CUT TO:
EXT, Mugen Gakuen, DAY
AMI and SAEKO'S car pulls up to the towering headquarters of MUGEN GAKUEN. Unfortunately for them, protestors have already beaten them to it.
CUT TO:
INT, AMI and SAEKO in car.
AMI anxiously looks out of the car at the protesters. We briefly get a glimpse of the pandemonium, never getting a terribly good look at the protesters-- a few signs here and there in Chinese, a few ultra-rightest counter-protesters in black vans-- all we need to know is that they are there.
SAEKO
(anxious, but trying to hide it)
It's okay, Ami. We'll be waved through in no time.
The car pulls up past the horde of protesters, up to a security guard. SAEKO opens the car window, speaks to the guard, shows a pass of some sort, and the car is waved inside.
SAEKO
(less tense)
See?
AMI gazes up at the huge, imposing building. It scares her a little bit.
CUT TO:
INT, Lecture Hall
AMI and SAEKO sit in a half-filled lecture hall. AMI looks around.
AMI
(whispering)
Mom? Shouldn't more people be coming?
SAEKO
Of course, Ami.
AMI
The lecture begins in less than three minutes. You'd think--
At that moment, hordes of students, dressed in the same military-style uniforms as what REI saw the day before, flood into the lecture hall, guided by more senior students.
SAEKO
See?
The students file in quickly, rushed in by their seniors. The students, even by Japanese standards, are highly disciplined, almost military-like. Within about ten seconds, all the vacant seats in the lecture hall have been filled. Almost immediately after that, the guest of the hour, DR. SOUICHI TOMOE appears on stage, welcomed by a particularly high ranked senior. The students, reflexively, stand and applaud almost immediately. They are shortly joined by the other guests. TOMOE, a man easily into his nineties, looks surprisingly spry and energetic-- not a day over sixty. The applause gradually dies down.
EDIT: I can't believe I forgot to mention this: TOMOE has only one eye. His right eye socket is covered with an eyepatch.
TOMOE
Thank you. I've decided to dispense with the formal introductions. Clearly I have enough attention without someone calling my out my name on stage.
The students laugh. AMI, SAEKO, and the other guests don't.
TOMOE
Truly, though, I am grateful that you all have braved the weather, so to speak. Before I proceed to the body of my presentation, I hope you will indulge an old man a few sentimental reflections. Contrary to some of the assertions voiced outside, I have been giving great thought in recent times to nothing less than the meaning of my life. It is perhaps because of this that, more than ever, the opening words of my allegedly seminal text, "Genetics," carry more weight than ever. I wrote: "the genome is often crudely described as a blueprint, a code, a mechanism. Yet I cannot help but see in the genome nothing less than out entire history. The great scroll upon which the story of our tribe, the tribe of Earth--" forgive me, I was going through a Carl Sagan phase at the time.
TOMOE is noticeably lightening up. So are the guests-- AMI giggles at the Sagan line.
TOMOE
It is history. A history far vaster and richer than the lists of names and dates, wars and treaties, nations and petty ideologies that usual bear the name.
At that moment, a pair of audience members stand up and begin to set up a display.
TOMOE
It is heritage. It is the scrolls of the Torah, the oral legends of Homer, written into our very selves.
The two audience members, actually protesters, unfurl a banner.
PROTESTER
Hey butcher!
The audience looks at the poster, written in Chinese. We only catch a brief glimpse before cutting to AMI'S reaction. She has an idea of what it says, and it upsets her.
PROTESTER
Here's your heritage!
The protesters are quickly taken down by security. The audience, and TOMOE, are silenced.
AMI(V.O.)
I'm not sure I want to see Dr. Tomoe anymore.
CUT TO:
INT, Tomoe's Office, Reception
AMI and SAEKO wait outside of TOMOE'S office. SAEKO tends to AMI, adjusting her shirt, fixing up her hair, etc., in preparation for the meeting.
SAEKO
Ami, Dr. Tomoe's been waiting to see you for a long time.
AMI
Why? Why today? Why wait so long?
SAEKO
You know how busy he is, Ami. I was barely able to squeeze in our meeting today.
AMI
Mom, why are we really here?
SAEKO sighs. A short moment later, a SECRETARY-- actually another student in uniform-- emerges from TOMOE'S office.
