What Follows is Again Boring, but Again Neccessary

CUT TO:

EXT, Park, DAY

USAGI and LUNA walking down a side path, trying to avoid other people as they talk.

USAGI

Oh?

LUNA

From what I gather in the police reports, she's moved all over Japan: Kyoto, Osaka, Sendai, Sapporo, even spent some time abroad. I was never able to track her down before she moved on to another place. And regardless, it's not easy for a cat to move from city to city.

USAGI

Huh. Weird.

LUNA

What?

USAGI

I dunno. . . I mean, police reports? Just for writing a manga?

LUNA

Not just ANY manga, Usagi. I told you, Sailor V was real. Nowadays they pretend she never existed, but back then the police were trying to track her down. Just like I am.

(chuckles)

Apparently, they took things a little personally, what with her catching criminals they never could. . . but they never caught her, and they couldn't link her with Baishaku.

USAGI

But YOU can?

LUNA

I'm not just any run of the mill cop. When I speak. . . well, people listen. And I'm counting on her listening to me.

USAGI

If she doesn't go into shock.

(beat)

And I'm coming along because. . .?

LUNA

Because finding Sailor V may help you remember who you are.

USAGI

Okay, hold on!

They stop.

USAGI

So Baishaku is appearing at some sci-fi convention at Big Sight this week.

LUNA

Yes?

USAGI

The SAME WEEK you happen to find me?

LUNA

. . . Well, yes.

USAGI

And you don't think that's a little weird?

PAUSE.

LUNA

(confidently)

No. No, I don't. Not in the least.

They continue walking.

USAGI

(sighs)

Of course you don't. It's fate.

LUNA

If you want to call it that.

USAGI

And I suppose it's "fate" that this thing is happening all the way in Odaiba.

LUNA

It could be worse. Last year it was held in Yokohama. The year before it was in Hiroshima.

USAGI

Still. . . I've never been that far. Not by myself, anyway. I'm not even sure I have enough money for the subway.

LUNA

Don't worry. I've got more than enough for the metro.

USAGI

. . . do I wanna know how a cat gets money?

LUNA

Stray cats are as much of a Tokyo institution as the Imperial Family. You can find a way to exploit it.

USAGI

Wait!

USAGI stops and gestures at her uniform.

LUNA

(sighs)

I was gonna wait until Odaiba to show this to you, but I guess doing it here is just as well.

A pen materializes on the ground in front of LUNA.

LUNA

Take it.

USAGI picks up the pen and examines it.

LUNA

With this pen, you can assume any disguise you want, just by thinking about it. And pressing the button, of course.

USAGI

I can turn into anything I want?

LUNA

That's right.

USAGI

. . . with a pen?

LUNA

No-one's around. Try it!

USAGI holds up the pen in front her face, closes her eyes, takes a deep breath, and presses the button. Nothing. She presses the button again. And again. Still nothing.

LUNA

Usagi?

USAGI presses the button repeatedly.

LUNA

Usagi. . . what's wrong?

USAGI stops and lowers the pen.

USAGI

(frustrated)

What's wrong is that we're a few thousand years past the warranty on this thing.

USAGI storms off. LUNA follows. As the two exit the park, a HOSITAL comes into view.

LUNA

No, no. You must have done something wrong.

The two come out onto a sidewalk.

USAGI

You know, you're probably right!

LUNA

Usagi, be quiet!

USAGI

Story of my life.

LUNA

We're on the street now. People might hear you!

USAGI keeps walking.

LUNA

Usagi! Usagi, what were you thinking about?

USAGI

What?

LUNA

When you were trying to transform! What were you thinking about?

USAGI

My normal clothes.

LUNA

Which ones?

USAGI

I don't know. T-shirt, jeans?

LUNA

Well, maybe you need to be more specific--

USAGI

Maybe?

USAGI stops.

USAGI

"Maybe?"! Luna you're the--

USAGI turns to face LUNA, her eye briefly catching the HOSPITAL as she does so.

