What? You Wanna Live Forever?

This is a post of farewells, but also of new beginnings.

I've been meaning to post here for a while. Much has happened since I last blogged about. . . Home Depot? I dunno. I don't even remember.

First, I took part in the BC Japanese Speech contest, winning second place in the University division, Beginner category. I would have posted my speech on the blog, except that the copyright is held by the BC Japanese Speech Contest Organizing Committee. Basically, I talked about the time I met Miyuu Sawai (a story you can read about on this blog), and how that taught me courage and whatever.

Second, I've been doing a lot of thinking about that little Sailor Moon side project I started back in 2010, which in the absence of actual writing on the topic could be mistaken for giving up on it. I won't go into details here. . . I'll just mention that it's still on my mental back burner. 

Third, and perhaps most significantly, I've been officially accepted into the JET program as an A.L.T.. I'm going back to Japan! Specifically, I'll be going to the town of Shirakawa. . .

. . . in Fukushima prefecture. . .

. . . What? You wanna-- oh, wait, I already said that.

Anyway, I'm coming up on a new phase in my life, and along with that I hope to enter a new phase of my writing. Kyle Took A Bullet For Me was my first blog. It was, incidentally, also the medium for my first screenplay, Sailor Moon. I look back at both of these things as a huge rough draft of who I want I want to be as a writer, which is probably the best way you can look at something that you're really not all that proud of in retrospect. I mean, hell, the friggen name of this blog was taken from a Tenacious D song. Not a sign of terrific originality. 

So, to commemorate the end (for the foreseeable future anyway) of my life in P.G., in Canada, and in Physics, I've decided to officially end Kyle Took a Bullet For Me. . .

. . . and launch my new blog, Doin' the Nihon Go Go, a chronicle of science, life in Japan, creative ideas (more carefully exposited than my Sailor Moon stuff was), and whatever the hell else I want to write about. All on a damn schedule this time!

So, yeah. Get over there! There might not be anything written up yet, but at least you can admire the template.

Update: I've closed down comments on this blog, mainly so that spambots will stop bothering me.

Actual Idea I Had for April Fools Day Post, Part I

I Can't Stress Enough How Actual This Actual Idea Was. . .

I Should Write the Shitty Family Guy Parody of Star Trek II:


You know I'm really trying because I'm not at all trying!

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

Family Guy Presents: KHAAAAAAAAAAAAAAAAAAAAAN!


by Jeremy K.

A Parody of Star Trek II: The Wrath of Khan by Harve Bennett, Jack B. Sowards, Nicholas Meyer, and
Samuel A. Peeples, and Family Guy, created by Seth MacFarlane.

EXT. NIGHT, Griffin House, Establishing Shot.

CUT TO:

INT, Living Room. WS on GRIFFIN FAMILY-- PETER, LOIS, CHRIS, MEG, STEWIE, and BRIAN-- sitting on the couch watching TV. Suddenly, POWER GOES OUT.

GRIFFIN FAMILY

(grumbling)

Aw man! What the hell! This sucks! (etc., etc.)

PETER

(abruptly)

Too bad there aren't any more Star Wars movies.

LOIS

(surprised)

. . . what?

PETER

Nah, I'm just saying, it sucks that there are no more Star Wars movies. You know, after the first three films, it's like George Lucas just sorta gave up and, y'know, rested on his laurels.

CHRIS

Uh, Dad--

PETER

-- and it wouldn't even bother me as much if it weren't-- I mean, there's just so much back story, so much mythology that we were only given the faintest glimpse of. Like-- like how did Darth Vader become Darth Vader, you know?

BRIAN

Uh, Peter--

PETER

I mean, that alone could have probably sustained a whole new trilogy in and of itself!

(beat)

Anyway, this random-and-yet-strangely-familiar blackout brought that to mind for some reason.
You were saying?

MEG

Dad, they did--

LOIS

(interrupting)

It's nothing, Peter.

PETER

No no no no, no, it's okay, go ahead.

MEG

(catching on)

Oh, uh, Mom's right, it's nothing.

LOIS

Unimportant.

STEWIE

Totally only three Star Wars movies.

BRIAN

(fake anger)

Yeah, only three DAMN IT but on the other hand unspoiled memories childhood dreams all that jazz.

CHRIS

Yes sir-rie. Never know. . . what could have. . . (trails off)

PETER eyes everyone suspiciously.

PETER

Are you hiding something from me?

Everyone else is silent.

PETER

Lois!


LOIS

(reluctant)

Peter. . .

BRIAN

Look, Peter, sometimes ignorance really is bliss.

PETER

(realizing what he's discovered)

Oh my God! There's new Star Wars! That. . . that's amazing!

STEWIE

It's not. It's really not.

PETER

(leaps off the couch)

I-I gotta find this! New Star Wars!

(sing-yelling)

STAR WARS! GIVE ME THEM STAR WARS!

(runs off screen-- we continue to hear him after he's gone)

NOTHING BUT STAR WARS! DON'T LET THEM--

CUT TO TITLE ON BLACK

TITLE

One savaged and molested innocence later.

CUT TO:

INT, WS of FAMILY on couch. PETER has returned. He is frozen with rage. After a tense couple of seconds--

LOIS

(gently)

. . . Peter--

PETER SCREAMS and PUNCHES MEG OFF THE COUCH.

PETER

(screaming)

WE'RE DOING STAR TREK II!

PETER breaks down and sobs.

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

We open on pure black. Then--

TITLE

The 23rd Century. . .

TITLE flies off screen. Then, another TITLE--

TITLE

Which is to say, the twenty-two hundreds. . .

TITLE flies off screen. Then, another TITLE. The scene continues on like this.

TITLE

I mean seriously, what's up with that? . . . Like, how did twenty THIRD century suddenly mean the twenty TWO hundreds, you know? It's crazy! . . . Probably the same morons who said the new millennium begins in 2001, and not 2000. . . Assholes. . .

CUT TO:

INT. Enterprise Bridge, VWS-- The bridge is a mess. Alarms blare, consoles are blown out, support beams have collapsed, fires rage, and crew-members' bodies-- including those of SPOCK(BRIAN), McCOY(DR. HARTMAN), SULU(QUAGMIRE), and UHURA(LORETTA)-- are sprawled about. Only SAAVIK (MEG) remains in her post at the captain's chair. Then, a BRIGHT LIGHT fills the room. SAAVIK, despondent, stands at attention.

CUT TO:

WS, VIEW SCREEN, parting open. We now realize that the "bridge" is just a mock up. In silhouette, bathed in light from the outside, we see CAPTAIN JAMES T. KIRK (PETER) walk on to the bridge.

SAAVIK

Any suggestions, Admiral?

KIRK

Prayer, Mr. Saavik. That, and not sucking.

(to Spock)

Captain?


SPOCK

(opens eyes)

Trainees to the briefing room.


The rest of the "dead" crew stand up and brush themselves off and leave. McCOY is about to leave, but is stopped by Kirk.

KIRK

Physician--

(comedy beat, ZOOM IN to ECU of KIRK, smirking)

Heal Thyself.

Cut to CU of McCoy.

MCCOY

Fuck you.

Cut to TWO SHOT of KIRK and SAAVIK, with MCCOY walking out of frame.

SAAVIK

Permission to speak candidly, sir?

KIRK

(contemptuously)

Very well.

SAAVIK

(fighting emotion)

I don't believe this was a fair test of my abili--

KIRK

(mocking, whiny)

Wah, wah, wai don't fink dis waws  fair test of my-- Suck it up, Saavik! If it's so unfair, how come I managed to beat it?

SAAVIK

(loses it)

Because you cheated, you ass!

KIRK

(cocky, self-inflated)

Yeah, I guess it is kinda cheating to be so awesome!


SAAVIK

No, you idiot! You hacked into the simulation and re-programmed it to--!

KIRK

(as Saavik goes on)

But I guess that's just how I roll: saving the galaxy by the seat of my pants, always coming out on top-- in more ways than one!


Suddenly, the FRESH PRINCE WILL SMITH  jumps into frame.

WILL SMITH

If you know what I'm sayin'!


Just as suddenly, FRESH PRINCE WILL SMITH jumps out of frame.

KIRK

We do, Ensign Fresh Prince. We do.

SAAVIK

-- the only reason you weren't kicked out of the acad--!

KIRK

(talking just to hear his own voice at this point)

You see, unlike some people, James Kirk doesn't lose, and James Kirk doesn't make mistakes! 'Cause if he did, at least one of those mistakes would almost certainly have come back to bite him in the ass by now, and they haven't. Quid pro quo.

SAAVIK

That's QED, moron!

KIRK

Yup, never makes mistakes! None whatsoever.

CUT TO:

INT, WS Enterprise bridge. A FLASHBACK-- Spock, in a blue old-style uniform, sits in the captain's chair. Spock checks his watch, and then presses a button on the captain's chair, activating a communicator.

SPOCK

(into communicator)

Bridge to Captain. Spock here. Uh, it's been six months. Should we set course to Ceti Alpha V and check up on Khan, sir?

CUT TO:

INT, WS of KIRK'S BEDROOM. KIRK, in his familiar TORN UNIFORM, stands at the head of the bed, while a GREEN SKINNED ORION WOMAN lies in the bed, holding a DAGGER. The AMOK TIME FIGHT MUSIC plays in the background.

KIRK

(beat, then into hand communicator)

Yeeeeeeeeeaaaaaaaaaaaaaah. . . let's do that tomorrow.

SPOCK

(through communicator)


Aye aye, sir.

KIRK closes communicator.

KIRK

(to ORION WOMAN)

Say it again.


ORION WOMAN

(sexy)

May I say that I have not thoroughly enjoyed serving with humans?


KIRK

(aroused)

Ohhh yeah.


ORION WOMAN

I find their illogic and foolish emotions a constant-- wait, who am I supposed to be again? 'Cause this feels weird.

We CUT TO:

EXT, Outer space, an exterior shot of a barren, desert planet. We hold as the STARSHIP RELIANT flies into frame from behind, heading toward the planet. We then hear a LOG from CHEKOV (TIM THE BEAR from The Cleveland Show).

CHEKOV(V.O.)

Starship Log, Stardate 8130.4. This report classified MOST SECRET. Log Entry by Commander Pavel Chekov, Duty Officer. We are continuing our search for a lifeless planet which will serve as a suitable test site for the Genesis experiment.

CUT TO: Two shot of CHEKOV, at the science station, and CAPTAIN TERRELL (CLEVELAND).

CHEKOV

Does it have to be completely lifeless?

TERRELL

Don't tell me you got something?

CHEKOV

I suppose it could be a piece of preanimate matter caught in the matrix.

TERRELL

You mean like Tyler Lautner?

CHEKOV

. . . what?

(beat)

Why on Earth did you say that?

TERRELL

. . . I have no idea.

CHEKOV

What a weird, random thing to say!

TERRELL

And hurtful, too!

CHEKKOV

Yes, very hurtful! Tyler Lautner has worked hard for his success!

TERRELL

Yes, yes, of course! Oh wow. . . yeah, just forget I said that and we'll beam down to the surface.

CUT TO:

EXT, Planet Surface. WS of a barren desert. Sandstorms so strong they block out everything more than a few metres away. TERRELL and CHEKOV BEAM DOWN, wearing environment suits. They spot something, and we PAN LEFT to reveal a CRASHED SHIP-- the BOTANY BAY.

CUT TO:

INT, Botany Bay Main Room, WS. A hatch opens, and TERRELL AND CHEKOV ENTER.

CUT TO:

INT, Khan's Room, CU on a BOOKSHELF. CHEKOV enters the room and approaches the bookshelf. We PAN to look at the books as CHEKOV does, with CHEKOV still remaining in shot.

CHEKOV

Infinite Jest, Bridget Jones' Diary,  Primary Colors. . . The Vagina Monologues?! Why, these were all published in nineteen ninety--

ECU on CHEKOV as he makes a horrifying realization.