SECRETARY
Dr. Mizuno?
SAEKO
(to AMI)
Ami, we've come this far. Just talk to him.
CUT TO:
INT, Tomoe's Office
In the foreground, we see TOMOE, slowly pacing in front of his desk, clearly upset at what happened at the lecture hall today. In the background, we see the SECRETARY enter through the office's front door.
SECRETARY
Doctor? Your two o'clock is here. Dr. Mizuno.
TOMOE
(distracted)
Ah, thank you.
AMI and SAEKO enter, and the SECRETARY leaves.
SAEKO
(bows)
Dr. Tomoe.
TOMOE pauses for a minute, as if trying to place SAEKO.
TOMOE
Ah, Dr. Mizuno. It's been a long time.
Now AMI really thinks something is off.
CUT TO:
AMI, sitting silently. She's looking around at the various office furnishings-- the bookshelves, the desk, the large window behind TOMOE'S desk. SAEKO is discussing some of her medical work with TOMOE, who FIDGETS WITH A PEN IN HIS LEFT HAND, just barely managing to feign interest. When she finishes, TOMOE smiles, more to be polite than anything else.
TOMOE
Well. . . you have come a long way, Saeko.
(in English, almost perfect, with a hint of a New England accent)
Tell me, do you still study English?
SAEKO
(in English, unperfect to say the least)
Ah, yes, little.
TOMOE
(English)
Ah. "Little."
SAEKO
(English)
I have sometimes English patients in hospital. I work as translator.
TOMOE
(English)
That's outstanding.
(beat)
I've always been rather enamoured of foreign tongues. English was the first foreign language I ever learned. I'm still flabbergasted at how ably I assimilated the language, but then I guess I've always been a might perspicacious.
SAEKO nods and smiles-- she won't admit it, but she didn't understand half of what he said. AMI, however, is a little turned off by his pretentiousness.
TOMOE
(in Japanese)
But listen to us, rambling on. I'll bet little Ami is bored out of her mind.
AMI turns to TOMOE nervously. SAEKO smiles proudly.
TOMOE
How old are you, Ami?
AMI
Eight.
TOMOE
Do you know why you're here?
SAEKO
Dr. Tomoe, I didn't want to tell--
TOMOE
Saeko, please, let Ami speak.
AMI looks downward, nervously.
TOMOE
Let me start a little simpler. What's a day in the life of Ami Mizuno like?
AMI
(slowly, timidly)
I spend my days in school--
TOMOE
Obviously. What level?
AMI
Junior high. Eighth grade.
TOMOE
Not bad. And what do you do outside of school? Sports? Shopping?
AMI
I spend a couple of hours each day in cram school.
TOMOE
One of ours, I hope?
AMI nods.
TOMOE
And then?
AMI
I go home, cook dinner.
TOMOE
And study, no doubt.
AMI
Yes.
TOMOE
I see. Diligence. It's a respectable quality.
(beat)
Listen, you probably are bored. There's a playroom down the hall with a TV. You could wait there until we're done.
SAEKO is now clearly upset, as is AMI.
SAEKO
That's okay, Ami. We should get going.
SAEKO stands up and bows.
SAEKO
(barely contained anger)
Doctor. Thank you for seeing me again.
TOMOE
Any time.
SAEKO makes for the door. AMI, however, doesn't move.
SAEKO
Ami, come on!
AMI looks up at TOMOE.
TOMOE
Your mother's calling you.
AMI gets up and walks toward the door. As she walks, she sees her mother shiver a little, as if cold. She looks back at TOMOE. He appears, through subtle behavioural cues, to be cold as well.
AMI
Doctor, is it a bit cold in here?
SAEKO
Ami!
AMI
You both look cold.
(beat)
Would you like one us to get the thermostat? We're both up, we can turn the temperature up a bit before we leave.
(beat)
If you'd just tell us where the thermostat is.
TOMOE'S eyes dart about the room, looking for the climate control panel. AMI observes this for a fraction of a second, and then--
AMI
That's what I thought.
(beat)
This isn't your office.
Pause. TOMOE picks up the nameplate off of his desk and looks at it, with sarcastic confusion.
