CUT TO:
EXT, Sidewalk outside Florist's Shop, DAY.
MAKOTO enters the frame, walking along the sidewalk. She stops for a moment in front of the Florist's display, taking a moment to admire a series of beautiful floral arrangments. She then continues on her way. CUT TO:
INT, Ramen Rastaurant
MAKOTO enters the kitchen of a ramen shop through the back door. She bows to an unseen ramen chef and proceeds off frame.
LUNA(V.O.)
You don't have to wait around for me, Usagi.
CUT TO:
EXT, Park, DAY
USAGI and LUNA sit on a park bench. LUNA is lying down, despondent, facing away from USAGI. USAGI sits on the other side of the bench, the broken BACKPACK set between her and LUNA.
USAGI
I know.
(pause)
I was gonna keep trying to talk to her. We didn't have to run off.
LUNA
There's no way that she's the princess. I can't possibly bring myself to believe that our princess would say those sorts of things.
USAGI
They weren't THAT bad.
LUNA
Yes, they were, Usagi.
Pause.
USAGI
Well, what made you think she WAS the princess to begin with?
(beat)
I mean, you know more about this than I do. . . to say the least. But, well. . .
(pause)
You said she was beautiful, and that she had an "aura" or something, exactly like me, but also, uh, different from me, somehow. Was that all you were basing it on?
LUNA
No.
(sighs)
She was looking for someone, someone who has very likely become a victim of the evil force that we're trying to fight.
(beat)
She was trying to help.
USAGI can't help but take that a little personally.
USAGI
I tried to help.
LUNA
That's not what I meant.
USAGI
The hell it isn't. I didn't go seeking out the forces of evil, and she did.
LUNA
Usagi. . . I was there the night Jessy disappeared. I tried to follow her to where-ever she was being taken, and then this thief shows up-- God! I haven't even thought about him!-- and he had his own aura, and so, since I had lost Jessy, I followed him instead. That's how I made it to Juuban. I could have tried to track her down, get more information--
USAGI
But instead, you met me. And all that time you could've been spending looking for Jessy--
LUNA
Usagi, don't do this to yourself.
(pause)
You're not the first person who's failed to meet up to my expectations. I beat you to that a long time ago.
USAGI
But. . . you STILL think I'm one of the Warriors, right? I have still have a "light," right?
LUNA
The light disappeared after I first met you. And that vision, I should note, immediately followed a concussion. AND, incidentally, I've had trouble forming visions ever since our initial encounter. This casts some doubt on things.
USAGI
Well, what about Osa-P? Why would I just run off to a random building full of sleeping sickness victims?
LUNA
I don't know. You tell me.
USAGI
Well. . . that's exactly it. I don't know. It's. . . It's like when you go into a room and forget why you went there. I remember running there, I remember having a REASON for running there. . . but I just don't know what that reason was. And, frankly. . . I'd like to.
(pause)
You said that there are four warriors protecting a princess, all reincarnated from an ancient kingdom. So, let's start there. Tell me about the ancient kingdom. I mean, you DO remember what the ancient kingdom was like, right?
LUNA turns around, sitting upright.
LUNA
Yes.
(sighs)
THAT I can tell you plenty about.
USAGI
So let's hear it.
LUNA
. . .from the beginning?
USAGI
Yeah!
(beat)
Wait, the beginning of what? The kingdom?
LUNA
No. The universe.
Briefly cut to a incredible flash of light-- the big bang. Then cut back to USAGI and LUNA.
USAGI
That's. . . ambitious. But I'll roll with it.
Here's where things get a bit artsy. We cut to a shot of nebulous figures-- one "light" figure called ORDER, the other a "dark" figure called CHAOS-- rushing head on toward one another.
LUNA(V.O.)
Before our universe came into being, there existed two forces, which in your language could loosely be called Chaos and Order. These two forces met in battle.
ORDER and CHAOS collide, resulting in a eruption of light.
LUNA(V.O.)
From this battle, our universe was born.
Light and dark "pieces" of ORDER and CHAOS fly out from the center of the explosion. The light subsides, leaving a swirling mix of light and dark, similar in appearance to a mixture of paints.
LUNA(V.O.)