USAGI

(briefly distracted)

--y-your're the one whose supposed to know how all this works!

LUNA

Well. . . I thought I did.

USAGI covers her face, trying to calm down.

LUNA

Look. . . we'll try it again later. And if it doesn't work, we'll find another way. Right now, we need to get to Odaiba.

No response from USAGI.

LUNA

Let's go.

LUNA starts to walk off.

USAGI

Luna?

LUNA stops.

USAGI

I'm. . . I'm gonna need a doctors note, right?

LUNA

Usagi, this is hardly the time.

USAGI

Well, we're here!

(points to the hospital)

LUNA

Usagi, there are DOZENS of free clinics where we can get--

USAGI

Luna!

USAGI sighs.

USAGI

Luna. . . do you think. . . do you think that Naru is in there?

LUNA turns toward the hospital, and sighs. CUT TO:

INT, Hospital Lobby

AMI sits in the lobby, looking through her notes. We CUT TO:

The notes, from AMI'S POV. We see a fairly good sketch of central Tokyo, marked with the locations of the "outbreaks" of sleeping sickness.

SAEKO MIZUNO(O.S.)

Hello, I'm Dr. Mizuno.

The camera pans up to reveal SAEKO standing over AMI.

SAEKO

You must be my new patient!

CUT TO:

AMI and SAEKO.

SAEKO

(gesture to AMI'S notes)

What's that? Questions for Dr. Tomoe?

AMI

Oh. No.

(closes the binder)

Just a school project.

AMI stands up.

SAEKO

You excited?

AMI

Yeah.

SAEKO

You're lucky. When I was a teenager, I cut class and travelled halfway across the city just to go to one of his lectures.

(beat)

Pretty badass, I know. Your Dad always had a thing for budding oncologists who play by their own rules.

SAEKO'S joke only upsets AMI.

SAEKO

Listen, I'm really glad you're doing this. You need a break from junior high. And besides, me and Dr. Tomoe go all the way back to my undergrad years. It'll be nice for you to finally meet him.

(beat)

I hope you have some good questions for him.

AMI

I read up on him a bit.

SAEKO

Great!

AMI and SAEKO start toward an exit.

SAEKO

What about?

AMI

Well, his lecture is on the connection between chromosome number and cander incidence, but I haven't really found any. . .

Their voices fade as they walk through the door. A moment later, USAGI enters the frame, having arrived at the lobby from another point in the hospital. We follow her as she approaches a receptionist. As she does so, we see LUNA sneak her way onto an elevator in the background.

CUT TO:

INT, NARU'S Hospital Room.

A hospital room, shared by NARU and three other patients, all afflicted with sleeping sickness. NARU is in terrible shape-- unlike previous victims, NARU has been intubated and is on assisted breathing. Beside Naru sits a rather handsome young man. USAGI opens the door, startling the boy a bit.

USAGI

Um, excuse me?

BOY

Usagi?

USAGI

. . . yes?

The boy puts on a pair of thick spectacles, after which we quickly recognize him a UMINO. He's clearly a bit out of it, due to a combination of fatigue and worry.

USAGI

Umino?

UMINO

Hi.

USAGI

I know I'm not the one to ask this, but. . . what are YOU doing here?

UMINO

Making sure my parents never speak to me again.

(beat)

They have her on a respirator now.

USAGI looks at NARU.

UMINO

Did you know that we're the only ones who showed up?

USAGI

No. I mean, I thought. . . w-what about her family?

UMINO

Naru's mom got it ever worse than she did. I guess she didn't have any other relatives.

USAGI walks up to NARU, so that she can see her face. NARU just stares out. After a moment, she blinks.

USAGI

(excited)

Naru?

Nothing. USAGI'S excitement diminished, she tries to take NARU'S hand. However, once she feels the tubes and finger cuff sensor attached to the hand, she abruptly lets go, backing off slightly.

UMINO

You're lucky. I actually knocked the finger cuff off and the machine started beeping like crazy. I thought I killed her!

UMINO barely manages to laugh. USAGI looks at her watch, and winces-- she has to go, but she doesn't want to.

UMINO

It's alright. You have to go.

USAGI, reluctantly, backs off and turns to the door. But just as she's about to walk out--

UMINO

We both know you have to keep your grades up.

USAGI stops.

USAGI

Umino!

USAGI turns around, about to give her rebuke, but she hesitates. She then gives one final look at NARU.

USAGI

I'm. . . I'm sorry.

USAGI leaves the room. CUT TO:

EXT, Hospital, DAY

USAGI waits at a bench. She holds onto the MOON PRISM with both hands, clenching it with all her strength. After a moment, she sees a letter and envelope materialize in front of her.

LUNA

You'll have to seal the envelope yourself-- they weren't designed for feline tongues. But whoever invented the hanko deserves a big, wet kiss.

USAGI picks up the letter and envelope. LUNA can tell that she's upset.

LUNA

(gently)

Let's go, Usagi.

LUNA and USAGI walk off.

CUT TO:

INT, Car

AMI and SAEKO, driving down an expressway. They're silent for a moment, but then AMI notices something pass by on the road.

AMI

Mom?

SAEKO

Yes, Ami?

AMI

We really should've taken that exit just now. There's not much traffic along that route, so we could get to Meiji a bit more--

SAEKO

Oh, dammit. I forgot, there's been a change of plans. Meiji Uni--

(beat)

The lecture has been cancelled. Relocated, actually, to Mugen Gakuen's head office. Dr. Tomoe's gonna give his talk at the lecture hall there.

AMI

(concerned)

Oh. . .

(pause)

Why wasn't the lecture held there in the first place?

SAEKO

Well. . . Dr. Tomoe's talks always seem to attract a certain crowd, and he didn't want them to disturb activities at the school. Apparently, Meiji didn't want them around either.

AMI

What kind of. . . "crowd"?

SAEKO

Oh, just. . . college kids, political types trying to make a scene. Get attention for their little pet causes.

AMI

Like?

SAEKO

You know. . . Animal research, that kind of thing.

AMI

Oh. . . Animal research.

SAEKO

(trying to change the subject)

You know, in a way, this is better than going to Meiji University. I've always wanted to show you Mugen Gakuen. It's an elite school. Only the best of the best even get admitted.

Pause. AMI'S starting to realize what this is really about.

AMI

Geniuses.

Long pause.

AMI

We'd get there faster if we took this exit. We'd beat the crowd.

After another pause, SAEKO activates her turning signal.

CUT TO:

EXT, Expressway, DAY

We see AMI and SAEKO'S car turn left-- and off frame-- only to reveal EUDIAL and TELLU'S Black SUV just ahead in the same lane.

EUDIAL(V.O.)

This shouldn't have taken so long.

CUT TO:

INT, SUV

TELLU is driving the SUV, while EUDIAL sits in the passenger seat, monitoring the control panel for the device keeping MARIE-- sitting in the back seat, retrained and connected to an IV-- in check.

EUDIAL

If I were driving we would've been there by now.

TELLU

In more pieces than we could count.

EUDIAL

I can still smell that place on her.

EUDIAL turns toward TELLU.

EUDIAL

And on you. Those pheromones are filling up the whole car.

(beat)

I can't stand it anymore.

EUDIAL rolls down the window.

EUDIAL

I don't like it, being so. . . out in the open, with that thing three feet behind me.

TELLU

You shouldn't have done that.

EUDIAL

What?

TELLU

Opened the window.

EUDIAL

And why--?

At that moment, MARIE begins to struggle.

CUT TO:

A close up of the control pad. We see various lifesign and brain activity charts on the pad, and one of those indicators is going into the red.

CUT TO:

EUDIAL and TELLU. EUDIAL presses a few buttons on the pad, and MARIE begins to calm down.

TELLU

Told you.

EUDIAL tries to brush off TELLU'S remark.

EUDIAL

She's getting hungry.

EUDIAL sets the control pad on the dashboard, takes off her seat belt, and leans over toward MARIE.

CUT TO:

Back Seat. As EUDIAL enters the frame from the front, MARIE leans over toward EUDIAL slowly but threateningly. EUDIAL pauses for a moment, then approaches the IV with caution.

CUT TO:

TELLU. She eyes the control pad, and then turns forward, facing the steering wheel, instrument panel, and radio. From TELLU'S left hand (currently on the steering wheel) emerge a pair of small, green, vine-like protrusions. These vines stretch out to the radio controls.

TELLU

(whispering)

Waste of my talent.

TELLU readjusts her bra with her right hand, while simultaneously turning on the radio using her left hand vines. The song "Lovely Yell" comes on.

TELLU

(to EUDIAL)

You really should have just sat in the back with her.

EUDIAL(O.S.)

It's IV is still half-full.

CUT TO:

EUDIAL, examining the IV sack.

EUDIAL

It knows the difference between real energy and this processed free-range crap.

CUT TO:

Front seat. EUDIAL returns to the front. For a moment, she looks around at all the cars on the expressway.

EUDIAL

The tunnels were so much more peaceful.

TELLU tightens her grip on the steering wheel.

TELLU

Are you gonna insist on keeping window open?

EUDIAL

Until the smell disappears, yes.

TELLU stretches her left arm out to EUDIAL, holding her hand limp, as if showing off a ring.

TELLU

Well, you're gonna be waiting a while.

EUDIAL reacts with disgust as she smells TELLU'S arm.

EUDIAL

You're secreting pheromone?!

TELLU

I'm just putting my talents to their fullest use.

EUDIAL

That's vile!

CUT TO:

EXT, Freeway, DAY. From a distance, we watch as the SUV passes. We pan to reveal a WHITE CAT, facing away from us, following the SUV intently. CUT TO:

INT, Shimbashi Station, Subway Platform

We watch as hordes of people flood out of a stopped subway train. We can just barely make out USAGI and, some distance away from her, LUNA. CUT TO:

INT, Shimbashi Station, Hallway

A close up on USAGI'S feet. For two or three seconds, she walks normally. Then, on a whim, she begins to walk with her feet en pointe-- poorly. We CUT TO:

A full shot of USAGI. She manages to maintain her precarious balance for a couple of steps, but loses her balance on the third and falls forward. As she lifts her head, she notices someone looking at her. CUT TO:

USAGI'S POV. A middle-aged Japanese woman, turning her head back to stare at USAGI as she walks past her. From offscreen, we hear a meow. CUT TO:

USAGI on the ground, with LUNA standing beside her. CUT TO:

Another part of the hallway, away from the crowds, where USAGI and LUNA are safe to talk.

LUNA

What was that?

USAGI

En Pointe. Weird. . . I haven't tried that in years.

LUNA

"En" what?

USAGI

Oh. . . I took lessons in ballet as a kid, back in those heady days when I actually got good grades and didn't yet realize I was a klutz. I don't even remember why I got into it in the first place. Betcha didn't think I was the type.

(beat)

And you'd be right.

LUNA

Actually. . . that fits you, somehow.

Pause.

USAGI

So, where to now?

LUNA

The Yurikamome.

(beat)

Er, the monorail. It's late morning, and the convention is only open to business and media officials today, so it shouldn't be too crowded.

LUNA takes a look around.

LUNA

Here.

LUNA materializes a 500 yen piece.

LUNA

This should be enough to get to and from Big Sight. The platform is upstairs. Let's go.

CUT TO:

EXT, Monorail Platform, DAY

USAGI walks up to LUNA, whose waiting for her in a remote area.

USAGI

Four hundred yen, Luna.

LUNA

That's. . . both ways, right?

CUT TO:

INT, Monorail Train,

USAGI and LUNA sit silently on the train, watching the scenery pass, USAGI doing so with a look of excitement--she's never been here on her own-- mixed with contrition. We intermittently cut in between this shot and. . .

An external shot of the monorail, making its way down the track and across Rainbow Bridge on its way to Odaiba.

CUT TO:

INT, Juuban Junior High, Hallway

It's lunch time, and students, including MAKOTO, fill the halls. MAKOTO, bento box in hand, tries to peek above and around the students, seeing if she can catch sight of USAGI or AMI. After a moment, she gives up. However, she does quickly spot a group of girls all admiring a flower brooch worn by one of their friends. The girl who owns the brooch yawns, and looks quite fatigued, but is excited by all the attention. Indeed, all of the girls seem, to varying degrees, at once tired and enthusiastic over the strange little trinket. MAKOTO, baffled by the girls' display, walks on.

CUT TO:

INT, Juuban Junior High, Sakurada's Room

MAKOTO peeks through the door window to see if AMI is inside. No luck. However, Sakurada is there, sitting at her desk, looking slightly fatigued. MAKOTO moves away from the door and proceeds down the hallway. A group of girls pass by in the other direction. Again, they're focussing on one particular girl in the group, who looks unusually drained.

GIRLS

How did you lose all that weight? . . . They have this weird beam over at Shapely's, they fire it, and you lose weight! . . . Wow! . . . Are you sure that's healthy?

CUT TO:

INT, T+A Academy, Drama Classroom

In an otherwise empty classroom, a group of girls (four or five) practice a song and dance routine. When it ends a few minutes later, they stand for a moment in silence, maintaining their ending pose, as if waiting for an acknowledgement they know isn't coming. Finally, the lead performer breaks the silence.

LEAD PERFORMER

Well. . .

(she breaks pose)

I'd say we nailed it.

The girls all break pose, maintaining their silence.

LEAD PERFORMER

Good work, everyone.

(pause)

I'm sure Sister Jessica will be pleased--

At that moment, another GIRL enters.

LEAD PERFORMER

So, you've decided not to quit after--?

GIRL #2

We need to talk.

CUT TO:

INT, T+A Academy, Hallway

REI walks down the hallway, glancing briefly at other students as she walks by. They no longer crowd around her like before-- rather, they stare at her suspiciously. After a couple of moments, she's stopped by the GIRLS from the last scene.

REI

Excuse me.

REI tries to walk past, but the GIRLS stop her, eyeing her menacingly.

REI

Do you mind?

LEAD PERFORMER

We need to talk, Hino.

GIRL #2

What were you doing in Sister Jessica's room yesterday?

REI

. . . Nothing. I never even went in her room.

GIRL #2

Bullshit. We know that the school called the cops on you.

(beat)

What were you doing?

REI

I REALLY don't have time for th--

GIRL #2 blocks REI, and when REI tries to move around once more, she shoves her, clumsily, against a wall. The girls all give a glance at GIRL #2-- they didn't want something like this happen. A few of the other students run off, but most huddle around to watch.

REI

You can't be THAT stupid, can you?

LEAD PERFORMER

Look, everyone saw the cops questioning you after school.

GIRL #2

Just tell us what you were doing in her room.

REI

Why don't you tell me.

(pause)

You can't.

(beat)

You don't have the faintest clue. You're just--

GIRL #2 hits the wall next to REI. REI doesn't flinch.

GIRL #2

Shut up!

REI

Scared. You're scared. . . and, to top it off, you are REALLY bad at this.

Pause. The girls try not to let on, but they're getting a little intimidated. REI, never once looking away from the girls, pushes her way past them and calmly walks down the hallway and turns a corner. Once she knows she's alone, REI stops, leans against a wall, covers her mouth and closes her eyes, shaking.

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