CUT TO:
INT, USAGI'S Class
USAGI sits in class, staring out a window while the teacher gives her lecture. She is now wearing the MOON PRISM around her neck. The end of the day grows near, and USAGI is becoming visibly anxious. In the background we hear the final school bell as we
CUT TO:
INT, School Hallway
Usagi stands in the middle of the hallway, dozens of students eagerly flocking past her. After a moment of staring hesitantly at the exit doors, she turns around and heads the other way.
CUT TO:
EXT, School Entrance, DAY
LUNA waits at the front entrance of the school, looking in vain for some sign of USAGI amidst the crowd of departing students.
LUNA
(to herself)
Usagi. . . !
CUT TO:
INT, Hallway
USAGI walks toward the rear exit, quickening her pace as it comes into view. However, as a group of students walks out the door, USAGI can just barely make out what looks like the sillouette of a small animal. We cut, very briefly, to a close up of the shape-- whether it's LUNA or just an illusion created by bustling of student's feet, we aren't sure. However, it's enough to send USAGI darting to a side door on her left. It's locked. Desperate, USAGI darts to a door on the other side of the hall, opening it and closing it behind her in an instant.
CUT TO:
INT, Classroom
USAGI presses her back against the door, her eyes closed. She thinks she's alone, until. . .
SAKURADA
Mundy-san?
USAGI opens her eyes. SAKURADA is sitting at a desk, with the words "Make-up Test" written on the blackboard behind her. There are about ten other students in the class taking the test.
CUT TO:
INT, Hallway
USAGI quickly opens the door, rushes out, and moves to slam the door shut, only to catch herself at the last second and close the door gently. She takes a look up and down the hallway, unsure of what to do.
CUT TO:
EXT, School Courtyard, DAY
MAKOTO exits the front gate of the school, about to make her way her way home. Then, in the distance, she sees the three bullies she took care of the day before. Based on their mannerisms, it's clear that they're looking for MAKOTO. Not wanting any more trouble, MAKOTO reluctantly turns and walks the other way.
CUT TO:
EXT, School Window, DAY
LUNA walks along a windowsill, peeking inside for any sign of USAGI.
CUT TO:
INT, Hallway
USAGI wanders the now deserted hallway. She shuts her eyes for a moment as she walks-- she knows she can't keep hiding like this. She opens her eyes as she passes an open classroom door. Glancing inside, she spots AMI, alone, sitting at a desk.
CUT TO:
INT, Classroom
Close up on AMI. She stares solemnly into an open book, lost in thoughts completely unrealted to her studies.
USAGI(O.S.)
Ami?
AMI looks up and sees USAGI standing in the doorway. Remembering their awkward encounter yesterday, her face turns red.
AMI
Ah! Tsuki-- I mean, Mundy-san!
USAGI
You remembered!
AMI'S face grows even more red, and she quickly looks down at her books.
AMI
Yeah. . . I do that.
USAGI
Well, it's a start. I still prefer Usagi, but I'll take "Tsukino-san" for now.
USAGI walks in.
Well, here we are again!
(beat)
You don't mind if I come in, do you?
AMI
You're the second person that's asked me that question today.
(pause)
It's almost as if everyone thinks that I own the place.
USAGI sits down next to AMI.
USAGI
No. You just live here.
AMI
(beat)
My cram class doesn't start until five. This is the best use of my time until then.
USAGI
Obviously. Between studying and studying, that leaves you only an hour or so to study!
A pause.
AMI
It's pretty ridiculous, isn't it?
USAGI
Actually. . . no. Not really. I mean, you're at least getting something done, something useful. Me? I'm hiding in school trying to avoid some-- JEEZUZ!
USAGI gasps, having seen something at the window. We pan to the window and see a squirrel running along the windowsill. We then pan back to USAGI and AMI, who both spend an awkward moment staring at the window.
USAGI
You know what?
USAGI quickly gets up out of the desk.
USAGI
I should probably leave you alone. You've got studying to do.
(points thumb at the door)
I'll just. . .