In this first battle, Order was victorius, only just barely.
Smaller versions of ORDER and CHAOS sweep across the "universe", each seeking the other. Their flight creates turbulence in the universe; the white and black mixture churns in their wake, and as the white and dark mix, multi-coloured nebulae (which in this scene bear the look of oily film) begin to form.
LUNA(V.O.)
But Order and Chaos would continue to meet in battle. In the wake of their combat, energy became mass, then atoms formed, which in turned formed molecules, and on and on, until the galaxies formed. In all these battles, Order just barely managed to hold Choas at bay.
ORDER and CHAOS occasionally collidie into one another, releasing bursts of light as they recoil off of one another. These bursts blow away the nebulae surrounding them. The blown away nebulae, compressed by the explosive front, form stars, which in turn continue to drift away from each explosive epicenter and eventually gravitate together to form galaxies.
We cut back to LUNA and USAGI.
LUNA
That's. . . what the traditions maintained, anyway. I'm sure modern cosmology has a lot more to say on the subject.
USAGI
Okay. . . So then what?
We cut back to the creation myth. In (relative) close up, we see Order and Chaos collide. In this closer view, we can now see thousands of luminous CRYSTALS fly out from the jumbled collision of ORDER and CHOAS. These crystals bear the appearance of tiny, bright sparkles floating on a film of oil.
LUNA(V.O.)
Order and Chaos, together, created the universe. Neither could do it without the other. Likewise, it was Order and Chaos, together, that created life.
We follow one of the CRYTALS as it flies throughout the cosmos.
LUNA(V.O.)
Not DNA, or proteins, or cells. . . but the vital force, the energy, that drives living things. Through the constant struggle between Order and Chaos, fragments of life, sources of the vital force, spread throughout the universe.
We watch the crystal make its way to our solar system.
LUNA
One of these fragments made its way to this solar system.
The fragment hovers just over the surface of the moon, with a dark, dead Earth looming in the background.
LUNA
And it brought life to all its worlds.
We watch the dead Earth in the background take on a hue of vibrant blue and green-- Earth has come to life. The fragment of life becomes brighter and brighter, until the screen in enveloped in white.
And THAT, ladies and gentlemen, is how you do a creation myth!
We cut back to LUNA and USAGI. For a moment, LUNA is silent.
USAGI
So, what happened then?
Pause.
LUNA
Usagi? What happened to your backpack?
USAGI
Hmm?
(looks at backpack)
Oh, the zipper broke.
LUNA
Why does your backpack have the name "Ami" on it?
USAGI
. . .'Cause it's Ami's?
LUNA
. . . I beg your pardon?
USAGI
What? Ami's backpack was broken, so I switched my backpack for her's and OH SH--!
CUT TO:
INT, Mugen Gakuen Cram School
Cram school has just ended, and students, AMI included, are packing up their things. Ami opens up her (Usagi's) backpack. Cutting to a close-up of the bag, we faintly see LUNA'S DOCUMENTS before AMI covers them up with her books.
CUT TO
INT, Mizuno Residence
AMI enters, her hair dry, i.e. she hasn't gone swimming today. She looks at the call display on the main phone-- one missed call. Remembering the night before, AMI ignores the phone and proceeds directly to her studies. She opens the bag and pulls out all of her textbooks. That's when she finally sees LUNA'S DOCUMENTS. Curiously, if tentatively, she removes the documents and flips through them, eventually coming upon the REPORT that LUNA obtained at the beginning of the film. Intrigued by what she has seen so far, she opens up the report and, being a genius and all, starts speed reading through it. Just as AMI'S really becoming intrigued, the phone rings, startling her. The phone rings two more times, but AMI doesn't move. Eventually, AMI gets up the nerve to slowly approach the phone and pick up the reciever.
AMI
Hello?
USAGI(O.S.)
Ami? It's Usagi.
AMI
(relieved)
Oh! Usagi--er, Mundy-san! Hello!
CUT TO:
INT, Phone Booth
USAGI stands in a phone booth, while LUNA sits just outside the booth. The scene will switch between USAGI and AMI for the rest of the phone conversation.
USAGI
Listen, when we switched bags today, I forgot something in my bag, and I really need it back as soon as possible.
