REI emerges from the front door of the academy convent, walking around the back corner of the building. She has removed the grey outer jacket of her uniform. Taking a look around to make sure that no-one is watching, she pulls out a notebook, rips out several blank pieces paper and sets them on the ground. Checking once again that she isn't being watched, she removes a lighter and ignites the pile of paper. REI then closes her eyes, makes a series of hand gestures, and utters a series of prayers. Then, she waits. We wait. And then, after a few seconds, it comes: the sudden, loud whine of air brakes in the distance-- the same sound that REI heard in the fire the night before. REI opens her eyes, and we CUT TO:
EXT, Bus Stop, DAY
A CITY BUS, having loaded up its last passenger, is about to leaves when it is flagged down by REI.
CUT TO:
INT, Bus
REI stands at the front of the bus, holding out her cell phone to the DRIVER.
REI
We've been looking for this woman, Sister Jessica Roussel.
CUT TO:
Close-up of the phone. On the display is a picture of Sister Jessica, who is revealed to actually be JESSY, the woman who visited the Cat Mansion earlier.
REI(V.O.)
I know it's a long shot, but you haven't seen her by any chance have you?
CUT TO:
Two-shot of REI and DRIVER.
DRIVER
Actually, I see her quite often.
REI
Really?
DRIVER
Yes. I last saw her Sunday, I think. I picked her up a few blocks ahead, carrying a big bag of cat food. She always carried cat food. I didn't know she was a nun, though.
REI takes a look around the bus; to say it's not her ideal mode of transportation is an understatement. Still, she knows she's on to something.
REI
Do you remember where she got off?
DRIVER
Yes.
REI reaches into her pocket for some change.
REI
Would it be too much trouble to contact the police? I'm sure the information you've given would be very helpful to their investigation.
DRIVER
Of course, but I'll need her name again. . .
REI produces a handful of change and throws it into the register.
REI
That should do it. Of course, I'll have all the info ready by the time I get off. Could you let me know when we reach her stop?
CUT TO:
EXT, Commerical District, DAY
The sidewalks are lined with window displays-- clothes, TV's, etc. LUNA is walking down the sidewalk when she walks by a display of TV's, all showing the image of MARIE BAISHAKU, along with the caption "Reclusive Manga-ka to Make Appearance Tommorow!" The image catches LUNA'S eye. As she watches, we CUT TO:
EXT, Apartment Window, DAY
Flashback. We see LUNA, about six months old, sitting on the ledge of an apartment window which has been forced open. Inside, we see police officers walking about. LUNA is talking to herself, "rehearsing" once again. Her speech has not yet fully matured.
LUNA
Ma-ri-e-san. I am. . . I am Lu-na. I am look-ing for some-one. . .
CUT TO:
INT, Apartment
LUNA makes her way through the apartment, where a break-in has taken place. She's not a smooth as when we first saw her navigate a crime scene, often dodging behind objects to hide from police, even though they certainly wouldn't have seen her, and even though her attempts to "dodge" often make her more conspicuous. She walks across the living room, then darts behind a chair, then after a couple of seconds re-emerges, only to jump back behind the chair, meowing in suprise as a cop walks by. She comes out, walks a few feet, and is nearly stepped on by a cop crossing her path. She stops in her tracks and, scared, tries to run to the left, then doubles back to the right, and then, out of pure instict, makes a break for it down the hallway, jumping on top of a piece of furniture and knocing over a glass on to the carpet. CUT TO:
INT, Bedroom
Somehow, LUNA makes it to the master bedroom of the apartment. There, she sees two people sitting on the bed. MARIE sits, crying, while a man, BAISHAKU-SAN, tries to comfort her.
MARIE
I have to get out of here. I HAVE to get out of here.
BAISHAKU-SAN
Marie, you're just panicking.
MARIE
If I was in the apartment--
BAISHAKU-SAN
You weren't.
LUNA approaches, horrified. She needs to speak, but she can't bring herself to do so.
BAISHAKU-SAN
And if you were, these punks would probably have run off. They were counting on the place being empty.
MARIE
I can't be sure of that.