CHEKOV

Oh no!


CUT TO:

INT, Main Room. CHEKOV runs up to TERRELL and GRABS him by the arm.

CHEKOV

We have to go!

TERRELL

What's the matter-- ?

CHEKOV

Now! Damn! Hurry!

CUT TO:

EXT. Botany Bay Hatch, Two Shot of CHEKOV and TERRELL as they come out the hatch. They're about to flee, but they see something that stops them in their tracks. We PAN 180 degrees to reveal. . . A FUCKING SANDWORM, complete with the ELECTRIC GUITAR MUSIC FROM DUNE! A couple dozen men and women in black clothing, KHAN'S SOLDIERS, run alongside the beast. We then--

CUT TO:

FS shot of KHAN-- played, of course, by STEWIE-- riding the sandworm.

CUT TO:

CHEKOV and TERRELL, who know they are fucked.

To be continued. . .

Valentine's Day-- 'Cause Nothing Says "Love" Quite Like A Holiday Named After a Catholic Priest Who Had His Head Cut Off.

On this, that highest of high fabricated giftcard non-holy days, let us remember that love is evolution's way of making sure Daddy sticks around just long enough to help raise the kids.



Cynicism on Valentine's Day. . . I'll bet no-one's ever thought of THAT before!

I Was Also Considering Calling This "Princess Sailor V's Return to Society Punch!"

Here is is! The second part of Minako Aino's spoiler-heavy backstory! My apologies for the delay. I've been visiting my parents in PG and trying to apply for part-time college teaching job, so the majority of my time has focused on those two things. Plus, this turned out to be quite a bit longer and harder to write than I imagined it would be. But never mind. . . on with the show!

If I Wrote the Sailor Moon Movie #20: The Disappearance of Minako Aino Part #2



Minako Aino had gotten used to total absurdity. She was already an over imaginative schoolgirl when, one day, a talking cat came out of no-where and told her, essentially, that she's a superhero. A superhero who wore a sailor outfit, whose magic weapons were disguised as pens and compact mirrors, and whose (first) archenemy frequently used evil celebrity idols to execute their plans. Hell, she was so comfortable with it that travelling to the north pole to fight an ancient evil kingdom, or being driven into hiding by a mysterious and powerful enemy who would see gladly see her dead, were damn near comforting ideas next to the pure mundanity of work and school. Her recent brush with reality-- living with a broken family crushed by a dying economy, like so many others-- frightened her to the very core. This was perhaps why she was able to suggest, so casually, the idea of turning her life, as Sailor V, into a manga.

Artemis-- once he stopped laughing and realized, to his horror, that Minako was completely serious-- hated the idea. A manga? A manga?! It was an idea too stupid for actual superhero comics! The best Peter Parker was able to do was take pictures of Spider-man and sell them to a tabloid newspaper, and even then readers and writers alike had to pretend that no-one would ever put the very big one and the other very big one together and figure out who he was. Ozymandias (of Watchmen) did market his superhero identity. . . but only after revealing his true identity. And yet, here's Minako Aino-- the alter ego of a hero forced into hiding by her enemies-- talking about bringing Sailor V to life as a manga character! Sure, Artemis knew that others had already tried to do the very same. He knew that a few small time publishing companies were already telling their own stories of the mysterious figure that had suddenly appeared on the streets of Tokyo (in Japan, even trademarked characters are vulnerable to blatant imitation of a kind that would elsewhere be considered plagaristic). It didn't matter. The details of these rip-offs were all utterly wrong, and that suited Artemis just fine.

Still. . . the idea seemed to pull Minako out of her depression, so Artemis was willing to tolerate it, for a little while. This would pass, he thought. Yet a few days after running away to the train station, Minako was already getting in contact with a manga artist, known affectionately by her fans and friends as "Marie-sensei." The author of the famous, long-running Aurora Wedding, Marie-sensei's own oft-mentioned life story was nearly as famous as her work: A preternaturally talented artist and writer, she was discovered in the eighth grade after submitting the first Aurora Wedding story to a competition for young manga-ka, and was quickly offered the opportunity to publish her work while she was still in school. It was an inspiring tale that deeply appealed to her fans, including Minako. Who better, she thought, to tell the story of Sailor V?

So it was that fourteen year old schoolgirl Minako Aino-- a girl who had been fired from her last two part-time entry-level jobs-- was quickly hired as Marie-sensei's assistant. The circumstances were appropriately ludicrous: she (as Sailor V) had once saved Marie-sensei's life from an evil energy-sapping dog (you heard me). In the process, she (as Minako) had been (very temporarily) hired as a "copy assistant". . . a job which, as far as she could tell, was some strange combination of editor, secretary and maid. You see, at the time Marie was in a serious creative slump, and was unable to complete the final volume of Aurora Wedding. In addition, her personal life was in such a shambles that she couldn't even keep her home cleaned up. Thus, Marie's boss, Shinrou Baishaku, in desperation, spontaneously hired Minako (who, really, just happened to be in the vicinity of Marie at the time) as copy assistant. Of course, the job didn't last. With Minako/Sailor V's help, Marie regained her confidence, completed the final volume of Aurora Wedding, confessed her love to Shinrou Baishaku, and lived, everyone assumed, happily ever after.

. . . or not. The manga business, to put it in detective novel-esque terms, is a fickle bitch. Rather than being allowed to rest on her laurels, or even to take a year's break, Marie-sensei was now under pressure to come up with a new manga. Being involved with a manga editor only added to her stress, as Baishaku-san felt the need to consistently remind her of the realities of the business. "Do you see other manga-ka 'taking a break?' Don't think for a moment that you can exploit your one and only hit manga for the rest for your life. Believe me, your readers will forget about you!" Marie's health deteriorated. She woke up every morning to find her face completely flushed. When walking down the street, she would spontaneously break out into hives; eventually, it got so bad that she needed daily injections to them in check. She needed help.

Enter Minako. Having already served at her side once before, Minako was quickly hired as Marie-sensei's new "senior copy assistant," "senior" in that Minako now had nursing duty on top of being a secretary, editor, and maid. That, and the pay was even better. Great, Artemis thought, Minako's finally making some money! She doesn't have to worry about taking care of her family anymore. . . And I don't have to worry about that stupid manga idea of hers.

If only. It wasn't just the need for money that brought on Minako's manga idea. All around Tokyo, people were making a profit off of the legend of Sailor V. But what did Minako get out of it? Nearly getting killed? Spending months in hiding? Waiting for some unfulfilled prophecy (even after the Dark Kingdom was destroyed, there was still no sign of the princess or the other warriors who were supposed to join her)? As far as Minako was concerned, Sailor V owed her a thing or two. And besides, Marie-sensei was struggling for a new idea. In a sense-- however tenuous-- Sailor V was actually coming to someone's rescue again. So Minako, as gently as she knew how, planted the idea for a sailor-suited magical girl warrior-- inspired by actual events, to boot!-- into Marie-sensei's head.

Flash forward a few years. Codename wa Sailor V is one of the biggest manga in Japanese history, even bigger than Aurora Wedding, owing both to Marie-sensei's rejuvenated artistry and the story's implied real-life basis. Marie-sensei, despite being busier than ever, and despite getting hassled a bit by the Tokyo Metropolitan Police, is the happiest she's ever been. She's married, her manga (and the anime based upon it) are famous not just in Japan but around the world, and she's one of the richest women in the country. And her old "senior copy assistant" Minako, by all appearances, ain't doing too badly either, having managed to make a pretty penny of off Sailor V herself.

But how? Obviously, she couldn't exactly claim likeness rights, even if her old, fearsome enemies hadn't shown their faces in years. Instead, she earned her revenue through a more indirect, yet also strangely fitting, avenue: music. One of Minako's many, many childhood dreams was to become a J-pop idol. While it turned out she didn't quite have the voice to become a superstar, she did discover a talent for writing and composing music. So, thanks to her close relationship with the 'creator' of Codename wa Sailor V, Minako was able to secure music contracts with the producers of the anime, composing the show's hit theme song, as well as so-called "character singles" and incidental music. Owing to various factors-- the somewhat "embellished" salarys these contracts paid, the need to avoid the appearance of nepotism, the lingering negative connotations of the name "Minako Aino" (see Part #1) and, of course, the lingering (if hidden) threat of the arch-enemies who tried to kill her-- Minako adopted various pseudonyms; in doing so, she developed an appreciation for really clever nicknames.

Even though Minako continued to support her family financially, she hadn't spoken with her mother or younger brother for years-- after the night at the train station, Minako's relationship with them never quite recovered. As for Artemis. . . while he was happy to see Minako doing something for which she had a real talent, and that she was successful, he still hated the fact that she exploited her identity the way she did-- the life of a senshi is a calling, and simply being one is a reward in and of itself. What's more, Minako was so focused on her "image making" that her actual senshi duties were being sorely neglected. Artemis really thought that Minako had changed after she regained the memories of her past life, and learned the true scope of her mission-- maybe she had, at least for a little while. But now, she was as cavalier about her duties as she was as a young teen. Instead of seeking out her enemies (as she had tried to do in the months following the attack on the Dark Kingdom), she was writing songs, shopping, going to parties, and dating all kinds of different men (and never for very long). She would, occasionally, don the mask and suit of Sailor V on a few occasions, such as when she witnessed a crime being committed or, more self-servingly, when ratings and manga sales took a dip and she needed to drum up some publicity. But, as far as Minako was concerned, the mission was over. To Artemis, it seemed that after having gone through so much to remember who she was, a part of Minako simply wanted to forget.

She might have succeeded too, if it weren't for the break-in. A couple of years after the manga ended, Marie's apartment was broken into and ransacked. The culprits were never found. Marie, shocked by this crime, went into seclusion. Minako had no idea what to make of this. Was this just a random break-in? Was it an obsessive fan? If it was Sailor V's old enemies, then why break in now, years after they last met? Why break in when Marie wasn't at home? Why not go straight to Marie herself? It didn't make any sense. All Minako knew was that Marie was in hiding-- just like Minako was all those years ago-- and to degree or another, Sailor V was to blame for that.

This should have marked the triumphant return of Sailor V, back to once again seek out her foes and, this time, eliminate them once and for all. Instead, it was followed by a more devastating piece of news: Minako had cancer. Moreover, her particular cancer was of a seemingly very rare kind, resistant to all conventional treatments. If the cancer did not regress, Minako's doctors were convinced that she wouldn't last longer than a year. The first year passed. . . then the second, the cancer slowly but inevitably progressing, held back only as a result of Minako focusing more and more of her senshi powers toward combating the disease (she didn't know exactly why it worked, and she didn't much care at that point either). Eventually, so much of her own energy was focused on the disease that she had difficulty even transforming into Sailor V anymore. . . so much for finding her enemies.

Minako's disease cast a shadow over every aspect of her life. She had enough money saved up to maintain an outwardly respectable lifestyle, and she seemed healthy and vigorous enough thanks to her, ahem, "home remedy." Privately, though, she was miserable. A vague dread came over her, a sense that she was gradually losing herself. Not just in the slow consumption of her body by the weird alien thing inside of her, but in the loss of her identity. She was, in some way, forgetting herself. Her family members were either dead or estranged, her "mission" was a long string of failures and broken promises. Even as she faced prolonged and painful death, she found it somehow comforting, somehow that slightest bit more bearable, to put out of her mind the life she would be losing, the person who would soon be no more.

But then, from the most unexpected of places, hope. Hope in the form of . . . . well, that would be telling.

I Promised Myself I Would Get This Done Before I Went to Japan

Reasons Why I Should Write the Sailor Moon Movie #17: Mars, Memories, Metafiction, Millennia, and Mishaps!

Happy 4th of July!



Part #5 of the script is done!

I promised myself I would get this finished before I flew off to Japan. As it turns out, I was able to finish it just before I left for Vancouver to stay with my aunt Marge, so that's even better!

