The Stuff of Legend

Last time. . .

CUT TO:

USAGI, still approaching the woman. Her look of wonderment slowly morphs into confusion. From off-screen we hear the woman's voice-- it's MARIE.

MARIE

They all left!

CUT TO:

USAGI'S POV. The woman looks even stranger than before. We now have an idea of why exactly she looks so weird-- she is, for lack of a better word, animated. As in, anime-like, a weird human-cartoon hybrid: the colors are just a little too uniform, her figure a little too flat. The woman looks up at USAGI, and we see MARIE'S face-- only distorted. Her skin is a uniform tone, inhumanly pale. Her eyes are slightly larger, just enough to give her an alien appearance. Her lips are non-existent. Let it be stressed: while the words "anime-like" may suggest something either cute of utterly laughable, the figure USAGI sees in front of her is nothing fo the sort. MARIE has become a distorted, alien, frightening thing.

MARIE

Look at all the mess they left.

CUT TO:

USAGI. She's just beginning to realize what she's looking at.

CUT TO:

MARIE. She begins walking, slowly and shyly, toward USAGI.

MARIE

I'm sorry!

MARIE gives one of two quick bows. Upon coming up, she more closely resembles her original form, though her behaviour is still off.

MARIE

I've been rude! Forgive me! I'm Marie-sensei.

(beat)

I didn't get your name.

USAGI

(on guard)

Serena.

MARIE

Se-ri-na. Hai.

(English)

Sorry. . . no good English.

Now USAGI is scared AND confused-- what is with this woman?

USAGI

(struggling to say something, in English)

Me neither.

USAGI backs up against a railing. She knows she should run, but something is holding her back.

MARIE

(English)

You like 'Sera Bui'?

USAGI is silent.

MARIE

(Japanese)

Of course you do.

CUT TO:

A two shot-- USAGI is pressed against the railing, her eyes locked on MARIE, who is now almost right next to USAGI. MARIE'S shyness has vanished, replaced with an almost maternal calmness.

MARIE

It's okay. You don't have to be shy.

(beat)

You've waited for the moment. You've yearned for it.

MARIE, now standing right next to USAGI, puts her hands on USAGI'S arms. Their eyes lock.

MARIE

Just like all the others.

Something snaps inside of USAGI when she hears this, and she yanks her arms away from MARIE. She then sidesteps along the airling, putting about fifteen feet of distance between them.

MARIE

What's wrong?!

USAGI looks at MARIE, her eyes filled with a new purposefulness.

USAGI

(to herself)

Now or never. . .

USAGI assumes a pose, as the same one as she did before entering the convention hall.

USAGI

Moon. . .!

USAGI fills with confidence. The music starts to swell into a heroic crescendo.

USAGI

Prism. . .!

USAGI braces herself for what awaits her. This is it.

USAGI

POWER!

CUT TO:

USAGI'S POV. MARIE stares at USAGI, confused. We hold on this shot for a couple of seconds.

CUT TO:

USAGI and MARIE. USAGI is in pose, waiting for whatever is going to happen to happen. We hold for a couple of more seconds. Nothing. USAGI'S confidence is waning.

USAGI

(desperate)

Make up!?

After a moment, MARIE breaks into laughter. It dawns on USAGI just how fucked she really is.

MARIE

Kawaii! Kawaii!

(beat)

But it's not "Moon Prism Powaa!" It's--

USAGI makes a break for it.

MARIE

Hey!

We follow USAGI as she runs down the walkway, toward an elevator. Just when it seems like she's going to escape, from out of left frame, inhumanly fast, MARIE runs up cuts off USAGI'S path, about twenty feet in front of her. MARIE'S mood has noticeably soured.

MARIE

I don't get it.

(beat)

I have no idea what you people want out of me.

USAGI tries to dart to the side, but something flies out of MARIE'S hand, smashing into the ground in front of USAGI, tearing the flooring into pieces.

MARIE

Do you know what I went through because of you?!

The dust clears, and we see that MARIE'S weapon is a golden chain, again vaguely cartoon-y. It vanishes, and right at that moment MARIE grabs USAGI'S arm, so tightly that USAGI cries out in pain.

MARIE

Because of HER?

MARIE pulls USAGI to the floor, positioning herself on top of USAGI, pinning her down.

MARIE

Every time I thought 'It's enough! It's enough! I'm finished now!', someone always wanted more!

USAGI looks up at MARIE, tears running down.

MARIE

I tried to retire, and you broke into my apartment! I tried to hide. . . I could never settle down, 'cause I knew one of you would find me.

(laughs)

In the end, one of you DID find me.

That last line catches USAGI'S interest. MARIE notices this, and her face softens.

MARIE

That's right.

(beat)

It's all right now. All kinds of people want something out of me, and now I'm going to give it to them. You're just the same.

Time slows. USAGI is no longer resisting. She doesn't know it, but she's in REAL trouble now.

MARIE

You want something too. . .

MARIE strokes USAGI'S hair.

MARIE

But it's. . . different.

MARIE is so close to USAGI that their noses almost touch. USAGI seems a world away.

MARIE

I don't quite understand it.

MARIE inhales through her mouth. USAGI reacts to this-- she becomes even more distant. MARIE, as if replenished, closes her eyes.

MARIE

Neither do you.

MARIE draws her lips almost directly against USAGI'S.

MARIE

That's what made it so hard to find.

MARIE inhales again. USAGI'S body starts to seize and tremble, but her expression is still serene.

MARIE

But I found it. It's somewhere deep, but I found it. And now. . . there won't be any more struggle.

CUT TO:

USAGI'S POV. We see MARIE beginning another deep inhalation. As she does, the screen darkens, the sound fades. Darker and darker, quieter and quieter. Finally, silent blackness. We hold on this shot.

Hold. . .

Then, just when the audience might begin to wonder what's happening, we SMASH back to a POV of MARIE. Something black is clawing at MARIE'S face, and the shock is just enough to knock her off of USAGI.

CUT TO:

A close up of USAGI. She snaps back to life, but only barely-- she's still deeply out of it, confused, weak. Offscreen, we hear MARIE struggle with the creature that attacked her. Amidst a flurry of screams and hisses, we briefly hear a familiar voice call out.

LUNA(O.S.)

Usagi!

USAGI, with some effort, turns her head to the side. We pan to reveal LUNA, standing between USAGI and MARIE.

USAGI

(confused)

. . . Luna?

LUNA has left a nasty gash in MARIE'S cheek. Given her new alien nature, MARIE'S gash looks a little TOO brightly red.

MARIE

(impressed)

Ah!

LUNA

Usagi, run!

MARIE cradles her wound-- while she is clearly reacting to the wound, MARIE isn't exactly in what we would call pain. Her mental state further deteriorating, her face conveys a weird of adoration and rage.

MARIE

(slightly distorted)

He talks!!

LUNA

Get to the elevator! (ed-- I'm sorry, I couldn't resist)

USAGI'S starting to come back.

MARIE

Ka-wa-iiiiiiiiiiiiiiiiIIIIIIIIIIIIIIIIIIII!

The last syllable morphs into a frightening, hateful shriek.

LUNA

RUN!

USAGI struggles to stand up, stumbling toward the elevator. MARIE, in blind rage, swings more of her strange, transient golden chains, ripping out the floor around USAGI, causing her to fall over. LUNA jumps up and bites into MARIE'S arm. MARIE ignores LUNA at first, but as LUNA digs in, MARIE begins to notice. Not exactly in pain, but still distressed by LUNA, MARIE tries to fling her off her arm. With great difficulty, LUNA holds on for a couple of more moments, but ultimately loses grip and slams into the floor. MARIE cradles the wounds on her arms and face. LUNA gets up and turns toward USAGI.

CUT TO:

LUNA'S POV. We see USAGI, slumped against the elevator door. LUNA turns back to MARIE-- her face is clenched in horror and rage.

MARIE

(teary-eyed, distorted)

You can't play rough like that, kitty!

MARIE starts to. . . growl? Moan? Whimper? The sound is alien, but it can't be good. LUNA turns back to USAGI. The elevator door is open, and USAGI stumbles inside.

CUT TO:

LUNA. She's done it, she's bought USAGi the time she needs to get away. Now, it's LUNA'S turn to get away. She turns around and runs, and the camera follows LUNA as she makes her desperate escape from MARIE (right on her tail to suggest MARIE is just about to catch up with her). After a few seconds, LUNA briefly glances behind her. . . and stops.

We PAN to reveal MARIE, still standing right next to the walkway railing, fifty meters away from LUNA. She's smiling, giggling. . . her wounds completely healed. Then, faintly, we hear the ding of the elevator. LUNA is overcome with horror. MARIE waves at LUNA, and then turn toward the elevtor, and USAGI.

CUT TO:

CAPCOM. The control room is a mess. Panels are ripped out, circuits are re-wired, electronic components are meshed together in ways God never intended. EUDIAL has crawled underneath the main control panel, making a few last frantic repairs, desperate to fix her equipment. Then, in a literal flash, everything comes back to life.

EUDIAL

Yes!

EUDIAL climbs back out and mans the controls, sweeping the errand wires out of the way.

EUDIAL

Tellu, you lethargic slut, I beat you!

CUT TO:

Underground Lab. There, too, the security feeds resume.

KAO LING

Eudial! Eudial, do you read?!

CUT TO:

CAPCOM.

KAO LING(V.O.)

What the hell happened down there?!

Suddenly, the machine starts to beep.

KAO LING(V.O.)

Eudial, respond!

EUDIAL looks up and sees two screens-- one with MARIE turning toward the railing, the other with an as-yet unknown figure-- the words "LIKELY MATCH" flash over and over again in Japanese.

EUDIAL

Kao Ling!

(beat)

We've got her!

CUT TO: MARIE, standing on the railing, looking down at the elevator. She has assumed the Sailor V pose, and her figure has become distorted.

MARIE

For divine love and justice. . .

And with that, MARIE leaps off of the railing toward the elevator. We see MARIE in the foreground, back to the camera, leaping toward the elevator, which is in the background. Then, in mid-leap, out of right frame, something-- someone-- flies through the air and tackles MARIE. They both fly off camera and we hear them crash into a display.

CUT TO:

LUNA. More crashing noises. Then, a distorted scream from MARIE. LUNA runs in the direction of the commotion. When she approaches the railing, she finds that the commotion has already moved a full fifty meters away from where it was before, leaving a trail of devestation. From this perspective, we can only see dust and flying debris emanating from the ground floor. MARIE screams again, and then silence.

MARIE(O.S.)

I can't. . . I can't work like--

Then, more commotion, more flying debris. LUNA moves in for a better look. We see a heavily distorted and enraged MARIE smashing the shit out of a nearby display,

MARIE

I can't deal with these constant interruptions! All the time, Marie this, Marie that. . . !

MARIE stops wailing on the display, leaving a cloud of floating dust.

MARIE

Huh. . . Well. It's about bloody time we--

A GOLDEN CHAIN whips out from the dust, striking MARIE. The chain has a strange effect on MARIE-- for a moment, it seems to split apart the human MARIE from the warped entity that has possessed her. MARIE recoils from the attack and runs off screaming. LUNA runs along the walkway, trying to get a closer look. Then, about thirty feet ahead, a figure hurdles the walkway.

CUT TO:

A close-up of the figure (too close to see her face), with LUNA in the far background. A slow motion shot of the figure flying over the walkway. This figure, unlike MARIE, is undistorted, unmistakeable. It is SAILOR V.

CUT TO:

Close up of LUNA. She's in shock, frozen as SAILOR V soars over the walkway and lands on the other side. For her, this is an incredible moment.

LUNA

(whispering)

Sailor V. . . ? Sailor. . .

LUNA snaps back into action.

LUNA

Wait! Wait!

LUNA runs along the walkway to where SAILOR V was, only to find more flying debris, dust, and noise in the distance. LUNA turns to look back at the elevator, then at the commotion, then back, then forth. She's torn-- should she go after SAILOR V, or check on USAGI?

LUNA

Goddamn it!

CUT TO:

Elevator interior. From outside, we hear LUNA grunt from jumping up to the elevator controls. The door opens, and LUNA enters, cautiously.

LUNA

(gently)

Usagi?

USAGI sits against the back corner of the elevator. She's distant, and not sure exactly what she feels-- only that it's very, very bad.

LUNA

(more firm)

Usagi?

USAGI snaps out of it.

USAGI

Y-yes!

LUNA

I told you to stay out!

USAGI

I know.

LUNA

(worked up)

You could have been killed! Or worse!

USAGI

I know!

LUNA

Are you alright?

USAGI

Yeah.

LUNA

Are you sure?

USAGI

Yes!

LUNA breaths a sigh of relief.

LUNA

Usagi. . . we found her!

USAGI

Who?

LUNA

Who?! Who else? Sailor V!

USAGI reacts to that news, apprehensively.

LUNA

Listen to me. . . I'm gonna go after her. I want you to wait here, okay? I'll be back. Do not go anywhere. I'll be back. I promise I'll be back!

LUNA runs out of the elevator. Alone again, USAGI wraps her arms around her knees, and waits.

CUT TO:

Underground Lab. On a monitor, we see a security feed showing MARIE and SAILOR V in battle.

KAO LING

(into radio)

Where the hell are you, Tellu?

KAO LING looks at the screen again. MARIE is holding out, but losing.

KAO LING

(into radio)

Tellu, Sailor V is here! She has engaged the Daimon. The Daimon is holding out, but it won't last must longer. We need--

PTILOL

Got her.

One of the security feeds pops up. TELLU lies unconscious on the floor. Next to her is EUDIAL, picking up two pieces of equipment, the COLLECTOR and a long GUN.

KAO LING

What the. . .?

(beat, then into radio)

Eudial--!

EUDIAL

I know. I'm on it. Just tell me where they are.

CUT TO:

LUNA, running after MARIE and SAILOR V as fast as she can. In the distance, we see them fighting a truly epic fight, flying through the air, ripping apart displays.

CUT TO:

Underground Lab. On the security feeds, we see MARIE. The battle is winding down to its final stages. SAILOR V'S golden chain is wailing against MARIE. The monster who possessed her is not long for this world.

CUT TO:

SAILOR V and MARIE. SAILOR V hits MARIE once with her chain, then twice. The monster that possessed her, a vague shapeless thing, finally separates from MARIE, and she collapses, unconscious. The battle appears to have worn on SAILOR V, and she hesitates to attack any further, out of sheer exhaustion.

CUT TO:

A far shot. We see SAILOR V, MARIE, and the monster through the scope of a gun. In the foreground, we see the "barrel" of the gun accumulating with some sort of energy.

CUT TO:

EUDIAL, in prone position, aiming the gun at SAILOR V like a sniper.

EUDIAL

Come on. . .

CUT TO:

EUDIAL'S POV. SAILOR V takes another shot at the monster. It buckles, nearly dead. SAILOR V nearly collapses from the effort.

EUDIAL

Come on! Hurry up!

CUT TO:

LUNA, trying to find SAILOR V now that the commotion has stopped.

CUT TO:

Underground Lab. On the security feed, we see SAILOR V rise to deliver the final blow.

KAO LING

(into radio)

Eudial!

CUT TO:

EUDIAL.

EUDIAL

I'm still charging.

CUT TO:

SAILOR V and the monster. With great effort, SAILOR V delivers one last blow with her chain. Space seems to distort around the monster, now in its death throes. After a moment, the monster finally collapses in on itself like a black hole, and then explodes. SAILOR V falls to her knees.

CUT TO:

EUDIALS POV. Through the scope, we see SAILOR V slowly crawl toward the unconscious MARIE and examine her. She takes MARIE and cradles her, even from this vantage point we can see how saddened she is by what has happened to MARIE. . . and what she had to do to stop her.

EUDIAL

So. . . you did know each other after all.

SAILOR V'S appearance briefly changes. She's in a superposition of states: the HERO state we've seen her in so far, and a more human-like state. The GUN, meanwhile, is nearly charged.

EUDIAL

Don't worry, peroxide.

SAILOR V returns to full-on HERO mode, and her demeanor changes slightly, as if she senses danger.

EUDIAL

You'll be back together soon en--

A mere fraction of a second before the gun fully charges (indicated by a BING and a GREEN LIGHT on the gun), SAILOR V darts off to the right, off frame.

EUDIAL

Wait-- no! No!

EUDIAL tries to pick up the charged gun, but the accumulated charge is highly unstable, and it starts to disintegrate.

EUDIAL

Damn it!

EUDIAL sets down the gun and pursues SAILOR V, bypassing MARIE before vanishing. We hold on MARIE until LUNA appears, examining the unconscious MARIE and scanning the area, in vain for SAILOR V.

LUNA

God damn it. God DAMN it! We were this close!

CUT TO:

Underground Lab. LUNA and MARIE are on the security feed. LUNA turns and heads back toward USAGI.

CYPRINE

What is that?

KAO LING

It's a cat, Cyprine. Find Sailor V, quickly!

Security cameras scan the area, finding EUDIAL, but no SAILOR V.

CUT TO:

Exterior emergency exit door. BLONDIE and her WHITE CAT burst out the exit and run off.

CUT TO:

EUDIAL, standing in the main hall. She's lost SAILOR V. The mission is a failure. EUDIAL looks like she's about to explode.

CUT TO:

Elevator Interior.

LUNA

(from outside)

Usagi! Police are coming. We gotta get outta--

The door opens and LUNA enters, finding to her shock that USAGI is gone.

LUNA

Oh God! Usagi!

LUNA runs out.

CUT TO:

Main Hall. LUNA searches frantically for USAGI.

LUNA

Usagi! Usagi, where are you?!

LUNA stops. In front of her stands a mirror (part of one of the displays) smashed in the middle. Beneath the broken mirror, surrounded by a few shards of glass, is the MOON PRISM. LUNA closes her eyes.

LUNA

Oh God, Usagi.

CUT TO:

The same emergency exit door as before. USAGI walks out, slightly disoriented. She turns to walk to the front of Big Sight, only to see dozens of emergency vehicles gathering there. She turns and runs in the opposite direction.

CUT TO:

Alley. USAGI comes up to the entrance of the alley. Not sure of where to go, she runs down the alley, and then turns around, walking backward down the alley, as if expecting something to follow her. She takes a few steps backward toward the camera, which tracks backward to follow her. Then, something appears out of left frame. USAGI stops and turns to find an unconscious WOMAN in a RED BANDANA, her face hidden. Another victim. The sight of her is almost too much for USAGI to stand. Then, just when it looks like USAGI is either going to break down or turn and run away, the WOMAN starts coughing violently. She tries to get up. but can't. Whatever is wrong with this woman, she's not ill in the same way as all the others.

USAGI

Excuse me?

(beat)

Ma'am?

No response, just more coughing. The woman is clentching her stomach, clearly in agony. USAGI looks out the alley, as sees an ambulance parking near Big Sight.

CUT TO:

A couple of minutes later. A pair of PARAMEDICS follow USAGI into the alley.

USAGI

She's just down here.

USAGI kneels next to the WOMAN.

USAGI

Ma'am? Ma'am, I brought an ambulance over.

USAGI places a hand on the WOMAN'S shoulder. The paramedics tend to the WOMAN. Convinced her work is done, USAGI gets up to leave, but finds that the WOMAN has grabbed on to her shirt and won't let go.

USAGI

Ma'am?

USAGI tries to pull away, but the woman won't let go.

PARAMEDIC

(to USAGI)

Exucse me, what was your name?

USAGI

(distracted)

Uh, Serena.

PARAMEDIC

Serena, we have room in the ambulance for you. You can accompany her to the hospital.

USAGI

Oh. . . no, no.

PARAMEDIC

Ma'am, I won't force you to do anything, but this woman really needs a friend right now.

USAGI looks down at the woman.

CUT TO:

Ambulance interior. USAGI sits in the ambulance with the WOMAN as paramedics tend to her. USAGI'S holding the WOMAN'S hand, being the friend she needs, if only for the moment.

EUDIAL(V.O.)

Hello, Tellu.

CUT TO:

Close up of TELLU, just barely able to open her eyes. She tries to talk.

EUDIAL(O.S.)

No no, Tellu. Don't speak.

CUT TO:

TELLU'S POV. She's in another ambulance. EUDIAL is standing over her.

EUDIAL

Save it for Kao Ling and the Professor. Tell THEM why we're not handing them Sailor V on a silver platter. I'll make sure I'm there to see it when it happens.

TELLU looks over to see an energy IV drip hooked into her arm.

EUDIAL

You know. . . This--

(points at TELLU'S weakened body)

-- almost makes it worth it. Not only were you stupid enough to sabotage our mission, but you actually let our own Daimon feed off of you!

CUT TO:

Close-up of Tellu. She tries to say something, but it's inaudible.

EUDIAL(O.S.)

You're lucky you're not actually human.

CUT TO:

Medium shot of EUDIAL.

EUDIAL

Or else you'd NEVER wake up.

EUDIAL pulls away from TELLU and walks toward the front of the ambulance. We follow her, revealing the incapacitated paramedics who formerly occupied the vehicle.

CUT TO:

Experior shot of the ambulance-- one of dozens-- as it pulls away from Big Sight.

**********************************

That's it for now. There's more I have written in my notebook, but I think I need to take a break. Until next time.

These Are Getting Shorter and Shorter. . .

Previously. . .

CUT TO:

Main Hall. Mass Hysteria-- crowds are clamouring to get out of the building, away from. . . something. Security are doing their best to keep everything in order, but it's hopeless; people are being slammed against walls, tripping over each other, etc. We pan to find TELLU, running-- nay, skipping-- through the crowds, enjoying the hell out of all this chaos.

CUT TO:

Holding Cell. The two guards huddle near the entrance, listening to another guard filling them in, as much as possible, on the situation. Their backs are turned to USAGI. Seizing the moment, USAGI tries to reach of the DISGUISE PEN with her foot. She manages to grab hold and pull it a bit closer, when--

MALE GUARD

(to FEMALE GUARD)

Keep an eye out on her.

USAGI pulls her feet back in as MALE GUARD rushes out. The FEMALE GUARD eyes USAGI for a few tense moments. As the screams continue, though, the FEMALE GUARD becomes more and more anxious. The screams grow louder, and the GUARD turns her back to USAGI. USAGI reaches her foot up and grabs the pen. Just as she's finally able to pull the PEN off the table, the GUARD runs her keycard through the reader and opens the door. As she's about to leave--

USAGI

Hey, wait!

(beat)

What about me?!

The GUARD looks USAGI over contemptuously, and without a word turns around and walks out the door. We pan back to reveal USAGI in the GUARD'S uniform, the zip-tie restraints (literally) magically removed. USAGI, realizing that she was successful in transforming, picks up the pen and walks out.

CUT TO:

Hallway outside holding cell. The screams have died down. Aside from USAGI the hallway is deserted. USAGI, still in uniform, cautiously makes her way toward the Main Hall.

CUT TO:

Main Hall. Usagi stands in the middle of the hall. Again, there's no-one in sight. USAGI sees an escalator up to the upper walkway, and runs toward it.

CUT TO:

Main Hall, Walkway. USAGI walks along the railing of the upper walkway.

USAGI

(nervous)

Luna's here.

We pan out to a view of the main hall. Despite the better view, we still can't anyone. The once bustling convention hall is eerily still.

USAGI(O.S.)

Luna's here. She'll find you.

We pan back to USAGI, who has removed her disguise. She clenches the MOON PRISM in her hand.

USAGI

She'll find you. You're easy to spot.

(beat, then worried)

Oh God. . . I'm easy to spot!

CUT TO:

The Sailor V stage. LUNA stands at the front of the stage. All the audience members we saw earlier now lie unconscious. LUNA is horrified.

CUT TO:

Walkway. USAGI continues, scanning the ground floor. At first, it appears just as deserted as before. Then, she spots someone on the ground, unconscious. . .and then another. . . and another. . . and then, almost inaudible, the distant cries of SECURITY GUARDS. USAGI turns in the direction of the cries.

CUT TO:

LUNA, just outside the Sailor V Stage. LUNA hears the same cries, slightly louder from her vantage point. She heads in their direction.

CUT TO:

USAGI. The cries die down, until it's silent once again. With great trepidation, USAGI slowly makes her way in the direction of the cries.

CUT TO:

A long shot of a distorted, alien figure, walking past a group of unconscious security guard. We quickly realize that this is being viewed from a great distance away. The shot abruptly ZOOMS OUT slightly, and we realize that this is a POV shot.

TELLU(O.S.)

(quotes some line from a Sailor V Toy Commercial. Take your pick.)

CUT TO: Close-up of TELLU, standing on the ground level, looking through a pair of futuristic-y binoculars. The COLLECTOR sits on the ground a few feet away, still sucking up ENERGY. TELLU whistles the first few bars of the "Sailor V Theme", and then switches to "A-hunting We Will Go". As she whistles, we pan slightly to reveal BLONDIE, standing on top of a display, watching TELLU. TELLU stops whistling, and inhales.

TELLU

Ah. . . even better. The direct approach.

TELLU whips her hand out toward the display and shoots two of three HAND-VINES out at it, which quickly wrap around it and crush it. BLONDIE falls backward behind the display, apparently crushed by the rubble.

CUT TO:

USAGI. She hears the display crashing down in the distance.

CUT TO:

TELLU. She uses her HAND-VINES to clear away the rubble. BLONDIE is nowhere to be found. Apprehensively, she looks around her for any sign of BLONDIE.

TELLU

I don't think we've met. The name's Tellu.

TELLU walks past another large display and pushes it over with ease.

TELLU

What, no introduction? You're not gonna punish me in the name of divine whats-its?

The camera pans around TELLU.

TELLU

(taunting)

Oh. . . Don't tell me you ran away!

(beat, then to herself)

God, you BETTER not have run away!

We pan to reveal BLONDIE standing on the walkway behind TELLU (who's still in the foreground). We follow her as drops down to the ground, disappearing behind TELLU. TELLU smiles and whips around, but before she can get a shot off, BLONDIE has already darted behind another display.

TELLU

This is just getting tedious!

TELLU collapses the display with her HAND-VINES and marches up to the rubbles. Finding no sign of BLONDIE, she kicks away some of the debris.

TELLU

Christ!

(whispering)

No wonder Eudial lost her.

Then, a meow. TELLU looks down and sees a WHITE CAT (facing TELLU, back to the audience). In the moment that TELLU takes to mull this bizarre situation, a figure explodes from underneath the debris (from next to the cat) and overwhelms TELLU.

CUT TO:

USAGI. We hear the distant commotion erupting between TELLU and BLONDIE. USAGI pauses, takes a breath, and follows the voices.

CUT TO:

A moment later. The debris left over from TELLU and BLONDIE'S fight is now in view. USAGI comes to a stop, gazing with horror at the devastation. We pan around USAGI until another figure comes in view in the background: a tall woman, blonde, in bright blue, red, gold, and white clothing, staring down at the wreckage fom the same walkway as USAGI. The woman seems to be surrounded by some strange aura; somehow, she just seems. . . brighter than the room she's in. USAGI, after instinctively looking around, catches the woman in the corner of her eye. She (and we) aren't yet close enough to get a good view, but USAGI thinks she knows who this is, and tentatively makes her way toward her.

CUT TO:

LUNA. From a great distance, she can just make out USAGI and the other woman.

LUNA

Usagi?

CUT TO:

LUNA'S POV. We pan from USAGI to the other woman.

CUT TO:

USAGI. She approaches the other woman, slowly, but with a growing sense of excitement.

CUT TO:

USAGI'S POV. We approach the other woman. She's beautiful, radiant, as she looks down at the wreckage. But, as we get a little closer, we something. . . off. Subtle, but strange.

CUT TO:

LUNA'S POV, on the other woman. We see the difficult beginnings of the LUNA SENSE, as LUNA struggles to learn more about this woman.

CUT TO:

Close-up of LUNA. Her eyes widen in terror.

LUNA

No!

Yeah, It's Three Days Later. Whatever.

Part the Last

CUT TO:

Underground Lab. Radio communications with security have gone down, again, thanks to EUDIAL'S actions. CYPRINE turns to KAO LING.

CYPRINE

Kao Ling. . . you're gonna love this.

CUT TO:

The Main Convention Hall. Away from the main attractions, near the restrooms, we see two men-- one dressed as a mad scientist, the other dressed as a Ranger Ranger Power Ranger-- conducting a rather uncomfortable looking video interview with an attractive actress. USAGI, dressed as the mad scientist, sneaks by and jumps into the women's washroom.

CUT TO:

Washroom. USAGI leans over the sink, exhausted. Behind her some ways, we see another exhausted looking WOMAN in a RED BANDANA. After a few seconds, she runs into one of the stalls and begins throwing up. This grabs USAGI'S attention. Right at that moment, out of another stall comes a MODEL dressed as Sailor V, disgusted at what's happening in the stall next to her. The MODEL, who seems to be in a hurry, quickly washes her hands and runs out. USAGI, finally, has her lead.

CUT TO:

Sailor V Stage. A crowd of journalists and VIP guests (including a few specially invited Sailor V fans) fill the seats at the Sailor V stage, numbering in the low hundreds.

CUT TO:

Backstage. TELLU and MARIE await their debut. TELLU examines the remote link to MARIE'S control device, while MARIE looks around anxiously at all the humans fluttering around her.

CUT TO:

Main Hall. USAGI, now dressed as a reporter, follows the model. She notices something strange-- a security guard questioning a blonde Caucasian lady. She then notices another guard, questioning another blonde white lady. And then--

FEMALE GUARD (kind of heavyset, speaks in broken English)

Excuse me.

USAGI nearly jumps out of her skin.

FEMALE GUARD

(confused)

. . . Sorry, but I need to ask few questions.

USAGI

(in English)

O-of course.

(catches herself, speaks in Japanese)

Uh. . . what seems to be the problem?

FEMALE GUARD

(Japanese)

Actually, it's just a random check.

(beat)

Could I see your ID, please?

USAGI

Uh. . . sure. Sure, just. . .

USAGI begins searching her pockets.

FEMALE GUARD

(pointing to press ID)

Ma'am?

USAGI

Ah!

The GUARD examines the ID, in that just-a-bit-too-long way all security guards examine ID.

FEMALE GUARD

Mundy?

USAGI

(confused)

Yes. . . ?

FEMALE GUARD

You. . . you're not. . . You wouldn't happen to know Darien Mundy, would you?

USAGI'S face goes red. Being related to a TV personality hadn't factored into her calculations.

FEMALE GUARD

You are, aren't you!

(in English)

I watch his show to, uh, practice English!

USAGI doesn't know what to say.

FEMALE GUARD

(English)

You are, like, daughter?

USAGI

Uh. . .

FEMALE GUARD

(English)

Yes, you are his daughter! Look just like him! You are, uh, reporter too?

USAGI

Uh. . .

FEMALE GUARD

(English)

Ah! You're like father! He helped give you job, right?

USAGI

Uh. . .

FEMALE GUARD

(English)

You're so young--!

MALE GUARD (O.S.)

Hey!

We pan to the MALE GUARD-- actually the same GUARD who "shot" USAGI a couple of scenes ago-- running to apprehend USAGI.

MALE GUARD

That's her!

FEMALE GUARD

(to MALE GUARD)

What?

USAGI runs off while the FEMALE GUARD is turned toward the MALE GUARD.

MALE GUARD

That's her! Grab her!

The FEMALE GUARD turns around to see USAGI running away. The MALE GUARD runs past.

MALE GUARD

Stop!

FEMALE GUARD

What are you talking about?! That's Serena Mundy!

The FEMALE GUARD follows.

CUT TO:

A side avenue in the Main Hall. USAGI looks around frantically for a way out before security catches up with her. In the distance, she sees a MAN ON STILTS. Conveniently, there's an upper walkway almost directly above her.

MALE GUARD

Stop!

USAGI

Going up!

USAGI, gazing intently at the MAN ON STILTS, clicks the pen, and assumes his dress. Unfortunately, it doesn't work out as planned-- the stilts form under her feet and force her legs upward. If she were impossibly strong and impeccably balanced, she could ride the stilts upward like an elevator. Since she's not, she instead flips backward onto the floor. The stilts, meanwhile, shoot forward (since that's where USAGI'S legs are now pointing), and one of them smacks the FEMALE GUARD right in the face, knocking her down. The MALE GUARD, meanwhile, runs up to USAGI and draws his tazer, as other guards rush in.

CUT TO:

CAPCOM. EUDIAL'S making some progress on her rig when she hears someone try to use a keycard to gain entry. When it doesn't work, he pounds on the door. EUDIAL, who already has enough on her plate as it is, rushes toward the door.

GUARD(O.S.)

Is everything alright in there? Comm has gone down again and--

EUDIAL opens the door. The GUARD, seeing the unconscious bodies on the ground and the inhumanly beautiful woman in front of him, stands stunned.

EUDIAL

(exaggerated faux-worry)

Did you just say the comm was down?!

GUARD

I-I was asked to report back to my--

EUDIAL, with one arm, pulls the guard inside and throws him against the wall like a rag doll, knocking him unconscious. She slams the door shut as we--

CUT TO:

Side Room. An impromptu holding cell. USAGI sits on a chair at the far end of the room, her arms zip-tied behind her. She's still in the STILT MAN'S clothes. There's a table at the center of the room. On the other end, next to the door, stands the FEMALE GUARD, boasting a nasty right-eye shiner. Not even a knife could cut the tension. After a long pause--

USAGI

Listen. . . You should know that you. . .

(nervous beat)

You took that like a pro.

FEMALE GUARD

(seething)

When I was your age, no-one would've even thought of doing something like this to me. No-one.

(clenches her fist, then long pause, and then with some embarrassment)

There is no "Serena Mundy," is there?

USAGI

(beat)

You got me.

The MALE GUARD enters the room. After staring at USAGI for a moment, he turns and whispers something to the FEMALE GUARD. USAGI is able to make a little bit of it out.

MALE GUARD

. . . no word on comm. . . I don't know what's taking. . .

The MALE GUARD walks up to USAGI and stares her down. He then walks up to the table and throws down a bunch of items-- these were confiscated from USAGI after she was caught. On the table we see a whole bunch of items belonging to the STILT MAN-- and the DISGUISE PEN. He glances contemptuously at the items, and then picks up the DISGUISE PEN.

MALE GUARD

(examining the pen)

You think we haven't figured you out?

USAGI sits in terrified silence.

MALE GUARD

(to USAGI)

You think we're that stupid?

USAGI briefly glances at the FEMALE GUARD.

MALE GUARD

Hey!

USAGI eyes snap back on the male guard.

MALE GUARD

I'm talking to you!

CUT TO:

Sailor V Stage. An EMCEE welcomes various figures onto the stage, all met with varying degrees of applause.

CUT TO: Backstage. TELLU, standing against a wall away from the stage, "guides" MARIE out to the stage using the remote link. As MARIE steps outside, we hear thunderous applause. TELLU picks up her metallic briefcase and walks off.

CUT TO:

Sailor V stage. MARIE sits on a chair, zombie-like, in front of her eager audience. The EMCEE describes the new Sailor V project as we--

CUT TO:

Hallway. From the metallic briefcase, TELLU has produced a device called the COLLECTOR, whose purpose will be become apparent later on. TELLU holds up the remote as we

CUT TO:

Stage. The EMCEE directs a question to MARIE.

CUT TO:

Hallway. TELLU gleefully presses a button on the remote.

CUT TO:

Extreme close-up of MARIE. Her zombie-like expression is replaced with a surprisingly warm smile. She looks up at her adoring audience. She's been cut loose.

CUT TO:

Hallway. TELLU has activated the COLLECTOR, and mounts it on her back like a rucksack. After a moment, we see some hazy substance-- we'll call it HUMAN ENERGY-- begin to waft out, like smoke, from the Sailor V Stage (note-- ENERGY isn't blocked by walls or other physical obstructions).

CUT TO:

USAGI in the holding cell.

MALE GUARD

Listen. The police will be here in a few minutes. Within those next few minutes we're going be deciding just how much you were resisting lawful detention. . . and how much force was needed to bring you down.

The FEMALE GUARD cracks her neck, Oddjob style.

USAGI

(to herself)

Oh God.

MALE GUARD

So it's in your best interest to start talking.

USAGI

(freaked the hell out)

A-about what?

MALE GUARD

What else?

(beat)

Who are you working with?

USAGI

I-I don't--

MALE GUARD

Don't tell me you don't understand! You think we're idiots?

USAGI impulsively looks again at the FEMALE GUARD.

MALE GUARD

A woman fitting your description, dressed as a schoolgirl, is spotted and pursued. Then I see you. One minute, you're dressed as a cosplayer. The next, your dressed up in squibs. Then, someone reports a woman of your exact description, dressed again as a school girl, assaulting another cosplayer! Then, I find you dressed up as a reporter!

(beat)

No one person could do all that. So tell me. . . who are you working with.

USAGI

(long pause)

It was a flash mob thing. Someone tweeted it to--

MALE GUARD

A flash mob?! Do you seriously expect me to--

And then, SCREAMS. Hundreds of them, coming from the main hall.

Did You Know That the Actress Who Played Sailor Mars in PGSM was in Fast and the Furious: Tokyo Drift? Well, You Do Now!

Click Here for Previous Part.

CUT TO:

CAPCOM.

EUDIAL is still typing in commands in an effort to fix the problem. After a second, we see the hardware she installed beginning to smoke-- the smoke, however, is a strange, artificial colour (like bright purple or green), almost as if it's meant to be noticed. EUDIAL stops typing and rushes toward the hardware, blowing away smoke and prying off a metal casing in order to get inside. To her horror, she finds the inner workings covered in snails, along with the words "UGLY SNAIL LADY EUDIAL."

EUDIAL

What the--?

MIMETE

Hello Eudial.

EUDIAL turns around in shock. The Capcom video screens form a moving collage, displaying MIMETE'S face-- the resultant display is so large that the audience can only see a fraction of it, never the whole thing.

MIMETE

Bet you never thought you'd see this face again. Bet you thought I was really, truly gone.

EUDIAL

(confused)

What?

MIMETE

Before we go on--

EUDIAL, no longer listening, hurries back to the apparatus and starts batting away the snails.

MIMETE

-- I thought I should warn that any attempt to make repairs--

EUDIAL starts to reach deeper inside the apparatus-- and is greeted by a nasty electric shock, one that could easily kill a human.

MIMETE

-- will result in. . . hell, who am I kidding, you've probably find out by now. Ha ha ha.

EUDIAL, still wincing in pain, looks inside the apparatus, and finds the surrepetitiously installed component generating the shock. She pauses a moment to think, while MIMETE drones on.

CUT TO:

Inside of armor. USAGI squeezes her head down as far as she can, arms tucked into the armor's torso, to avoid being spotted through the visor. Outside, a GUARD and a convention WORKER (kind of a lazy stoner type) can be heard talking.

WORKER

(O.S.)

But that booth is all the way on the other end! How did it end up here?

GUARD

(O.S.)

I don't know. I don't care. It's an obstruction, we can't let it sit here. Just get it out of the way. Take it over there, and let them handle it.

WORKER

(O.S.)

Got it.

For a brief moment, silence. Then, the upper section of the armor lifts up (from the WORKER trying to lift the armor from underneath the shoulders) and USAGI briefly spots the DISGUISE PEN. She reaches out to grab it, but before she can get a grip, the WORKER lowers the torso back down. The PEN falls to the ground as USAGI pulls her arm back in.

WORKER

(O.S.)

Damn it.

The armor begins to shuffle, the worker groaning from the effort of lifting both the armor and USAGI. After a could of seconds, the armor is lowered.

WORKER

(O.S.)

Christ. . . Looks like I need a dolly.

USAGI peeks out the visor. She sees the WORKER walk away from the armor, stop, bend down to pick something up, and then keep walking. Then, after a moment, the armor vanishes, and USAGI is in her normal clothes.

USAGI

Oh, thank God!

USAGI runs into the middle of the aisle, looking for the fallen DISGUISE PEN. No sign. Then, USAGI catches sight of the worker walking off. Disappearing behind someone, he then reappears. . . dressed in a different outfit.

CUT TO:

Tracking shot of the WORKER as he makes his way down the aisle, admiring the many costumes on display (particularly those worn by attractive women), repeatedly clicking on the DISGUISE PEN. As a result, he assumes the dress of everyone he sees (which means he's often in scanty woman's clothing). This earns the hapless, unaware WORKER more than a few double takes, particularly from the women he is admiring. Being kind of an idiot, he just smiles and nods.

CUT TO:

USAGI. Horrified, she runs as fast as she can toward the ever changing WORKER, forcing her way past the crowd. Finally, she catches up to the WORKER and stops him.

USAGI

Hold it! Hold it! Stop!

(points to PEN)

Excuse me, but that's mine!

The WORKER looks at the pen, somehow not noticing his new appearance.

WORKER

This?

USAGI

Yes, the pen! It's mine!

WORKER

Well, you'll have to file a claim.

USAGI

. . . What?!

WORKER

I'll leave it with security. You can fill out a form and claim it from them.

USAGI

Oh. . . Okay.

USAGI kicks the worker right between the legs. However, his particular costume acts as a defacto "cup," and he feels almost nothing.

WORKER

Hey!

The WORKER breifly gazes down, and finally realizes how he's dressed.

WORKER

HEY?!

USAGI grabs the pen out of the stunned WORKER'S hand and makes a run for it. Unfortunately, right ahead of her are a pair of SECURITY GUARDS.

GUARDS

HEY!

USAGI, after a short comedy beat, screams in terror and exasperation and runs in the opposite direction.

CUT TO:

Hallway. TELLU escorts MARIE down the hall, keeping everyone at a distance, including some rather frustrated-looking executives from the Manga company publishing the new Sailor V manga. TELLU smiles that evil smile of hers as we--

CUT TO:

CAPCOM.

EUDIAL has ripped wires out of the walls and the control panel. Moving at superhuman speed, she's piecing together a device to bypass the electric current. MIMETE is still on screen, still droning on.

MIMETE

Ugly snail lady. . . Stupid snail lady. . . Smelly snail lady.

EUDIAL

(frustrated, explodes at MIMETE-- in Engrish)

SHALAP YOU PRICK!

MIMETE

It's funny. . . all those years you wanted me gone. All those years you blamed me for every single screw-up. . . the turth is, all those years I was making you look good.

EUDIAL is suprised by this-- that doesn't sound like something MIMETE would say, especially now.

MIMETE

I was covering up for you. Deliberately, accidentally. . . doesn't matter.

EUDIAL puts the finishing touches on her jerry-rigged invention (which is connected to her original apparatus) and prepares to activate it.

EUDIAL

Mimete. . . I have a theory. . .

MIMETE

Every time I messed up--

EUDIAL activates the device. Sparks fly from the control apparatus, and the video collage becomes distorted.

MIMETE

I-I-I... I--

Then, the image of MIMETE is replaced, briefly, by that of TELLU.

TELLU

-- acted as c-cover for your incompetannnnt a-a-ass--

And then the screen goes black. The room, once again, is lit only by the red emergency light. A misty smoke fills the room. EUDIAL still has a lot of work to do, but it's a start.

EUDIAL

Ah. . . whaddaya know.

And Yes, I AM Linking to This Post on my Facebook. Ponder the Irony Profound.

So, yeah. . . The Social Network.

The short review: It's good. The look-- aside from a few pointlessly overstylized scenes, like the rowing race-- is solid, which is a given for a David Fincher film. Likewise, Aaron Sorkin's script is expectedly witty and well-paced, though it is hampered somewhat by the fact that it is so obviously an Aaron Sorkin script (i.e. everyone talks like the movie is in fast forward-- not bad in and of itself, but again an obvious Sorkin tic).

My biggest problem with the movie really has nothing to do with the execution, but with the concept-- specifically, the film expects us, the audience, to believe that Facebook really is as revolutionary and innovative as everyone in the films says it is. But, speaking only for myself. . . I don't believe it. I'll admit that I came pretty late to Facebook (indeed, for years I made a point of avoiding it), so maybe I had to be there as it was unfolding to really appreciate it. Nevertheless, to me Facebook is little more than a glorified bulletin board, it's only real importance stemming from the very fact that "everyone's doing it," and not from what's actually being done. Maybe that is what it comes down to, but then what exactly is revolutionary and innovative about the fact that people mostly do what other people do?

Indeed, the film's insistence on the brilliance of Facebook was the one thing about the film that nearly caused me to dislike it. Despite of its obviously negative portrayal of Mark Zuckerberg, the film feels like blatantly pro-Facebook propaganda. This is especially disappointing considering it's pretty brilliant theatrical trailer, which suggested more of an examination of the Facebook phenomenon:



What we get instead is another "paradigm-shifting genius turns out to be kind of a dick" story, and you can do that story with all kinds of paradigm shifting genius dicks. How 'bout "The Physical Postulate," the story of how Albert Einstein discovered the theory of relativity-- and in the process sold out his best friend, Marcel Grossman (before you cry foul regarding the accuracy, remember what film we're talking about here).

I'm trying to get one of these out per day.

Click Here for the Previous Part.

We follow USAGI in the midst of a densely packed crowd. She had trouble seeing through all the people, but it appears she's lost the security guards. But then, out of no-where, a hand grabs her by the sleeve.

GUARD

Hold it!

USAGI tries to pull away, but it's no use. Just before the guard can get a firmer grip around USAGI'S forearm, the sleeve he's holding vanishes, and USAGI (in a new, sleeveless disguise) falls on the floor and scurries past a crowd of people. The guard, after a half-second of shock, chases after her. Pushing his way through the crowd, he accidentally knocks over a mascot in a cute and buly costume (kinda like this:



)

GUARD

(bowing to Mascot)

Sumimasen!

The GUARD helps up the mascot and, after another apologetic bow, runs off. We follow the MASCOT for a moment, and then--

REAL MASCOT

Hey!

The pan to reveal the REAL MASCOT-- the MASCOT we've been following so far is, of course, USAGI.

REAL MASCOT

(accusational)

Where did you get that costume?!

USAGI-MASCOT runs off awkwardly. REAL MASCOT, equally awkwardly, follows USAGI-MASCOT around a corner, but the doppelganger is nowhere to be found. REAL MASCOT walks off. USAGI, hiding against a wall, then emerges, dressed as a Playboy Bunny (yes, I went there, again). USAGI looks down at her outfit.

USAGI

(disgusted)

Oh my God.

CUT TO:

CAPCOM. EUDIAL is still typing commands into her apparatus. After a moment, something comes back online-- it's by no means completely fixed, but it's progress.

EUDIAL

(to KAO LING)

Kao Ling? Kao Ling, do you read?

CUT TO:

Underground Lab, Control Room.

KAO LING

Eudial! Eudial, I can't--

CYPRINE

We're back on Secutiry Comm!

CUT TO:

Main Hall. We see a SECURITY GUARD trying to establish radio communication.

GUARD

Capcom, do you acknowledge, over?

(beat)

Capcom, please respond, ov--

C/P

(over radio)

This is Capcom. We acknowledge. We had a glitch in our comm system, but it's been resolved. Resume pursuit of subject, over.

GUARD

Acknowledged. Over.

The guard walks off frame, revealing USAGI in the background, looking very uncomfortable in her Playboy bunny outfit.

CUT TO:

A medium shot of USAGI. She looks around, waiting for the right moment to change-- and the right disguise to change into. Spotting something she likes, she gives a quick look around (to ensure no-one sees her change) and transforms: she's dressed in a Star Trek uniform (late DS9 era) and painted up to look like a Trill. USAGI stops to admire her snappy new look when--

NEWSLADY

Sugoi!

USAGI turns around abruptly. Somehow, she missed a NEWSLADY making her way through the hall, complete with camera crew! She signals the crew to follow her as she makes her way to USAGI.

NEWSLADY

Hey! Hey, can you do that again?

USAGI

Uh--

(holds up hands)

Wakarimasen!

NEWSLADY

(English, pointing at costume)

Can you do again!

USAGI tries to back off, but the NEWSLADY and her crew follow. This attracts the attention of the same SECURITY GUARD we saw from the beginning of the scene.

NEWSLADY

(English)

You, uh, change dress! Can do, uh, again?

SECURITY

(to NEWSLADY)

Excuse me, Ma'am. Please don't bother the--

USAGI panics and runs off.

GUARD

(suprised at USAGI'S reaction)

Hey, hey! Wait!

The GUARD pursues. We follow USAGI for a couple of seconds as she runs through the aisles, between large display stalls for various shows/games/movies/etc.. After this, she dives into a crowd of people, forcing her way through, much to their irritation. She emerges from the other end crowd disguised as Misato Katsuragi from Evangelion (and yes, that IS another in-joke). Unfortunately, the people she shoved past continue to heckle her, making a smooth escape impossible.

NEWSLADY

(from a distance)

Yes, yes! Like that!

GUARD

What the--?

USAGI runs off.

GUARD

Stop!

USAGI runs down a corner. We follow the GUARD as he pursues. He bumps into a rather frail-looking young woman wearing a red bandanna, apologizes, and then notices a disturbance in another crowd of people, this time in front of a display where actors are taking part in a staged promotional drama. The actors-- a man and a woman-- are engaged in a heated argument (or rather, their characters are). The GUARD pulls out his tazer just as USAGI energies from the crowd, away from the stall, dressed in the same costume as the actress on stage.

GUARD

(pointing tazer)

Hold it!

USAGI freezes.

GUARD

Down on the ground.

USAGI

Okay, don't you think that this is overkill--

GUARD

Now!

On stage, the male actor pulls a prop gun on the actress, and starts acting really mad. USAGI, meanwhile, is frozen in fear.

GUARD

I'm gonna give you 'til the count of three to comply. One!

USAGI

No, no, wait--!

GUARD

Two!

USAGI

Please!

GUARD

Thr--!

ACTOR

DIE!

The actor fires the prop gun (loaded with blanks to make proper BOOM sounds) just as the GUARD is about to count to three. At that moment, blood squibs in the actresses shirt are set off, giving the impression she has been shot. As USAGI had transformed into the actress' clothing, the squibs in HER shirt go off at exactly the same time. Fake blood sprays all over USAGI, the stunned GUARD, and quite a few of the surrounding visitors, who look on with horror.

GUESTS

(first, stunned silence, then--)

Oh my God. . . She's been shot. . . He shot her. . . She's in shock. . . Someone help her!

GUARD

(to GUESTS)

No, no, wait! It was a tazer! It was a taz--

(to USAGI)

Get down.

(raises tazer)

Get down now--!

GUESTS

Somebody stop him!

Panic. Some of the GUESTS rush the GUARD-- most just run away, screaming. USAGI seizes the moment and runs off.

GUARD

(to USAGI)

Stop! Stop!

(to GUESTS)

Get off of me!

The GUARD manages to fight of the people restraining him and pursues USAGI. In all the pandemonium, however, USAGI has vanished. The GUARD passes by a very tall, LARGE MAN dressed as Alphonse Eric (basically he's a giant suit of armor). The GUARD passes by the LARGE MAN. We hold on the LARGE MAN until he himself walks off frame, revealing an identical suit of armor about ten meters further back, standing in the middle of the aisle. It appears as though someone inside is struggling to get out.

CUT TO:

Inside suit of armor. USAGI struggles in vain to try and move the suit of armor, but it's no use. She's far too small for her current disguise-- all it can do it hold up her weight. USAGI then tries to activate the disguise pen.

CUT TO:

The right hand of the suit of armor, holding the DISGUISE PEN. USAGI tries a couple of times to activate the pen, but this too is futile.

CUT TO:

USAGI'S POV. Through the eye slits in the armor, we see a small group of SECURITY GUARDS entering the area, trying to calm things down. After a couple of moments, one of the guards notices the armor. Suspicions aroused, the guard slowly, ominously, makes his way toward the armor.

USAGI

(whispering)

No! No! No! No! No!

Let the Fun Begin!

As promised, the next piece of the script. I'm still in the process of typing it up, so I'll just post it as I go. Enjoy!

Click here if you missed the last part.

We follow a female secuitry guard walking toward one of the entrances into the main complex. Pulling back, we see another female security guard following the first guard. The second guard turns her head, revealing herself to be none other than USAGI.

NOTE: All secuity guards, plus USAGI when in security guard disguise, will carry functioning radios, and we will be able to hear all security communications-- mostly random chatter-- through these radios.

CUT TO:

A medium shot of the first guard at the entrance. She swipes a keycard through a card reader and opens the door.

CUT TO:

Medium shot of USAGI. She spots the guard going through the door.

USAGI

(whispering)

Aw, crap! Wait!

USAGI

USAGI runs toward the door, but it's too late-- the door closes and locks just as USAGI approaches.

USAGI

Dammit!

USAGI, after a couple of futile tugs on the door handle, notices the keycard reader on the door lock.

USAGI

(examining lock, getting an idea)

Well. . . the radio works.

Searching through "her" pockets, USAGI pulls out "her" wallet and searches for the keycard.

CUT TO:

Close-up on the open wallet. USAGI files through the contents: 30000 yen in bills-- USAGI takes a moment to admire the cash-- and various identity cards, bank cards, membership cards, etc.. As she flips through the cards, she notices that they all bear her name (Serena Mundy) and, when applicable, her picture. USAGI takes a moment to examine "her" driver's license, complete with highly unflattering photo.

USAGI

Huh. . . Well played, pen. Well played.

USAGI puts the drivers license away and continues searching for the keycard.

USAGI

Now I just need the keycard.

USAGI flips through the last of the cards. No sign of the keycard.

USAGI

Oh, don't you. . .!

USAGI searches through the other compartments of the wallet.

USAGI

Come on!

USAGI quickly scans the area around her-- and spots a security guard heading her way.

USAGI

Dammit!

(searching through wallet)

Come on! Come on!

USAGI stumbles upon a personal photo: "USAGI" is in an intimate embrace with a rather large man, probably an amateur sumo wrestler. Even as rushed as she is, she has to stop for a brief moment and examine the picture of her and "her" boyfriend. She then looks to the other security guard-- he's getting closer.

USAGI

Dammit!

USAGI shuts the wallet. She's getting desperate. Then, by mere fluke, she spots the keycard-- hanging around her neck. After a moment's embarrassment, she swipes the key through the card reader. A red light flashes on the reader, indicating that the swipe didn't work.

USAGI

Oh, you-!

USAGI quickly swipes the card with the magnetic stripe turned the other way. This time it works, and USAGI quickly sneaks inside.

CUT TO:

Air duct. LUNA is making her way through the building, peering down through air vents to see where she's going. After a moment, she stops.

LUNA

(to herself)

. . . No, she wouldn't.

After a pause, LUNA continues on.

LUNA

She wouldn't!

CUT TO:

TELLU and MARIE. TELLU is standing well away from MARIE, waiting for whatever comes next. After a moment, MARIE starts leaning toward the door. Immediately, there's a knock at the door.

SUIT

(behind door)

Marie-sensei?

(knocks)

Marie-sensei!

TELLU, caught off guard, runs over to the door, keeping an eye on MARIE.

TELLU

Yes?

SUIT

Is Marie available? I wanted to speak with her before she comes on stage.

TELLU

I'm sorry, but Mrs. Baishaku gave very specific instructions. She's not to have any visitors before appearing on stage.

SUIT

I'm sure she'd make an exception--

TELLU

No exceptions.

SUIT

I spoke with her on the phone this morn--

TELLU

I do apologise, but--

SUIT

(impatient)

Now you listen to me. We're all getting a little tired of these games. We've been dealing with Marie, over the phone, through e-mail, for the past three months, with not ONE face-to-face meeting, and I've never said one word! Not one word!

TELLU

(rolling her eyes, whispering to herself)

Why stop now?

SUIT

Now I think I'm entitled to at least one in-person meeting before we go through with all of this, you understand?

MARIE groans, leaning toward the door. TELLU gets an idea.

SUIT

I want to see Marie, and I want to see her now!

CUT TO: Outside MARIE'S room, where SUIT is standing. The door opens, and TELLU sticks her head out.

TELLU

Actually. . . she's ready right now. Please. . .

(smiling wickedly)

Come in.

SUIT

It's about time!

SUIT enters the room, and the door closes behind him.

CUT TO:

USAGI, still in a security uniform, walking down a hallway.

USAGI

(to herself)

Alright. I'm in. First hurdle is. . . hurdled. All I gotta do now is find Marie Baishaku. Can't be that hard.

USAGI comes up to a door and unlocks it with a keycard.

USAGI

This is just one of those places that looks bigger on the outside than on the. . .

USAGI opens the door and finds herself in the midst of a massive convention hall, swarming with people. She stands at the door, stunned.

USAGI

Oh God.

USAGI, after a moment of shock, finally realizes that she needs to keep moving. She picks a random direction and walks that way, trying to avoid the swarms of convention visitors. We follow USAGI until massive advertisements for the new Sailor V become visible in the far background. We hold on the advertisements for a moment, and then--

CUT TO:

Another hallway, with the female security guard USAGI was following earlier. Just as she turns a corner, she spots BLONDIE and her WHITE CAT run down another hall, disappearing.

GUARD

Hey!

The guard runs after them, coming up to an adjacent hallway. As she passes, something catches her eye. Turning to see, she spots an unconscious man and rushes to his aide, calling for help over the radio.

CUT TO:

INT, Underground Lab, Control Room.

PTILOL

(to Guard from last shot)

Negative, negative. Keep the area secure, paramedics are on the way. Over.

On the other end, CYRPINE, as if reacting directly to what PTILOL heard, turns to KAO LING, concerned. KAO LING looks at CYPRINE, then turns away. She's as confused about this as they are.

CUT TO:

TELLU and MARIE. MARIE stands over the unconscious body of SUIT. She's eerily content. TELLU stands at the other end of the room, on guard in case MARIE wants seconds.

EUDIAL

(V.O., over radio)

Tellu!

TELLU

What?

EUDIAL

Are you feeding her?!

TELLU

(turning to the unconscious body)

Yeah, a little.

EUDIAL

Christ, Tellu!

TELLU

She's hungry, Eudial, and I have no intention of becoming her next meal. And besides, stealth isn't exactly a perogative here.

EUDIAL

(V.O.)

Neither is spooking off peroxide. Be careful!

TELLU

(beat, then faux-perplexion)

Why is it your voice I hear, and not Kao Ling's?

(beat, then smiles)

You're not still in CAPCOM, are you?

CUT TO:

CAPCOM. EUDIAL is indeed still there, sitting at a control panel.

EUDIAL

(sighs)

I just have to work out a few kinks. HQ still has video feed and security communications access, but they're having trouble contacting us.

CUT TO:

TELLU and MARIE.

EUDIAL(V.O.)

It's nothing serious.

TELLU smiles that evil smile of her's.

TELLU

I'm sure it's nothing you can't handle, Eudial.

CUT TO:

CAPCOM. EUDIAL seeths at TELLU'S comment. Then, scanning across the screens, she spots something.

EUDIAL

Hello!

CUT TO:

The security feed. It's BLONDIE and her WHITE CAT. She's on the second floor of the main convention hall, looking down of the hordes of conventioneers below. EUDIAL'S software tries to identify her, but her back is turned to the camera, so it can make a sure verification.

EUDIAL

Kao Ling, are you getting this?

CUT TO:

Underground Lab. The security feeds are starting to get fuzzy.

CYPRINE

(to Security)

All units in sector E3, be advised. . .

KAO LING

(to EUDIAL)

Eudial, we have your target but you're breaking up!

CUT TO:

USAGI, in the main hall. We hear CYPRINE'S and PTILOL'S (C/P's) instructions (in altered voices, of course) over USAGI'S radio.

C/P

(over radio)

Intruder alert. Repeat, intruder in sector E3. Caucasian female, blonde--

USAGI'S heart skips a beat. She scans the area, and realizes SHE'S in sector E3.

C/P

(over radio)

-- age, early to mid-twenties--

USAGI'S almost flattered by that.

C/P

(over radio)

-- dressed in a white blouse and blue skirt, with a big red bow on her head.

USAGI breathes a sigh relief.

C/P

(over radio)

May be accompanied by a. . . white cat.

USAGI scans the surroundings for any indication of the Sailor V stage. By accident, she spots BLONDIE on the second floor. BLONDIE, whose facial expressions still cannot quite be made out, seems to be staring right back at USAGI. They are both perfectly still.

C/P

(over radio)

Do you acknowledge?

(pause)

Do you acknowledge?

USAGI senses something strange about that last transmission.

C/P

(over radio)

You!

USAGI'S heart skips another beat.

C/P

(over radio)

In front of the Bleach stage, do you copy?

USAGI looks to the side-- she is indeed in front of the Bleach stage.

CUT TO:

Undergound Lab. PTILOL has USAGI on security feed.

USAGI

(over radio)

Uh, yes. Yes! I copy!

PTILOL

Do you have eyes on target?

CUT TO: USAGI. She looks toward BLONDIE again.

USAGI

Yes! Eyes. . .

(quickly and impulsively gives an "I'm watching you" gesture to BLONDIE)

Eyes on target. Target is eyed!

PTILOL

(over radio)

Then why haven't you engaged?

CUT TO:

Underground Lab. On security feed, USAGI is still not engaging.

PTILOL

(suspicious)

Identify yourself.

Hold on the feed. USAGI is frozen.

PTILOL

I repeat, identify your--!

At that moment, the video feeds and radios explode in static.

CUT TO:

USAGI. The static burst over the radio startles USAGI. She covers her ears (with one hand still holding the disguise pen) and shuts her eyes. We see this for only a split second before we--

CUT TO:

CAPCOM. The room goes dark, save for one red emergency light. Again, we hold for only a split second before we--

CUT TO:

USAGI. Still covering her ears, eyes still shut, USAGI bumps into someone. This causes her to accidentally click the disguise pen and assume the disguise of BLONDIE. With the cessation of the noise-making radio's very existence, USAGI opens her eyes and uncovers her ears, and soon realizes what's happened.

CUT TO:

Underground Lab. C/P scramble to regain communication.

KAO LING

Eudial! Eudial, respond!

CUT TO:

CAPCOM. EUDIAL is still in shock.

EUDIAL

(whispering)

What?

(beat)

No. . .

EUDIAL snaps out of stupor, and into panic.

EUDIAL

No! No, not again!

(into radio)

Kao Ling! Kao Ling, do you read?!

(frantically typing in commands)

Tellu! Tellu! Come in!

CUT TO:

MARIE and TELLU. TELLU leans against a wall, grinning evil.

TELLU

(to herself, rehearsing)

Is that what Eudial told you? That Mimete sabotaged her?

(beat, then faux shock)

That I sabotaged her?

(widens smile)

Perish the thought! After her string of failures, I don't think there's anything she wouldn't say to protect herself. I guess it's a good thing I came along. Frankly, I'm still amazed myself. I mean, catching Sailor V? Doing what Eudial and Mimete together couldn't accomplish? All by my lonesome?

(beat)

That's the stuff of legend.

CUT TO:

USAGI. She scans the room for another female security guard. Finally, she spots one-- but at that very moment, the guard spots her as well. USAGI tries to limit eye contact, but the guard is already approaching. USAGI realizes she can't assume the guard's disguise-- not yet-- so instead she runs off, forcing her way through the hordes of visitors. Let the fun begin.

I Should Not Write the Sailor Moon Movie (but I'm going to anyway. . .)

Happy 2011!

I wanted to get this posted on New Years Day, but. . . you know, stuff.

Anyway, this is the next portion of the Sailor Moon first draft script. I've been working on this, on and off, since I went to Japan. What I'm posting today is only about half of what's ready; the rest is written in my notes, and only needs to be typed up and polished a bit. Expect the next part within the next few days.

It's been almost a full year since I started this ridiculous project. It's been very rewarding, not least in showing me just how much I DON'T know about writing a proper screenplay. Even now, I'm only just realizing how much work will be needed just to fix up what I've already written. I've already decided that a major overhaul of the first act is needed. In addition, the material that has been posted here-- and indeed, the material that I'll be posting today and in the coming days-- will need to be seriously streamlined. For example, the portion of the script that I'm posting today (which, remember, is only a fraction of what I have ready) represents about seventy-one pages of 12 point Times New Roman text-- single spaced. In a way, this is a good thing: it's better to have too much material and ideas than to have too little. On the other hand, it's a lot to have read through, and a lot of it won't make the cut, which only makes it more tedious.

I'm actually torn on whether it was a good idea to start posting this early version of the script. Even leaving aside the possibility of plagiarism (which is pretty remote-- I'd be flattering myself if I thought otherwise) as well as the stigma associated with "self-publishing," I sometimes feel that in posting these very rough, very imperfect early drafts and ideas, I'm revealing a bit too much to the reader. My original hope in doing this was that I would get some constructive-- even harsh-- criticism, and that this would help make for both a better product and a hardened writing ego. (I DID get a little bit of that kind of criticism from a couple of commenters some time ago, and I'm grateful for it.) But in any event, I've committed to this, I'm glad to be doing it, and I will finish it. . . even it takes another whole year and maybe even another trip to Japan.

So here it is.

Note: like last time, I'll be dividing the script into chunks for easier reading. I've also decided to stop bolding the slug notes-- it's tedious, and it's not even done in real screenplays, so why bother.

Enjoy!

If I Wrote the Sailor Moon Movie #21: Sailor Moon Screenplay Draft Part #6

The PROFESSOR continues on. KAO LING follows after him. We hold on the computer, surrounded by darkness. We hear the doors wind shut. Once the noise dies down a few seconds later, the lights around the computer go off, leaving the room in total silence and total darkness.

Then, the sound of an ALARM CLOCK.

CUT TO:

INT, Mizuno Residence, AMI'S Bedroom

We continue to hear the alarm clock. From underneath her covers, AMI stumbles out of bed, turning the alarm clock off. She sits on her bed for a moment, rubbing her eyes, before turning her gaze toward a NOTEBOOK laying on a nearby desk. We CUT TO:

A top-down close-up of the NOTEBOOK, which initially lays closed on the desk. After a moment, from offscreen, AMI'S hands open to the first page, then the second, third, and so on, slowly enough for us to see that the notes written within contain a summary of the documents she saw the night before-- sketched out maps, numbers, facts, etc..

CUT TO:

INT, Underground Lab

A top-down view of TELLU, lying on a sun chair in a two-piece bikini and sunglasses, bathed in bright light. We CUT TO:

A long shot to TELLU. At first, we see only TELLU in a small island of light. Then, more lights come on, revealing a vast chamber filled with strange looking plants. We CUT TO:

A top-down close-up of TELLU, smiling.

CUT TO:

INT, Kino Residence, Kitchen

Yet another top-down view, this time of a kitchen counter top. We see a pair of hands preparing lunch. We then pan up to reveal that the hands belong to MAKOTO.

CUT TO:

Front door of the apartment. Just before heading out, MAKOTO pulls out her cell phone and checks for messages. Her face sinks.

CUT TO:

Close-up of the cell phone. We see that SEMPAI has left a message.

CUT TO:

INT, Underground Lab

A close up of EUDIAL. From her expression, we can tell she's not happy at all.

KAO LING(O.S.)

The school serves its own purpose, separate from us. We do not use cattle for our personal chores.

CUT TO: Two shot of EUDIAL and KAO LING.

KAO LING

There is a reason why we do things our way. We keep things small, we keep things simple.

In the background, TELLU, still in he bikini, walks into view, eavesdropping on the conversation.

KAO LING

We keep it in the family. Do you understand?

EUDIAL

Yes.

TELLU smiles contemptuously.

KAO LING

I'll be pairing you with Tellu today. She's been taking care of--

CUT TO:

A close-up of REI. Off screen, we hear the RECTOR of T+A academy conducting early morning mass. REI couldn't be any less interested in the mass. From her expression, we can tell that her mind is focused on the events of the last day.

RECTOR(V.O.)

Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

CUT TO:

A few moments later. The students file out of their pews and into procession for the communion, as a hymn is sung in the background. REI politely steps aside, allowing other students to get in line without joining in the communion itself. REI looks into her hands. CUT TO:

A close-up of REI'S hands. We see that she's holding the rosary beads she found the day before. We hear another alarm clock begin to ring as we CUT TO:

INT, USAGI'S Bedroom

A close-up of the chair LUNA was sleeping on-- it's empty. We pan to USAGI, who struggles toward wakefulness and turns off the alarm, only to realize that LUNA is gone. She stares at the chair for a moment as we CUT TO:

EXT, Mundy Front Lawn, DAY

USAGI walks out to the sidewalk, clearly a little saddened at LUNA'S disappearance. As she comes, she sees SAMMY kneeling in front of some bushes, holding a cold cut in his hand.

SAMMY

Apollo? Come here Apollo.

USAGI, curious, walks up to SAMMY.

USAGI

Apollo?

SAMMY

(looking up at USAGI)

The cat.

USAGI

You saw her?

SAMMY

(turning back to the bush)

I thought I did.

(beat)

I knew you'd end up losing her. Here Apollo!

USAGI

I thought you wanted to name her Armstrong.

SAMMY

Nah. Armstrong was a stupid name. What's worse is that the PERFECT name was staring me right in the face all along: "Apollo!"

USAGI

Apollo's not a girl's name

SAMMY

(turns back around)

Says who?

USAGI

Well, Apollo, for one.

SAMMY

Yeah, like you would know. Besides, it better than "Loo-nuh".

At that moment, almost as if to taunt SAMMY, LUNA emerges from the bushes, meowing. SAMMY turns to her, and USAGI smiles, relieved.

SAMMY

. . . Luna?

LUNA meows again. USAGI kneels next to SAMMY.

SAMMY

(to LUNA)

You're going with Luna? Really?

USAGI

The naming of cats is a difficult matter.

(pets LUNA)

It isn't just one of your holiday games.

SAMMY, indignantly, sets the meat on the ground in front of LUNA and stands up.

SAMMY

Whatever. "Luna".

SAMMY walks off. Once he's gone, USAGI moves in closer.

USAGI

(whispering)

Just to make sure. . . you CAN still talk, right? I'm not crazy?

LUNA swallows a piece of meat.

LUNA

"Holiday games?"

USAGI sighs, relieved yet again.

USAGI

It's a poem my dad read me.

(stands up)

Anyway, I have to get to school!

LUNA

You're not going to school.

USAGI

What?

LUNA

I called the school and told them you're not coming in today.

LUNA starts walking down the sidewalk. USAGI gets up and follows.

USAGI

Wait. . . YOU called--?

LUNA

I just barely managed to mimic your mother's accent, so I had to tell them I was sick too.

USAGI

Wait wait wait-- sick? That means I need--

LUNA

A doctor's note. I know, I know. We'll cross that bridge when it comes.

USAGI

But--!

LUNA

By the way, I had to improvise somewhat, so if Sakurada-sensei asks about the delirium, tell her your memories are jumbled and unreliable.

USAGI

Delir--?

LUNA

Oh, and if your mom still hasn't found the phone when we get home, it's under the brown ottoman.

USAGI

Luna--

LUNA

I just hope they don't notice the toothmarks.

USAGI

Luna!

The two come to stop.

LUNA

What?

USAGI

Luna, I WANTED to go to school today!

LUNA

Usagi, I don't plan on making a habit of this.

(beat)

In fact, I think you need to put more effort into your studies--

USAGI

(sighs)

It's not THAT.

USAGI, frustrated, walks off. LUNA follows. CUT TO:

EXT, Front Gate of MARIE BAISHAKU'S house, DAY

A static shot of MARIE'S front gate. In the background, we hear a telephone conversation between MARIE and a corporate SUIT.

SUIT(V.O.)

We've already gone over the schedule, but I thought we'd just briefly review--

MARIE(V.O.)

I've been through these sorts of things before.

We see a black SUV, complete with tinted windows, pull up in front of the house.

SUIT(V.O.)

Well, that's true, but you've never really taken these things very well. And besides, things have changed.

CUT TO:

A close up of a security keypad.

SUIT(V.O.)

Security has become much more of a focus since you were making appearances.

A hand enters the frame and punches in a security code. The front gate opens immediately afterward.

SUIT(V.O.)

These things are so much vaster in scope now.

CUT TO:

INT, MARIE'S house, Hallway

A security camera feed, displaying the hallway. There's no sign of the violence that took place there at MIMET'S hands earlier. The conversation continues, but now the voice on "Marie's" end is that of someone else, named CYPRINE.

SUIT(V.O.)

The industry is not what it used to be, Marie.

CYRPINE(O.S.)

Hopefully, it hasn't changed TOO much.

We see two women, dressed in black, making their way down the hall. One of them is carrying a metallic suitcase with a BLACK STAR painted onto it.

CYRPINE(O.S.)

Listen, I'll be fine. I've been over the procedure: report to Takamaru-san and he'll direct me through the rest. Just make sure the art is ready.

CUT TO:

INT, SUIT'S office. SUIT stands to one side of the frame. In the background, we see various pieces of promotional artwork--posters, life-sized character cutouts-- for a new manga called "Sailor V XX", obviously featuring Sailor V.

SUIT

Oh. . .

(Turns back to admire the art)

It'll be ready.

(Turns back to face camera)

Marie. . . I know these things haven't gone well for you in the past and, well, we're glad your spirits are so high.

CUT TO:

INT, MARIE'S House, Living Room.

MARIE and BAISHAKU-SAN sit side-by-side on a love seat, holding hands, staring out blankly and serenely. The room is adorned with various, slightly strange looking potted plants. The MARIE we see is absolutely silent as the conversation continues.

MARIE(V.O.)

Don't get me wrong. I can't wait until this is all over.

We hear the sound of the two women in black approaching from outside.

MARIE(V.O.)

It looks like my ride's here. I'll see you a Big Sight.

The phone call cuts off. CUT TO:

INT, SUIT'S Office

SUIT closes his phone, giving a bemused look before putting the phone away. Another SUIT appears.

SUIT #2

Remind me again why we've put up with her crap these past three months?

SUIT

Because we're broke. And Sailor V is our only way out.

SUIT #2

(beat, the sighs)

Don't remind me.

CUT TO:

INT, MARIE'S House

The two women in black, who we now realize are EUDIAL and TELLU, are just outside the door to the living room, where MARIE and BAISHAKU-SAN are sitting. EUDIAL kneels down, opening the suitcase.

EUDIAL

I don't know how you can be so calm.

TELLU

Really? You didn't see all my plants as we were--?

EUDIAL

Yes, I saw all your custom-made plants, and I know what they're SUPPOSED to do. I WAS at the meeting.

EUDIAL pulls out a handheld computer pad.

TELLU

Then you KNOW that their pheromones--

EUDIAL then pulls a HARNESS out from the suitcase. EUDIAL presses a button, and the HARNESS immediately extends-- it's basically a long, rigid handle with a strange looking collar at the end. TELLU is briefly interrupted by the extending HARNESS.

TELLU

. . . were designed specifically to keep "it" nice and calm.

TELLU takes the HARNESS.

TELLU

I'm more worried about this thing.

(gestures to the HARNESS)

It's not even tested.

EUDIAL stands up.

EUDIAL

It IS tested, as of two bloody weeks ago. I don't care what Kao Ling says. It's ready.

TELLU

Like your tracking device?

Pause.

EUDIAL

Yes. . . like my tracking device.

A tense pause, as EUDIAL glares at TELLU suspiciously.

TELLU

You know--

EUDIAL

(sharply)

What?

TELLU

--with that other Daimon still on the lose--

EUDIAL

What about it?

TELLU

Well. . . the pheromones released in this house are specially designed as a sedative for "you-know-who."

(points her head toward the door)

But it's possible that the pheromones could have different effects on different Daimon. It might promote aggression, or euphoria, or even--

(shudders)

--sexual response, depending on the host. . .

(snaps fingers)

You know, it might even attract other Daimon! Daimon from miles and miles away.

(beat)

Honestly, I'm suprised you didn't think of that!

EUDIAL walks up to TELLU, fuming.

EUDIAL

And I supposed this bit of information just slipped your mind.

TELLU

Oh, not at all.

(beat)

It was your assignment. I didn't want to presume on your authority. That's all.

CUT TO:

INT, Underground Lab, Control Room.

In the background, we see a control center, with TV screens showing the security feeds from MARIE'S house. In the foreground, hidden in shadows, we see KAO LING, holding a cell phone. She's waiting for someone on the other end to pick up.

CUT TO:

The PROFESSOR'S lab. We see this phone-- and old touch-tone land line-- ring a few times. Nobody's answering.

CUT TO:

Control Room. KAO LING

KAO LING hangs up, and sighs.

KAO LING

(to herself)

What the hell are we doing?

KAO LING walks out of the shadows toward the control center. At first, she walks awkwardly, as if her joints are in pain. By the time she nears the control panel, she's walking normally, or at least normally enough to conceal her pain. At the controls sit two women. Nearest to Kao Ling is CYPRINE, who does most certainly look familiar:



She looks up from the panel, sees KAO LING, and smiles. The woman sitting at the opposite side of the control panel (facing away from KAO LING) raises her hand and waves. Her name is PTILOL.

PTILOL

Hi, Kao Ling.

PTILOL swivels around to face KAO LING, revealing that she's identical in appearance to CYRPINE.

PTILOL

Eudial and Tellu have just arrived at Baishaku's house.

CYRPINE

The Daimon is being prepared for transit.

CUT TO:

INT, Baishaku House, Living Room

A shot of the living room door slowly opening.

TELLU(O.S.)

Marie-sensei?

TELLU slowly enters the room, HARNESS in hand.

TELLU

Marie-sensei? It's time to go.

CUT TO:

MARIE and BAISHAKU-SAN on the couch. MARIES turns to the door and smiles.

MARIE

(serenely)

Hello.

MARIE lets go of BAISHAKU-SAN'S hand. BAISHAKU-SAN'S head slumps back, his body becoming limp. MARIE slowly stands up.

MARIE

Why don't you come in?

MARIE walks slowly to the door.

MARIE

I know you're nervous, but it's okay. I always have time for my--

TELLU quickly shoves the HARNESS into MARIE'S neck, the collar snapping around her neck instantly. MARIE and TELLU briefly struggle against each other, MARIE trying reach TELLU, and TELLU fighting her off. From the creaking of the floorboards beneath them, we can tell that this is a struggle between two very strong opponents. TELLU presses a button, firing something into MARIE'S neck from the collar. After a second or two, MARIE'S demeanor becomes neutral, and she stops struggling. TELLU, still a little shaken, easily forces MARIE back into the couch.

EUDIAL(O.S.)

Let her go!

TELLU hesitates a moment before releasing the collar and pulling back. MARIE just sits there.

EUDIAL(O.S.)

Marie?

(beat)

Stand up.

MARIE slowly, and somewhat awkwardly, stands.

EUDIAL(O.S.)

See? Just like two weeks ago.

CUT TO:

EXT, MARIE'S House, DAY

MARIE gets into one of the back seats of the SUV. TELLU closes the door behind her and hops into the driver's seat. We follow the SUV as it pulls out. As we follow it, in the far distance, the Yokohama Landmark Tower and other Yokohama waterfront sights come into view.

LUNA(V.O.)

I don't think she ever came back to Tokyo.

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