LUNA, to stall more than anything else, decides to use her LUNA-SENSE. Viewing LUNA at an angle from which only MARIE'S right hand is visible, we see the LUNA-SENSE take effect. MARIE'S hand, which looked normal initially, begins to take on an almost. . . animated look. As in anime, or manga. The implication is that LUNA is seeing the essence of MARIE'S character, which is driven most by her desire to create art. LUNA turns the SENSE off. From the look on her face, we can see that she's dissappointed-- MARIE did not turn out to be you-know-who. Still, LUNA knows that she has to talk to MARIE.
BAISHAKU-SAN
You're being paranoid, Marie. It's not YOU that public sees, it's Sailor V.
MARIE
I should never have listened to her.
BAISHAKU-SAN
Who?
LUNA'S interest peaks. MARIE is silent.
BAISHAKU-SAN
Who, Marie?
MARIE
(hesitant)
. . . Fumiko-san. I should never listened to Fumiko-san.
(beat)
Fumiko and her sailor suit idea.
LUNA(O.S.)
Ma. . . Marie-san?
MARIE and BAISHAKU-SAN turn around. LUNA, who they don't yet see, is frozen.
BAISHAKU-SAN
(to a female police officer outside the bedroom door)
Did you say something?
FEMALE OFFICER
No, sir.
The OFFICER looks down to the floor.
FEMALE OFFICER
Oh! Thank goodness your kitten wasn't hu--
LUNA makes a break for it, darting out of the room as quickly as a kitten can. CUT TO:
EXT, Commerical District, DAY
Present day. LUNA, ashamed at that particular memory, casts her eyes downward and, after a moment, continues walking. CUT TO:
INT, Hikawa Shrine
FLASHBACK. Once again, we focus on the firepit. We watch the seemingly random flames flicker in front of us. Then, almost inperceptably, the vague shape of a BLACK STAR appears within the flames.
DRIVER(O.S.)
This is it coming up.
CUT TO:
INT, City Bus.
A close up of a piece of paper. Beneath the name "Jessica Roussel" and a phone number, REI has been drawing the BLACK STAR that she saw in the flames earlier, filling in every last white gap within the figure.
We cut to a close up of REI, sitting in a seat close to the front of the bus, the seat next to her empty. The bus pulls up to another stop. REI takes a look at her watch, indicating that the bus ride has taken a while. She's not happy at all. The boarding passengers walk past REI, including a group of foreign tourists a bit too loud for REI'S taste. The last passenger, a young Indian man with the look of a young Japanese hipster, takes a seat next to REI. We recognize the young man as JAIN SON, the son of the owner of the jewellery store LUNA visited. REI, only barely able to hide her contempt, shifts away from him. After a moment, JAIN SON'S cell phone rings. He answers in Japanese, but then speaks in angry sounding Hindi. REI, as if needing to look busy, pulls out her cell phone and reloads the picture of JESSY. After a few moments, JAIN SON hangs up. He then catches a glimpse of the cell phone and, as if recognizing the picture, leans in for a closer look. REI sees this, and immediately flips the phone closed.
REI
What are you doing?
JAIN SON
(suprised)
Uh, nothing! I'm sorry.
JAIN SON backs off. REI, however, is still uncomfortable.
REI
Why are you sitting here?
JAIN SON
Excuse me?
REI
There are lots of seats on this bus. You didn't have to sit here.
JAIN SON
(beat)
I'm sorry, are you. . . are you LITERALLY telling me that I should sit at the back--?
REI
I'm saying you should leave these seats for people who need them.
JAIN SON
Then why are YOU sitting here?
DRIVER(O.S.)
Miss?
Pause.
DRIVER(O.S.)
This is it coming up.
REI
Thank you.
REI stands up.
JAIN SON
I bet your mom and dad jumped for joy when Takeshi Hino was re-elected.
REI quickly turns back. She wasn't expecting a comment like that.
REI
(beat)
Let me know what happens when the I.T. bubble bursts.
REI leaves.