USAGI trails off as she backs out of the classroom. AMI stares once again at her book. She then shuts the book and shoves it into her overstuffed backpack, just barely able to do up the zipper.
CUT TO:
INT, Hallway
USAGI stands in the middle of the hallway, looking up the ceiling, hopping up and down in indecisive anxiety. Then, behind her, we see AMI emerge from the classroom.
AMI
Tsukino-san!
USAGI turns around. AMI eagerly walks toward her.
AMI
Maybe I can help keep a lookout! Whoever it is you're trying to avoid probably doesn't know who I--
At that very moment, AMI zipper becomes undone, and the contents of her back spill out onto the floor.
CUT TO:
EXT, Back Exit, DAY
The back door opens, and AMI peeks her head out.
AMI
I see quite a few people.
AMI scans the surrounds.
AMI
Seventeen people in the courtyard and three on the sidewalk. Eleven men, nine women. Do you remember ANYTHING distinctive?
USAGI(O.S.)
Do you see a cat?
AMI
No.
USAGI(O.S.)
Perfect!
AMI comes out the door, USAGI close behind. It's at this point we notice that AMI is wearing USAGI'S backpack, while USAGI carrys AMI'S broken backpack underneath her arm. At brisk pace, they make their way to the back gate, with USAGI keeping a lookout for any sign of LUNA.
AMI
So a cat follows her around?
USAGI
(distracted)
Uh, yeah, that's right.
AMI
That's strange. I wouldn't expect that kind of behaviour from a cat.
USAGI hides behind the outer fence. AMI peeks out the gate.
AMI
I see. . . there's one cat, by I don't see anyone--
USAGI
What does it look like?
AMI
I dunno. . . I can't tell if it's all white or if it has--
USAGI
Good enough!
USAGI grabs AMI'S hand, and the two run out the gate and across the street. We continue to hear their conversation as they run ever further away from the camera.
AMI
So where are we going?
USAGI
I dunno. . . How about Crown Arcade. Have you ever been there?
AMI
No. Are you sure she won't be there?
USAGI
Positive.
USAGI readjusts her grip on AMI'S backpack.
AMI
Did you get everything you need out of your bag?
USAGI
Yeah. . . I'm pretty sure.
CUT TO:
INT, Crown Arcade
We see USAGI is playing a Sailor V themed Dance-Dance Revolution style game. As she dances, USAGI also sings (poorly) the lyrics to the J-pop song being blasted by the machine.
USAGI
Keeki mo shan--
(takes a breath)
--mo tenkomori, harikiru inchen--
(misses a step)
-- Dammit! Uh -- zore!
CUT TO:
Close up of AMI, observing USAGI'S mediocre performance.
USAGI(O.S.)
KENKA nante shin--
(takes a breath)
--ya yoka--
(misses a step)
Aw, damm--
(misses another step)
Bloody--!
AMI
Is singing actually part of the game?
CUT TO:
Full shot of USAGI.
USAGI
No.
(takes a breath)
It just helps me concentr-- aw, come on!
CUT TO:
AMI.
AMI
. . . I see.
USAGI(O.S.)
--ga kirakira saita--
CUT TO:
USAGI, losing whatever tenuous grip she had on the game.
USAGI
Egao de-- no! No! I totally got that one--! No, no, nononoNONO!
The musics stops. Game over.
USAGI
(pointing at the machine)
That was cheap! That was so cheap! I got that one! You saw it, right? I SO got that one!
AMI doesn't answer.
USAGI
Well. . . maybe you'll have better luck!
AMI
Um--
USAGI
C'mon!
USAGI puts a credit into the machine.
AMI
Well, it, uh, looked pretty hard when you were doing it.
USAGI
Yeah, it takes a lot of practice. But we gotta start somewhere!
USAGI motions for AMI to step onto the machine. She does, reluctantly. The games starts.
USAGI
Okay, these first few moves are easy, you should have no problem.
AMI performs the first few moves easily.
USAGI
Okay, it gets a bit more complicated here. I've got more coins if--
AMI performs the moves without a hitch.
USAGI
Uh. . . Good! That's good! Just don't--!
Ami doesn't miss a beat.