AMI
Um. . . what is it?
USAGI
Well. . . See, my dad is a reporter, and there are a whole bunch of documents he needed for his next story. Thing is, for some reason, he threw the documents in MY bag, and. . . yeah, we're Mundys alright.
AMI
Yeah. . . I just opened my bag. I think I saw them.
USAGI
Great! Do you think I could pick them up?
AMI
You mean now?
USAGI
It's--
(looks down at LUNA)
Yeah, I need it now. It's an emergency.
AMI
Um. . . Well. . .
USAGI
We won't-- uh, I-I won't take long. I won't.
AMI
. . . Do you know where the Juuban Heights apartment complex is?
USAGI
Yeah! Actually, I think I can see it from here.
AMI
I'm in room 2007.
USAGI
Great! I should be there in fifteen minutes!
AMI
I'll see you then!
USAGI hangs up. We cut back to AMI, who slowly puts the reciever back on the hook. She examines the documents from a distance. After a moment of deliberation, she then walks up to the documents and starts speed reading through them, starting with the report. She only has a few minutes to memorize all of the documents, but with her high IQ, she just might be able to do it.
CUT TO:
EXT, Juuban Heights Front Door, DUSK
Close-up of a numerical pad. USAGI'S fingers dial in "2007". The intercom starts ringing. We cut to a two shot of USAGI and LUNA.
USAGI
Okay, I'll be back in five minutes.
LUNA
I'm coming with you.
USAGI
What? No!
LUNA
I have to check that all the--
USAGI
Luna, you're not coming--
CUT TO:
INT, Apartment/Hallway
An opening door. As the door opens, we see USAGI standing in the hallway.
USAGI
Ami, I hope your a cat person, 'cause--!
Cut to Usagi's POV. Standing in the door is a stiff looking upper class Japanese woman. In the background, we see an equally stiff looking family sitting at the dinner table.
USAGI
Um--
AMI(O.S.)
Hey, kitty!
Cut to a shot of USAGI. In the background, to USAGI'S right, AMI stands in her doorway. She turns her gaze from LUNA to USAGI.
AMI
Hello, Mundy-san!
USAGI
Oh, hi, Ami!
USAGI turns to the door. We cut to USAGI'S POV.
USAGI
I'm terribly sorry about--
The woman shuts the door in USAGI'S face before she can finish. We see that the door number is "2009", not "2007". Cut to USAGI and AMI.
USAGI
I could have sworn it said 2007!
CUT TO:
INT, Ami's Apartment
AMI enters, holding the door open for USAGI and LUNA.
USAGI
I'm sorry about the cat. I didn't want to leave her alone.
AMI
(a little antsy)
It's no problem. I'll grab the documents.
AMI walks off.
USAGI
(whispering)
My God! This place is beautiful!
LUNA
(whispering)
Usagi, I'll need to check the documents before we leave.
USAGI
(whispering)
What? Why?
LUNA
(whispering)
To make sure that they're all there.
USAGI
(whispering)
What, you think she just stole some--?
LUNA
(whispering)
Usagi, you'll have to distract her while I look.
USAGI
(whispering)
Distract her how--?
LUNA
Sssh!
AMI returns with the DOCUMENTS.
AMI
Here are all of the documents I found in your bag.
AMI hands them to USAGI.
USAGI
Thanks.
(pretends to examine the documents)
Uh. . . yeah. Everything looks in order.
AMI
So, I guess that's it.
USAGI detects a faint trace of dissappointment in AMI'S voice.
USAGI
Oh, yeah, I really need to--
(looks behind AMI)
Oh wow!
AMI turns around to see what USAGI is looking at. USAGI immediately drops the DOCUMENTS in front of LUNA and walks past AMI.
USAGI
What. . . A . . . View!
USAGI walks up to the large balcony window. The twilight view of Tokyo really is impressive.
USAGI
This is amazing!
AMI
I guess so. . .
USAGI
Really, it is!
USAGI turns around. We cut to USAGI'S POV. AMI stands in the foreground, while LUNA scans through the documents as quickly as a cat can be expected to. AMI is about to turn around, when--
USAGI
I-I mean, take a look at this!