First, for your reference, the first four parts of the script:

Part #1

Part #2

Part #3

Part #4

Next, the seven(!) sub-parts of Part #5. After speaking with my sister about how hard it was to read Part #4 in one go, I decided to break up Part #5 into pieces. Taken together, Part #5 is probably the longest I've written so far, but broken up, each piece is hopefully relatively easy to digest.

NEXT PART: She Likes to Flash a V for Victory! Every week a Fantastical Story! It's Hard to Think of Things That Rhyme With "V"! She is the One Named Sailor V!

Skip To:

Part #2: There's One Place Where I Could Have Really Easily Made A "Cat Got Your Tongue?" Joke, but I Didn't, and I'm Proud of That.

Part #3: Every Day I Get in the Queue. . . To Get on the Bus That Take Me to You.

Part #4: More Rei-cism

Part #5: In the Cosmological Justice System, the Universe is Represented by Two Sepearte Yet Equally Important Groups. . . CHUNG CHUNG!

Part #6: Just To Be Clear, Evolution Doesn't Really Work This Way

Part #7: The Same Thing We Do Every Night, Pinky. . .

There's no turning back now. . . at least not without a $200 cancellation fee.

For some, this first bit will be old news. I've purchased my plane ticket and will be off to Japan on the ninth of July! I'll be heading down to Vancouver early that week to make sure that everything has gone well with the visa, as well as to visit family before my departure.

Naturally, I'll be updating this blog with tales of great adventure in the land of the rising sun*. For such an undertaking, mere text will not do. So, yesterday, I bought a camera, and decided to test it out last night. I'm pretty pleased with it so far. Below is a picture of the view from the deck of our house. It looks much better if you click on it, but be warned, it is huge (4000x3000 pixels-- I forgot to set the camera to lower resolution before taking this photo).



But what I really wanted to try was video uploading-- yes, my camera takes video. It's capable of HD quality, but for my purposes, I'll be filming at lower quality. Below is a video of my cat, Cedric. At midrange quality (640x480), this two minute video takes up ~150 Mb of data and took over twenty minutes to upload to YouTube. Unfortunately, the quality of the YouTube video is not quite up to par with the original file, but I guess that's to be expected.

Anyway, here's Cedric!



Am I getting sentimental about home already? Yeah, maybe. . .

*I even considered starting a new blog, "Doin' the Nihon Go Go!", just for that purpose, but then I realized it's hard enough maintaining one blog, and ultimately decided against it.

Update on Sailor Moon and Things

Hi Everyone,

It's now been one month and five days since the last piece of the Sailor Moon script was posted, and the next part is no-where near finished. So, instead of trying to rush things, and in the process present something that's not really all that good (which may have actually been the case with Part #4, given the lack of comments), I thought instead that I would give an update as to what's going on in my life in general, and to reassure you that Sailor Moon: The Movie Part #5 is slow coming, but it's a comin'.

First off. . .

1) What did everyone think of Lost finale?

Did you watch Lost? Did you start it, but give up on it near the middle of Season 3 like I almost did? Did you like the finale, or hate it?

Me? I liked it. (Warning: if you don't watch Lost, you would probably be better off skipping to part 2) Given all the questions that the show raised throughout it's six years, and the fact that it's grand narrative really wasn't planned from the beginning but was basically patched together at the end of third season once ABC and the producers decided upon a three year ending plan, I think the writers actually resolved quite a bit. True, much of this resolution came in the form of some pretty heavy-handed exposition, and involved a few elements that feel extracted from the creative rear end (The Island is now the source of all life, which we symbolise with this bright warm light which you must NEVER TOUCH or it will turn you into a smoke moster. . . or does it? WE HAVE SPOKEN!). And yes, I personally would have liked to have learned a bit more about what happened to the Island children, namely, Aaron, Ji Yeon, and that massive dangling plot thread, Walt. But still, as much of a cop-out as it is to say "they weren't going to explain EVERYTHING". . . well, they weren't, and they couldn't. Instead, they opted for an ending that yielded emotional closure, if not narrative closure. Almost everyone* got a happy ending (and I mean Disney happy), and the original motivation of the series-- getting everyone who is still alive and who still wants to leave off of The Island-- has been met.

*The absence of Michael from the finale is notable, given both those who DO return (Shannon and Boone?! Seriously?) and the presence of Ben, someone whose actions have been FAR more evil than Michael's. Something to chew on I guess. . .

Anyway, the reason I mention Lost is that during the final season I've realized just how much of my approach to Sailor Moon has been inspired by Lost. . . I won't specify as of yet, but as the script rolls on, those who have watched Lost will probably start to see the connections.

2) I'm convocating this week!

This Friday, May 28th, I will officially be a Master of Science. Okay, this isn't really news. Ever since I passed by thesis defence, you've all known that I'm going to be getting my master's degree. Still, this week it becomes official. The parchment will be in my hand. And with that out of the way. . .

3) I'm finally going to submit my Visa application to go to Japan.

After a full year of saving up money, learning Japanese, and waiting to recieve my degree, I will be submitting my working holiday visa application in June. Then, hopefully within that month, the application will be approved and I'll be off to Japan.

Obviously, going to Japan will have major ramifications for the script. For one, I'll actually be able to interact with Japanese people, which certainly helps when ninety percent of the characters in your screenplay are Japanese. Additionally, simply being in Tokyo will surely help the script come to life. Seeing the place, hearing it, hell, even smelling it, will be a great aide to my imagination, which until now has been the only thing I've relied upon for my writing. That, and more reruns of Sailor Moon S than any man should be allowed to consume in a given week.

And finally. . .

4) Sailor Moon: The Movie Part #5 IS COMING

. . . just not soon. I already said this, but I feel it needs to be stressed. I've seen many people start up blogs, or other projects, only to let them just peter away. If anyone is still reading this, I want you to know that I've not given up. . . I'm just trying to work through writers block. I'm eagerly await the day when the first draft is finished. . . so I can start up the second draft and fix up all the mistakes I made in the first draft.

Unitl next time. . .

Good to Know!

You Know How Usagi Always Has Trouble Getting Up In The Morning? That's a Metaphor Too!

Reasons Why I Should Write the Sailor Moon Movie #15: Sailor Moon Awakens. . .



. . . or Not!

History. . . is a nightmare from which I am trying to awake.

James Joyce, Ulysses

Yeah, I went there again. . .

If you read Part #4 of the script. . . well, first off, thanks for having the patience to wait a whole month for me to finish writing it. Indeed, part of the reason why I'm writing this post is that I decided that, just maybe, I shouldn't make everyone wait yet another month for the next Sailor Moon post. (It's now been fifteen days since Part #4, so. . . only half a month! Yay!)

But also, if you've read Part #4, you probably noticed something a little odd. Luna, having finally introduced herself to Usagi, presented her with the Moon Prism and explained to her what her mission is. Usagi, while understandably dubious, nonetheless attempted her first transformation into Sailor Moon, just like in the manga, and the anime, and the live action series.

Only this time. . . nothing happened.

Now, maybe it's because she didn't utter the words "Moon Prism Powaaa! Make up!" Or, maybe, something else is going on. . .

One of the ideas that was explored in Sailor Moon (particularly the live action series) was the idea of "awakening"-- that much of the senshis' abilities are not granted immediately, but rather have to be remembered and resurrected, along with aspects of their former personalities. Usually, this idea was used as an explanation for why the supposed guardians of the inner solar system can get their asses kicked so easily and, concurrently, as an excuse for the "power-up" episode, wherein Sailor Moon and the other senshi get shiny new uniforms and bigger badder powers, and Bandai gets a new line of toys to sell (. . . wow, that was cynical, wasn't it?). However, the idea was also used for the purposes of plot advancement and character development, particularly when it came to mysteries of Sailor V and the elusive Moon Princess.

So, me being who I am, I really overthought this idea, often when I should have instead been writing my master's thesis. What I have to show for all that thought will, hopefully, become fully apparent as the script unfolds. For now, though, I will simply pose the following question: What if "awakening" does not constitute attaining a higher senshi power level, but rather the very act of becoming a senshi? That is, what if, before Usagi can become a senshi, she has to remember what it means to be a senshi? I'm not talking about a complete recollection of her past life (the "explicit memory" if you will), but rather a set of feelings and impulses (the "implicit memory"), the instinctual "how" and emotional "why" of being a senshi.

From this follows at least one obvious question: What are these instincts and emotions, and where do they come from? A partial answers lies in the next part of this series, which I will try to post promptly.

"But Jeremy," some hypothetical reader asks. "There also follows from your premise an obvious criticism! The point of Sailor Moon is that an impulsive, selfish teenage brat has been given superpowers, and yet displays utter incompetence, paralysing fear of even easily vanquished foes, and a near-sociopathic irritation at the idea of having to help others! The whole thing is a parody of superheroes! Your interpretation of 'awakening' misses the point entirely!"

I respond to this purely suppositional objection thusly:

1) Shut up, and go not exist somewhere else!

2) This movie's never going to be made anyway-- or do non-existent things particularly bother non-existent people?

3) Let's just ignore, for the sake of argument, both the manga and the live action series. Yes, if you're judging solely on the basis of the anime, and rather superficially at that, you might get the impression that Sailor Moon is no more than an amoral inversion of the superhero archetype. But you'd be wrong-- it's more complicated than that. While the anime tends to grossly exaggerate Usagi's flaws for comedic effect, it also shows, albeit less frequently, that Usagi does care both about her friends and about her mission. And yes, Usagi is often a screwup as a superhero; so was Peter Parker at times, yet this made Spider-Man only more endearing and sympathetic. I don't intend for Usagi's awakening to render her instantly ultra-competent-- it's a growth in her character, a psychological "henshin", that allows her to become Sailor Moon. She will have to continue to grow past that point as well, and that will entail plenty of screwups along the way.

Now that any and all possible objections have been refuted, I bid you adieu until next time.

There's Something Here For All You Dawson's Creek Lovers Out There!

Reasons Why I Should Write the Sailor Moon Movie #14: The Ugly American Part #2



- Watch out! It's the next part of the script!

Last time on Sailor Moon: Nothing Happened! Except everything written in these parts:

Part #1

Part #2

Part #3

As usual, all first draft disclaimers apply. Now, on with the show!

LUNA runs out of the courtyard in pursuit of USAGI.

We CUT TO:

EXT, Streets of Juuban Neighborhood, DAY

We see a brief montage showing USAGI as she makes her way back home, with LUNA in cautious pursuit. We then CUT TO:

EXT, Usagi's Home, DAY

We see USAGI standing in front of her house. She takes a breath, and then--

USAGI

Just get it over with.

USAGI enters the house. We then see LUNA emerge from out of hiding and take a seat on the path leading to the house. After looking at the house for a moment, LUNA slowly enters through an open window.

CUT TO:

INT, Living Room, USAGI's Home.

We see USAGI sitting on a sofa intently doing her homework, her books and notes sprawled over a coffee table. After a moment, LUNA jumps onto the table, slightly startling USAGI.

USAGI

Koneko-chan?

LUNA takes a breath, and then--

LUNA

Hello.

LUNA waits a moment for a reaction. So far, so good.

LUNA

My name is--

USAGI screams at the top of her lungs and runs away from the sofa before LUNA has a chance to finish.

CUT TO:

EXT, USAGI's House, DAY

We see the front door open up and, in the very next moment, LUNA being thrown out of the house, screeching and twirling through the air!

MALE VOICE (O.S.)

GET OUTTA HERE!

CUT TO:

EXT, Usagi's Home, DAY

LUNA, sitting on the path as before-- clearly, what we just saw was LUNA's imagination. LUNA sighs.

LUNA

Hello. My name is Luna, and I've been looking for you my whole life. That much I do know for certain. If only you knew what I had to tell you. There are things I know about you that you wouldn't believe, things you wouldn't think possible. And yet. . . I know so little about you. Before today, I didn't know what you look like, or where you go to school, or where you live. I still don't even know your--

VICTORIA (O.S.)

