Previously. . .
We now continue. . .
CUT TO:
INT, Mizuno Residence
AMI sits in front of a TV, showing news footage of the evacuation of Big Sight. We briefly see SAEKO leave the apartment.
SAEKO
(on her way out)
Make yourself whatever you want. I don't when I'll be back.
(beat)
And don't go out!
AMI
(without turning away from TV)
I won't.
SAEKO leaves. AMI continues to watch the TV, still struggling with what she has seen this day. At this moment, we begin a montage of sorts, with appropriately epid music. . . something like the soundtrack to Sunshine-- hey, it's good enough for Kickass and The Walking Dead:
CUT TO:
AMI printing out about a dozen or so pages off of a computer.
CUT TO:
AMI tacking up those pictures onto her wall, one next to another-- we can't yet see what images these pictures create.
CUT TO:
INT, Mugen Gakuen, Museum Hallway
A FLASHBACK, just after Saeko picked up Ami in the music hall. The two walk down the museum hallway (the one displaying the history of Tomoe). Ami looks at one of the video displays as she walks by.
Cutting to her POV, we see a STILL IMAGE of a young TOMOE standing next to ALBERT EINSTEIN displayed on the screen.
NARRATION
. . . was during his time at Princeton that Tomoe first attracted noteriety, after discovering the cause of. . .
- the IMAGE FADES to a generic eastern U.S. factory town.
NARRATION
. . . the so-called "Walkerton Syndrome", a mysterious new illness contracted by the citizens of Walkerton, New Jersey. Seven years before Minimata, Tomoe revealed that this "syndrome" was actually-
CUT TO:
INT, Mizuno Residence, PRESENT
AMI pulls the NOTEBOOK out of her backpack, turning to the notes she made while in the hosptial.
CUT TO:
AMI'S POV. We see the symptoms that AMI noted from the chart.
AMI'S NOTEBOOK
Extreme Lethargy
Lack of Responsiveness to External Stimuli
Diminished Vital Signs
Diminished Brain Funciton
CUT TO:
INT, Mizuno Residence
ANOTHER FLASHBACK. We see AMI flipping through the DOCUMENTS that accidentally fell into AMI'S hands the evening before.
CUT TO:
AMI'S POV. We see brief flashes of text from the documents, including ADDRESSES and the SAME SYMPTOMS as in Ami's notebook.
CUT TO:
INT, Mizuno Residence, PRESENT
We see AMI making a mark on the wall with a felt marker. We PULL BACK to reveal that AMI has put up a LARGE MAP OF TOKYO, using the pages she printed out. VARIOUS LOCATIONS ARE MARKED OUT on the map. Ami is still marking down locations, but it's clear that the locations she's noted seemed to form a LOOP AROUND CENTRAL TOKYO, with a couple of locations located NEAR THE CENTRE of TOKYO.
JUMP CUT TO:
INT, Tokyo Police Headquarters, Wakagi's Office
A SIMILAR MAP ON A WALL, more detailed and professional looking, with a couple of extra locations marked by tacks. We PAN to reveal Commissioner WAKAGI (from waaay back in Part #1) examining the map, alone in his office.
CUT TO:
INT, Tokyo Police Headquarters
Police HQ, in chaos, trying desperate to figure out just what the hell has happened to Tokyo. Various cops and bureaucrats are huddled at their computers, filing through documents, talking over the phone, watching news footage, arguing with each other. . . basically, nobody knows what the hell is going on.
CUT TO:
INT, Tokyo Police Headquarters, Missing Persons Unit
A DETECTIVE, in his office, talking over the phone.
DETECTIVE
Do you know how many people have gone missing today? 'Cause the people who've been taken to hospital today. . . that's not all there are. At least a dozen people have yet to be found. . . I'm sorry, ma'am, but that's where the department's priorities are right now.
CUT TO:
EXT, Hikawa Shrine, DAY- Continuous
REI, still in her school uniform, talking over a cell phone. Standing next to her is a male shrine attendant, YUUICHIROU.