USAGI runs up to AMI and gently pulls her over to the window.
USAGI
Don't you think it's amazing? The lights, and. . . well, it's all lights, but still!
AMI
I see this view every night. . .
USAGI
Well, yeah, but. . . Aw, man! Look! You can see the Sky Tree from here!
AMI
Yeah. . .you can see the Sky Tree from pretty much everywhere.
(beat)
But I'm glad you enjoy the view!
AMI starts to turn around. USAGI quickly moves out to block AMI'S view of LUNA.
USAGI
I-It's not just the view, though! This whole place is amazing!
USAGI makes her way into the middle of the living room and starts twirling around.
USAGI
I mean look at this place!
We cut to a POV shot of USAGI as she turns about. We see the kitchen, the large TV, the art on the walls, the window. . .
USAGI
I would give anything to live in a place. . . like. . .
. . . and then we see that the only person in the apartment was AMI-- no mom or dad. As USAGI trails off, the camera comes to a stop on AMI. Cut to a two shot of USAGI and AMI.
USAGI
Ami-- whoa!
USAGI sways from dizziness, but quickly regains her balance.
USAGI
Where's your mom and dad?
AMI
Um . . . my mom is working late at the hospital.
USAGI
Oh. . . Does she work late every night?
AMI
Yes. It's part of the job.
USAGI
What does she do?
(beat)
I'm sorry, that was a stupid question. Obviously she's a doctor.
AMI
That's alright. She's an oncologist.
USAGI
Oh. . .
AMI
. . . That's a cancer specialist.
USAGI
Ah. . . !
AMI
She's really respected in her field. Her work on--
(gives a highly technical term in Japanese-- this will be important later)
-- was considered groundbreaking. No-one else is in her league, which means she's in high demand.
USAGI
Well, I'll bet you're gonna be a great doctor, just like her.
AMI
. . . I am.
AMI'S answer is lifeless, reflexive. . . automatic.
USAGI
Well. . .
USAGI looks at LUNA. LUNA nods her head, indicating that she's done checking the documents.
USAGI
I should probably get going.
USAGI walks toward LUNA and kneels down to pick up the documents.
AMI
Mundy-san?
USAGI
Yeah?
AMI
I'm sorry for what happened earlier today. I want you to know that I had a really fun day today and that I hope you don't take my behaviour personally. I guess I'm just not meant for that sort of thing.
USAGI looks at LUNA for a moment.
USAGI
You wanna know a secret, Ami?
AMI looks at USAGI, awaiting the secret.
USAGI
(playfully whispering)
Luna can talk!
LUNA goes bug eyed.
USAGI
It's true! I only learned last night that she can talk.
LUNA gives a deep growl.
USAGI
We've been talking, talking, talking ALL day. Frankly, I think she needs to make some new friends.
LUNA
(quietly)
Ssh! Ssh!
USAGI
Luna. Go and say hello to Ami.
LUNA shakes her head "no" as subtly as she can.
USAGI
Luna!
USAGI winks as LUNA.
USAGI
Say hello!
LUNA, hesitantly, walks over to AMI. After a moment, LUNA "talks" to AMI in the form of a meow. AMI laughs.
USAGI
Okay, Ami! Now you go!
AMI kneels down.
AMI
Uh. . . Hello, Luna-san. My name is Ami! It's very nice to meet you.
LUNA meows in response, prompting another laugh out of AMI.
USAGI
Now shake hands!
AMI extends her hand, and LUNA places her palm inside it.
AMI
(laughing)
She's really well trained!
AMI and USAGI laugh together.
INT, Apartment Building Hallway
USAGI and LUNA stand outside the elevator door. The two are silent until the elevator door opens.
LUNA
Usagi, I am not your trick pony. Don't do that again.
LUNA walks into the elevator, followed by USAGI.
USAGI
Fine. From now on, I'll spare you the indignity of making a little girl happy.
The doors close just as USAGI finishes her line.
CUT TO:
INT, Ami's apartment
We watch AMI lean her back against the front door of her apartment, her face apprehensive. We hold on this shot for a few seconds, and then
CUT TO:
INT, Ramen Shop
MAKOTO has just finished her shift at the restaurant. She's glistening with sweat, and her hair is messed up from wearing a hairnet. She approaches the CHEF.