Serena! Are you kidding me?!

We hear the screaming voices of USAGI and VICTORIA emanating from within the house.

LUNA

Serena-?

VICTORIA

Thirty percent?!

USAGI

Mom!

VICTORIA

Don't yell at me, Serena-!

USAGI

I'm not the one who's yelling, Mom-!

VICTORIA

Yes you are and don't you argue with me-!

USAGI

I'm not arguing!

A brief pause. We think it's over, and then--

VICTORIA

You said you were going to study harder, Serena.

USAGI

I am studying harder!

VICTORIA

You call this studying harder, Serena?

USAGI

I AM studying harder!

VICTORIA

Don't YELL!

USAGI

It's not like I'm gonna pick up a book and suddenly figure it all out, Mom!

Another pause. Maybe this time--

USAGI

This is why I don't tell you things, Mom!

VICTORIA

Oh, now you're keeping secrets?

USAGI

That's not what I meant!

VICTORIA

You said "this is why I don't tell you things"--!

USAGI

What I mean is you flip out!

VICTORIA

What else aren't you telling me?

USAGI

Like I would ever get a good grade!

VICTORIA

Serena!

USAGI

Fine, I'll tell you what else! I didn't get to go to the cultural festival because I was in detention!

Yet another pause. It won't last.

VICTORIA

WHAT?!

USAGI

This is why I don't tell you things, Mom!

VICTORIA

How the hell-- I thought there was no detention in Japan--!

USAGI

Yeah, well I guess Sakurada-sensei didn't get the newsletter--!

VICTORIA

What did you do to end up in detention?!

USAGI

Nothing.

VICTORIA

Don't tell me "nothing," Serena!

USAGI

It WAS nothing!

As she says her line, USAGI come bursting out the door, still yelling inside. LUNA quickly hides again. USAGI's still carrying her backpack, and still has the failed exam in her hand.

USAGI

It was NOTHING! I didn't do anything WRONG!

As she says "WRONG!" she slams the front door closed. She walks down the path, and then stops and walks back, realizing she's forgotten something inside. She tries to open the door, but it's been locked. USAGI pounds on the door.

USAGI

Mom?

She pounds the door again.

USAGI

Mom?!

VICTORIA(O.S.)

I don't wanna deal with you right now, Serena.

USAGI

MOM!

USAGI pounds again.

USAGI

I just need one thing--!

VICTORIA

Go where-ever the hell you want, just as long as it's not here!

USAGI

(pounding)

MOOOOOOOOOOOOOM!

USAGI, after kicking in the air a couple of times, gives up and walks down the path to the sidewalk. As she does, SAMMY, along with a couple of friends, comes up the path toward the house.

SAMMY

Don't tell me you got locked out of the house--.

USAGI

(snaps back)

Suck a dick!

USAGI leaves the front yard. Once Sammy and company are near the front door, LUNA leaves her hiding spot and follows USAGI.

CUT TO:

EXT, Park, DAY

We see USAGI sitting on a bench alongside a walkway. She's reading her Japanese textbook.

USAGI

(muttering)

Study more, Serena! Fine, I'll study more. Let's see. Ah-ha, relative clauses.

(mock reading through the text)

Da da da. Da da da da.

(closes text)

Wow! I get it now! It was so easy! Who would have thought?!

USAGI throws the book on the ground. The camera pans down toward the book, revealing LUNA sitting underneath the bench. After a couple of seconds, USAGI picks up the book. While still holding the camera on LUNA, we see USAGI stand up. The book falls again. USAGI picks it up again. She then throws the book on the ground, startling LUNA. USAGI then picks up the book once more.

USAGI

Nihongo o heta ni hanasu hime wa. . .

(The princess who is poor at speaking Japanese. . .)

We then pull back to show USAGI throw the book against a tree.

USAGI

. . . ki e hon o hotteiru yo.

(. . . throws the book at a tree!)

USAGI, after taking a moment to cool down, picks up the book, only to realize that a large bunch of pages have become unbound.

USAGI

Oh no.

As USAGI tries to put the pages back in place. . .

AMI

(in near-perfect English)

Excuse me?

. . . we see AMI's hand holding out a much more well-kept copy of the same textbook. USAGI, now realizing that someone saw her flip out, is embarrassed into silence.

(NOTE: If you read my last "Rewrites" post, you'll know that I wanted to get rid of the initial meeting between Ami and Usagi. I'm treating what follows under the assumption that they did not speak to each other during detention.)

AMI

(English)

Would you like to borrow mine?

(pause)

I can get it back from you later.

USAGI

(in English)

Oh. . . uh, no. No.

(Japanese)

I couldn't do that.

AMI

(English)

It's not a problem, Ms. Mundy. I--

USAGI

(Japanese)

You. . . don't have to speak English on my account. I can get by in Japanese.

AMI

(Japanese)

I can tell Sakurada-sensei that someone stole my book. I don't want you to get in more trouble.

USAGI, reluctantly, takes the book.

USAGI

Thanks.

AMI

I'll see you tomorrow.

AMI bows and starts to walks off.

USAGI

Ami-chan, Wait!

AMI stops. USAGI quickly stuffs her damaged book into the bag.

USAGI

You are Ami, right? Ami, uh, Mizu. . . It's not Mizukara, is it?

USAGI then carefully packs AMI's book.

AMI

Mizuno. Ami Mizuno.

USAGI zips up her bag, hoists it up, and runs over toward AMI.

USAGI

Mizu-NO. I knew it was something like that.

AMI

I didn't realize you knew who I was.

USAGI

Why? You knew who I am.

The two start walking together.

AMI

Not really. I've seen the name "Serena Mundy" on every exam marks list, and since you're the only foriegn student. . . it wasn't hard to deduce.

USAGI

Plus, my name is usually at the bottom so it's easier for you to see!

USAGI waits for a laugh, but none comes.

USAGI

So. . . Off to cram school?

AMI

Yes, I am.

USAGI

I can understand that. Get it over with early in the week.

AMI

I go to cram school everyday.

USAGI

(taken aback)

What?

AMI

It's a neccessity.

USAGI

For what? I mean, what are you, six?

AMI

(a little offended)

Eight.

USAGI

You're eight, and you're in junior high, AND you get the top marks.

AMI

Universities are very competitive, and high marks are neccessary. So it follows that cram schools are neccessary.

USAGI

Yeah, for us humans. Not for girls with 300 IQ. Any university--

AMI

That's not true!

USAGI

What?

The two come to a stop. Usagi clearly hit a nerve.

AMI

A 300 IQ is meaningless. Only one person in ten to the fourtieth people would have a 300 IQ. That's more than have ever lived, or will ever live.

USAGI

Oh.

An awkward pause.

AMI

I'm. . . I'm sorry that I interrupted you.

USAGI

No. . . It's good to know.

Another awkward pause. They start walking again. USAGI tries to break the tension.

USAGI

You were great at the tea ceremony today.

AMI

Thank you, Mundy-san.

USAGI

Okay. . . Ami-chan? You gave me your book. I may not know a huge amout about Japanese etiquette, but I would say that makes us friends.

AMI

Thank you again, Mund--

USAGI

And THAT means no more "Mundy-san."

AMI

Thank you, Serena-san.

USAGI

Usagi.

AMI

Hmm?

USAGI

Tsukino Usagi. It's what my friends--

AMI giggles.

USAGI

Exactly, the hair! It's a--

AMI

YOU'RE Tsukino Usa--

AMI cuts herself off.

USAGI

What?

AMI hesitates. We'll see why in a moment.

AMI

You're . . . Tsukino Usagi?

USAGI

. . . Yeah?

AMI

Oh.

USAGI

Ooo-kay, I see. "I saw your name on the student list and that's how I know you're Serena Mundy." Come on. How do you really know me?

AMI

I didn't realize that. . . YOU were Tsukino Usagi.

USAGI

What do you mean?

CUT TO:

INT, Juuban Junior High, DAY

FLASHBACK.

We see a group of three SCHOOLGIRLS in the foreground, laughing and chatting with one another. The camera pans around as they talk, eventually revealing AMI in the background, "listening in," so to speak. We don't hear what they're saying, but instead hear it described indirectly by AMI. At some points, the movements of the schoolgirls lips will directly match what AMI is saying.

AMI (V.O.)

Well. . . I've heard "Tsukino Usagi" mentioned occasionally around school. Last Thursday, for example, I overheard a story about how "Usagi" stepped into a janitor's mop bucket and skated into her homeroom!

At that point, one of the SCHOOLGIRLS imitates the awkward skating motion with her hands.

AMI (V.O)

They didn't seem to like you, or rather, "Usagi" very much, though one girl did describe, er, "Usagi" as "a constant source of amusement and comfort," and another said that "anytime you're feeling bad about your life,"--

CUT TO:

EXT, Juuban Sidewalk, DAY

Back to USAGI and AMI.

USAGI

Okay, Ami--

AMI

"Take consolation in the fact that you're not Tsukino Usagi."

USAGI

Ami--!

AMI

"It really puts things into perspective." That's all. At least. . . that's how I remember it.

Usagi looks upset, if not surprised.

USAGI

The point was made, Ami.

Awkward pause.

AMI

. . . It's possible that I misunderstood. . .

(more awkward pause)

My bus stop is this way.

(Bows)

See you.

AMI, embarrassed, walks off screen. USAGI continues on her way. LUNA emerges into view. She pauses for a moment at the place where AMI and USAGI split ways, and looks toward AMI for a moment, as if sensing something.

LUNA

(sighs)

Don't get ahead of yourself, Luna.

LUNA then continues toward USAGI.

CUT TO:

EXT, Entrance to Hikawa Shrine Grounds, DAY

REI, still carrying her bag, enters the front gate of the shrine. We CUT TO:

EXT, Hikawa Shrine Grounds, DAY

We watch REI enter the shrine grounds. She walks past a memorial-- we'll see more of that later on. In the background we see the main shrine. Near the entrance, we see a group of three young women, GERMAN TOURISTS, gathered around someone that we cannot see, but whose voice is barely audible. REI walks toward the TOURISTS. CUT TO:

EXT, Shrine Entrance, DAY

The TOURISTS are now in the foreground. We see that they are gathered around REI'S GRANDFATHER, a short, very old Shinto Priest. GRANDFATHER is trying, in a rather flirtatious manner, to sell souvenirs to the TOURISTS.

GRANDFATHER

(Japanese)

It is a shame, truly, that I cannot speak German. What do I know? Um. . . Guten Tag?

TOURISTS

Ja, ja!

GRANDFATHER

Danke Schoen?

TOURISTS

Ja, ja! Sie sind sehr gut!

GRANDFATHER

(in happy tone)

Ja!, und. . .

(in sad tone)

Nein. . . and even sadder,

(even sadder tone, waving)

"Auf Wiedersehen." Tragically, I cannot even tell a German woman the most important thing of all: how beautiful she is. At least, not in words. But!

GRANDFATHER produces a souvenir amulet.

GRANDFATHER

One does not need words when one has a mystery amulet, produced only here at the Hikawa shrine. That's the "Fire River Shrine," not those OTHER Hikawa shrines.

The TOURISTS look at the amulets and laugh, with a tinge of embarrassment.

TOURISTS

Nein, nein danke!

GRANDFATHER

(with mock sadness)

Nein?

TOURISTS

Leider nein.

GRANDFATHER

LEIDER nein?!

REI then appears and cuts in. She feigns admiration for the amulet.

REI

It's beautiful!

GRANDFATHER then turns his attention to REI. The two engage in a mock conversation, which to someone with no knowledge of Japanese would look like it is about the amulet. Throughout, their body language never betrays their ruse.

GRANDFATHER

Yes, yes! A beautiful amulet for a beautiful girl!

REI

(eyeing the amulet)

Restrain yourself, Grampa!

GRANDFATHER

I'm just getting into the role!

REI takes the amulet and mock-admires it.