TOMOE
Well. . . I better let management know. There's been a huge mistake.
SAEKO
Ami, let's go!
AMI
Your name is on the door, and on the desk, but you almost never set foot in here.
TOMOE
(vaguely intrigued)
And what gave you that idea?
AMI
Your books are all in Japanese.
TOMOE
Well, Ami, we ARE in--
AMI
You spent years at Princeton. You say you were "enamoured" with English. Now, I never learned that particular word in class, but it sounds an awful lot like "amour," the French word for love. So if you really love the language so much, how come not a single book on your shelf has an English title? For that matter, why are they all medical texts? Yes, you're a doctor, but you have such a broad range of interests-- physics, cosmology, ancient history, psychology, literature-- why aren't they represented on your bookshelf? Then there's your desk. Your computer is set up for a right-handed user, yet watching you fiddle with that pen-- which you had to search through three drawers to find, I might add-- I'd guess that you prefer your left hand. Your notepad is completely unused, not a single sheet has been removed. Your garbage pail is totally empty. Your calendar hasn't been changed in thirty-seven days. And where are the photos? I understand if you don't want to put up family pictures, but what about that famous photo of you and Albert Einstein at Princeton? Where are the pieces of ancient Egyptian memorabilia you like to collect? Where's the art? And why, Doctor, is one of your students performing duties that by all rights ought to be left to a full-time receptionist?
Pause. AMI is shaking-- she's never done anything like this to anyone, let alone a respected professor. But she's on a roll.
AMI
Doctor, this school is a vanity project. You never even set foot in here. If you don't take this school seriously, then why should--
TOMOE slams his hand on his desk, immediately taking the wind out of AMI. She's reverted back to the scared girl we saw before.
TOMOE
(eyes fixed on AMI)
Saeko. . . could you step outside please?
We hold on TOMOE as the sound of a ringing phone appears. After a moment, we CUT TO:
INT, Underground Lab, PROFESSOR'S Lab
THE PROFESSOR'S phone, once again ringing, once again without anyone there to answer.
CUT TO:
INT, Underground Lab, Control Room
KAO LING, once again hanging up her cell phone. Cyprine and Ptilol, as usual, are manning the controls in the background.
KAO LING
(whispering)
Where are you? Where the hell are you?
CYPRINE
Twenty minutes 'til curtain.
KAO LING, reluctantly, walks over to the control area and takes charge.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
We are immersed in a sea of people-- business-people, security, journalists, costumed professional performers, amateur cosplayers, and "civilians" alike-- in the large, open area at Tokyo Big Sight. The organizers of the convention have gone all out, setting up huge TV screens and stages for live performers (singers, dancer, etc.). The TV is showing an anime piece commissioned just for the festival, packed to the brim with fleeting references to all kinds of sci-fi franchises: we see the TARDIS, the new Galactica, new Cylons, the new Enterprise, Harry Potter, LOTR, zombie hoards, Babylon 5, the fucking Twilight movies, and a stream of anime allusions only a Gainaxer could convincingly pull off. The live performers, meanwhile, are performing a updated (ie. tacky, J-pop-ish) version of ELO's "Twilight," complete with hilarious Engrish lyrics and Super-Sentai-inspired backup dancers. You read my blog. You knew this was coming.
The camera pulls back through the crowd, until we see, from behind, a BLONDE-HAIRED woman wearing a big, red bow, somewhat distant from the other people. For now, we shall call her BLONDIE. She watches the performance, hardly moving. We hold for a couple of seconds and
CUT TO:
INT, EUDIAL and TELLU'S Car
We find the car parked in a massive underground lot. TELLU and EUDIAL are sitting in the car, and from their restless mannerisms, it's clear they've been waiting a while. We hear KAO LING over the radio (reminder: the receivers are built directly into their ears).
KAO LING(V.O.)
Have you checked the inventory?
EUDIAL
Yes. Twice. Not like we had anything else to do.
KAO LING(V.O.)
Eudial.
EUDIAL
(sighs)
The energy collector and delivery device are functioning properly, as is the remote link.
KAO LING(V.O.)
Good. You're on in twenty minutes. Move out.
CUT TO:
EXT, EUDIAL and TELLU'S car. EUDIAL and TELLU step out, ready to commence their operation. The musics from outside can be faintly heard within the underground lot.