MAKOTO
Excuse me, Chef?
The CHEF turns to MAKOTO.
MAKOTO
I was only paid half of my wages last week. I understand we're having some trouble, but I need the rest of my pay.
The CHEF yells out to someone else.
CHEF
Fine!
CUT TO:
EXT, Usagi's Front Yard, Evening
USAGI and LUNA enter the front yard. As USAGI heads for the front door, LUNA breaks off, heading into a nearby bush.
USAGI
Luna? What are you doing?
LUNA
Finding a spot to sleep.
USAGI
Wait, Luna--
LUNA
No. You were right. I'm forcing myself into your life, and I'm expecting you to take a lot of things in very quickly. It's not really all that fair to you.
USAGI
Luna--
LUNA
I'll be fine, Usagi. I've kept you out well into the night. . . I won't make you try to explain to your parents why you want to adopt a new cat. Go on in.
USAGI
You're sure?
LUNA
I've slept outside before. I'll see you tomorrow.
USAGI
Okay. Good night.
LUNA
Good night.
USAGI walks up and enter the house. LUNA retreats into the bush.
VICTORIA(O.S.)
(yelling)
Serena! Where the hell have you been! Do you know what time it is?
CUT TO:
EXT, Makoto's Apartment Building, Evening.
MAKOTO approaches the front entrance of her apartment building, when she sees someone standing at the door: a female SOCIAL WORKER.
CUT TO:
INT, Makoto's Apartment
MAKOTO enters the apartment, inviting the SOCIAL WORKER inside.
MAKOTO
Please come in.
The SOCIAL WORKER enters, examining the aprtment.
MAKOTO
My apologies. I didn't realize you would be coming today.
SOCIAL WORKER
We weren't scheduled to meet today; you had no reason to. I tried calling you since school hours ended, but I got no answer.
MAKOTO
The apartment is a little messy, unfortunately.
SOCIAL WORKER
Only a little, Makoto. It's obvious that your keeping things in order. That's not why I'm here. Have a seat.
MAKOTO and the SOCIAL WORKER have a seat at the kitchen table.
SOCIAL WORKER
Makoto, there were four conditions to your emancipation: you keep your living arrangements in order; you keep your finances in order; you keep your grades up; and you don't break the law.
(beat)
Within the last month, you have come dangerously close to violating two of these conditions.
(pause)
You're no longer attending Juuban High, is that right?
MAKOTO
That's right.
SOCIAL WORKER
You're now attending Juuban Junior High.
MAKOTO
That's correct.
SOCIAL WORKER
From what I understand, you got kicked out starting a fight with an older boy. Am I right?
MAKOTO
. . . Yes, you're correct.
SOCIAL WORKER
You do realize that he could have pressed charges.
MAKOTO
But he didn't.
SOCIAL WORKER
No he didn't, and quite frankly I have no idea why he didn't!
MAKOTO
(quietly)
He's too embarrassed to admit he was knocked out by a girl.
SOCIAL WORKER
Be that as it may. . . you dodged a bullet. This time.
(pause)
Which brings me to your financial situation. You were late coming home today.
MAKOTO
That's right. I work four nights a week at a ramen restaurant.
SOCIAL WORKER
And how much do you make a week?
MAKOTO
Twenty-five thousand yen.
(beat)
You already know all of this.
SOCIAL WORKER
I do.
(pause)
I also know that in spite of all the time you put into your work, you manage to attain a respectable B-minus average, which only makes me wonder what you might accomplish if you were able to focus more on academics.
(pause)
And I know that your one-hundred thousand yen a month salary, combined with your savings, will not be enough for you to cover next month's rent. Am I right?
MAKOTO
I'm trying to find other work.
SOCIAL WORKER
(pause)
Makoto, I'll be blunt. Emancipation is very rare in this country. There are a lot of people who would like it to stay that way. And they would love for someone like you to fail.
We cut to a a few minutes later. The SOCIAL WORKER leaves the apartment, MAKOTO closing the door behind her. MAKOTO then leans against the front door, closing her eyes and running her fingers through her hair.
We then cut to MAKOTO in the kitchen. She's preparing ingredients for tomorrow's lunch. She reaches for a knife, but the moment she touches its metal blade with one of her fingers, she yanks her hand back, wincing in pain. Cradling her hand, she walks over to the sink and runs water over her finger. Makoto looks at her hurt finger, expecting to see a large cut and gushing blood, but instead finds that her finger was not cut at all. She turns off the water and examines her strangely unhurt finger for a moment.
CUT TO:
EXT, Sidewalk outside Jain Jewellery Shop, DUSK
MAMORU stands across the street from the jewellery shop he robbed, wearing the same backpack as when he did the deed. He looks, guiltfully, at the livelihood he nearly destoryed.
CUT TO:
EXT, Alley, DUSK
In an alley near the store, MAMORU takes off his backpack and removes a bright yellow GARBAGE BAG containing the stolen jewellery, all the while ensuring that is not seen. He sets the BAG behind a garbage bin and walks off.
CUT TO:
INT, Phone Booth.
MAMORU, on the phone. We hear the phone ring a couple of times, and then an answer.
JAIN FATHER(V.O.)
Hello?
MAMORU hesitates.
JAIN FATHER(V.O.)
Hello?
MAMORU
Your stolen merchandise is in a bright yellow bag, behind a garbage bin in the alley across the street from your store. Grab it now before someone else does.
MAMORU hangs up and walks out of the booth immediately.
CUT TO:
INT, Chiba Residence
MAMORU enters his apartment, visibly relieved.
MAMORU
I'm home!
CHIBA-SAN(O.S.)
Hello, Mamo-kun!
MAMORU walks to the living room and approaches the couch, where CHIBA-SAN is sitting. The camera is places behind the couch-- we can see MAMORU and the TV clearly, but can only see CHIBA-SAN from the back.
TV REPORT
Marie Baishaku, creator of the hit Sailor V anime, will be making a suprise appearance at tommorrow's big sci/fi and anime convention.
MAMORU
Hello, Mama.
MAMORU kisses CHIBA-SAN on the cheek.
TV REPORT
The appearance, announced only last Friday, came as a shock to many fans.
MAMORU
How are you doing?
CHIBA-SAN
I'm alright. Pretty boring day, overall.
TV REPORT
Many of Baishaku's fans believed that the reclusive artist, who withdrew from the public eye in the late nineties, would never appear in public again.
MAMORU looks at the TV, and notices that the news report playing on the TV is actually a recording from earlier in the day.
CHIBA-SAN
I think I might go out tomorrow.
MAMORU
Really?
(beat)
That's great! I mean, if you're feeling up to it.
CHIBA-SAN
What's THAT supposed to mean?
MAMORU
What?
CHIBA-SAN
"If I'm feeling up to it?"
MAMORU
Well. . . This is Tokyo, and Tokyo's known to get hot during summer. I just thought if it's too much--
CHIBA-SAN
(wryly)
Are you WORRIED about me?
MAMORU doesn't answer.
CHIBA-SAN
Don't worry, Mamoru. I'll try not to get the vapours during my brutal excursion.
CHIBA-SAN points to the kitchen.
CHIBA-SAN
I made some curry for you. I left it out on the counter.
MAMORU
Thanks. You already ate?
CHIBA-SAN
(hesitantly)
No. I wasn't hungry.
MAMORU walks off frame toward the kitchen.
CHIBA-SAN
You can't eat in here!
MAMORU(O.S.)
I haven't eaten in front of the TV since I was twelve!
CHIBA-SAN
And I'm gonna make sure it stays that way!
CHIBA-SAN turns back to the TV. After a couple of moments of silence, CHIBA-SAN sighs anxiously, running her fingers through her hair.
We cut to the kitchen. MAMORU throws his plate into the dishwasher and walks toward his room. As he passes the living room, he overhears the TV Report, which is being replayed by CHIBA-SAN.
TV REPORT
Marie Baishaku, creator of the hit Sailor V anime, will be making a suprise appearance at tommorrow's big sci/fi and anime convention.
MAMORU listens in on the report for a moment before heading off.
CUT TO:
INT, Hikawa Shrine Fire Pit
A small fire burns in the pit-- much smaller than ones we saw earlier. REI kneels in front of the fire. She's still a little shaken over her meeting with her father. She reaches to the ground and picks up the ROSARY she found at the Cat Mansion. Somehow, the sight of the rosary seems to make her feel better. She closes her eyes and rubs the rosary in her her hands. She then sets the rosary down and repeats the series of hand gestures she performed earlier on the shrine grounds, just before meeting USAGI.
REI
Rin, Pyo, To, Sha, Kai, Jin, Retsu, Zai, Zen!
REI is now in a focussed, meditative state. We hold on REI, watching the small fire in the pit grow larger and larger, ever so slowly, until it's roaring.
CUT TO:
INT, Usagi's Room
USAGI lies in bed, unable to sleep. She shifts to the left, and then to the right, and then back to the left. She then hears a faint voice from the front yard. She gets up and takes a look outside the window. Cutting to her POV, we see SAMMY, kneeling down on the front yard, talking to LUNA.
CUT TO:
EXT, Front Yard, NIGHT
Close-up on SAMMY and LUNA. We can faintly hear music eminating from the living room on the other side of the house.
SAMMY
Here you go, kitty.
SAMMY places a couple of cold cuts on the grass. LUNA eats them up.
SAMMY
I thought you'd like that. Now, we need to stop calling you "kitty" and give you a real name, and I got a perfect one for you.
(beat)
Armstrong.
LUNA looks up at SAMMY.
SAMMY
Yeah. Armstrong, like Neil Armstrong. It's the perfect name.
The front door opens, startling SAMMY. USAGI comes out on to the front yard.
SAMMY
Serena?! What are you doing out here?
USAGI
What am I doing out here? You're the one that's making all the noise, Sammy.
SAMMY
Look, it's--
LUNA runs up to USAGI and rubs herself on her legs, purring.
SAMMY
No, Armstrong! Armstrong, come here!
USAGI
"Armstrong"?
SAMMY
Yeah, "Armstrong"! It's his name. I think this is the cat that Mom and Dad saw last night.
USAGI looks down at LUNA.
USAGI
Really?
SAMMY
Yeah. I saw him again this morning.
USAGI
Her.
SAMMY
What?
USAGI
Her, Sammy. You can't even tell a boy from a girl?
USAGI kneels down to pet LUNA.
SAMMY
Serena! Leave her alone, she's mine.
USAGI
"Yours"?
SAMMY
Yes, mine! And start calling her "Armstrong". The name needs to stick.
USAGI
I thought you hated cats.
SAMMY
I do. But, I dunno. . . There's something different about Armstrong.
USAGI pets LUNA.
USAGI
. . . Yes there is, Sammy.
SAMMY
(sighs)
Listen, I was thinking. She could sleep out here, and I could sneak her milk and spare food--
USAGI
Why don't we just take her inside?
SAMMY
What? No, we couldn't do--
USAGI
Why not? If it were just one of us, it would be hard to keep her under wraps, but working together we might be able to do it.
SAMMY
You think so?
USAGI
Yeah. Beside, she seems like a smart cat.
LUNA purrs and rubs against USAGI.
SAMMY
Cool!
SAMMY walks up to USAGI and kneels down to pet LUNA.
SAMMY
(quickly)
She stays in my room!
SAMMY snatches LUNA and runs inside.
USAGI
Sammy!
CUT TO:
INT, Stairway
USAGI runs up the stairs, to find that LUNA has somehow escaped SAMMY'S clutches and is rubbing her front paws against USAGI'S bedroom door.
SAMMY
Armstrong! No! No, you don't wanna go in there! Trust me, I had to share a room with Serena, and it was nasty! Armstrong!
LUNA meows longingly.
USAGI
I think she's made up her mind, Sammy.
SAMMY sighs.
SAMMY
Fine. But Serena, please. . . Armstrong is a cool cat. Promise me you won't ruin her.
USAGI
We're not calling her Armstrong. Her name is Luna.
LUNA meows with approval.
USAGI
That's right! Your name is Luna!
SAMMY throws up his hands and walks off in disgust.
SAMMY
. . . It's already begun.
PART #6: To Clarify, Evolution Doesn't Really Work This Way
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