REI

It's so cheap! Surely we can't be this desperate for foreign money?!

GRANDFATHER

Any money will do, you mouthy stranger! Don't start talking like your father, whoever he might be!

REI hangs the amulet around her neck.

REI

Ah! (pause) Father has nothing to do with it! Only a foriegner wouldn't be able to see this junk for what it is!

REI looks at one of the Tourists, as if for approval.

REI

(exagerrated bad German)

Das ist ein. . . gut, ja?

TOURISTS talk to each other, apparently deciding that Rei looks nice enough.

GRANDFATHER

Why didn't you come in your robes?

REI

I had to go back to TA and pick up my schoolwork.

GRANDFATHER

Is that why you're being so disprespectful?

REI

Ah!

REI then takes off the amulet and hangs it around one of the TOURISTS' neck.

REI

(more feigned lingual difficulties, German/English mix)

Du. . . ist ein. . . very. . . woman! (beat) Ja?

The Tourist looks at the amulet, and appears to have been, relucatantly, sold on buying it.

TOURIST

Er. . . wie viel kostet das, bitte? Oder. . . ikura desu ka?

REI looks back at GRANDFATHER. Despite her having closed a sale, GRANDFATHER doesn't appear too pleased with REI. Cutting birefly to REI, we see REI convey a sublte look of shame.

CUT TO:

INT, Hikawa Shrine Hallway

Another area of the Shrine. For a moment, we don't see anyone in the hallway. Then, REI emerges from a side doorway, once again dressed up in her miko robes. A couple of other mikos emerge from off-screen. REI and the two mikos greet each other politely. As the mikos continue on their way, REI conveys a sense almost of relief. The smug, arrogant girl we saw earlier is gone.

CUT TO:

EXT, Hikawa Shrine, DAY

REI is sweeping off of a stone walkway. After a moment, she seems to sense something and turns to her right. We cut to her POV, revealing a pair of crows, PHOBOS and DEIMOS, standing on a branch. We then cut to a shot a REI reaching into her bag and producing a couple of pieces of raw meat.

REI

Phobos?

The crow caws.

REI

It's okay. No-one's around. We're free to be ourselves.

REI places one piece of meat on ground. PHOBOS flies down to it and eats it up. DEIMOS caws jealously.

REI

Deimos, of course I have some for you too.

REI places the other piece of meat on the ground. PHOBOS eyes it, but DEIMOS quickly swoops in and seizes it.

REI

My offering.

PHOBOS caws. CUT TO:

EXT, Sidewalk, DAY

We're a few blocks away from Hikawa Shrine. MAMORU is walking down a sidewalk, in a bit of a hurry. He reaches into his pocket, but can't find what he's looking for. He stops and reaches into his other pocket. No luck.

CUT TO:

INT, Crown Arcade

We pan across a crowded, bustling video arcade, until we see USAGI, playing a video game based on SAILOR V. Based on her frantic body language and occasional under the breath cursing, we can tell that she's taking out her frustrations on the game. . . and that the game is not going so well for her.

CUT TO:

In another part of the arcade, we see MOTOKI. He's wearing a uniform, clearly indicating that he works at the arcade. For a moment, he seems to be looking for someone in the crowd. Then, a smile of recognition.

MOTOKI

Mamoru!

CUT TO:

MOTOKI'S POV. We see Mamoru, who waves a MOTOKI and walks toward him.

CUT TO:

Two-shot of MOTOKI and MAMORU, who walks into frame as he speaks his next line.

MAMORU

You got it?

MOTOKI produces a STAR-SHAPED WATCH from his pocket and hands it to MAMORU as he speaks his line.

MOTOKI

Yeah. You must have set it on top of my books or something. I don't know how else it could've ended up in my pack.

MAMORU opens up the watch and looks inside.

MOTOKI

At least you didn't catch me in the bathroom.

MAMORU flashes MOTOKI a look.

MOTOKI

(explaining)

Pulp Fiction?

MAMORU

Oh. . . Never saw it. (beat) Anyway, I gotta get to temple to meet Rei. I'll see you.

MOTOKI

See you.

MAMORU exits. CUT TO:

USAGI at the video game. She's right on the brink of losing.

USAGI

Oh come on! No, no! Sailor V kick! Come on! Sailor V--!

Game Over. A countdown appears on screen.

USAGI

Oh no!

USAGI frantically presses the buttons on the game, only causing the countdown to go faster.

USAGI

Oh no! You-- you wait right--

USAGI runs away from the game. CUT TO:

MOTOKI, doing some work.

USAGI (O.S.)

Motoki-kun!

MOTOKI turns toward the voice right as USAGI comes on screen.

MOTOKI

Usagi--

USAGI

I'm on level 6 of Sailor V! I just need enough credits for a continue, before someone else takes it!

MOTOKI

Usagi, I wasn't supposed to give you credits in the first place.

USAGI

You're not "giving" me credits! It's an advance!

MOTOKI

And it's all you're getting.

USAGI

Motoki! I just need enough for one more--!

As she turns to point to the game, we see, in a POV shot, that someone else has already put in credits and is continuing the game she started.

USAGI

Why those--! Motoki! Those people took my game! They're profiting off my hard work!

MOTOKI

I'm sure if you explain it to them, they'll be happy give you some spare credits for your trouble. Now I have to get back to work.

USAGI sulks out of the arcade. CUT TO:

EXT, Near Crown Arcade Entrance, DAY

MAMORU walks down a sidewalk. We catch a brief glipse of LUNA, who is waiting for USAGI near the exit. After a beat, Mamoru notices something off camera. CUT TO:

MAMORU'S POV. We see a group of pedestrians crossing the street. The dress and body language of one of them stands out. The STRANGE MAN seems to notice MAMORU, and upon doing so slows down, presses a finger into his ear, and starts speaking.

CUT TO MAMORU. MAMORU grabs his watch out of his pocket and pretends to look at it. He then turns around and walks back toward the arcade. In trying to avoid attention, he looks only more suspicious.

CUT TO:

EXT, Crown Arcade Entrance. We see USAGI emerge from the arcade. LUNA springs up onto her legs. USAGI holds her hands over her face for a moment, and then grabs the failed exam out of her backpack.

CUT TO:

TRACKING SHOT of MAMORU. We TRACK backward, facing MAMORU as he walks down sidewalk. Behind him, we see an UNMARKED POLICE CAR abruptly pull up alongside the sidewalk. Two plain-clothes POLICE OFFICERS emerge from the car and proceed toward MAMORU, who's clearly starting to get scared. The music builds, the OFFICERS draw ever nearer, nearer, nearer. . . Then they strike!

OFFICERS

Police! Don't move!

MAMORU freezes, as the officers rush up and. . .

OFFICERS

Excuse us!

. . . Run right on by, gently pushing MAMORU to the side as they pursue their real target. MAMORU, still in a state of shock, remains still.

CUT TO:

USAGI, who is giving one last look at her failed exam. Then, she crumples it up and throws it over her shoulder. . .

CUT TO MAMORU.

. . . And right smack onto the back of MAMORU'S Head.

MAMORU

GAH!

Even though it didn't hurt one bit, MAMORU, in his frightened state, is still shocked by the test hitting him. Other pedestrians gawk at him. MAMORU picks up the crumpled test and looks for the person it belongs to, now not only scared but deeply embarrassed. He spots USAGI-- who stands out in Japan for multiple reasons-- walking off in the direction he was orginally headed.

MAMORU

(in English)

Hey! Dumpling Head!

USAGI-- and good many other pedestrians, stop and turn toward MAMORU. He holds up the test and points at it.

MAMORU

(English)

Yours?

USAGI

Uh-- Oh! Oh!

MAMORU walks toward USAGI, while the other pedestrians continue on their way.

MAMORU

(English)

You lost?

USAGI

(Japanese)

I'm sorry! Um, I speak Japa--

MAMORU

(English)

Do you know where you are?

USAGI

(Japanese)

I'm--

MAMORU

(English)

You're in Tokyo. Japan. Not where-ever the hell it is you come from. Here, in TOKYO, we don't litter. You see any litter around here?

USAGI

(Japanese)

I'm Japanese!

MAMORU

(Japanese)

Really?

USAGI

Yes, and I'd please like my--

USAGI reaches for the exam, but MAMORU pulls it away. She tries again, but MAMORU keeps pulling it further out of her reach.

MAMORU

Oh, what? Suddenly you don't want me to see this?

USAGI

That's none of your business.

MAMORU

Is there a secret message here?

MAMORU uncrumples the exam, and lets out a good laugh when he finally sees what's written.

MAMORU

Thirty percent?

USAGI just glares at MAMORU.

MAMORU

And you drew a little manga, too!

USAGI rips the exam out of MAMORU'S hand and walks away, tears welling.

MAMORU

(in English)

Ladies and Gentlemen, from JAPAN, it's Dumpling Head!

As USAGI walks off, MAMORU'S laughter dies down. At that moment, off camera, LUNA lets out a loud, contemptuous hiss. We cut to MAMORU'S POV as looks down and sees LUNA, who glares at MAMORU before walking after USAGI. We them briefly cut to a flashback of MAMORU'S POV from last night, when he saw LUNA on the sidewalk. Cutting back to MAMORU, we watch him run his hand through his hair and sigh, clearly confused and worried. We hear a V.O. of Mamoru briefly as we CUT TO:

INT, Chiba Residence.

MAMORU, instead of going to Hikawa Shrine, has returned home. He's speaking on his cell phone (this is the V.O. we heard at the end of the last scene) as he takes off his shoes.

MAMORU

Hi Rei, this is Mamoru. If you get this in time, I just wanted you to know that I couldn't make it to the shrine. There was. . . well, I just wanted to make sure you weren't waiting for me. I'll see you tomorrow. Bye.

MAMORU hangs up the phone and walks toward his room. As he passes by the kitchen, he stops, having spotted something. We CUT TO:

The kitchen. A plate of unfinished curry sits next to the sink. MAMORU examines it with aprehension, and then looks toward his "Mother's" bedroom door across the hall. This begins to establish that there's something wrong with "Mother." We CUT TO:

A close-up shot of the BACKPACK full of jewels being set down on top of a desk. MAMORU'S hands, the only part of his on screen at the moment, open up the bag, revealing the jewellery inside. We CUT TO a full shot of MAMORU looking down at the jewellery, his gemology book in hand. MAMORU pulls out a chair and takes a seat, setting the open book on the desk next to the BACKPACK. He then removes a single, random jewel from the backpack and examines it for a moment, only to shake his head and discard it beside the bag. He repeats the procedure for another jewel as we CUT TO:

INT, Osa-P Jewellery Store

Preparations are underway for the Jewellery exhibition that NARU and USAGI were discussing earlier. A few employees scurry about the store, examining displays, checking entrances, going over procedures, etc. We see one woman wearing a large white overcoat, leaning against a wall in the background, reading a manga-- "Doropu Doropu"-- which obscures her face but not her bright orange hair. Her name is MIMET.

MIMET

(to herself)

I always knew you were cruel, Auntie? But to blame her for Andre's death? Even YOU couldn't sink so--

MAYUMI OSAKA (O.S.)

Well then, we won't order THAT particular hors d'ourve!

CUT TO:

A long shot of MAYUMI OSAKA-- NARU'S mother-- as she's walking toward her office. She's giving orders to one of her employees, and is clearly stressed out. In the shot, we also see MIMET'S bare legs in the foreground.

MAYUMI

I don't care! Change the order if you have to. They're not weasling out of their obligation just because of a late shipment, or contamination, or whatever else they plan on using as an excuse!

The employee nods and runs off. MAYUMI then walks into MAYUMI'S office. Without changing the shot, we see MIMET, in a self consciously "cute" way, saunter over toward MAYUMI'S office, whistling a tune that fans of the franchise will recognize as 'I Am Sailor Moon':



As she passes by MAYUKI'S office, MIMET, in an impossibly fast, smooth motion, pulls out from under her coat a large GUN (really more of a combination rifle and hose), "fires" an almost silent electric arc into the office, hides it, and continues sauntering as though nothing happened. Then, a moment later, she spots something to her left.