REI
Yes. . . Yes, I understand. Thank you detective.
REI hangs up.
REI
Dammit.
(hands phone to YUUICHIROU)
Here you go. Thanks.
YUUICHIROU reaches for the phone, but REI pulls back at the last minute.
REI
Actually, I need to make one more call.
GRAMPA HINO(O.S.)
YUUICHIROU!
CUT TO:
GRAMPA HINO, standing in a tree about twenty feet off the ground, holding on to a rope as he wave to Yuuichirou.
GRAMPA HINO
Oy! Come on!
CUT TO:
REI and YUUICHIROU, looking at GRAMPA HINO like he's out of his mind.
GRAMPA HINO(O.S.)
Break's over, Yuuichirou!
YUUICHIROU looks at REI, who gives him a "fucked if I know" look.
REI
I'll give it back.
GRAMPA HINO(O.S.)
OOOOYYY!
YUUICHIROU
(to REI)
Keep it. I'm probably going to die.
YUUICHIROU runs off. REI opens the phone and dials another number.
GRAMPA HINO(O.S.)
(to YUUICHIROU)
Don't you get any funny ideas. Rei is engaged!
REI sighs and rolls her eyes as we-
CUT TO:
INT, Office of Takashi Hino
We see KAIDOU talking on the phone with his wife, whom we hear over the phone.
KAIDOU
I'm sorry, I can't come home. Not yet.
KAIDOU'S WIFE(O.S.)
I knew the hours were going to be long, Kaidou, but you haven't been home since you came back to Japan!
KAIDOU
Well, I've been-
(whispering)
We've all been on damage control. First with North Korea and now with this whole. . . whatever's happened at Big Sight. God, and I thought Ishihara didn't know when to keep his mouth shut.
KAIDOU'S WIFE(O.S.)
(sighs)
Well, at least let me thank you for the gift. The dress is beautiful!
KAIDOU
(confused)
. . . it is?
KAIDOU'S WIFE(O.S.)
And these lilies! They match the dress perfectly!
We now continue. . .
CUT TO:
INT, Mizuno Residence
AMI sits in front of a TV, showing news footage of the evacuation of Big Sight. We briefly see SAEKO leave the apartment.
SAEKO
(on her way out)
Make yourself whatever you want. I don't when I'll be back.
(beat)
And don't go out!
AMI
(without turning away from TV)
I won't.
SAEKO leaves. AMI continues to watch the TV, still struggling with what she has seen this day. At this moment, we begin a montage of sorts, with appropriately epid music. . . something like the soundtrack to Sunshine-- hey, it's good enough for Kickass and The Walking Dead:
CUT TO:
AMI printing out about a dozen or so pages off of a computer.
CUT TO:
AMI tacking up those pictures onto her wall, one next to another-- we can't yet see what images these pictures create.
CUT TO:
INT, Mugen Gakuen, Museum Hallway
A FLASHBACK, just after Saeko picked up Ami in the music hall. The two walk down the museum hallway (the one displaying the history of Tomoe). Ami looks at one of the video displays as she walks by.
Cutting to her POV, we see a STILL IMAGE of a young TOMOE standing next to ALBERT EINSTEIN displayed on the screen.
NARRATION
. . . was during his time at Princeton that Tomoe first attracted noteriety, after discovering the cause of. . .
- the IMAGE FADES to a generic eastern U.S. factory town.
NARRATION
. . . the so-called "Walkerton Syndrome", a mysterious new illness contracted by the citizens of Walkerton, New Jersey. Seven years before Minimata, Tomoe revealed that this "syndrome" was actually-
CUT TO:
INT, Mizuno Residence, PRESENT
AMI pulls the NOTEBOOK out of her backpack, turning to the notes she made while in the hosptial.
CUT TO:
AMI'S POV. We see the symptoms that AMI noted from the chart.
AMI'S NOTEBOOK
Extreme Lethargy
Lack of Responsiveness to External Stimuli
Diminished Vital Signs
Diminished Brain Funciton
CUT TO:
INT, Mizuno Residence
ANOTHER FLASHBACK. We see AMI flipping through the DOCUMENTS that accidentally fell into AMI'S hands the evening before.
CUT TO:
AMI'S POV. We see brief flashes of text from the documents, including ADDRESSES and the SAME SYMPTOMS as in Ami's notebook.
CUT TO:
INT, Mizuno Residence, PRESENT
We see AMI making a mark on the wall with a felt marker. We PULL BACK to reveal that AMI has put up a LARGE MAP OF TOKYO, using the pages she printed out. VARIOUS LOCATIONS ARE MARKED OUT on the map. Ami is still marking down locations, but it's clear that the locations she's noted seemed to form a LOOP AROUND CENTRAL TOKYO, with a couple of locations located NEAR THE CENTRE of TOKYO.
JUMP CUT TO:
INT, Tokyo Police Headquarters, Wakagi's Office
A SIMILAR MAP ON A WALL, more detailed and professional looking, with a couple of extra locations marked by tacks. We PAN to reveal Commissioner WAKAGI (from waaay back in Part #1) examining the map, alone in his office.
CUT TO:
INT, Tokyo Police Headquarters
Police HQ, in chaos, trying desperate to figure out just what the hell has happened to Tokyo. Various cops and bureaucrats are huddled at their computers, filing through documents, talking over the phone, watching news footage, arguing with each other. . . basically, nobody knows what the hell is going on.
CUT TO:
INT, Tokyo Police Headquarters, Missing Persons Unit
A DETECTIVE, in his office, talking over the phone.
DETECTIVE
Do you know how many people have gone missing today? 'Cause the people who've been taken to hospital today. . . that's not all there are. At least a dozen people have yet to be found. . . I'm sorry, ma'am, but that's where the department's priorities are right now.
CUT TO:
EXT, Hikawa Shrine, DAY- Continuous
REI, still in her school uniform, talking over a cell phone. Standing next to her is a male shrine attendant, YUUICHIROU.
REI
Yes. . . Yes, I understand. Thank you detective.
REI hangs up.
REI
Dammit.
(hands phone to YUUICHIROU)
Here you go. Thanks.
YUUICHIROU reaches for the phone, but REI pulls back at the last minute.
REI
Actually, I need to make one more call.
GRAMPA HINO(O.S.)
YUUICHIROU!
CUT TO:
GRAMPA HINO, standing in a tree about twenty feet off the ground, holding on to a rope as he wave to Yuuichirou.
GRAMPA HINO
Oy! Come on!
CUT TO:
REI and YUUICHIROU, looking at GRAMPA HINO like he's out of his mind.
GRAMPA HINO(O.S.)
Break's over, Yuuichirou!
YUUICHIROU looks at REI, who gives him a "fucked if I know" look.
REI
I'll give it back.
GRAMPA HINO(O.S.)
OOOOYYY!
YUUICHIROU
(to REI)
Keep it. I'm probably going to die.
YUUICHIROU runs off. REI opens the phone and dials another number.
GRAMPA HINO(O.S.)
(to YUUICHIROU)
Don't you get any funny ideas. Rei is engaged!
REI sighs and rolls her eyes as we-
CUT TO:
INT, Office of Takashi Hino
We see KAIDOU talking on the phone with his wife, whom we hear over the phone.
KAIDOU
I'm sorry, I can't come home. Not yet.
KAIDOU'S WIFE(O.S.)
I knew the hours were going to be long, Kaidou, but you haven't been home since you came back to Japan!
KAIDOU
Well, I've been-
(whispering)
We've all been on damage control. First with North Korea and now with this whole. . . whatever's happened at Big Sight. God, and I thought Ishihara didn't know when to keep his mouth shut.
KAIDOU'S WIFE(O.S.)
(sighs)
Well, at least let me thank you for the gift. The dress is beautiful!
KAIDOU
(confused)
. . . it is?
KAIDOU'S WIFE(O.S.)
And these lilies! They match the dress perfectly!
KAIDOU
Uh. . . yeah! That's. . . great?
CUT TO:
CUT TO:
NEWS FOOTAGE: We see archived footage of TAKASHI HINO, giving interviews, waving to supporters, standing at podiums, and all the other stock footage news program use when reporting about a politician. We see some scrolling text at the bottom of the screen.
SCROLLING TEXT
(in Japanese)
. . . Hino calls events at Tokyo Big Sight "karmic punishment" for what he sees as. . .
CUT TO:
INT, Subway Car- Continuous
We see a shot of a TV playing the news reports seen last scene.
CUT TO:
A shot of USAGI, riding the train, gazing blankly out the window.
CUT TO:
INT, Crown Game Center
USAGI is in the middle of playing a video game-- in the background we see, rather conspicuously, the Sailor V game she played earlier. She plays for a few seconds- almost forcing herself to enjoy it- but then just gives up. After a moment of staring at the machine, she closes her eyes, growing more and more restless and unsettled, until she STORMS OUT of the arcade, glancing at the Sailor V game as she passes it by.
CUT TO:
EXT, Sidewalk, Early Evening
USAGI walks along the sidewalk leading to her house. . . but stops. She can't go back home. Not yet. Not with everything that's waiting for her back there.
CUT TO:
INT, Mundy Residence
VICTORIA, trying to make a phone call.
VICTORIA
Come on Serena, pick up! Pick. . .
VICTORIA trails off, noticing something vibrating in her purse. She opens it up. . . and pulls out USAGI's cell. VICTORIA hangs up the phone just as SAMMY walks in.
SAMMY
Did you reach her?
VICTORIA
No. . .
(raises USAGI'S cell phone)
No I haven't.
SAMMY
Oh great.
CUT TO:
EXT, Mundy Residence, Early Evening
LUNA waits, anxiously, for any sign of USAGI. After a moment, VICTORIA comes out the door. LUNA darts behind a bush.
VICTORIA
(to SAMMY, inside house)
Sammy, the minute you hear from Serena, I want you to call me on my cell. I'm gonna go out and try to find Serena, see if she's at one of her hangouts or something.
VICTORIA closes the door and walks out.
CUT TO:
INT, Mundy Residence
The phone rings. SAMMY runs up and grabs the phone.
SAMMY
(into PHONE)
Hello! . . .
(aphrehensive)
Yes, this is the Mundy residence. . .
(sighs)
No. No, she's not here. . . . wait! Wait, if she calls you, could you phone this number-- or ask her to phone back home! We've been looking for her.
CUT TO:
INT, Mizuno Residence- Continuous
AMI is talking on the phone with SAMMY.
AMI
Of course!
CUT TO:
A brief shot of AMI'S notes. She has much more written down than before. We close in one note in particular, circled in red: Mundy???
SAMMY(O.S.)
Thanks. . .
(worried)
She hasn't come home yet, we tried calling the school, but they said--
AMI writes a note next to "Mundy": Missing.
SAMMY(O.S.)
I-I'm sorry, I shouldn't be holding you up. But we'd really appreciate--
AMI
Actually, I . . . I saw her at St. Lukes Hospital today, about two hours ago.
SAMMY(O.S.)
Wait- where?
CUT TO:
INT, Hospital Lobby
VICTORIA is talking to a RECEPTIONIST
VICTORIA
- she's about a hundred-sixty centimeters, blonde-
The RECEPTIONIST shakes her head.
VICTORIA
Odangos! S-she wears her hair in long pigtails, with odangos on her head!
RECEPTIONIST
I might have seen her walking by- I'm sorry, but we're flooded right now. I can send her description around the hospital-
CUT TO:
INT, Chiba Residence
MAMORU and BANDANA walk in. MAMORU is trying to help BANDANA, but she shoos him away.
BANDANA
I'm fine, Mamoru.
MAMORU
You barely made it to the elevator, Mom.
BANDANA
Well, I'm tired, Mamoru. I've had a long day. Tell you what- you wanna help me, get me some water. I'll be in the living room.
MAMORU
Sure.
MAMORU walks to the kitchen. BANDANA pulls out her cell phone to check her voice mail.
CUT TO:
BANDANA'S POV of the phone. The first message on the list is from JUUBAN HIGH SCHOOL.
CUT TO:
BANDANA. She opens the message. We can see the distress in her face as she listens to the message. MAMORU returns, with a glass of water, waiting for BANDANA to finish on the phone. BANDANA hangs up the phone, almost shaking.
MAMORU
Mom?
BANDANA pulls herself together and turns around to face MAMORU. However, just for a second, she breaks her facade of composure, and just stares at Mamoru.
MAMORU
Mom. . . is everything-?
BANDANA
(forcing a smile)
Yeah! Yeah, I-- was just a little dizzy.
BANDANA takes the water out of MAMORU'S hand. She turns around and walks toward the living room, but then stops.
BANDANA
. . . you should really see what Rei is up to. You've been hanging around with me all afternoon. You need a break.
MAMORU
Uh. . . yeah. Sure. I'll. . . give her a call.
We hear the sound of a ringing phone as we-
CUT TO:
INT, Office of Takashi Hino.
KAIDOU picks up the phone.
KAIDOU
Good afternoon, Takashi Hino's Office.
We cut between KAIDOU and the person on the other end:
REI
(sarcastically upbeat)
Kaidou-kun!
KAIDOU
Rei?
(sighs)
Rei, your father is very busy.
REI
Yeah, no kidding! I mean, Japan's greed ain't gonna blame itself for everything that goes wrong!
KAIDOU
Rei-!
REI
I need the number for commissioner Wakagi's private line. The one that Dad uses whenever he needs to talk with him.
KAIDOU'S freezes.
KAIDOU
Listen. . . Rei, we've all had a. . . very tragic--
REI
Has your wife gotten her gift yet?
KAIDOU is stunned into silence.
REI
Man, a white dress and Casablanca lillies!
(gives Italian fingertip kiss)
Unfortunately, it was accidentally sent to me. . . with my name written on the card. . . along with the words "from your loving father". But, I figured you meant it for your wife, so I sent it over to her-- without the card, of course. I mean, God help you if she ever found out--
KAIDOU
Rei!
(whispering)
Even assuming that this. . . bat phone exists--
REI
Even assuming that you weren't bullshitting in front of the boss' daughter after a long night of sake and karaoke, how would I. . . oh, wait, I guess that's how I'd know about it.
KAIDOU has turned white.
REI
(more sombre)
Kaidou. . . I know that I'm my father's daughter, whether I like it or not. But if it makes you feel any better. . . this is important.
CUT TO:
INT, Mizuno Residence
AMI'S NOTES- printouts, maps, notepaper, ALL covered with handwritten notes- cover most of the surfaces in Ami's room. AMI digests the data she's assembled- we can't possibly take it all in, but we do get some relevant glimpses:
The MAP OF TOKYO- the Location Marks are now divided into three categories (indicated by a legend): Circa 1991 (spread out all over Tokyo), 2014 (forming a loop along the outer edge of The 23 Wards, with a couple of locations running right through the heart of central Tokyo), and Tokyo Big Sight, surrounded by question marks, located conspicuously away from the "2014 loop". Next to the Big Sight marker, we see a LIST OF CAUSES written down, with most of the entries crossed out, for various reasons.
CAUSES
Chemical?
Radiation?
We then HOLD on the last item on the list, as AMI underlines it.
CAUSES
Attack?
CUT TO:
NEXT TIME. . .
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