) pretty much amounts to what I've seen in the movies, so what I describe is likely not how it "really" happens. At the same time, though, I'm hoping at this point that the most that needs to be changed are a few lines of dialogue. And besides that, I'm just trying to convey the basic story, blah blah blah just like I said last time.
So where were we?
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 BLUE BACKPACK. The audience doesn't know it yet, but this boy is actually MAMORU CHIBA. We see ROSE PEDALS appear to fall off from him-- LUNA realizes that it was MAMORU who triggered her LUNA-SENSE as she was rounding the corner. In the distance we hear police pursuing MAMORU on foot.
Yet, rather then continue running, MAMORU stops, looking at LUNA.
MAMORU
Hey.
MAMORU points at a CAR that LUNA is standing beside, then at LUNA again. MAMORU chuckles.
MAMORU
(tentatively) I . . . remember you, Koneko-chan. (excited) Ha! I remember! (pointing at LUNA) That is exactly, like, right there beside the-- that bloody Honda!
The POLICE are apporaching. MAMORU spots them.
MAMORU
I think I'm gonna be alright. Ja!
MAMORU runs off. LUNA looks back in the direction JESSY went. Two PURSUING POLICE OFFICERS run by. There's no sign of JESSY. LUNA looks back and forth between the directions MAMORU and JESSY went. She's clearly torn about where to go.
LUNA
(whispering)
Jessy. . .
After a beat, LUNA reluctantly begins pursuit of MAMORU. She runs on the road, such that the parked cars on the street lie between her and the sidewalk, so as not to be seen. At full sprint, she is easily able to catch up with the police. MAMORU is still about a hundred feet ahead. After a couple of beats, he darts into an alleyway. The two OFFICERS are at a street corner.
PURSUING OFFICER (P.O.) #1
I'll go down the alley. You try and cut him off!
P.O. #2
Got it!
P.O. #2 runs along toward the other end of the alley, while P.O. #1 follows MAMORU, drawing a weapon.
EXT. Alleyway - NIGHT. Mamoru runs down the alley, looking for a particular door.
MAMORU
(to himself)
Ichi-ichi-hachi-ichi? Ichi-hahci-ichi-hachi? Hachi-hachi-ichi-hachi? Ichi. . .
MAMORU stops in front of a door with a KEYPAD lock.
MAMORU
Ichi-hachi-hachi-ichi!
MAMORU quickly enters the code "1881" into the KEYPAD. The door unlocks. P.O. #1 is seen in the background entering the alley, with LUNA close behind. The OFFICER sees MAMORU enter the doorway. He runs to try toward the door, but Mamoru closes and locks it behind him.
P.O. #1
Shit! (Into Radio) This is Mastumoto. Be advised, suspect has enetered a building along (gives location). He gained entrance without force, so he might a redisent or employee. Where's that backup I requested? We need to seal the building.
DISPATCHER
Units are on their way, ETA two minutes.
P.O. #1
(into Radio)
Endo, you cover the front entrance.
P.O. #2
(over radio)
Already on it.
P.O. #1
(Into building)
This is the police. Come out slowly with your hands up. Patrol units are on their way, there's no escape. . .
INT. Apartment. A family-- FATHER, MOTHER, and SON-- is watching a J-drama on TV. Suddenly, MAMORU enters the apartment. He has removed his mask and black coat, which he is stuffing into his BACKPACK. We see he is wearing a RED SHIRT with black, stylish KANJI written on it.
MAMORU
(running past, pointing at TV)
Oh, this is a GREAT one! Excuse me!
The FAMILY stare at MAMORU as he runs toward the fire escape. They're not quite sure what to make of this. Once he's at the fire escape, he turns toward the family.
MAMORU
Thank you for not making any noise! You're gonna love this. Misato does something so crazy in-- just watch, you'll know what I mean! Oh, and you should change your entry code.
MAMORU steps out the exit, quietly closing the window behind him. After a beat, the SON finally decides to say something.
SON
How would he know? This is brand new.
The FATHER, as if snapping out of a stupor, realizes he probably should have done something, and tries to pursue MAMORU long after he's left.
FATHER
Hey! Get back here! Hey!
SON
He must have torrented it or something.
EXT. Alleyway - NIGHT. P.O. #1 is still standing at the rear door. LUNA spots something near the end of the alley from which she and P.O. #1 entered. It's MAMORU, climbing out of a second floor fire escape. A PATROL CAR drives up near the opposite end of the alleyway, briefly attracting the attention of P.O. #1. MAMORU lands and walks out of the alley without the officer noticing. LUNA pursues MAMORU.
DISPATCHER
(over P.O. #1's radio)
Be advised. Trespassing reported near your location, address (gives address). Suspect reported to have entered home and subsequently climbed out a fire escape.
P.O. #1 looks over toward the fire escape and runs towards it, cursing himself.
EXT. Street- NIGHT
P.O. #1 emerges from the alley. He just barely sees MAMORU running down another street.
P.O. #1
Stop where you are!
MAMORU bolts down the street. LUNA follows.
EXT. Metro Train Platform. MAMORU runs up to the platform, entering a train just as it arrives. Luna, arriving a few seconds afterward, tries to follow, but she is grabbed by a CONDUCTOR.
CONDUCTOR
Won't take a hint, huh? I should have called animal control on you to begin with.
The CONDUCTOR is about to take LUNA away when police officers, including P.O. #1 and P.O. #3, arrive. The train is just pulling away as they arrive.
P.O. #1
Stop that train!
CONDUCTOR
What? -- Hey!
In the CONDUCTOR's moment of distraction, LUNA manages to fight her way free. She runs toward the train, as does P.O. #1.
P.O. #3
Stop the damn train! We're in pursuit of a suspect!
CONDCUTOR
Uh, I-- I can't! We'll have to contact dispatch! They can hold the train at the next stop.
LUNA manages to jump between train cars onto a connector hinge, effectively if dangerously hitching a ride. P.O. #1 runs alongside the train, peeking inside the cars in order to spot MAMORU.
INT - Train Car.
We see P.O. #1 peeking through the window. He then appears to spot his target on the opposite end of the car.
P.O. #1
(barely audible)
Confirmed! Subject is on train!
P.O. #1 disappears as the train gains speed. We then pan down and sideways to reveal that MAMORU was, in fact, sitting with his back to the window on the same of the car as P.O. #1.
MAMORU
(panting)
You got good taste.
We then cut to reveal a young man (we'll call him DOUBLE), the same height as MAMORU but slightly thinner, wearing the same clothes as MAMORU -- his shirt even has the same DISTINCTIVE KANJI-- and the same style of BLUE BACKPACK. He has an air of "douchebag" about him.
(I don't about you, but I think it would be pretty funny if Jyoji Shibue made a cameo appearance to play DOUBLE. Wouldn't that be funny?)
MAMORU
Your clothes, I mean. Very eye-catching.
DOUBLE doesn't respond.
EXT. Connector Hinge- NIGHT
We cet to LUNA, hanging on for dear life to the connector hinge. As the train rounds a corner, LUNA nearly loses her grip, but regains her hold after the train straightens out.
INT - Train Car.
The train begins to slow down.
MAMORU
This is your stop, isn't it?
DOUBLE flips MAMORU the bird. MAMORU chuckles-- DOUBLE doesn't quite know what to make of that. As the train stops, DOUBLE gets up and gets off the train, staring at MAMORU the whole time.
MAMORU
(after DOUBLE has left train, still chuckling)
Thank you for making me feel better about this, asshole.
EXT. Train Platform, Next Stop-- NIGHT.
Security personnel have assembled on the platform. As DOUBLE exits the train, they order him to get down on the ground. When he doesn't cooperate, they grab him throw him down.
HEAD SECURITY OFFICER
(into radio)
Subject apprehended. Awaiting police arrival.
DISPATCH
Understood. In that case, we'll resume regular service. No need to hold everyone up.
LUNA gets off the connector hinge and approaches. However, she pausesm realizing her LUNA-SENSE isn't responding to DOUBLE. The train starts to move as as police sirens approach.
DOUBLE
Idiots! You want the other guy! Not me!
SECURITY OFFICER
Shut up!
LUNA looks toward the train. She sees a couple of ROSE-PETALS falling of a car, and realizes that MAMORU is still on the train. LUNA makes a run for the already departing train and tries to jump onto a connector hinge, like before. This time, though, she doesn't get as good a grip, and after a few seconds, she loses grip and falls toward the ground!
EXT. Yet Another Alleyway- NIGHT.
Three YOUNG MEN, probably college age, are joking around and laughing, except for YOUNG MAN #1, who looks nervous. It won't be stated explicitly, but from they're behaviour it'll clear that they've been toking up.
MAN #1
I think I hear sirens.
MAN #2 and MAN #3 continue to laugh, ignoring MAN #1.
MAN #1
Did you hear me? There are sirens! We gotta get out of here.
We can hear the METRO approaching.
MAN #2
(laughing)
Yeah, you're right. You're right. Tokyo M.P.D. is sending squad cars after us, man. We represent an exis-- (giggles)-- tential threat to the social order.
MAN #3
Why do we keep letting you come out with us? Why do you even want to come out with us? It's not like you ever have a good time.
MAN #2
Yeah, you just freak out over everything. Wait, shh. . . (whispering) I think the sirens are getting closer.
MAN #1
Shut up.
The METRO is getting closer.
MAN #3
(playing along)
Yeah, you're right. Oh no! THEY'RE ON TO US, MAN!
The METRO is getting closer.
MAN #1
Shut up! You know what, something. . . is gonna happen back here. Something is. . . is gonna find us.
The METRO passes overhead.
MAN #3
Sure, man.
MAN #1
Yeah, "sure man"! It will! And when it does, we're not even gonna know it--
At that moment, LUNA lands on top of MAN #1. He panics and falls over, pushing LUNA off of him. She lies on the ground, unconscious, with a cut near her CRESCENT-MOON SPOT. The three men stare at the cat. Then, after a beat, MAN #2 and MAN #3 break into laughter.
MAN #2
Aw, man! That was awesome!
MAN #3
(to MAN #1)
You should've seen yourself!
MAN #1
I think he's hurt. He needs help.
MAN #2
(trying, and failing, to hold back his laughter)
No, -pfft- . . . no, you're right. (giggles, then tries to look serious) This is what we've spent years training for at medical sch--(laughs)
MAN #2 and MAN #3 both break out into laughter. MAN #2 reaches into his pocket and produces a package of BANDAIDS, which prompts more laughter from MAN #3. MAN #2 removes a bandage from the box and applies it over LUNA's CRESCENT MOON SPOT. MAN #2 and MAN #3 break out into laughter again.
MAN #2
It's days like this I remember (giggles) why I became a doctor! (laughs)
MAN #3
Oh man! I'm hungry guys. Let's get some dinner. (to MAN #1) Come on, let's go.
The THREE MAN leave. LUNA continues to lie on the ground, unconscious. We fade out.
Yes, I did just put a scene with three stoned medical students in my Sailor Moon movie screenplay. Way to show that my movie will be kid friendly!
Mamoru Chiba Will Return. . . in Part #9
2 comments:
I can't wait for the next instalment. This is seriously so awesome. I could see this becoming a hit film Jeremy.
Thanks! I'm glad you're willing to forgive the numerous typos.
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