MIMET

Oh. . . my. . . God! Is that a Cartier?!

MIMET runs left off screen.

CUT TO:

INT, Mugen Gakuen

A hallway in AMI'S cram school, the elite Mugen Gakuen. From the architechture and sterile cleanliness we can tell this institution is far better funded than any public school-- and most private schools, for that matter. Cram school has ended, and students are filing out of a classroom. All of them are drained-- all, that is, except AMI, who is the last to exit. Upon stepping outside of the class, she bows to her (unseen) instructor, says goodnight, and follows the other students out of the school.

CUT TO:

EXT, Sidewalk in from of Mugen Gakuen, PRE-DUSK

We briefly follow AMI as she walks from Mugen Gakuen to a near-by community center.

CUT TO:

INT, Swimming Pool

The pool in the community center is all but deserted. AMI is swimming a lap. At the end of her lap, AMI climbs out of the pool and walks over to a nearby partially open window, through which a cool breeze blows in. AMI stands near the window, closing her eyes and enjoying the coolness of the breeze. From the other end of the pool, we see a lifeguard enter. AMI sees him, and decides to play a game.

AMI carefully re-enters the water so as not to make too much noise. She looks at the clock-- 6:37. Taking a deep breath, she dives underwater. We follow her as she tucks herself into a corner at the bottom of the pool's deepest end. CUT TO:

AMI'S POV. From the bottom of the pool, Ami watches the lifeguard walk alongside the pool's rim. In the background, we can hear AMI'S heartbeat, which quickens as the lifeguard approaches her end of the pool. CUT TO:

Close-up of AMI. AMI closes her eyes. What we see next is a paradox. AMI'S heartbeat pounds faster and faster, and yet AMI seems strangely calm. As she grows ever more focussed, the shot changes to slow motion. Slower, slower. . .

CUT TO:

The pool's surface.

AMI emerges from beneath the surface and takes a deep breath. The lifeguard is no-where to be found. She looks at the clock-- 6:41. She held her breath for four minutes, not record-breaking, but not too shabby. AMI grins over her accomplishment as we CUT TO:

INT, Mizuno Residence

We begin with a close-up of a family photo: AMI, at about age 3, along with MOTHER and FATHER behind her. In the background, we hear a door opening. CUT TO:

Front door. AMI returns to her apartment, her hair still slightly damp.

AMI

I'm home.

After removing her shoes she walks over the the kitchen. Setting her bag down on the counter, she walks to a nearby cordless phone and checks for any voice mail. Briefly cutting to the display, we see that there are three messages. AMI listens to the first message. It's from her FATHER.

AMI'S FATHER(V.O.)

(slurring, breathing heavily)

Saeko? . . . Saeko! . . . Answer me! . . .

(sighs, then hangs up)

AMI, visibly shaken by her father's message, waits for the next one.

AMI'S FATHER(V.O.)

(still slurring and breathing heavily)

Yeah. . . you keep hiding. . . keep hiding. . .

(long pause, then almost inaudible crying, then. . .)

SAEKO PICK UP THE--!!

AMI disconnects and quicly deletes the two messages. She's shaking now. Nervously, she opens the third message.

SAEKO MIZUNO(V.O.)

Hello Ami. It's Mama.

It's AMI'S Mother. AMI is visibly relieved.

SAEKO(V.O.)

Could you do me a favour? I left a folder next to the bed. I need you to bring it down to the hospital. You can't miss it. I'd come get it myself, but things are really busy over here.

AMI heads toward the bedroom as the message plays. CUT TO:

Master Bedroom, a shot of the door. AMI comes in and walks toward the nightstand. The shot follows her.

SAEKO(V.O.)

You can leave it at reception if you like. But I need it as soon as possible.

We cut to a shot of the folder. For a brief moment, a fraction of a second, we can just make out part of kanji on the folder: 愛野. Then AMI snatches it from the nightstand.

SAEKO (V.O.)

Thanks. Bye!

CUT TO:

INT, Mundy Residence, Dining room

We open with a close-up of a SATTELITE RADIO DISPLAY. It show's that the radio is set on a 90's pop channel, and sure enough, Green Day's "When I Come Around" is just starting to play:



As the song plays, we hear DARIEN MUNDY, the news reporter we saw at the beginning, talking off camera. He's talking in a heavily exaggerated Kansai accent.

DARIEN (V.O.)

The Japanese can't wear these foreign eyeglasses! No, no, they're all wrong!

Cut to DARIEN and SAMMY, sitting across from each other at the dinner table. They've already finished eating dinner; VICTORIA is nearby, in the kitchen. As he speaks, DARIEN examines his reading glasses, putting on an exaggerated version of Japanese mannerisms as he does so. SAMMY laughs away at DARIEN'S impersonation.

DARIEN

Japanese eyes aren't like the eyes of other races. Our island nation is at a very particular latitude, and the sun hits our eyes in a unique way. Add to that the fact that we have oceans, on BOTH sides, which sunlight reflects off of. . . No, no. These are too round! Japanese eyes evolved to be narrow! And these, er. . .

VICTORIA

Nose pads.

DARIEN

(normal)

Nose pads? That's really what they're called?

VICTORIA

Yup.

DARIEN

(Kansai)

These nose pads make no sense! Europeans had to evolve long, thick noses in order to wear their spectacles! The Japanese nose, however, evolved in a uniquely flat way so as to avoid regrettable bowing injuries!

VICTORIA

Oh God, was that Hino again?

DARIEN

(normal)

Meh. . . Hino, Ishihara, Tomato, Tamoto. Sammy, turn that shit up!

SAMMY runs over to the radio and increases the volume.

VICTORIA

Darien!

DARIEN

Sorry! Sorry! Turn that. . . it, up. Happy? Anyway, speaking of Hino, unofficial word is that he's already blown it in North Korea. He's on his way back as we speak.

VICTORIA

Did he bring up Niigata?

DARIEN

Niigata? This is HINO we're talking about! He probably stood up at some point and went 'Who's this Myeongseong you people keep going on about?'

VICTORIA

I'm still amazed Saturn Air didn't do him in.

DARIEN

Come on, Vicky. Hino's corrupt. But they're ALL corrupt.

Right when the lyric "When I come Around" is sung, USAGI enters the house. She's slips off her shoes and is about to head straight upstairs when--

DARIEN

Serena! There she is!

USAGI turns around and head into the kitchen, indignantly.

USAGI

Hi Dad.

USAGI kisses him on the cheek.

DARIEN

Where the heck were you? I'm only here a few hours. You couldn't say hi?.

VICTORIA

It's really not a--

SAMMY

(cutting in)

Mom locked her out!

VICTORIA flashes a look at SAMMY; DARIEN looks at VICTORIA.

VICTORIA

(to USAGI)

Well . . . Show him!

USAGI reaches into her bag and pulls out the crumpled, sketched-upon exam and hands it to DARIEN. He looks it over briefly.

DARIEN

Serena, we're going to have to talk about this. But. . . for now, you should just get some rest.

USAGI goes upstairs without a word. DARIEN looks at the exam, chuckles at USAGI'S mini-manga, and then looks up at VICTORIA.

DARIEN

You locked her out?

(pause)

Well, at least we can be sure who her mother is.

VICTORIA

Says the guy rocking out to Green Day.

CUT TO:

INT, Juuban Municipal Hospital, Reception Area

AMI, folder in hand, walks up toward the reception desk, but then stops. She looks toward the desk, then a nearby elevator, then the desk, then. . .

CUT TO:

INT, Hospital elevator.

AMI stands between a pair of conspicuously taller orderlies.

ORDERLY

Um. . . Pediatrics?

AMI

No. Oncology, please.

CUT TO:

INT, Oncology ward. AMI walks down the hallway, and passes by an intern-- one of the stoned interns who bandanged LUNA the night before.

AMI

Excuse me?

INTERN

Yes-- um, I'm sorry, visiting hours are over.

AMI

I'm looking for Dr. Mizuno, I'm here to deliver a package for her.

INTERN

I'm . . . sorry, you are?

AMI

Ami Mizuno, Dr. Mizuno's daughter.

INTERN

Well, Ami, you could give it to me. I can deli--

AMI

I'd rather do it in person.

INTERN

. . . Alright. Um, I think she's in ICU right now. You know where that is?

AMI

Yes.

INTERN

Um. . . listen.

INTERN squats down.

INTERN

It's madness in ICU. There was a whole wave of new sleeping sickness patients that came in last night, plus there are police officers. . . I can deliver the folder for you, it's not a problem.

CUT TO:

INT, ICU Hallway

AMI, deciding not to take up INTERN'S offer, arrives in ICU. It is as crowded as INTERN said. Police officers are questioning doctors, nurses file in and out of rooms, and patients' beds (NOT sleeping sickness victims) line the halls. AMI, with trepedation, proceeds down the hall. After a few steps, she stops in front of open door. She turns around to face the door, as if drawn by whatever is inside. Slowly, she enters.

INT, Hospital Room

We see a figure lying in the bed. AMI, very slowly, approaches, until she can see the face of a young man. Like the other victims seen the night before, doesn't seem to be physically unwell-- indeed, the heart monitor next to him beeps at a steady rate, and his breathing is unassisted. But there is something. . . missing. Something intangible, but vital, that has been stolen from him, and AMI can sense this. It frightens her. Her breathing quickens, and she starts to shake a little bit, her skin pales. Then, something we haven't seen before-- her breath starts to fog. We CUT TO:

A closeup of a thermostat. We watch the room temperature gauge drop by one degree, then another degree.

CUT TO:

INT, ICU Hallway

A TWO-SHOT of SAEKO MIZUNO and another doctor in the foreground, talking in medical-ese to each other. In the background, AMI emerges from the room, walking backward, pale and shaking. SAEKO notices her daughter.

SAEKO

Ami?

AMI turns toward her mother. Tears begin to well up.

SAEKO

Ami!

SAEKO walks toward her daughter. AMI starts bawling.

AMI

Mama!

SAEKO takes AMI in her arms, trying to calm her.

CUT TO:

INT, Side Room.

AMI and SAEKO sit side by side. AMI is still upset, but is no longer crying.

SAEKO

Ami, do you remember what I told you?

AMI

(monotone, but fairly quick)

Yes. "Hello Ami. It's mama. Could you do me a favour? I left a folder next to the bed. I need you to bring it down to the hospital. You can't miss it. I'd come get it myself, but things are really busy over here. You can leave it at reception if you like--"

SAEKO

I told you to leave it at reception! Not 'if you like.'

AMI doesn't reply.

SAEKO

Ami. . . I know you've been through a great deal recently. . . But I'm starting to wonder if, perhaps, you don't have the neccessary psychological constitution needed to work in medicine. You didn't fail your entrance exams because you were too stupid. I know that. You know that. You are of. . . far too high an intellectual calibre to be wasting your time in junior high at this point, and yet that's where you're the most comfortable. And now this. . .

AMI still doesn't respond. It dawns on SAEKO, if only faintly, that, maybe, just maybe, AMI has the 'psycholocial constitution' of a fucking eight year old.

SAEKO

(sighs)

Ami, I'm gonna call a taxi for you. . .

SAEKO strokes AMI'S hair. AMI looks up at SAEKO.

SAEKO

Listen. . . A very old friend of mine, a mentor actually, is going to be giving a lecture at Tokyo University. You might know him; he's the founder of your cram school. I was going to attend alone, but I thought. . . maybe I could bring you along. You'd have to skip school, but that won't really be a problem for you.

AMI seems to like the suggestion. Then, SAEKO'S pager goes off. She looks at it, and her face sinks.

SAEKO

Oh no.

CUT TO:

EXT, Outside USAGI'S Bedroom Window, EVENING

LUNA, standing outside on the windowsill, peers into the bedroom and sees USAGI, asleep above her covers, still wearing her school uniform. LUNA tries scrtaching at the window, but USAGI doesn't respond. Then she tries talking.

LUNA

(softly, but still audible from inside)

Serena? Serena!

No answer. CUT TO:

INT, Mundy Residence, Living Room.

The SATTELITE RADIO is still blasting out the hits of the nineties, this time Paula Cole's "I Don't Want to Wait":



In the foreground, we see DARIEN and VICTORIA slow-dancing to the music. In the background, we see a window cracked open near its top.

VICTORIA

Dawson, I just don't think it's a good idea for me to sleep over anymore.

DARIEN

C'mon, Joey. It's Saturday night, plus you've been sleeping over since you were seven.

The two giggle at their own embarrassing display the whole way through. As it unfolds, we see LUNA try desperately to fit in through the small opening in the window. Her attempts, always kept in the background of the shot, constitute an embarrassing display of their own.

VICTORIA

Sleeping in the same bed was-- no, that's not it. Uh. . . Things change, Dawson!

DARIEN

Evolve.

VICTORIA

What?

DARIEN

Things change, Dawson. EVOLVE.

VICTORIA

Oh. Well. . . uh, sleeping in the same bed was fine when we were kids, but we're fifteen now. We start high school Monday!

SAMMY passes by in the background.

SAMMY

The nineties sucked!

DARIEN

Go to bed!

Just as DARIEN says that, LUNA finally manages to make it inside, landing on the floor with a thud. SAMMY heads upstairs, with LUNA following soon after.

SAMMY(O.S.)

Good night!

DARIEN

I think there's a line about you having breasts, or something?

CUT TO:

INT, Outside USAGI'S Bedroom Door.

We watch SAMMY pass by USAGI'S room and out of frame. LUNA emerges soon after. She jumps up, grabs the doorknob, and opens the door just like she did in the Cat Mansion.

CUT TO

INT, USAGI'S Bedroom.

LUNA swings in, falls off the doorknob, and quickly pushes the door shut. The room is dark, and silent but for USAGI'S rhythmic breathing. LUNA approaches slowly, jumping up onto a desk next to USAGI'S bed. She watches USAGI, the person she has been seeking her whole life, as she sleeps, her back facing LUNA. Having followed USAGI all day, having sought USAGI her whole life, she now sits, uncertain of what happens next. Finally, realizing that no excuses for being silent remain, she speaks. The conversation that follows will take place in English.

LUNA

Serena?

Nothing.

LUNA

(a bit louder)

Serena?

USAGI grunts.

LUNA

Serena!

USAGI

(still asleep)

. . . -lor V kick, Sam! . . .

LUNA

. . . Usagi?

That did it. USAGI wakes up with a start. Still sleepy, she rolls around, facing the other end of the bed, looking for the source of the voice.

LUNA

Usagi.

USAGI finally sees LUNA, perched on the desk.

USAGI

Koneko-chan?

LUNA

Yes. . . Yes, it's me. Actually, my name is Luna.

USAGI

Luna?

USAGI remains drowsy, but calm. So far so good.

LUNA

Well . . . first off, I guess. . . I owe you a debt of gratitude! I never would have gotten that bandage off if it weren't for you!

USAGI

Uh-huh.

LUNA

Um. . . Usagi. . . Serena, I have been looking for you my entire life. What I'm about to tell you may. . . astonish you, or frighten you. . .

USAGI'S eyes begin to flutter.

LUNA

But you. . . have a purpose! You are one of very few special people whose. . .

USAGI'S eyes grow heavier.

LUNA

Whom, it is my life's mission. . . to find, to train, and to. . .

USAGI is snoring, out like a light. LUNA is more than a little bit offended!

LUNA

Usagi!

USAGI rolls over and whines.

LUNA

Usagi?!

USAGI

Mmmnnn! This dream sucks!

LUNA

Dream--? Dream!

LUNA hops onto the bed and over USAGI'S body so that she's facing her again.

LUNA

Usagi! This is not a dream!

USAGI

(mumbling)

No, no, talking cat, real.

LUNA

Usagi!

USAGI

MMMNNN!

LUNA sighs.

LUNA

Okay, Usagi. Maybe I'm taking the wrong approach here. . . if can still. . .

LUNA concentrates on the area directly in front of USAGI'S face, and in a moment, the MOON PRISM materializes in front of her. USAGI'S eyes reluctantly open.

LUNA

Ah-ha! Take a look at this!

USAGI like!

LUNA

It's a tool.

USAGI takes the jewel in her hands and sits upright.

USAGI

. . .It's pretty!

LUNA

It certainly is. It's a--

LUNA attempts to sit on USAGI'S lap, but USAGI flashes her a look. She's not ready to take it to that level yet.

LUNA

Oh. Sorry.

USAGI

(sighs)

So that's what this dream is about.

LUNA

Usagi, it's not a dream!

USAGI

Yes it is. I saw you this morning, and then at lunch Naru told me about the awesome jewellery sale going on tonight. This is just a. . . Freudian. . . thing, symbolizing my. . . not getting to go. Hell, it even looks like a woman's--

LUNA

Usagi! This is not a trinket, and it's not a symbol! It's a device! It's. . .

LUNA trials off. USAGI sets the MOON prism on her lap and then briefly raises her hands as if to say "Well? Get on with it."

LUNA

It's. . . God, I've been looking for you my whole life--

USAGI

Your "WHOLE LIFE."

LUNA

-- and I can't even. . . Look, you think you were born fourteen years ago, and that before that, you were nothing. That's not true.

USAGI

No. Life begins at conception.

LUNA

Usagi!

USAGI

Sorry!

LUNA

(sighs)

Long ago, before your recorded history, you were once one of a small group of powerful warriors, the defenders of a kingdom long since vanished. When you died, your soul, your powers, your essence. . . YOU, vanished into the aether, waiting to be reborn. And now you have been, and it's my task to find you and to set you on your proper path. That's why I'm here. And that device, it. . .

(sighs again)

I was reborn, like you. I was never. . . told, what I need to do, not in detail. I heard a message, once, played on loop in a language-- if you could call it that-- that only I would understand. Everything that I learned afterward was based on my own memories. I KNOW what it is, but I can't. . . Usagi, think of your life --your past life-- as a distant star that died long ago.

USAGI

You've already lost me.

LUNA

Even though that star is dead, it's light-- the essence I was talking about-- continues to shine on Earth thousands of years afterward. On it's own, it's just a few photons, scattered here and there. But when it's focussed, through a prism or a lens, you can see it; in a way, the star lives again.

USAGI looks at the PRISM. Jokes aside, at some level she does understand.

LUNA

This device is yours, and only you know how to use it.

USAGI slowly stands up out of bed, holding the PRISM by her chest, just beneath her heart. An anticipatory, quietly heroic musical theme begins to stir. USAGI turns around to face LUNA, and then, clasping the PRISM in her right hand, she raises it above her head. USAGI stands, and for a moment, USAGI, she surroundings, all seem to come into a crisper focus. Then. . .

CUT TO:

USAGI'S POV. LUNA, sitting on the bed watches in anticipation.

CUT TO:

USAGI in front of the bed. The music dies. Nothing happened.

USAGI

Wow!

USAGI holds the PRISM in front of her face.

USAGI

This dream SUCKS!

USAGI, still clasping the prism, hops into bed. LUNA darts out of USAGI'S way.

LUNA

Usagi!

USAGI

Good night, Luna. Good night moon!

LUNA

Usagi!

USAGI

Good night cow jumping over the moon!

LUNA

Usagi!

CUT TO:

INT, Osa-P Jewellery Store

We follow NARU, carrying a bag of sandwiches, as she enters the jewellery store. She passes by all of the employees we saw earlier, just as busy as before but. . . different. Robotic, drained. NARU, though, doesn't notice. She comes up to the open door of her mother's office, knocks, and peers in. The whole time, we hear LUNA in vocie over.

LUNA(V.O.)

There is something evil coming. A force that no-one, not the police, not the army, not scientists, NO-ONE can understand or combat. Not even me.

CUT TO:

INT Usagi's Bedroom.

Close up to LUNA.

LUNA

No-one, except for you, and your comrades.

CUT TO:

INT, Osa-P Jewellery Store

In the foreground, in extreme close-up, we see the left hand of MAYUMI OSAKA, resting on a desk. The fingernails appear to have been painted green. In the background, NARU enters the office.

LUNA(V.O.)

I've seen what this evil can do.

NARU

Hello mom!

(bows, then holds up the bag)

I brought sandwiches!

LUNA(V.O.)

I've seen what happens to the people who cross its path.

As LUNA says that, we see something strange happen to MAYUMI'S hand. What we thought were fingernails begin to secrete out of her fingers. We see that they are actually emeralds, being slowly squeezed-- grown-- out through her fingers. Not claws, but raw uncut stones, each of a different size and shape.

NARU

. . . Mom?

CUT TO:

INT, USAGI'S Bedroom.

Close up of USAGI, lying on her side, examining the prism.

LUNA

You must have heard of the sleeping sickness. Your father's a reporter, he must have talked about it with you.

USAGI

. . . Yeah.

LUNA

Usagi, it. . . or they, are taking something from people. Their. . . energy. Their vitality. They're killing these people, leaving nothing more a beating heart and a working pair of--!

USAGI sits up abrptly.

LUNA

What is it? (pause) What's wrong, Usagi?

USAGI

Naru should be at the show by now.

LUNA

Usagi, is something wrong?

After a pause, USAGI gets out of bed, PRISM still in hand, and, drawn by nothing more than a feeling, runs out the bedroom.

LUNA

Usagi!

LUNA follows her. CUT TO:

Front door. USAGI quickly slips on her shoes.

LUNA

Usagi, what is it? Are you sensing something?

USAGI runs out the door and closes it behind her, leaving LUNA behind.

LUNA

Usagi, wait!

CUT TO:

Living room. DARIEN and VICTORIA are still dancing, still playing their little game of parody. In the background, LUNA tries to climb out the same window she came in.

VICTORIA

You haven't even kissed the girl?

DARIEN

It's not about the kiss, Joey! It's about the journey, the sustained magic.

VICTORIA

It's old, Dawson. Just--

VICTORIA spots LUNA trying to climb out the window. DARIEN turns around and sees her as well.

CUT TO:

EXT, Front Door, Evening

The front door opens. LUNA runs out, while DARIEN and VICTORIA stand in the door.

VICTORIA

How the hell did she get in here?

DARIEN doesn't answer-- his cell phone starts to ring. He answers it.

DARIEN

Hello?

(pause)

Oh, God. You're kidding me. Now?

(pause)

Christ. Yeah, I'm on my way. Give me twenty minutes. (beat) I can't get there any sooner!

CUT TO:

INT, Osa-P Jewellery Store

The show has begun. Customers crowd the store, examining the wares. The camera moves toward the front of the store, as we hear an announcer.

ANNOUNCER

And now, ladies and gentlemen, you host for the evening, owner of Osa-P jewellery, Mrs. Mayumi Osaka!

Applause. We move into a close-up of MAYUMI OSAKA as she enters. She looks alien. Her hair glistens like obsidian, her lips are as rubies, her skin shines unnaturally, as though tiny jewels flowed through her very veins. It's subtle, too subtle to be seen from a distance-- we ourselves can only see it once we come into extreme close up. Once we do, MAYUMI gives a malevolent, twisted smile. CUT TO:

EXT, Sidewalk near Osa-P, NIGHT.

UASGI runs into frame, out of breath, but undaunted. She looks in the direction of OSA-P and makes a run for it. LUNA, a moment later, appears and pursues USAGI. CUT TO:

EXT. Osa-P Entrance, NIGHT.

In the foreground, we see USAGI running up the set of stairs leading into Osp-P. In the background, some distance away, we catch a brief glimpse of a WHITE STATION WAGON making its getaway. USAGI bursts through the door, and. . .

INT, Osa-P Jewellery Store

It's too late.