TELLU
(stops and listens)
Are they bringing back Densha Otoko?
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to the rear shot of BLONDIE. She turns her head slightly to the left (her face is still hidden), and after a moment walks off frame in the direction she was looking. We pan right to reveal USAGI and LUNA in the distance, well away from the crowds.
USAGI(V.O.)
So what are we gonna do once we find Marie?
CUT TO: Two shot of USAGI and LUNA. USAGI has returned to her usual clothing.
LUNA
Talk to her. Ask her questions, like "Who is Sailor V?" "How do we get in contact with her?"
USAGI
What if she doesn't know?
LUNA
She knows. She has to know at least something. There's no way that she--
LUNA suddenly cringes in pain.
USAGI
Luna?
CUT TO:
LUNA'S POV. Her LUNA-SENSE has returned, briefly, and we something inside the main building. Something similar to what LUNA saw that night at the Cat Mansion.
CUT TO:
INT, Big Sight, Hallway
TELLU, EUDIAL, (both carrying metallic briefcases) and MARIE walk down a hallway. A security guard smiles and nods as the women pass. We follow them until they hit a T-junction, at which point EUDIAL heads left and TELLU and MARIE head right. We pan 180 degrees, back to the security guard. Behind the guard, at the other end of the hallway, we just barely make out BLONDIE and a WHITE CAT as they dart out of sight. The security guard just barely notices the two out of the corner of his eye, and pursues.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to USAGI and LUNA. LUNA'S head still hurts, but she's doing better.
USAGI
What's wrong, Luna?
LUNA
They're here.
CUT TO:
INT, Big Sight, Hallway
We see the security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into Radio)
Be advised, I have a possible intruder, Caucasian female, blonde hair, roughly 160 centimeters, teenaged or young adult, last seen in
(gives location)
CUT TO:
INT, Big Sight, Security Command and Communication Center (Capcom)
We see about half a dozen security operatives, looking over dozens of TV screens displaying security feeds from all across the convention. At the center of it all is the CHIEF of security.
CHIEF
(into radio)
Acknowledged. We don't have any sign of the intruder on camera, but we'll keep an eye out.
At that moment, the door opens, and EUDIAL enters, wearing a gas mask, holding some sort of jerry-rigged recording device in her hand. She sets the briefcase on the floor, and an antenna extends out of it automatically. She then throws a package into the middle of the room. The security officials pull their weapons on her. The CHIEF tries to call for help, but the radios bursts into static, the result of a signal sent out by the antenna. The guards scream at EUDIAL to get on the floor; all EUDIAL does in response is hold out the recording device. Finally, the guards fire their tazers at EUDIAL. She closes her eyes and reacts to the current flowing through her body, but only slightly. She then smiles, as if the current is only tickling her. Once the tazers are spent, the guards stare at EUDIAL in stunned silence. She takes a closer look at the recording device, pressing a few buttons on its console.
EUDIAL
Nice. Really strong emotions. Gives the computer more to work with.
EUDIAL reaches into her pocket and pulls out a remote detonator.
EUDIAL
I think we're done here.
EUDIAL activates the detonator. Red gas spews out of the package EUDIAL threw on the floor. Within seconds, everyone in the room (other than EUDIAL, of course) is unconscious.
CUT TO:
INT, Big Sight, Hallway
The security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into radio)
Capcom, I repeat, I have lost contact with the subject. Please respond!
CUT TO:
INT, Capcom
EUDIAL is at the control panel. She is hooking a series of devices into the controls. Once they are fully connected, we see the security feeds become distorted.
EUDIAL
Alright, Kao Ling. You should be recieving the data now.
CUT TO:
INT, Big Sight, Hallway
The GUARD awaits his response.
CHIEF(V.O.)
Negative, no visual on the subject as of yet.
CUT TO:
INT, Underground Lab, Control Room
We cut immediately to a close-up of PTILOL, indicating that HER voice is being made to sound like the CHIEF'S.
PTILOL
Will keep you advised, over.
CUT TO:
A shot of the entire control room. The TV screens in the control room are now displaying the security feeds from the convention. Both CYPRINE and PTILOL are monitoring the screens and giving various commands over the radio. From this, it's clear that our villains are now running the show.