USAGI
. . .Uh, okay. Um, t-try singing the song, that--!
AMI begins muttering the lyrics to herself. She's really getting into it. USAGI is taken aback.
USAGI
. . . Wow!
CUT TO:
EXT, Sidewalk, DAY
A shot of LUNA walking along a sidewalk. She does not look happy.
LUNA
(muttering)
Find the soldiers, she said. Once you find them, you train them. Easy.
MAMORU passes by LUNA. They do not notice one another.
LUNA
(muttering)
Finding them is the hard part, I thought. You find them, they'll remember their past, and you can train them.
LUNA and MAMORU approach an intersection. LUNA continues straight on, while MAMORU turns around the corner.
LUNA
(muttering)
Whaddya wanna bet that all of this, my whole life, is just some cosmic joke.
LUNA walks out of frame. In the background, MAMORU stops, briefly looks over his shoulder, and then continues on his way.
CUT TO:
INT, Crown Arcade
AMI is still playing the game, having reached a much higher level than USAGI. Her score is incredibly high. USAGI, along with a few other spectators, huddle around the machine.
USAGI
How are you doing?
AMI
Great!
AMI finishes the level with a perfect score. The spectators applaude, startling AMI.
USAGI
I don't think I've ever seen a score that high!
SPECTATORS
That's a record! . . . Hey, come here, take a look at this. . . Man!
USAGI
You're doing great, Ami!
SPECTATORS
. . . Just don't blow it! . . .
USAGI
Hey!
More and more spectators huddle around AMI, their murmurs becoming overwhelming. AMI'S smile disappears. The next level starts. AMI, as before, hits each step perfectly.
SPECTATORS
Come on! . . . Don't miss that one! . . . No, left! Left!
AMI misses a step, but is still doing well.
SPECTATORS
Aw, come on! . . . Lame! . . . It's one mistake!
AMI misses another step.
USAGI
It's okay! Just keep going!
SPECTATORS
Come on! . . . Go! . . .
(in unison)
Go! Go! Go! Go!
AMI makes another mistake, and then another. Then, overwhelmed, she gets off the machine and runs past the crowd of people toward the exit.
SPECTATORS
Oh, what the hell! . . . What are you doing? . . . Quitter! . . . You suck!
(in unison)
BOO!
USAGI
(to SPECTATORS)
What the hell!
AMI runs out the exit door. USAGI shoves past the SPECTATORS and runs out after her.
CUT TO:
EXT, Crown Arcade Entrace, DAY
USAGI comes out the door, finding AMI, bent over, eyes closed, breathing heavily.
USAGI
Ami?
No answer.
USAGI
Ami? . . . We can go somewhere else.
AMI leans back up and turns around. She's on the verge of tears.
AMI
I'm sorry. . . for embarrassing you.
USAGI
Like hell, Ami! That was awesome!
AMI
I . . . really need to get to cram school.
USAGI
Ami. . . It's not even four o'clock yet.
AMI doesn't respond.
USAGI
Well, at least let me--
AMI
It's okay. Really.
AMI bows.
AMI
I'll see you tomorrow.
AMI runs off. USAGI is about to pursue, but then decides against it. USAGI turns around. . . and sees LUNA sitting on the sidewalk. USAGI walks up to her and kneels down, speaking softly.
USAGI
How the hell did you--?
LUNA, meowing, motions USAGI to follow her.
USAGI
Why, Luna?
LUNA growls, and again motions USAGI to follow her.
USAGI
(sighs)
Fine!
USAGI stands up and follows LUNA.
CUT TO:
INT, T+A Rectory
The RECTOR of T+A academy, FATHER VICTOR, and the POLICE OFFICER who searched SISTER JESSICA'S room fix their gaze upon REI, who is seated in front of the RECTOR'S desk.
RECTOR
Hino-san?
REI
Yes Father?
RECTOR
Were you hoping that we would go easy on you? Did you expect us to be lenient toward your blatant truancy?
REI
Father, I think that under these circumstances--
RECTOR
Then the answer is yes.
The RECTOR leans back into his large, imposing chair.
RECTOR
Sister Jessica has gone missing. That is the business of TA Girl's Academy and of the Tokyo Police department, and NOT of Rei Hino.
(beat)
Did you think, for even one moment, about how YOUR absence would appear under the current circumstances? Did it not occur to you that we might think YOU went missing as well?
REI
No father.
RECTOR
No, you most certainly did not. I don't know why you felt the need to sneak about Sister Jessica's quarters, or why you felt you had the right to abuse the trust that Father Victor so foolishly placed in you.
FATHER VICTOR flashes a look at the RECTOR.
RECTOR
And I don't care how good you think your motivations were; we all know about the road to hell.
The RECTOR leans forward again.
RECTOR
This will NEVER happen again. Do you understand?
REI
Yes, Father.
RECTOR
And your father IS going to hear of this.
REI'S face reddens.
REI
I understand.
The RECTOR leans back in his chair again.
RECTOR
Now then. . . The officer will escort you to a nearby office.
The OFFICER stands up.
RECTOR
You may give him your statement there.
CUT TO:
EXT, Sidewalk, DAY
LUNA and USAGI, walking, talking. LUNA, so focussed on what she's doing, hasn't noticed that USAGI is carrying a backpack under her arm.
USAGI
Luna, you haven't said anything about where we're going. You haven't said anything about what we're doing once we get there. Luna?
LUNA turns into an alley. USAGI follows. Once they're a fair ways into the alley, LUNA starts to speak.
LUNA
Remember I told you about the place I used to live? It was an old mansion with dozens of cats, and they all used to be tended to by a woman named Jessy. She was a nun who worked at TA Girl's Academy. She visited the mansion the night before I found you. When she came, I sensed something very strange-- something evil-- and immediately afterward, she disappeared from the house. It turns out she's been missing for two days.
LUNA and USAGI emerge from the alley. There are a few other people on the sidewalk.
USAGI
So where are we going?
LUNA doesn't answer.
USAGI
Of course.
As soon as the other people are out of earshot, LUNA stops.
LUNA
(quietly)
I went back to the mansion today to get the last of my things, and while I'm there, a student from TA Academy named Rei shows up, looking for Jessy. I sensed something from her. It was brief, but it was definitely something.
USAGI
"Something" like me?
LUNA
(sighs)
Sort of. She was different somehow.
LUNA starts walking again.
USAGI
Different? How?
LUNA
Her. . . "aura", I guess, was different from yours, but. . . there was also something very beautiful about her. Eloquent. I don't want us to get ahead of ourselves. . . but I think she may be our Princess.
USAGI
Wait, Princess? You never told me about a Princess.
LUNA stops.
LUNA
Yes I did, Usagi.
USAGI
No, you didn't. You said that I'm a reincarnated warri. . .
A group of people pass by.
. . . and that there are other warriors like me. You didn't mention a Princess.
LUNA starts walking again.
LUNA
Usagi, we don't have time for this. Rei's probably gone by now.
USAGI
What else aren't you telling me, Luna?
CUT TO:
EXT, T+A Academy Gates, DAY
REI emerges from the front gates of T+A with her backpack and priestess gear in hand, exhausted. As she passes by the bus stop on her way back to the shrine, the same CITY BUS from before pulls up next to her and opens its door. REI stops and turns her head toward the bus.
CUT TO:
EXT, Sidewalk, DAY
USAGI and LUNA, still making their way to T+A. In the distance, a CITY BUS turns round a corner and heads their way.
USAGI
It's already close to four. There's no way she's still at school.
LUNA
And we wouldn't be in this situation if I didn't have to spend half an hour trying to find you.
USAGI
So why even bother going? Why not go tomorrow?
LUNA
There may be people at the school who can tell us more about her. Maybe I can get her family name--
USAGI
You don't know her family name?
LUNA
--or maybe where she hangs out, who her friends are.
USAGI
From who? Teachers? That'll go over really well.
LUNA
We don't have a lot of time--
USAGI
"Say, there's this girl named Rei Something and I don't know what she looks like. Could you tell me where I might find--?"
LUNA
(snaps)
Usagi!