The room is littered with victims of the sleeping sickness. At the front of the store lies the barely living body of MAYUMI OSAKA. It's been probably twenty minutes since the disease struck. For a moment, USAGI is frozen. Then, she hears the faint sound of sirens. Slowly, dreadfully, she exits.

CUT TO:

EXT, Osa-P entrance, NIGHT

USAGI exits the store. LUNA tries to get her attention.

LUNA

Usagi! Usagi, what happened?

USAGI drops of the MOON PRISM on the ground near LUNA, and runs off. LUNA peers into the store through the front door's window. Her face sinks.

CUT TO:

INT, Hikawa Shrine

REI, in her Shinto Maiden robes, meditates in front of a large fire, just as we saw the night before. Then, just like before, something intangible grabs REI'S attention. This time, though, it prompts her to get up and run out.

CUT TO

EXT, Hikawa Shrine Entrance, NIGHT

REI runs out of the entrance, and watches several emergency vehicles drive by, sirens blazing. We hold on REI for a moment, and then CUT TO:

INT, Mamoru's Bedroom

The backpack sits wide open on MAMORU'S desk, and around twenty jewels lie scattered on the desktop. MAMORU, who's been at this for a couple of hours, rubs his eyes, then leans back on his chair and starts tossing a diamond up and down. We move around the chair, focussing on MAMORU, until the bedroom door comes into view. . . in which we see REI standing in casual evening wear.

REI

Hi Mamo-chan!

REI finishes her greeting just as the diamond falls back into MAMORU'S hand. MAMORU looks at REI for a moment. At first, he looks calm, if confused at REI'S presence. Then, remebering that he has millions of dollars of stolen merchandise sprawled all over his desk, his visage takes on a more deer-in-the-headlights expression.

REI

Yeah, I also have trouble picking out the right jewellery for a night--.

Without letting REI finish, MAMORU springs into action. Leaping out of his chair and grabbing his backpack-- which causes some of the jewels inside to fall out, MAMORU sweeps the jewels on the desk-- long with a couple of pencils and sheets of paper-- into the bag. He zips it up, runs to the closet, and then abruptly turns arond and scoops up the pieces of jewellery that fell out the bag. Running to the closet, he then throws the jewels in hand into the closet, closes it, and leans against it, trying to look calm. REI stands at the door, tossing the same diamond he was up and down in the air. She looks at him for a moment. . . after which he remembers that he was also supposed to throw the backpack into the closet, which he does quickly and gracelessly. He returns to his attempted cool pose.

CUT TO:

INT, Limosine.

MAMORU and REI sit side by side. MAMORU is still tense, while REI maintains her cocky air. After a tense pause, MAMORU finally speaks.

MAMORU

You should have knocked.

REI

The door was open.

MAMORU

No it wasn't! I wouldn't leave the door open doing. . . that! You had no right.

REI

Well, you got something on me too. (beat) I was trespassing. I won't tell if you don't!

MAMORU doesn't answer. REI leans over and kisses him, softly and slowly, on the cheek. He doesn't seem to be impressed.

REI

You wanted me to tell you about your dreams.

CUT TO:

EXT, Night Club Entrance, NIGHT

REI and MAMORU are standing in the long line-up at the club. There are two walk-through metal detectors at the entrance, with a gap in the middle blocked by a security guard.

MAMORU

I thought I left you a message. I couldn't make it today beca--

REI

You got scared.

MAMORU

What?

REI

You were afraid of what I might tell you. I can see why. That stuff I totally didn't see when I wasn't trespassing could've landed you in jail for the remainder of your current natural life!

REI peers toward the front, impatiently.

REI

God, what is the freakin' . . . ?

Right then, one of the people in line starts taunting the security guards in Chinese. Security moves in to deal with him, leaving the gap between the metal detectors unguarded.

REI

Perfect!

REI grabs MAMORU'S hand, and pulls him toward the gap. They slip through undetected and make their way inside.

REI

And why the hell didn't you change? You look like a damn college student!

MAMORU

I'm in high school. I thought that was the point.

CUT TO:

INT, Night Club.

REI and MAMORU are sitting at a table. Lights flash and dart throughout the club, dancers abound. In the background, we can hear "You Were Always on my Mind" by Pet Shop Boys pounding away.



REI

Look around you, Mamo.

He does. He, and we, soon see that the partons are dressed in very trendy version of masquerade. MAMORU turns back toward REI, who is now wearing a mask of her own-- a hideous Japanese war mask.

REI

Notice a theme?

MAMORU doesn't respond.

REI

Anyway. We're here, and you're not going anywhere, not soon anyway. So you might as well tell me about your dreams.

MAMORU hesitates.

MAMORU

I didn't have dreams after the accident. None that I could remember, anyway.

REI

Yeah, but then again, you were never really 'awake' after the accident, either.

MAMORU

. . . No.

MAMORU looks at REI suspiciously over her choice of words.

MAMORU

Not at first.

(uncomfortable pause, then he points at the mask)

Rei, would you mind taking that thing off?

REI

(pause)

You first.

MAMORU shakes his head. REI looks off to the side.

REI

Unbelievable.

MAMORU turns to look at what REI sees. We cut to a long shot of a group of SOUTH KOREAN WOMEN, dressed in clothing that conspicuously identifies their nationality (Korean Flag, Hangul Writing, etc.). They are flirting with a group of handsome Japanese men.

REI

They say they hate everything Japanese, then they turn around and, well, just look! And the men, too!

CUT TO:

Two shot of REI and MAMORU.

REI

Just because they're sluts by their own nature doesn't mean we have to be.

MAMORU is a little disgusted at REI.

MAMORU

You know. . . I found out who my parents are.

REI

. . . No you didn't.

MAMORU

They're from Thailand.

REI

No they're not.

MAMORU

And what if they were?

No answer.

MAMORU

You wear western clothes, you go to a Catholic school, you dragged me to this bloody place--

REI

You got spunky all of a sudden!

Silence. The lights are no longer flashing around the room, and they seem to hang just a bit lower than before.

REI

You ever read Sun Tzu?

MAMORU

Why? You have?

REI

You didn't answer my question.

MAMORU

No.

REI

(Mandarin Chinese)

. . . The wise general, the enlightened prince, conquers all enemies and surpasses all ordinary men for one reason and one reason alone: foreknowledge.

MAMORU

. . . What?

REI

(Mandarin)

All warfare is based on deception.

MAMORU shakes his head again. REI sighs.

REI

(Japanese)

Know thy enemy. Know thy self. Does that answer your question?

MAMORU

That one I know.

REI

That one everyone knows.

A server approaches and serves MAMORU and REI their drinks.

MAMORU

We didn't order any drinks.

REI

YOU didn't order any drinks.

MAMORU

Well, I didn't see you order any either.

REI

This is exactly what I was talking about, Mamoru.

(raises her drink)

Foreknowledge.

MAMORU lets that last word sink in.

REI

God, I'm getting sick of this.

REI dials her cell phone. She speaks inaudibly into it, and then hangs up. The very next moment, the DJ puts on a different song, "Way Down in the Hole" by Tom Waits:



The room darkens a little bit. The other patrons are gone. The lights now hang over the two at different levels, like fireflies frozen in the air.

MAMORU

I may know a little more about it than you think.

REI waits.

I guess the dreams started, maybe, a month ago? Month and a half? What's weird is. . . I always heard that dreams were supposed to be random. But these always seemed to follow a theme. It started with a voice. All I knew was that there was a voice. I didn't know what it was saying or who it belonged to, just that it was there. Then the dreams became clearer. The voice became clearer. It was a woman, and she sounded scared. She kept asking for something.

REI

Maboroshi no Ginzuishou.

(Illusionary Silver Crystal)

MAMORU recognizes the name. REI takes off her mask. Her face is more serious now.

MAMORU

That's. . . it!

REI

That's what you're looking for?

MAMORU

Yes! What is it?

REI

It's. . .

MAMORU

Well?

REI

(sighs)

I'm almost certain that it's not what you think it is.

MAMORU

(irritated)

Thanks Rei. That helps! Really! Especially since I don't even know what I think it is!

REI

Clearly you do, or you wouldn't be breaking into jewellery stores trying find it!

MAMORU

Rei! Be quiet!

REI

(pointing at MAMORU, mock accusing him)

There he is! Arrest that man! Without a hint of a criminal history he has managed to steal billions of yen worth of jewels and evade legions of police officers! He's a menace!

MAMORU sees REI'S point, and calms down somewhat.

MAMORU

Aren't you curious? About how I did it?

REI

No.

(pause)

You're not the only one who sees beyond sight, Mamo.

MAMORU

Alright. Then what is it? What is the Maboroshi no Ginzuishou?

REI

Why do you want to know?

MAMORU sighs, growing frustrated at REI'S evasiveness.

MAMORU

Mama is getting sick.

REI

What?

MAMORU

She won't say it. . . but I know.

REI

And you think the Maboroshi no Ginzuishou will cure her?

MAMORU

It might. But, really. . . even if it doesn't cure her, or, even if she's not really sick at all and won't die for another few decades, the fact of the matter is that once she's gone, I'm alone. It's not just that she's my only family; she's my only identity.

REI seems surprisingly unfazed by this implicit insult.

MAMORU

But in those dreams, I feel. . .

MAMORU trials off. REI reaches over and grabs MAMORU'S hand.

REI

Do you want to find her?

CUT TO:

A tracking shot following REI and MAMORU as they walk through the club. The lights, which once just hovered above, are now being lowered slowly toward the ground. REI, holding MAMORU'S hand, gently weaves through the lights toward the rear exit.

CUT TO:

EXT, Night Club Rear Exit, NIGHT

The "rear exit" has lead, inexplicably, to a major street, which even more strangely is dark and entirely bereft of people. REI lets go of MAMORU'S hand and walks out to the street. Suddenly, a MOTORCYCLE shrouded by darkness on the street turns on all by itself, loudly revving as it does so. It's shining headlights illuminate REI, who stands beside it.

MAMORU

Rei?

REI hops on the MOTORCYCLE and points up. She then drives off.

MAMORU

Rei!

REI vanishes down the street. We then hear the faintest sound of a woman's voice. MAMORU looks around to trying and find it. We hear the voice again, but MAMORU still can't find it. Finally, he heeds REI'S advice and looks up. Way up.

CUT TO:

Shot of an incredibly tall tower, nearly half a mile high. The tower's details are obscured, but from the top, directly above the tower's highest point, we see a glowing orb from which millions of points of light seem to emanate. We hear the voice again-- this time we can just barely make it out.

VOICE

Endym--!

CUT TO:

A shot facing MAMORU, bending his neck back to see the top of the tower. We see the points of light are falling, like flakes of snow, all over the city. MAMORU cups his hands around his mouth and yells back.

MAMORU

WHAT?!

CUT TO:

The Tower again.

VOICE

Endymion!

CUT TO:

The same shot of MAMORU.

VOICE

Endymion!

In the background, behind MAMORU, we see a bright light apear in the distance, like a beacon. MAMORU turns around and sees the light. Drawn to it, he walks toward it. . . and then runs. . . impossibly fast. As he approaches, we see that the light shines through a forest. MAMORU runs through the forest, following the light. We comes closer, closer, and finally pushed through the last patches of forest to arrive at. . .

EXT, Osa-P Jewellery Store, NIGHT.

MAMORU stands for a moment, dazed, a half block away from the jewellry store. MAMORU squints his eyes, then rubs them, finally waking up. He gazes at the store. Emergency vehicles and the media -- including DARIEN-- swarm the building. . . MAMORU is just out of range of being noticed. MAMORU quickly looks around him-- the forest, the tower, the falling lights, are all gone; MAMORU emerged from an alley. He looks back at the store again. Sleeping sickness victims are being hauled out of the store on gurneys into a multitude of nearby ambulances. MAMORU, gazing in fear for another moment, runs off in the opposite direction.

We FADE OUT.