We CUT TO:
EXT, Bus Stop, DAY
REI stands at the bus stop as the BUS drives away. She takes a look around, not sure where to go next. She closes her eyes, partly to think, and partly out of frustration. Then, in the background, we hear a faint meow. REI turns in the direction of the sound, and sees a cat dart around a corner. Tentatively, she decides to follow the cat; she's already come this far.
REI comes around the corner. We recognize the sidewalks she's walking on as the one leading up to the Cat Mansion-- the same one JESSY was seen walking down. In the distance, past the Cat Mansion and on the other side of the street, we see an Animal Control vehicle parked near an alley. Down the sidewalk on REI'S side, we see the cat that REI was following run up to to another pair of cats, and the three start to fight with one another. As REI approaches, one cat manages to chase the other two off. However, the cat still seems to be batting at something on the ground. As REI gets closer, she realizes that the cat is batting at (and later knawing at) a DOG COLLAR. The collar itself is made of fake leather, with a tag that says "#1!" (Note: The dog that was seen WAAY back in Part #1, in the blood clinic, will have a similar collar with a tag that says "#2!"). REI chases the cat away, and picks up the COLLAR. She turns toward the Animal Control vehicle down the street. In the distance, she can see two Animal Control AGENTS loading up a motionless DOG into the vehicle on a gurney. REI put's "1" and "1" together (HA!) and walks toward the vehicle. However, the two agents are already closing up the vehicle, and within a few seconds it drives off. REI stops in front what we recognize as the front gate of the Cat Mansion. Some of the cats REI saw earlier run past her and into the Mansion.
CUT TO:
INT, Cat Mansion, LUNA'S Room
LUNA is "sucking up" the last of her things (there isn't that much left, so it's not as much of a strain on Luna this time). She approaches her last belonging: the poster of Sailor V with her face covered by a question mark. She pauses, sighs, and then sucks that up too. Then she sits, and takes one last, nostalgic look at the place she has called home for most of her life. The moment is interrupted by the sound of dozens of cats meowing downstairs. It's not the same as the night when JESSY disappeared-- this is more of a groaning sound, likely out of hunger. Still, LUNA is apprehensive. CUT TO:
INT, Cat Mansion, Main Hall
REI creaks open the front door of the mansion, and is greeted by dozens of hungry, moaning cats, who clearly expect REI to feed them. REI tries to avoid stepping on them as she makes her way inside. Cut to a shot of LUNA at the stop of the stairs, watching REI from a distance.
REI
Sister Jessica? . . . Sister Jessica?
LUNA
(whispering to herself)
Jessica. . .?
No response. REI examines the main hall as she passes through, and after a moment, spots an empty bag of cat food. She approaches the bag, and then sees something else on the ground: rosary beads. She picks up the rosary, and then, almost as an afterthought, rips off a piece of the cat food bag. We cut back to LUNA, who tries to focus her LUNA-SENSE on REI. It works--she sees something, like a brief flash of flame-- but only for an instant, and LUNA collapses. REI walks around the main hall a bit more, waiting to be beckoned by something yet again. She looks toward the main door, and then walks back toward it. LUNA cautiously follows.
CUT TO:
EXT, Cat Mansion Front Gate, DAY
REI emerges from the front gate and pauses for a moment. She looks to her left and right, and then down at the rosary beads. She has no idea where to go next. We briefly cut to LUNA, who stands on the other side of the open gate, examining REI. In frustration, REI finally starts to make her way back to the bus stop. After a few steps, REI stops. As if sensing someone following her, REI turns around. LUNA manages to dogde behind a parked car before being spotted, but REI, still suspicious, walks back to near where LUNA is hiding. REI looks around, but fails to notice LUNA. Just as REI is about to continue as she was, she sees a small, white BUS drives by. REI just manages to catch a figure of a BLACK STAR painted on the side of the bus. REI knows this must mean something; she walks after the bus, and after it makes a right turn at the end of the street, she starts running after it, with LUNA not far behind.
REI rounds the corner. The BUS has stopped about block ahead, past an intersection. As REI comes up to the intersection, another white BUS, with the same logo, crosses in front of her. REI stops, keeping her eye on the second bus as it drives away.
CUT TO:
A Montage. We see:
- A sort of vacuum device, sucking air into a clear, expanding plastic container with a biohazard warning label.
- A pair of tweezers picking up a pile of hair from a puddle.
- A cotton swab being rubbed along the top of a garbage bin.
- REI, showing the picture of Sister Jessica to a local merchant. LUNA sees the photo as well, confirming for her that REI is indeed looking for JESSY.
- A small plastic bag, containing a piece of hair, being placed into a larger container by a pair of hands in rubber gloves. Afterward, another gloved pair of hands places a small vial of liquid into the same container.
- REI, passing by a light post, notices a poster with the title "DANGER: SICK DOG ON THE LOOSE." REI scrolls down the poster, seeing that the name of the dog is "Wan-wan" and noticing that the description of the dog mentions a collar with the tag "#1!". REI glances at the collar in her hand, and then continues to the bottom of the poster, which reads "DO NOT APPROACH! Immediately call the number below." At the bottom are a row phone numbers printed on removable paper tags. REI takes one of the tags.
- An intersection. Traffic proceeds calmly for a moment, but is then interrupted by a white Station Wagon-- the one we saw a Osa-P the night before-- cutting off another vehicle.
- LUNA, examining REI from a distance as she questions another local. As she does, another bus passes by, catching REI'S eye.
NOTE: For the second draft, I'm going to move the scene at the broken-into jewellery store to this point, with both LUNA and REI visiting the store. Everything established in the the earlier scene will be established in this scene instead. For this draft, though, I'll skip to the scene after that.
CUT TO:
EXT, Semi-commercial District, DAY
REI continues her search, with LUNA close behind. REI looks at her watch-- it is now one fifty in the afternoon- as she passes by a manga store (or something similar) that's blasting out a technoish J-pop tune-- think Evangelion. REI comes to a stop and pulls out her cell phone, bringing up the image of JESSY. REI examines the image, then closes her eyes.
REI
What am I doing?
REI then pulls out the ROSARY, rolling the beads between her fingers. As she does, another WHITE BUS pulls up to an alley behind her. When the door opens, we can briefly hear the faint sound of another song eminating from within, which for a moment seems to blend in the J-Pop song playing in the background. It's "You Were Always On My Mind"-- this time by Elvis Presley. REI turns around, and sees two STUDENTS, one male, one female, disembark from the bus. Both are wearing dark school uniforms, and are carrying large, handheld plastic cases, bearing the same BLACK STAR logo as the buses that have been roaming the neighborhood. The two are the same age as REI. They talk to each other, as if not sure what to do next. After some discussion, they make their way to a nearby alley. The bus drives by REI, giving her another glimpse at the BLACK STAR LOGO. After a moment of deliberation, REI cautiously approaches the alleyway and peers inside: the two STUDENTS have opened up their cases, and from the cases, they have both retrieved white lab coats, surgical masks, and gloves. REI can just hear the two talking to one another.
MALE STUDENT
Was Sensei any more specific with you about what kind of "samples" we're looking for?
FEMALE STUDENT
She told me to look for animal residue. Hair, skin, urine. . .
REI opens her bag and briefly looks at the DOG COLLAR.
M.S.
Lovely. Exactly what I heard. Tell me that they at least specified what KIND of animal. A species, a genus, anything.
F.S.
I assume we're looking for kind of animal with hair, skin and urine.
From their cases, the students retrieve what looks like scientific analysis equipment. While the equipment looks mundane, at the same time it has an appearance that distinguishes it from similar equipment used by other scientists. REI, cell phone still in hand, kneels down.
M.S.
Well then, we're gonna be here all day.
F.S.
Who cares? Credit is credit.
REI takes a couple of photos of the STUDENTS with her cell phone.
F.S.
Besides, it's valuable preparation for real-world field research. The kind of thing to write in big, bold letters on your university appli--.
At that moment, F.S. spots REI.
F.S.
(to REI)
Hey!
M.S.
What?
REI darts up, surprised at F.S's hostility. F.S. approaches REI, with M.S. following her.
F.S.
(to REI)
What are you doing here?
(to M.S.)
Call Sensei.
(to REI)
Why are you taking photographs?
M.S. pulls out a walkie talkie. REI, desperate, starts speaking in an elevated pitch, her words spoken in a way that's both faster and dumber sounding.
REI
Oh! Oh, my--!
F.S.
Are you journalist?
REI
(laughing)
No, no! It's not-- uh!
REI pretends to fiddle with the phone.
F.S.
I'll have you know that we're here as part of an environmental survey, commissioned by the the Ministry of Environment and organized by the Hotaru Tomoe Memorial Research Society. Our actions are completely--
REI
I cannot BELIEVE I was taking photos!
F.S.
So you WERE taking--
REI
I just CAN'T figure this thing out! I go "photos" trying to FIND photos and instead I TAKE photos! One wrong button pressed and poof! I am a MORON when it comes to technology. But I think I got--
REI "accidentally" takes a picture of the two students, who are now both standing in front of REI.
REI
(laughing)
Oh shoot! I did it again! Oh wow!
(to M.S.)
You photograph really nicely, dude! Take a look!
REI shows M.S. the picture. F.S., once defensive, is now gettng frustrated.
F.S.
Look, miss--
REI
(to M.S.)
You're cute on camera, man! I'm Rei.
M.S. tries to play it cool, but is visibly pleased with REI'S flirtation.
M.S.
Uh. . . Hi, Rei.
REI
(abruptly)
Oh my God! Oh my God! I always do this! If I get nervous, I get distracted, and then I get chatty--!
F.S.
Miss!
REI
--and I get giggly, and I COMPLETELY forget what I'm doing! See, I'm looking for someone.
(to M.S.)
Maybe you could help me search through the pictures, 'cause I have NO idea--!
REI hands M.S. the phone. M.S. searches though the photos.
REI
Yeah, there's you two! . . . Oh wow! I really WAS taking photos, wasn't I? Well, there's the evidence, right there! . . . There it is!
REI takes the phone, and shows the picture of JESSY to both students.
REI
We've been looking for this woman. Her name is Jessica Roussel. Have you seen her around here?
F.S. glances at the picture so briefly it's insulting.
F.S.
No. Miss, we just got here ourselves. We're performing a SURVEY here--
REI
I've seen your buses everywhere around here.
(cutely begging)
I thought maybe if you got on the walkie talkie--
F.S.
The answer is no, Miss.
M.S.
Well. . .
F.S.
Ryo!
REI
What?
M.S.
What I mean is. . . we could ask Dr. Arimura.
REI
Dr. Who?
F.S. flashes a look at M.S., as if to say "I cannot BELIEVE you!". We CUT TO:
EXT, Parking Lot, DAY
In the foreground we see REI enter the frame, with LUNA following a moment later. In the background we see the WHITE STATION WAGON from earlier, parked in small parking lot. Beside the car, a woman sits underneath a gazebo tent, typing away on a laptop which sits atop a folding table, all the while talking into a hands-free phone. The woman, whose hair is black with a faint reddish hue, is named YUKO ARIMURA. REI examines the makeshift headquarters, still unsure of whether to approach. The laptop is connected, by means of a mess of multicoloured wires, to various other electrical devices on and around the table which bear passing similarities to oscilloscopes, sattelite dishes, etc., and yet would look alien to anyone actually familiar with those devices. From REI'S vantage point, we can just barely hear YUKO'S discussion.
YUKO
To be honest, I don't know why. . . . --met has displayed incredible irrespon--. . . . and I don't know why Sensei puts up with her. . . . How do you just LOSE . . . .
We cut to an extreme close up of the woman's fingers tapping at the keyboard. We can now clearly hear what YUKO is saying.
YUKO
And she didn't even report her failure, either. We could have been out here a whole day earlier. And this ON TOP of the Osa-P debacle.
We cut to a back shot of YUKO, with the laptop screen in the background. The screen displays a map of the local area, along with a few screens of scrolling data.
YUKO
My sensor, which I'll remind you was not designed to last longer than a day, is the only reason we've made as much progress as we have. Once again, I am cleaning up Mi--
REI(O.S.)
Excuse me?
YUKO stops typing, but doesn't turn around or stand up. We cut to a shot with REI in the foregorund and YUKO, back still toward us, in the background. For a moment, tense silence.
YUKO
(into phone)
I'm sorry, I'll have to get back you.
YUKO disconnects the phone, still sitting on the chair facing away from REI.
YUKO
Have you found something?
(beat)
Something abnormal? Unexpected? Something TRULY novel?
YUKO stands up, her back still facing REI.
REI
Uh. . . not yet?
YUKO
I see. You haven't found anything. . . and you're hoping that I'll just drop all of MY work, hold your hand and point you in the right direction.
YUKO angrily shuts her laptop.
YUKO
You do realize what school you--
YUKO turns around, immediately realizing that REI is not one of her students. Meanwhile, we, in turn, realize that YUKO looks AWFULLY familiar:
YUKO, for about half a second, stares at REI as though examining a specimen. She then lets out laugh, meant to sound embarrassed, but actually sounding more exasperated.
YUKO
I'm sorry.
Long, weird pause, after which YUKO gives a half-hearted smile.
YUKO
I thought you were one of my students. I apologize for presuming.
YUKO comes off as a little less strange than earlier, but only just. We've seen REI uncomfortable before, but this is the first time we've seen her truly intimidated. Still, speaking in a deep, nuanced manner-- the exact opposite of the previous scene-- REI manages to remain calm.
REI
I'm from TA girls academy. We've, uh. . .
REI opens the cell phone and produces the picture of JESSY.
REI
One of our instructors went missing a couple of days ago. We've contacted police, but in addition, I've volunteered to take a look around her last known--
YUKO, without any prompting, takes the cell phone out of REI'S hand and examines the picture.
REI
Uh, yes! Yes, please take a look!
YUKO does take a look, very intently, without saying a word.
REI
I've been asking around the, uh, neighborhood. I noticed that you have vehicles driving throughout the neighborhood as well, and I--
YUKO
(without looking away from the phone)
Thought we could take a look.
Another long, tense, weird pause. Then, YUKO, as if realizing how strange her behaviour is, gives a more another laugh, more genuine sounding than before.
YUKO
I'm sorry.
(rubbing her eyes)
I'm very tired.
(looks up at REI)
Of course, I'll be glad to help. Do you mind if I download the picture?
(points to laptop)
That way I can send it to eveyone electronically.
REI
No. Go ahead!
YUKO attaches a small cable to the phone, which connects with the computer. Within a moment, the picture is downloaded, and JESSY'S picture appears on the screen.
YUKO
What was the name?
REI
Uh, Rei--
(catches herself)
I-I mean, Sister Jessica Roussel.
YUKO examines the picture again, then disconnects the phone and hands it to REI.
YUKO
And who shall I contact?
REI
The rector of TA academy. He can then direct you to the detective in charge. I can give you the number.
YUKO
That will be alright. I can obtain it easily enough.
Pause.
YUKO
I'll be sure to keep an eye out, but I really must be getting back to my work.
REI
Oh! Of course. Thank you!
REI bows. YUKO bows back shortly afterward. REI walks away; YUKO'S eyes follow REI for a moment, before she returns to her computer, bringing up the image of JESSY once again. CUT TO:
EXT, Sidewalk, DAY
LUNA peeks around a corner; she's been observing the conversation from a distance. As REI approaches, LUNA hides behind the corner. REI enters the frame, visibly relieved to be away from YUKO.
REI
(sighs)
Well, that helped. That REALLY helped.
REI takes another look at her watch. From her frustrated expression, it's clear that she needs to start heading back to school. She runs off. LUNA, taking one last look around the corner at YUKO, then turns in pursuit of REI. CUT TO:
INT, Bus
REI takes a seat on a bus. Behind her, LUNA just barely manages to sneak aboard, dodging the feet of disembarking passengers as she does. Once on board, she hides underneath one of the rear seats. CUT TO:
EXT, T+A Girls Academy, Outer fence, DAY
REI walks alongside the fence of the academy, turning in as she reaches the front gate. LUNA remains outside the gate, watching as REI enters; she now knows where REI goes to school.
Part #4: More Rei-cism.
No comments:
Post a Comment