LUNA stops and turns to face USAGI, just as the BUS is approaching.
LUNA
You wasted my time. Maybe if I waste some of YOUR time--
USAGI
Oh. . . That's RICH, Luna.
As the bus passes by, something catches USAGI'S eye. Cutting to USAGI'S POV, we see REI, sitting on the bus next to window, eyes closed.
LUNA(O.S.)
That's her!
Cut back to USAGI and LUNA.
USAGI
Wait, what?
LUNA runs after the bus.
LUNA
On the bus! Come on! Come on!
USAGI runs after LUNA.
USAGI
You mean the one in the grey suit? The one next to the window?
LUNA, some distance away from USAGI at this point, doesn't hear her. Try as they might, the two cannot keep up with the bus. LUNA slows down, allowing USAGI to catch up with her. Then, they both stop. USAGI kneels over, out of breath.
LUNA
Damn it! We almost had her!
USAGI
I . . know her.
LUNA
What?
USAGI
The one . . . in the grey uniform? She's a . . .shrine maiden. . . or something. I saw her. . . yesterday.
LUNA
You're sure it's her?
USAGI
If YOU'RE sure. . .
LUNA
Do you remember which shrine?
USAGI
It's the one on Sendai Hill.
LUNA
Well let's go!
LUNA runs off.
USAGI
Aw, come on Luna!
USAGI, still out of breath, runs after LUNA.
CUT TO:
EXT, Hikawa Shrine Grounds, Entrance, DAY
REI walks along a wall and turns a corner on her way to the shrine entrance. She comes to a stop, however, upon seeing a black LIMOSINE parked in front of the gate. REI closes her eyes, sighs, and reluctantly continues on her way.
CUT TO:
EXT, Main Shrine Grounds, DAY
REI walks onto the shrine grounds. It looks much the same as the day before, the only difference being the presence of a BODYGUARD at the main door of the shrine building. That, however, is enough make REI uneasy. As REI walks toward the main building, she passes the Buddhist style graveyard at the SATURN AIR MEMORIAL. Glancing briefly at the memorial, REI briefly sees a large girl in a green and brown school uniform, offering her prayers. Cutting to a close up of the girl, we realize that it is MAKOTO. We cut back to REI. Upon approaching the main door, she is allowed inside by the BODYGUARD without so much as a word.
CUT TO:
INT, Shrine Hall
REI walks toward her room, deliberately avoiding eye contact with the second BODYGUARD who guards the entry to another room in the background. Two as-yet indecipherable voices eminate from the room. The first voice, which REI does her damndest to look like she's ignoring but not avoiding, belongs to her father, TAKESHI HINO. The second voice gives her pause-- it's MAMORU.
CUT TO:
INT, Shrine Room
Two-shot of TAKESHI and MAMORU. TAKESHI is agitated over something, but tries to be polite to MAMORU.
TAKESHI
How is your mother doing, by the way?
MAMORU
Uh, she's well, sir.
TAKESHI
I'm sure she is.
(beat)
Those investments of hers. It may be insensitive to say so, but given the circumstances, you lucked out.
(beat)
It's been too long since we last spoke, your mother and I, that is. I'm speaking for myself, of course. The feeling isn't mutual. I know that much.
MAMORU
Oh, it's not that--
TAKESHI
Mamoru-kun, please. I'm a politician; it's my job to know what people hate.
(sighs)
I'm starting to get impatient. Where is Rei?
MAMORU
I wouldn't know, sir.
TAKESHI
No. . . you wouldn't.
Pause.
TAKESHI
Can I ask you a question?
MAMORU
Yes?
TAKESHI
You really don't remember anything, do you?
MAMORU
Well, uh, sir--
TAKESHI
I understand that this is personal, and if you don't want to answer. . . very well.
(beat)
But you have to understand, one day, you may end up marrying Rei. You'll be my son. Hell, I already see you as a son in many ways.
(beat)
That means I'll have to trust you.
MAMORU
I. . . I can remember everything up until about the age of ten. Before that, I have a few foggy images of a hospital. Beyond that. . . nothing.
TAKESHI
I see.
Pause. TAKESHI walks up to a window.
TAKESHI
I think I envy you. . .
TAKESHI turns around.
TAKESHI
I was in Pyongyang yesterday. I witnessed one of their rallys, you know, where they fill the streets with tanks and missiles, people by the thousands, all perfectly coordinated.
(laughs)
Say what you want about the communists, those fuckers know how to throw a party.
(beat)
I was SUPPOSED to be there today. And then tomorrow, in Seoul.
(sighs)
But here I am. And now those. . . communists, will tell the world that I was the one who messed things up, and the world will believe them. Does that make any sense to you?
(pause)
Well. . . there is a bright side. At least I don't have to look at those hypocrites in Seoul. They say they hate everything Japanese and then. . . well, just look at them!
MAMORU flashes a look at TAKESHI-- he's heard that line before. TAKESHI, now even more worked up, looks at his watch.
TAKESHI
Unbelieveable.
(beat)
Mamoru-kun, I apologize, but I have visitors on the way. They should be arriving any minute. It's. . . well, it's sensitive. I've closed off the main building. I'll have to ask you to leave.
MAMORU
Of course.
TAKESHI
(gesturing to the door)
I'll see you outside.
MAMORU
Thank you!
MAMORU opens the door, holding it for TAKESHI.
TAKESHI
Oh! I almost forgot to ask you about Friday night--
As TAKESHI exits, the BODYGUARD whispers something into TAKESHI'S ear. TAKESHI looks at the BODYGUARD indignantly, and then quickly makes his way outside, shaking his head in frustration. MAMORU follows.
TAKESHI
Idiot!
CUT TO:
EXT, Sidewalk near Hikawa Shrine, DAY
USAGI and LUNA, on their way to the shrine. USAGI, who has been jogging all the way to the shrine, stops to take a breather. In the distance, the entrance to the shrine, and the limosine parked in front of it, are visible.
USAGI
(out of breath)
Luna. . . I need. . . I just need a minute.
LUNA
Usagi, the shrine is right there!
USAGI
Do you see. . . those stairs?!
LUNA
(sighs)
Fine. One minute.
LUNA takes a seat next to USAGI.
USAGI
Luna?
LUNA
Yes?
USAGI
Who is the princess?
LUNA'S a bit taken aback; this is the first time USAGI'S seriously inquired about her mission.
LUNA
She's our ruler. The rightful heir of our kingdom. The four soldiers are her sworn guardians.
(beat)
That's the short answer, anyway.
USAGI
What's she like?
LUNA
She's. . . kind. Like her mother. "Kind" doesn't begin to describe it.
(pause)
Love. . . wasn't just in her nature. Love WAS her nature.
USAGI and LUNA start walking again.
LUNA
I can't say how much she'll remember of who she was. Her current life-- the person she was reborn as-- probably still dominates, along with all the genetics, memories, and traumas that come with it.
USAGI
My friend of my dad's interviewed a princess once. Said she was a spoiled, pretentious little brat. His words.
LUNA
Usagi, we're not talking about "a princess." We're talking about OUR princess. THE Princess.
In the background, three of four black BMW's pull up to the shrine entrance. We cut to a closer view. From the cars emerge a group of intimidating Japanese men in expensive suits and sunglasses. From underneath their collars and sleeves, the egdes of tatoos are just barely able to peek out. Cut back to USAGI and LUNA. LUNA comes to a halt.
LUNA
Uh-oh.
USAGI
What?
LUNA
Usagi. . . maybe we should find another way in.
CUT TO:
EXT, Shrine Grounds, DAY
For a moment, we watch REI tends to her shrine maiden duties. Then. . .
TAKESHI(O.S.)
Reiko!
REI is startled by her father's voice. Turning around, she sees TAKESHI, who is visibly angry. MAMORU stands in the background. REI, scared at first, pulls herself together, places her hands on her thighs, and gives a polite, "feminine" bow.
REI
Father.
Pause.
REI
I was dissappointed to hear about your--
TAKESHI
My bodyguard tells me you came in five minutes ago.
(beat)
That leaves me two questions. First, why didn't you say hello five minutes ago, and second, why is it that you did not come back until--
(looks at watch)
--four-fifty?
REI
I, uh, I was held after school. I disobeyed a teacher.
In the background, behind TAKESHI, some dark-suited men approach the main building.
TAKESHI
So Mamoru-- never mind myself-- has to wait here for over an hour because of your willfulness?
REI glances at the dark-suited men.
TAKESHI
(snapping at REI)
Don't look at them!
REI quickly looks back toward TAKESHI.
TAKESHI
I'm talking to you.
REI
I-I'm sorry.
TAKESHI
No, you're not.
TAKESHI looks down at the knot in REI'S gown strap. He snorts derisively
TAKESHI
What is this, Rei?
TAKESHI grabs on to the strap.
TAKESHI
You didn't tie this properly.
Takeshi, still holding the strap, glares at REI for a moment.
TAKESHI
Do you want me to just send you to America? Maybe New York? How about London?
REI
Father--
TAKESHI pulls on REI from the strap. MAMORU almost intervenes, but holds back.
REI
Do you respect anything, Rei? Anything at all?
TAKESHI pushes REI away.
TAKESHI
You should know by now.
(slowly)
You don't insult me. Somehow you never learn. Today, you insult me by ignoring me. You insult me by insulting this shrine--
REI
You bring those people here and say I'M insulting--!
TAKESHI
Rei, you clearly don't know what you're talking about.
TAKESHI looks back toward the shrine.
TAKESHI
You have responsibilities toward your country, Rei. And you can't even take your responsibilities to your own family seriously.
(pause)
I'll speak with you later.
TAKESHI starts back to the shrine.
TAKESHI
Mamoru, take her out, will you? Someplace Western.
REI
I'm not finished with my duties here.
TAKESHI stops for a moment. Then, without turning around or otherwise acknowledging REI, continues as he was. MAMORU cauthiously approaches REI. She trembling with anger, on the verge of tears, but nonetheless tries to pull herself together.
REI
So, what did you want?
MAMORU
. . . Nothing. Nothing that would make THAT worth it. Look. . . You don't have to stay here. We could go out.
REI'S rage is palpable.
REI
Mamoru. . . Please leave me alone.
MAMORU, without a word, backs off and walks away. REI pulls herself together and continues with her work.
CUT TO:
EXT, Back Entrance, DAY
USAGI and LUNA approach the back entrance.
USAGI
So what should I ask her?
LUNA
I'm not sure yet. I can't be certain how much she remembers. I guess you're just gonna have to strike up--
As USAGI turns into the entrance, she bumps into someone on the way out-- MAMORU.
MAMORU
Excuse me.
MAMORU bows and continues on his way without another word. USAGI stares at him for a moment, and then turns and heads into the shrine. After a moment, MAMORU looks over his shoulder at USAGI, but she's already gone.
CUT TO:
EXT, Shrine Grounds, DAY
REI, tending to her shrine duties, wiping away a couple of tears.
CUT TO:
EXT, Front Shrine Entrance, DAY
In close up, we see a white car pull up to the side of the road. As the car stops, we see that it bears a BLACK STAR, like the ones on the buses seen by REI.
CUT TO:
EXT, Shrine Grounds, DAY
REI kneels on the ground, tending to some chore. At that moment, she hears the crow caw. Turning toward the sound, she sees PHOBOS and DEIMOS. They caw once more. REI gives a look of growing unease. She looks about her, but sees nothing apart from the crows. Still, her sense of uneasyness grows-- something is coming. From her gown, REI produces a small piece of paper with a kanji inscription, called an OFUDA. Setting the OFUDA on the ground, she perfroms a series of hand gestures, part of the Kuji-Goshin-Ho.
REI
(whispering)
Rin, pyou, tou, sha--
The music grows more ominous. Something is approaching. REI'S breath quickens.
REI
(whispering)
--kai, jin, retsu, zai, zen!
REI grabs the OFUDA, turns around--
REI
Akuryou Taisan!
--and throws it at the apparition! . . . which turns out to be USAGI. The OFUDA flys at USAGI'S face and clings to it. USAGI yelps and bats the OFUDA off of her face, but each successive bat helps keep it in the air, almost making it look as if USAGI is trying to wave away a bee. After a moment, the OFUDA finally sinks down to leg level, at which point USAGI tries to kick it away. After a couple of kicks, the OFUDA finally floats away and lands on the ground. REI is shocked, to say nothing of USAGI. Yet REI sees something else in USAGI, like she's seen her before-- we may notice that, from REI'S angle, USAGI bears a vague resemblance to JESSY. The tense silence is broken by another caw from PHOBOS and DEIMOS, to whom LUNA and the two girls turn to face. REI, snapping from a dazed embarrassment to all-too-cogent embarrassment, runs up toward USAGI (startling her a bit), grabs the OFURO and throws it at the birds.
REI
Go away!
The OFURO does nothing. REI walks up to the crows and waves them off. While REI is out of earshot, USAGI turns to LUNA.
USAGI
(whispering)
THAT'S her?!
REI(O.S.)
Shoo!
LUNA looks at REI, confused. We cut to a shot of REI, shooing PHOBOS and DEIMOS away. In the background, almost impercepticle next to REI'S display, we see a beautiful, tall woman in a Chinese style dress walking toward the main shrine from the front exit.
LUNA
(whispering)
Uh. . . yeah, but--?
REI turns back to USAGI and LUNA. Her face is beet-red.
REI
(in English)
I am so sorry! My mistake!
REI bows deeply.
USAGI
(in Japanese)
No! . . . no, please, uh--
REI
(in English)
So sorry! So sorry!
REI walks away. USAGI waits for a moment. USAGI then glances down at LUNA.
USAGI
(sighs)
This was YOUR idea, Luna.
USAGI runs after REI. We briefly see the tall woman in the background walking along the pasth to the main entrance.
USAGI
(in Japanese)
Excuse me?
(beat)
Excuse me? I speak Japanese.
REI trys to ignore USAGI.
USAGI
Rei?
REI stops without turning around, allowing USAGI to catch up.
USAGI
You're Rei, right? I saw you at Juuban junior high yesterday. You performed a ritual dance, right? I didn't get to see it up close. LONG story behind that.
REI, still not answering, looks toward the shrine entrance. Cutting to her POV, we see the tall woman standing at the entrance to the main building. The door opens, and she is greeted by TAKESHI. The mere sight of him puts REI on edge.
USAGI
Anyway, don't worry about. . . that, uh, whatever that was.
(beat)
I'm Tsukino Usagi! Nice to meet you.
REI
"Tsukino Usagi?"
REI turns around.
REI
(in Japanese)
Do you even know what that means?
USAGI
Uh-- yeah, of course I do. I like it. I thought it was cute.
REI
"You thought it was cute?"
USAGI
(taken aback)
Well, yeah--
REI
You talk about your name like you picked out at a sale!
USAGI
My, uh, f-friends gave it to me.
(pause)
My real name is Serena Mundy.
REI
(in English)
Well, "Serena."
(points her hand to a nearby fountain)
REI
There's a purification fountain over there. Once you're done,
(points to offering box)
you can make an offering to the shrine. The main shrine is currently occupied. You can try again tomorrow.
REI turns around and starts to walk away.
USAGI
Listen, Rei, I know we got off on the wrong foot--
USAGI reaches to grab REI'S hand, but REI violently pulls away. REi stares for a moment at USAGI, stunned into silence.
REI
(in Japanese)
You really are trying, aren't you? You speak the language, you wear your uniform, and I bet you just LOVE sushi. Well that's not good enough, Baijo. You really should just go home.
REI walks off. USAGI waits, considering whether to continue following REI, when. . .
LUNA
Let's go, Usagi.
LUNA walks away. USAGI, after taking one last look at REI, turns and follows LUNA toward the back exit.
PART #5: In the Cosmological Justice System, the Universe is Represented by Two Sepearte Yet Equally Important Groups. . . CHUNG CHUNG!
No comments:
Post a Comment