KAO LING
(to EUDIAL)
How long until the tagging software is online?
CUT TO:
INT, Capcom
EUDIAL puts the finishing touches on one last piece of equipment.
EUDIAL
(to KAO LONG)
Right now.
On the security screens, we see a grainy still image (taken from the VHS footage from earlier)of SAILOR V appear. We then see a software program scan the faces of everyone visible on camera, comparing their faces to SAILOR V'S and assigning a probability of match. EUDIAL eyes the screens greedily. For all her strength and ability, she's nevertheless excited about the newest little bit of power she now wields.
EUDIAL
(to TELLU)
I see you.
Cut to a close-up of one of the feeds. We see TELLU, tending to MARIE in a private waiting room. TELLU turns to the camera and gives the finger.
CUT TO:
EXT, Big Sight Outer Area, DAY
USAGI and LUNA, away from the crowd.
LUNA
I only saw it for a moment, but it was definitely them.
USAGI
(a little scared)
So. . . what are we gonna do?
LUNA
(to herself)
What are they doing here? Why here? This doesn't fit the pattern-- it's too public.
USAGI
Luna?
LUNA
I thought I was starting to figure them out.
USAGI
Hello?
LUNA
(an idea occurs to her)
Are THEY after Marie too? Are THEY looking for Sailor V? Jeeze, I thought this whole thing was a long shot, but now. . .
USAGI
Excuse me, Luna, but are we having a conversation or are you just talking to yourself?
LUNA turns around, and meows, indicating something behind USAGI. She turns around, and sees a young man in an extravegant costume watching her.
USAGI
Oh, don't you even THINK of judging me. Not in that outfit!
The young man, thoroughly rebuked, slinks away.
LUNA
Listen. . . I'm gonna try to get inside and figure out what's happening.
(looks around, then to herself)
My God, all these people, how am I gonna get them out?
(beat)
Usagi?
USAGI
(scared, but with a newfound determination)
Yeah?
LUNA
Usagi, I want you to get out of here.
USAGI'S taken aback.
LUNA
I want you to promise me that you're gonna get as far awaw from here as you can.
(beat)
Usagi, I need you to tell me that--
USAGI
The only reason I'm out here is because YOU dragged me here.
Now LUNA'S taken aback.
LUNA
Oh. Well, then. . . be careful!
After a pause, the two part ways, LUNA toward Big Sight, USAGI down the waterfront. LUNA stops and turns her head to face USAGI.
LUNA
I mean it!
LUNA runs off after a beat. USAGI continues down the waterfront. Despute her rebuke to LUNA, USAGI'S clearly conflicted. After a few steps, she stops and turns to face Big Sight. We pan across the scene, following USAGI'S POV as she scans the crowds attending the convention. There must be thousands of people. After a moment, USAGI takes the MOON PRISM in her hand and attempts to transform. Nothing. She tries again, "harder" this time. Still nothing.
USAGI
(to the MOON PRISM)
Is there a magic word or something? "Moon prism powers, activate? Form of something not useless?"
She sighs, and then poses for another transformation attempt, mouthing something to herself.
USAGI
(murmering)
Moon prism. . . Moon. . . Prism. . .
USAGI thinks she's onto something. The musics begins to build as USAGI readies herself for what may be her first transformation.
USAGI
Moon. . . !
USAGI raises her hand. Tension mounts.
USAGI
Prism. . . !
Pause. . . and just when it looks like shit's about to get real, USAGI abruptly opens her eyes and looks to the side.
USAGI
YOU again?!
CUT TO:
USAGI'S POV. It's the same extravagently dressed cosplayer from a moment earlier, spying on USAGI. Once he's spotted, he quickly runs off.
CUT TO:
USAGI, getting her out her pose, dispondent.
USAGI
What am I thinking?
USAGI pulls out the disguise pen and examines it.
USAGI
(repeating LUNA'S words)
I would know how. Only I would know how.
(to the pen)
Well. . . I figured YOU out, didn't I?
USAGI looks toward Big Sight, then back at the pen, and then back at Big Sight. She's made up her mind. One way or another, she's going in.
Stay Tuned for the Next Installment, coming in the next few days!
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment