Because One of You Asked For it!

I've created a new label, SM Script, for all script snippets posted to this blog. I've also posted links to every script snippet entry below, in chronological order from top to bottom:

I'm Actually Doing it!!

THIS is the best Tuxedo Kamen motivational poster parody I could find. . .

What Follows is Boring, but Neccessary

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

Flashes V for Victory! Every week a Fantastic Story! It's Hard to Think of Things That Rhyme With "V"! She is the One Named Sailor V!

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.

Every Day I Get in the Queue. . . To Get on the Bus That Takes Me to You.

More Rei-cism

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

Just To Be Clear, Evolution Doesn't Really Work This Way

The Same Thing We Do Every Night, Pinky. . .

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

What Follows is Again Boring, but Again Neccessary

Wherein I Parody the Entire Sailor Moon Franchise in Under Five Minutes!

Did I Mention That I'm Picturing George Takei as Dr. Tomoe?

Let the Fun Begin!

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

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

Yeah, It's Three Days Later. Whatever.

These Are Getting Shorter and Shorter. . .

The Stuff of Legend

More First Draft Badness!

Insert Your Own Witty David Lynch Reference!

I hope I haven't given too much away. . .

Why is it That So Few Saturday Morning Cartoon Villains Have a Catchy Name for Their Lairs?

You Can Use Music from Sunshine to Make Anything Badass.

You Can Also Use Music from Inception to Make Anything Badass. . . But I Won't This Time.

The "Sunshine" Post Went Over Really Well With My Mom So Here's More Music I Like

Just in Time for Mother's Day: The Ongoing Soap Opera of People Who Technically Don't Have Mothers

Yes, I HAVE Injected Backroom City Politics into your Escapist Magical Shoujo Fantasy!

No, Makoto Don't Want no Scrubs. A Scrub is a Guy Who Can't Get No Love From She.

There's actually a major plot point here! Foreshadowing! Ooooh!

They Said the F-word in the Manga Too, Y'know.

If You Start Hearing "Eye of the Tiger" in Your Head as you Read This, Then You Have Missed The Point

More Important Foreshadowing. Trust me!

This may be the shortest script snippet yet.

I'm on a Boat!

Can You Believe I Only Just Now Started Watching Battlestar Galactica?

You know, one of the first films I remember seeing in theatres was Searching for Bobby Fisher. . .

Yeah. . this'll come WAY earlier in the second draft.

I couldn't just make up an African country that didn't sound really silly. . .

The Nuances of Japanese Job Interviews = Comic Gold!

The Nuances of Japanese Job Interviews = Comic Gold!

Last time. . .

We Now Continue.

CUT TO:

EXT, Sidewalk, Day

Long shot of USAGI, sitting on the opposite end of the sidewalk from a PHONE BOOTH. Usagi’s hair has been fixed up, her uniform has been cleaned, and subtle make-up has been applied by Makoto; she wants Usagi to look good-- why, we don’t know. The sidewalk is noticeably bare of people. Inside the phone booth, we see MAKOTO talking on the phone, her hand covering the mouthpiece. She glances nervously at USAGI from time to time. USAGI, bored and anxious, looks around. She spots a BLACK CAT in the distance, walking toward her. USAGI holds her gaze on the cat—then she hears MAKOTO raising her voice angrily into the phone. After a moment, Makoto calms down, and after a few more words, hangs up the phone and opens the booth door. We now see that she is wearing a dark green dress suit.

MAKOTO

(sighs)

Sorry ‘bout that.

(beat, then gestures to the booth)

Beats a phone bill every month.

(Ed: Yeah. . . I’m just gonna forget about her cell phone. Another great/frustrating thing about first drafts.)

USAGI briefly glances toward the black cat, just in time to see it run down a back street. Usagi laughs bitterly at herself.

MAKOTO

My, uh. . .

(dissembling)

My interview’s been bumped up to noon. So. . . Whaddaya wanna do ‘till then?

USAGI

Makoto, I . . .

(beat)

Why am I coming with you, again?

MAKOTO

Well. . .

Makoto hesitates—she really doesn’t have a good answer.

MAKOTO

Usagi. . . look around.

(beat)

It’s a bad idea to be alone right now.

USAGI

Oh. Okay.

Usagi stands up.

USAGI

And. . . what, it’s a perfect day for a job interview?

MAKOTO

Look, I didn’t want to leave you sitting in the apartment, okay? And I’m not staying up there all day.

USAGI

Fine.

Usagi starts to walk off, but briefly turns around.

USAGI

Look, thanks for dinner and. . . and everything. But. . .

MAKOTO

Usagi!

(sighs)

All right-- you want to know why you’re coming with me?

(beat)

Moral support.

USAGI

(incredulous)

“Moral support”?

MAKOTO

Yeah, “moral support”!

(beat)

Can’t you tell? I’m a nervous wreck.

USAGI

. . . Makoto, I watched you fight off three people with your bare hands.

MAKOTO

Well, I can see you’ve never had to go through a Japanese job interview. Here, I’ll give you a taste.

Makoto retreats back into the phone booth. Makoto knocks on the phone booth door from the inside. Usagi has no idea what this means.

MAKOTO

(peeking through the door)

Say “come in”!

MAKOTO closes the door,

USAGI

(confused; looks around)

. . .Doozo?

MAKOTO exits the phone booth, carrying an air of Japanese feminine humility so extreme its jarring.

MAKOTO

(soft, barely audible, little eye contact)

Shitsuree itashimasu.

Makoto bows demurely. Usagi, confused, bows.

USAGI

. . . Ohayoo gozaimasu?

MAKOTO breaks character, placing her hands on her hips and pushing out her chest—a Japanese caricature of authority.

USAGI

(mimicking the gesture in confusion)

. . . O. . .hayoo?

MAKOTO

(whispering, never breaking her polite facade)

You don’t greet me.

USAGI

. . . Oh.

MAKOTO

. . . You invite me in to have a seat.

USAGI

Oh! Uh. . .

(gesturing to imaginary seat)

Doozo?

MAKOTO makes the authority figure gesture again.

MAKOTO

“Okakekudasai”!

USAGI

(hands on hips)

Okakekudasai!

MAKOTO

Shitsuree itashimasu.

Makoto gently closes the door to the phone booth, gracefully walks up to Usagi, and bows once more.

MAKOTO

. . . See, I have to apologize to you for making you invite me in--

USAGI

(abruptly)

Makoto. . .

(sighs, then seemingly upset)

What is this?

(pause)

My office is a sidewalk. This company has no future. Get out while you can.

MAKOTO breaks character and laughs, relieved to see Usagi is (slightly) better spirits.

CUT TO:

INT, Mundy Residence, Usagi’s Room

LUNA pops up from underneath Usagi’s bed to check whether she’s returned. The bed is empty.

CUT TO:

EXT, Mundy Residence, Day

LUNA walks down the lawn, taking one last look at the house. She’s torn—on the one hand, she may have finally found proof that Sailor V, the one she’s been searching for her whole life, really is still out there. On the other hand, Usagi is still missing, and Luna knows that on some levels, it’s her fault. After a moment, Luna forces herself onward.

CUT TO:

INT, Crown Arcade

With school cancelled, the arcade is packed with teenagers. MOTOKI is literally run off his feet.

MOTOKI

(to another employee)

Cancel school. Keep kids safely indoors, at home, until the state of emergency is resolved.

(beat, looks at the hordes of kids)

I think it worked.

CUT TO:

Usagi leading Makoto through the arcade.

MAKOTO

I really don’t know if I this is for me—

USAGI

You’ve gotta you’re options open! You may not get that other job.

Makoto glances sideways, as if hiding something.

USAGI

Besides. . . I got connections.

CUT TO:

Motoki at work on some chore. Usagi appears behind him.

USAGI

Motoki!

MOTOKI winces.

MOTOKI

(gritting teeth)

Oh joy.

(facing Usagi, with insincere grin)

Usagi!

USAGI

Motoki, there’s someone I want you meet.

MOTOKI

Usagi, I really am busy right--

Usagi disappears behind a video game machine.

MOTOKI

--and I’m letting this happen. That’s management material.

A second later, Usagi pulls out Makoto from behind the game machine.

USAGI

Motoki, this is Makoto Kino.

Makoto bows, putting on her feminine act. Motoki, love-struck idiot that he is, takes a moment to process the opportunity he has been handed.

MAKOTO

Shitsuree itashimasu.

MOTOKI

(abrupt)

Ah!-- Ohayoo Gozaimasu!

Motoki bows. Makoto, noticing Motoki made the same mistake as Usagi, tries not to laugh.

MOTOKI

Hajime—uh, well, we. . .

Usagi walks up behind Motoki, still facing Makoto.

MOTOKI

We’ve already. . . kind of--

USAGI

(to Motoki)

She’s young. . . energetic. . . and looking to join the workforce.

MOTOKI

That’s. . .

(claps hands)

Great! That’s really. . . yeah, we need. . . young people, with energy. . . working.

You could cut the awkwardness with a knife. Makoto pretends to look through her bag.

MAKOTO

(faking)

Ah!

(beat)

Whaddaya know. . . forgot to bring a resume!

MOTOKI

Oh, *pfft*. . . “resumes”. . .

(waves his hand)

Relics! . . . what with the. . . Facebook. . . Who needs ‘em?

Makoto glances at Usagi, standing behind Motoki. Usagi gives the thumbs up.

I couldn't just make up an African country that didn't sound really silly. . .

Last time. . .

We Now Continue.

CUT TO:

INT, Mamoru's Bedroom

Mamoru rises out of bed, peacefully. A rarity these days. He looks. . . dissappointed, somehow.

CUT TO:

INT, Mamoru's Condo, Hallway

We follow Mamoru, now in his usual sharp attire, as he walks toward the kitchen. As he goes down the hall, he passes by a large window, revealing a small but professional RECORDING STUDIO, complete with a PIANO, HUNDREDS OF RECORDS, MIXING STUDIO, the works. Now we know how the "Chiba family" makes their money.

BANDANA(V.O.)

Guess what? I have a son!

CUT TO:

INT, Kitchen

We see BANDANA talking, solemnly, into a phone down another hallway. MAMORU observes from a distance, in the kitchen.

BANDANA

(into phone)

Yeah. . . didn't see that one coming, did you? Mamo-- that's his name, Mamoru--

(sighs)

-- well, he was in a car wreck, and--

MAMORU takes a look around the kitchen-- it's a mess. There are dirty dishes and pieces of garbage everywhere. He starts to pick up some of the garbage. He's sullen-- this isn't what he wanted to do with his morning.

BANDANA

(into phone)

. . . well, it's a long story, but. . . I adopted him!

(pause)

Listen, there's something I really--

(Pause-- we can barely hear a voice from the other end now)

Hello? . . . Shingo?

MAMORU stops and turns toward BANDANA.

BANDANA

(into phone)

Shingo! Hi!

(pause)

No. . . no, Shingo, please--

(pause-- then crying)

Don't do this, please! I need to--

We hear a click. Bandana, looking as if she's been punched in the stomach, slowly hangs up the phone and walks off, without noticing Mamoru. Not having any idea what to do, Mamoru goes back to picking up the pieces.

CUT TO:

INT, Living Room

Mamour sits down on the couch, and takes a look at his watch.

MAMORU

(whispering)

Dammit!

Mamoru starts putting on his socks when--

HINO(O.S.)

Who was that?

MAMORU turns around, shocked to see TAKASHI HINO, cabinet minister and father to his girldfriend, standing in his living room, smoking a cigarette.

HINO

(gesturing to hallway)

On the phone. Who was she talking to?

HINO slumps onto the couch.

MAMORU

Oh, that, I. . . I wouldn't, uh. . .wait, what are you doing here?

HINO turns on the TV.

HINO

Hell, you wouldn't know, would you.

MAMORU

Why you're here, or --?

HINO

(looking at Mamoru's socks, changing the subject)

School's cancelled today.

(sarcastic)

In light of the tragedy.

HINO flips through channels. Most of the channels are playing footage of Tokyo Big Sight.

HINO

Christ. You just can't escape it.

Suddenly, the channel flipping stops. We see a shot of a crystal shard-- one that bears resemblance to the crystal we saw in the CRYSTAL CHAMBER.

REACTION SHOT of Mamoru-- he recognizes that shard from his dreams. (Just go with it)

HINO

(to BANDANA)

Good morning, sunshine!

MAMORU turns to see BANDANA standing in the hallway. Her forced smile can hardly conceal her fuming rage.

BANDANA

Good morning, Mamo-kun.

(to Hino)

Minister.

HINO

"Minister?"

Hino points to Mamoru, who's torn between the TV screen and the soap opera unfolding before his eyes.

HINO

(sarcastically)

Oh. . . I get it. THIS why you asked me to leave at six in the damn morning.

BANDANA, about to explode, turns and walks back down the hall.

HINO

(yelling down the hall)

You called me!

(beat, then raises the remote)

Jeeze!

Hino is about to change the channel, just another image of the crystal shard comes onto the screen. Mamoru, as if snapping out of a trance, stops him.

MAMORU

Wait!

HINO

(indignant)

What?

MAMORU fixates on the screen, as if it holds the meaning of life itself. Hino looks back and fourth between Hino and the screen.

HINO

You recognize it?

(beat)

Mamoru?

At that moment, we hear a J-poppy tune being played on a piano in the background.

HINO

I guess Rei must've told you about it, huh?

(beat)

That. . . is the Imperial Silver Crystal.

Mamoru snaps his head toward Hino.

HINO

(looking back into the hall)

Incredible. She leaves the door to her sound-proofed studio wide open while she plays the piano. THAT, Mamoru, is a lesson in feminine subtlety.

MAMORU

Wait-- THAT'S the Imperial Silver Crystal?

HINO

Oh, yeah. One of the national treasures of Sierra Lione. Imperial-- . . . or Imperium. No-one seems to be quite sure what it's called.

MAMORU

You said. . . Rei told me?

HINO

Didn't she?

(beat)

Well, that's where you're going on Friday night. You, me, Rei, and some of Japan's most powerful men, will be the honoured guests as "Princess Diamond" herself--

(quieter, sarcastic)

--that's what all the lefty do-gooders call her--

(loud again)

-- presents the Imperial Silver Crystal to a group of Japanese researchers.

MAMORU looks at the TV again. Suddenly, things are starting to make sense. Then--

REI

Dad?

Mamoru turns to find REI standing in the living room, shocked to find her father at Mamoru's place. We then turn to Hino. He's shocked to find her there too. For a moment, he loses his sense of smug composure.

REI

What are you doing here, Dad?

Hino's shocked appearance doesn't last. He turns to MAMORU.

HINO

Well. . . You're up to your eyes in Hinos today, aren't you?

(pause)

Wait--

(turns to REI)

How did YOU get in here, anyway?

CUT TO:

INT, Hallway Outside Mamoru's Condo

MAMORU and REI in the hallway.

MAMORU

You could've buzzed, Rei.

REI slams the door shut, still disgusted at what she saw.

MAMORU

So what's going on?

REI

I need a witness.

REI starts down the hallway.

MAMORU

Wait, what?

REI stops and turns around.

REI

I need someone to follow me, to see everything that I do and everything that I see, and tell me that I'm NOT completely insane.

MAMORU

(sarcastically)

Oh, sure. This is all incredibly sane.

REI continues on her way.

MAMORU

Rei, I can't just--

MAMORU glances back toward the door, and thinks twice about whether he really wants to stay in the same apartment as BANADA and HINO this morning.

MAMORU

(sighs)

Jesus, wait up.

Yeah. . this'll come WAY earlier in the second draft.

Last Time. . .

We Now Continue.

CUT TO:

EXT, Hikawa Shrine, DAY

REI walks along one of the shrine's mossy and worn stone paths, in full miko garb. A visitor walks by on the same path, on her way to perform her morning prayers. Rei bows. Aside from that one visitor, Rei is alone. We hear a loud CROW'S CAW as we--

CUT TO:

PHOBOS and DEIMOS, the shrine's resident ravens, each pecking away at a thin, bloody slice of beef.

REI (O.S.)

I hope you're happy, because this. . .

CUT TO:

A shot of Rei, kneeling down, watching the crows as they tear ravenously away at their meat.

REI

This is pollution, right here.

(points to the meat)

I've just brought meat-- raw, bloody, soiled meat-- onto the grounds of a Shinto shrine.

PHOBOS caws at DEIMOS, and drops his meat momentarily.

REI

Aw. Don't like it? Not quite rare enough for you?

Phobos picks up the piece of wet meat, now covered with pebbles and soil.

REI

(more serious)

Why won't you talk to me.

(pause)

It's been eight years. Say something.

Nothing.

REI

No-one else has to hear it. Just me.

DEIMOS caws. Rei lowers her head, and we

CUT TO:

The outer fence. Rei, still in her miko uniform walks along the fenceline. She passes by two women, one elderly, one middle aged. The middle aged woman is holding onto a photograph. The old woman seems on the verge of tears. Something bad happened here. Rei tries to pass the two women by without being noticed, but then. . .

OLD WOMAN("O.W.")

Excuse me? Excuse me, pristess?

Rei turns around.

REI

(humbly)

Oh, no. No, I'm not a priest--

MIDDLE AGED WOMAN ("M.W.")

Mother, please--

O.W.

Please, forgive me, I know I'm imposing myself on you--

M.W.

Mother--!

O.W. takes the photograph out ot M.W.'s hands and shows it to Rei. It's a little boy, five years old. Rei knows what this is about, and really doesn't want to see it.

O.W.

He went missing from here around a year ago. His name is Daichi.

Rei, in spite of herself, looks at the picture.

O.W.

(depserate)

If you could just offer a prayer--

M.W.

(whispering, mildly patronizing)

It's alright, mother. It's alright.

M.W. tried to pull O.W. away.

M.W.

(to Rei)

I'm so sorry.

O.W.

(to Rei)

Just a simple prayer for his safe return--

M.W.

(whispering to O.W., again patronizing)

Mother, please! You're embarrassing her!

O.W. walks away, absent mindledly.

M.W.

(to Rei)

I'm so sorry. My mother's. . . old fashioned. She takes all this. . .

(gestures at the shrine, dismissively)

. . . seriously.

REI

(trying to ignore the implicit insult)

Imagine. . .

M.W.

I used to volunteer at a shrine like this.

(to O.W.)

Her idea.

(glances at the shrine)

Actually. . .

(closes in on Rei, whispering)

Is it true?

REI

What?

M.W.

That Takeshi Hino owns this shrine?

(beat)

You know, that politi--

REI

(cuts in)

Yes, my-- Minister Hino's family does own this shrine.

M.W.

(glances at shrine, sniffing)

No wonder they've never looked into it.

(to Rei)

There have been three child dissappearances from near this shrine. Daichi was the latest, last year. How much investigating do you think police have done, hmm? None. Big shock, huh?

(sniffs with contempt at the shrine)

His mother won't even leave the house. One whole year, hasn't left the house. Still, what do they do? Nothing. All thanks to that assh--

(backs off, just as she's really starting to fume)

I'm sorry. . . I know you aren't connected to all this. Not really.

M.W. bows, and rejoins her mother. Rei just stands there, trying to take all of this in. It's not what M.W. said that really stunned Rei, as much as the fact that she did said it, that shocked Rei the most. After a moment, Rei turns around and continues on her way, striding forth with a new sense of purpose.

You know, one of the first films I remember seeing in theatres was Searching for Bobby Fisher. . .

Last Time. . .

We Now Comntinue.

We hold on this shot of black for a few seconds-- just long enough for the pause to be noticable-- before we

CUT TO:

INT, Makoto's Apartment

A close up of USAGI lying on Makoto's couch. She snaps awake just as we cut to her. We think it might be from a nightmare, until we see her close her eyes and groan groggily.

CUT TO:

Usagi, standing at a window. The sun is only just coming up; for Tokyo in early April, this means its only around 5:30. Usagi looks down to the bare street below, and then up to the Tokyo Sky Tree in the distance. Somehow, in the light of day, the scene has lost its lustre. Usagi turns around, and sees that there's light coming from the bottom of the bathroom door.

CUT TO:

Bathroom. MAKOTO stands in front of the mirror, doing something we never thought we'd see her do-- applying eye-liner. She's wearing a white t-shirt and a dark-green skirt; behind her hangs the top part of a dress suit of the same color as her dress. She's puts down the eye-liner and reaches for a packet of lipstick in a metallic case, but hesitates. She closes her eyes, and we

CUT TO:

INT, Juuban High

A flashback from a few months earlier. Makoto, now sitting in class, is applying lipstick and fixing up her her hair-- she's trying to hide what she's doing, given the cultural taboo in Japan of applying make-up in public. She turns around and spots SEMPAI, hanging out with some friends. Her face flushed, she looks down to something in her hand-- a button. She looks back up to Sempai as we cut to a close-up-- we see that one of the buttons on his uniform jacket is missing. We pan up to reveal SEMPAI looking over to Makoto and smiling.

CUT TO:

INT, Makoto's Apartment

The present. This memory has clearly infuriated MAKOTO. She looks down at the lipstick, the music builds, and then, as if focussing all her anger onto it, Makoto reaches out and GRABS THE LIPSTICK. She holds on to the lipstick, gazing at it-- whatever she was expecting to happen, hasn't. After a moment, she pulls herself together and starts applying the lipstick.

CUT TO:

USAGI, lying on the couch, looking at the bathroom, unable, or unwilling, to go back to sleep.

CUT TO:

INT, Mizuno Residence, Bathroom

AMI enters the washroom. As she approaches the sink, she sees something in the garbage container. She looks inside and takes the object out-- it's an empty pill bottle. Ami takes a closer look at the label: "Zotepine". Ami knows what this is, but has no idea what it's doing in her apartment.

CUT TO:

Dining room. Ami brings out a small, homemade breakfast and sets it on the table. She's all dressed up for school -- uniform, backpack full of books, all ready-- so she's shocked to see the message left for her on the dry-erase board by Saeko:

MESSAGE

School's been cancelled today.

It looks like something has been erased next to that message, but we can't tell for sure. Ami's dissappointed by the news. But there's something else written on the board-- a chess move: "Bxa4". Beneath the chess move is a text address-- whoever wrote down that move want Ami to send her next move there. AMI moves to the board and makes the move. She then analyses the board-- this was a surprisingly challenging move, and AMI has to think for a moment about her response. Then, in AMI'S eyes, we can see a flash of inspiration.

CUT TO:

A moment later. AMI sends a text message containing her (unseen) move.

CUT TO:

AMI sitting at the TV. She's jubillant. . . until the ongoing news of the attack at Big Sight snaps her back into reality. After a moment, we

CUT TO:

AMI pulling out papers from her drawer-- these were the same papers that AMI was working on yesterday, which SAEKO took down. As Ami is looking them through, she gets a text message.

MESSAGE

School's out, but we're not.

AMI reads what the message as we--

CUT TO:

. . .

Can You Believe I Only Just Now Started Watching Battlestar Galactica?

Last Time. . .

We Now Continue.

CUT TO:

Black. We hold on this until we see some grainy VIDEO FOOTAGE CUT IN.

(Note: We'll be seeing footage cutting in and out quite a bit throughout the next scene. Each cut in of footage, in true magnetic videotape fashion, will be accompanied by wavy lines of white static snow and distorted humming in the soundtrack.)

CUT IN TO:

A fuzzy, black and white, wall-camera feed of THE COLLIDER-- we see just one part of a massive device resembling a particle accelerator. Two tubes (one labeled with the Greek letter Alpha, the other, Omega) converge from either side onto a smaller vertical TUBE, just large enough to hold a person-- it almost resembles a coffin. There is a small window on the top of the tube; it's too dark to see what's inside. On the top corner of the screen, we can see a twenty-four hour clock, measuring time down to tenths of a second. There is no audio feed coming from the camera, and we only hear the random, almost subliminal hum and buzz of the video. Then, a voice, spoken through a microphone, recorded directly onto the soundtrack:

KAO LING(V.O.)

We're at 80% power. Preparing for intermix cycle.

At this, alarm lights on the ceiling turn on.

KAO LING(V.O.)

Initiate.

Like hoses suddenly filled with fluid, the two massive tubes start to buckle. It's an intimidating sight, given how big the tubes are.

KAO LING(V.O.)

We have interface.

Whatever is happening in the tubes, it's generating just enough light to see inside the window of the vertical coffin: it's a face. White and waxy, with eyes closed, its almost like a death mask.

KAO LING(V.O.)

Bio-support systems. . . stable.

A bit more light, and we see that the face is that of CYPRINE & PTILOL.

KAO LING(V.O.)

Ninety percent. Radiation levels outside chamber increasing, but well within tolerances.

The light is now blinding. A purple blob of magnetic distortion begins to form at the centre of the tape, as if the light is trying to burst through the very screen itself. If the image resembles that which formed after the collision of ORDER and CHAOS in LUNA'S story. . . that's just fine.

KAO LING(V.O.)

Ninety-five percent. Full power in ten seconds. Ninety-six. . . Ninety-seven. . . Ninety-eight--

CUT IN TO:

The blank, tacky blue title screen of a DOCUMENTARY. As we'll see, this film looks like it was edited on 1980's video editing equipment. It has music to match:



Then, a cheap, grey TITLE flies onto the screen, twirling around itself in with a special computer effect you might expect on an 80's corporate training video.

TITLE

Dark Energy

Then, a subtitle fills in at the bottom via an equally cheap de-pixelating effect.

SUTITLE

Progress and Paradigms in Energy Extraction.

The titles fly off the screen, followed by the blue background, transitioning to footage of D-Point. SAILOR V and EUDIAL are battling with a half-dozen or so strange creatures, the Dark Kingdom's lesser minions.

MIMETE(V.O.)

(pretentious)

We stand at a crossroads.

We WIPE to:

A massive field-- a zoo-- holding thousands of similarly exotic creatures. The camera looks down at the field a safe distance away.

MIMETE(V.O.)

At the precipice of a new horizon.

The camera zooms in, panning across the field.

MIMETE(V.O.)

Even now, we are slowly unravelling the secrets of D-Point--

CUT TO:

EUDIAL and TELLU hauling vats containing the creatures from the zoo onto large trucks, specially equipped with tracks to help navigate the snow. EUDIAL glares into the camera, as if to suggest to whomever is holding it to put it down and do some real work.

MIMETE(V.O.)

--and its strange and exotic inhabitants. Once a scientific mystery, the natural endothermic properties of these creatures are now--

CUT IN TO:

Interlaced combination of footage: The D-point Documentary, and the Collector. The light from the Collector footage is near blinding.

KAO LING (V.O.)

Neuron activity increasing, I'm-- hold on. . . Brainwaves!

(laughing joyously)

My God! I'm detecting--!

CUT IN TO:

A sharp cut this time, to a digital hand-held video camera following EUDIAL into MARIE-SENSEI'S house. The remains of MIMETE'S earlier confrontation linger: smashed-in picture frames, broken ceramic figures, potted plants lying on the floor with dirt sprawled everywhere, etc..

EUDIAL

Unbelievable, Mimete. You couldn't even clean up your own mess?

(beat, then sarcastically)

No. . . wait, that's MY job.

EUDIAL bends down and picks up a ceramic ARTEMIS toy and puts it on the shelf from which it appears to have fallen.

EUDIAL

There. No--

EUDIAL rotates the toy.

EUDIAL

There.

EUDIAL turns to the camera.

EUDIAL

Jesus! Mimete, turns that thing--!

CUT TO:

MARIE, sitting on the couch, staring out into space, as EUDIAL tends to her.

MIMETE(O.S.)

-- Just some old videos I pulled off tape. I'm sure the original is somewhere.

EUDIAL

And if "somewhere" is nowhere to be found? Will we miss it?

MARIE

(faintly)

What makes me so special?

MIMETE(O.S.)

(frustrated at Eudial, murmuring)

Jesus.

MARIE

That's what she said. O-sama. "What makes you so special? I've been writing for twenty years straight, and you want--"

EUDIAL

She's getting pretty chatty, Mimete.

MARIE

"-- a break? You think you can take a break after one lucky hit?"

(tearing up)

"You think you're special?"

EUDIAL

(worried)

Mimete?

MARIE'S face suddenly contorts with rage.

MARIE

You think you're SPECIAL?!

EUDIAL

MIMETE!

We hear a hand slam down on a button, and MARIE relaxes. Eudial turns to the camera.

EUDIAL

Jesus, Mimete! Pay attention! Are you trying to get me killed? Again?

EUDIAL turns back to MARIE, putting some finishing touches on her.

EUDIAL

(sighs, trying to calm down)

Okay. . . that should do it. Alright, let's start with--

MIMETE(O.S.)

Actually, could we--

MIMETE stops. EUDIAL turns around.

EUDIAL

What?

MIMETE(O.S.)

Nothing.

EUDIAL

(sharply)

What, Mimete?

MIMETE(O.S.)

I just thought. . . if we moved her to the side a bit. . .

EUDIAL gives MIMETE a look.

MIMETE(O.S.)

It would just look. . . better. More cinematic.

EUDIAL

Mimete. . . I happened to choose this position for optimal visual--

(she stops herself)

We're scientists, Mimete. Scientists! Do you understand that?!

MIMETE(O.S.)

You asked.

At that moment, the two hear the front door opening. They were not expecting this.

MIMETE(O.S.)

What the hell?! He supposed to be in San Fr--

BAISHAKU(O.S.)

I'm home!

MIMETE(O.S.)

Oh. . . no.

EUDIAL

Oh yes!

MIMETE

What?

EUDIAL

Science, Mimete. Turn that thing off for--

CUT IN TO:

The Documentary. A close-up of the CRYSTAL, from the CRYSTAL CHAMBER. It somehow looks less complete than when we last saw it.

MIMETE(V.O.)

We've already obtained four of the seven shards of the linking crystal.

CUT TO:

D-Point. We see a bright light fly up out of a large structure (at once Gothic and alien) and into the sky, and then split apart into seven multi-colored pieces, flying over the horizon.

MIMETE(V.O.)

Two of the remaining three have been located, and its only a--

CUT IN TO:

Marie, on the couch. She has been moved slightly to the side.

EUDIAL(O.S.)

(calling out)

Mimete!

MIMETE(O.S.)

Perfect.

EUDIAL(O.S.)

Mimete!

MIMETE(O.S.)

What?

EUDIAL(O.S.)

I'm taking him upstairs. Bring her too.

MIMETE(O.S.)

(under her breath, exasperated)

Oh, for fu--!

Cut to:

Bedroom. The camera is fixed on BAISHAKU, laying on the bed, half-conscious, his arms and legs bound by tied up pieces clothing. Eudial stands at his side, gazing down on him with detached curiosity.

MIMETE(O.S.)

Okay.

EUDIAL

(as if reciting notes)

Subject Baishaku, Marie. Date 18 March 2014. Time, thirteen fifty-three. Location, Baishaku residence, Yokohama. This is ahead of schedule, but we're going to attempt a feeding. This will NOT be a standard feeding, however, as we will be feeding an injured party to the subject. It is our hope to examine the creatures endoantentropic properties--

MIMETE(O.S.)

Wait, "endoantentropic"--?

EUDIAL, frustrated, pauses.

MIMETE(O.S.)

I-I just thought. . . it was "endothermic."

EUDIAL holds her tongue, holding back her rage.

MIMETE(O.S.)

(nervous)

D-do want to start ag--

EUDIAL

(sharply)

TO EXAMINE. . . the endoantentropic properties of the subject when presented with injured feed. Previous tests have all assumed healthy and uninjured feed, which is, to put it lightly, a bit optimistic given the nature of our enterprise. Therefore, we will be presenting to the subject one injured human. Namely, the subject's husband, Mr. Baishaku, seen here.

(to Mimete)

Get her ready.

EUDIAL turns back to BAISHAKU.

EUDIAL

And by the way, "endothermic" means "heat absorbing", dumbass.

MIMETE(O.S.)

So. . . what's the injury? The concussion?

BAISHAKU starts to stir, moaning.

EUDIAL

(still examining Baishaku)

No.

BAISHAKU moans louder.

EUDIAL

Absorption is most effective when the feed is focused on something, when its concentrating its energy onto the subject harvester in some way. I wanna see what the limits are to harvesting from unfocused feed.

EUDIAL turns her eye toward Baishaku's leg.

EUDIAL

There we go.

EUDIAL, in one quick movement, removes the pant leg from BAISHAKU'S left leg, exposing his shin.

MIMETE(O.S.)

(scared)

Wait, y-you haven't--?

BAISHAKU

(faintly)

What. . .?

EUDIAL

Feed is regaining consciousness. Okay. We'll test on unconscious feed later on as a control.

EUDIAL places her forearm above BAISHAKU'S shin.

EUDIAL(O.S.)

I am preparing to administer injury.

MIMETE(O.S.)

W-wait--!

EUDIAL

What?

MIMETE(O.S.)

(scared of what Eudial is about to do)

Y-y-you can't do it like that!

EUDIAL

Sure I can.

(looks down to the shin)

Just like chopping wood.

MIMETE(O.S.)

Eudial, uh, t-t-the battery--

EUDIAL raises her arm.

BAISHAKU

(weakly)

Please. . .

MIMETE(O.S.)

(desperate)

Eudial, the battery is dy--

EUDIAL

(coldly)

Administering.

EUDIAL'S forwarm slams down on BAISHAKU'S shin. We see her arm just make contact with the shin before we--

CUT IN TO:

Interlaced footage of THE COLLIDER-- now back to normal lighting-- and the documentary. We hear BAISHAKU'S fuzzy, distorted screams as we--

CUT IN TO:

The documentary. Any relief we might have felt at having cut away when we did is dashed when we see a CONVULSING SCHOOLGIRL on a slab, recorded with a fuzzy wall-mounted camera much like the one used to film the COLLIDER. Juxtaposed is more of the same music that began the documentary.



MIMETE(V.O.)

--ester-human hybrids. . .

MIMETE holds, waiting for the scene to play out. Then after a second,

CUT TO:

Shots of crowded public places: subways; sidewalks in Shinjuku, Shibuya, Ginza; schools; etc.

MIMETE(V.O.)

. . .combined with energy obtained through passive enothermy. . .

We cut to a scene of candy being sold to children. Silence for a moment. Then--

CUT TO:

A MAP of Tokyo, highlighting various locations. . . the same ones seen on AMI'S map. Some of these locations are blinking, while others are not.

MIMETE(V.O.)

. . . will allow us to expand to Phase II: small scale extractions at various points throughout the Greater Tokyo Area. This will serve two purposes. First--

We cut to the video footage of SAILOR V at D-point.

MIMETE(V.O.)

--it is our hope to weed out the so-called "Sailor V". The sites of the extractions have been specifically chosen for this purpose. Second, with the energy obtained from these extractions, we can move on to Phase III: large scale extraction in a densely populated region.

Back to the map. We see a handful of locations highlighted.

MIMETE(V.O.)

We have selected various possible locations and events from which to undertake Phase III. If "Sailor V" is not found during Phase II, we will most likely undertake Phase III at the Tokyo Internation--

CUT IN TO:

The COLLIDER. The "coffin" has opened. The person inside-- Cyprine, Ptilol?-- steps out, gazing at her surroundings. . .

KAO LING(V.O.)

She's stepping out! I don't believe this. We did it! We-- wait. . .

Something is wrong. Cyprine/Ptilol appears to be rapidly shifting between two states, as though two different people are occupying the same space.

KAO LING(V.O.)

It looks like she's. . . I don't know. Wait, what did you-- entangled? What does--?

CUT IN TO:

The Documentary. We see the map of Tokyo, now with many locations highlighted, along with a mix of stock footage.

MIMETE(V.O.)

Phase IV: Multiple, coordinated--

CUT IN TO:

What looks like an interrogation room, seen from a grainy wall-mounted camera feed. Silence, apart from the usual hum, and maybe some background music for mood. We see CYPRINE and PTILOL, now fully separated for one another, sitting at opposite ends of a table, completely still. After a few seconds, we JUMP-CUT to the same camera a few moments later: CYPRINE is looking at the camera, her face just a few inches away from it; PTILOL looks at the camera as well, from the other end of the room-- we see her over CYRPINE'S shoulder.

CUT IN TO:

Handheld, shaky camera footage. We're in a car. Through the window, we MIMETE running through a streetlit alley at night.

CYPRINE(O.S.)

I don't know.

MIMETE is chasing after something. Zooming in, we see that it's a dog.

CYRPINE(O.S.)

I went with her to the auction.

The camera zooms out again. The dog is trapped in a corner, growling at MIMETE as she tries to approach it.

CYPRINE(O.S.)

And I TOLD her, "Mimete, we're here to BUY the crystal,"--

CYPRINE'S hand holds up a SHARD OF CRYSTAL, resembling that from the CRYSTAL CHAMBER.

CYPRINE(O.S.)

Well. . . no, that's not what I told her. That's what I tell YOU I told her. I tried to stop her, I tell you. And then, when she realized what a mess she made of things, AGAIN, she drove off, leaving me behind.

(insincere)

It sure is a good thing I grabbed the crystal, isn't it?

CYPRINE lowers the crystal. We see MIMETE slowly, cautiously, approaching the dog. It barks a couple of times, and MIMETE backs off.

CYPRINE(O.S.)

And that's not even the end of it.

(fake indignance)

Did you know she lost a Daimon?! It's true! Ran off from the blood drive. Of course, Eudial bears some blame for this. That tracking device of hers. . . well, not only that, she-- Mimete, I mean-- actually expected ME to help her make another Daimon, and try to pass THAT one off as the one she lost!

MIMETE approaches the dog again. This time it bites down onto her arm. It doesn't penetrate her skin, or cause her harm of any kind, but she still freaks out.

CYPRINE(O.S.)

I mean, yeah, I TOLD her I would help and, well yeah, I helped sneak out TWO whole Daimon 'cause, let's face it, she wouldn't have the foresight to use the damn DOG to harvest the people at the auction. Oh, by the way, my idea too. It's not just the Daimon you need to replace-- you need the energy too, remember?

The camera pans right, and we see PTILOL standing beside the car. As soon as she comes on camera-- without actually seeing the camera with her own eyes-- she starts fixing her hair and adjusting her clothes, as if trying to improve her appearance.

CYPRINE(O.S.)

No. . . I can't say I know what happened. I was walking home through the tunnels, my better half was manning her post. . .

PTILOL approaches MIMETE from behind as she wrestles with the dog, still latched onto her arm.

CYPRINE(O.S.)

Maybe she wasn't careful enough with her Daimon and it turned on her. Maybe she ran away. Yeah. . . that's it. She ran away. Just like number 2.

PTILOL creeps behind MIMETE.

CYPRINE(O.S.)

In any event, she's gone. You'll be gone too. Soon enough. And you'll never, ever find her, or her car, because she's crafty, that one is. What you WILL find out, soon enough, is how it feels. How it feels. . . when it FEELS.

(excited)

When it actually, really, truly feels. Just like I'm about to find out.

PTILOL reaches her hands out to MIMETE'S neck.

CYPRINE(O.S.)

But no spoilers.

The camera CUTS TO BLACK.

I'm on a Boat!

Last time. . .

We now continue.

CUT TO:

INT, Usagi's Room

The room is dark, save for the light of the full moon and outside streetlights pouring in through the window. LUNA is lying on the bed, asleep. From downstairs, we hear the door open and close. LUNA wakes up and lifts her head, optimistically.

VICTORIA (O.S., fr. dowstairs)

Any calls?

SAMMY(O.S., fr. downstairs)

No.

LUNA lowers her head, and then lifts her eyes toward to nearly full moon shining through the window-- if this scene reminds the viewer of Luna's room in the Cat Masion, so much more the better. As Luna looks around, the conversation continues.

DARIEN(O.S., fr. downstairs)

Did you try her friend?

VICTORIA(O.S., exasperated)

"Her friend"? You mean Naru Osaka?

DARIEN(O.S.)

Yes, I mean Naru!

VICTORIA(O.S.)

Yes, Darien, of course I tried Naru!

DARIEN(O.S.)

And?

VICTORIA(O.S.)

And. . . I couldn't reach them, so I tried Umino.

DARIEN(O.S.)

Who?

VICTORIA(O.S.)

Umino, he's another . . . look, never mind. It turns out Naru and her mother are both in hospital!

DARIEN(O.S.)

Oh Christ. . .

VICTORIA(O.S.)

Umino was with Naru all day. Turns out Usagi dropped by too.

(beat)

Did you know about this?

DARIEN(O.S.)

I knew something happened at a jewellery store.

(Ed: Let's just pretend that Darien wasn't at the scene that night. . .)

I didn't quite put it together until you mentioned "Osaka".

VICTORIA(O.S.)

What?

(beat)

What happened at the jewellery store?

DARIEN(O.S., frustrated)

I don't know, Victoria.

VICTORIA(O.S.)

Well, do you know anyone at NHK who does--?

DARIEN(O.S.)

Victoria, this isn't getting us anywhere.

VICTORIA(O.S.)

The hell it isn't!

DARIEN(O.S.)

Victoria, you're reaching out and grabbing whatever you can--

VICTORIA(O.S.)

What that does that mean--?

DARIEN(O.S.)

-- and trying to piece it together somehow!

VICTORIA(O.S.)

Do you seriously think--?

DARIEN(O.S.)

You need to calm down!

VICTORIA(O.S.)

-- there's no connection-- Don't tell me to calm down, Darien!

DARIEN(O.S.)

Victoria--

VICTORIA(O.S.)

Do you think I'm an idiot?

DARIEN(O.S.)

I think you're panicking!

This argument continues. SAMMY enters USAGI'S room, clearly upset by the parent's fighting and trying to get away.

SAMMY

(trying to smile)

Hey Luna!

SAMMY sits on USAGI'S bed and PETS LUNA. LUNA purrs sympatheitically.

SAMMY

Hey there kitty. . .

SAMMY reaches into his pocket and pulls out a package of CAT TREATS.

SAMMY

I bought these for you at lunch.

SAMMY pours some treats into his hand and gives them to Luna. The argument grows louder.

SAMMY

(nervous, but trying to hide it)

Here you go!

LUNA eats the treats as the parent's voices grow louder.

SAMMY

Don't worry about them. . . Usagi's not here, so they jnust have to yell at each other to comp--

We hear some stuff fall on to the floor. SAMMY flinches.

DARIEN(O.S., yelling)

Oh, that helps, Victoria!

VICTORIA(O.S., yelling)

How DARE you!

DARIEN(O.S.)

That really helps!

VICTORIA(O.S.)

I can't BELIEVE you would blame this on me!

DARIEN(O.S.)

You locked her out, Victoria! You think that's responsible?

VICTORIA(O.S.)

Oh, go fu--

DARIEN(O.S.)

You think that sets a good exam--

SAMMY rushes over to Usagi's stereo and turns it on, cranking up the volume-- it doesn't matter what music is playing, just that it's loud enough to drown out the parent's fighting. On the brink of tears, SAMMY lies down on USAGI'S bed, face down. LUNA, after a moment, crawls up next to him. We pan up toward the moon, shining through the window. We hold on this shot, and then

FADE TO BLACK.

To be continued.

This may be the shortest script snippet yet.

Seriously, I have to be out of here in 30 minutes so here's, like, a thrity second scene:

Last Time. . .

We now continue.

CUT TO:

INT, Mizuno Residence

We pan around AMI'S room, with notes piled upon notes. We pan past AMI, who has fallen asleep with her head on her desk. We continue panning until we see SAEKO, standing in the doorway.

SAEKO

(sad, worried)

Damn it, Ami. . .

CUT TO:

A moment later. SAEKO putting AMI into bed.

SAEKO

(half to herself)

You know what I was into when I was your age? Kiki's Delivery Service. Seriously, I wore out the damn tape I watched it so much.

SAEKO draws the covers over AMI and strokes her hair, somewhat sadly. We hear the doorbell ring as we

CUT TO:

The front door. SAEKO opens it to reveal TOMOE.

SAEKO

Sensei!

SAEKO bows, followed by TOMOE.

SAEKO

What are you doing here?

CUT TO:


To Be Continued.

See? Told you it was short.

More Important Foreshadowing. Trust me!

Last Time. . .

We Now Continue.

CUT TO:

INT, Tokyo Sky Tree, Second Observatory

TAKASHI HINO, REI'S father, is pacing back and fourth behind a stage. The sounds of a PARTY can be heard in the background. HINO is reading from a notepad.

HINO

(quietly)

Despite continued hardship-- economic, political, even natural-- Japan remains committed to pushing back the boundaries of scientific and technological achievement. We built the Tokyo Sky Tree as a symbol of that commitment; now, we unveil the first of a--

HINO notices a group of SUITS approach him, lead by an elderly and intimidating looking political official, Hino's SENIOR. Hino stiffens, out of both respect and fear.

SENIOR

Minister Hino.

HINO bows deeply.

HINO

Minister! Good evening.

HINO bows again.

SENIOR

Yes. Good evening.

CUT TO:

An elevator door opening, revealing TOMOE. TOMOE steps out onto the upper observation deck. The place is swarming with the Tokyo political and social elite. Reluctantly, Tomoe advances, readying himself for the schmoozing to follow.

SENIOR(V.O.)

There have been some. . .

CUT TO:

HINO and SENIOR, backstage.

SENIOR

. . . regrettable things that have taken place today.

HINO knows what this coded language really means.

HINO

Sir--

SENIOR

It occured to us that, as a sign of respect, you might reconsider whether to give your speech tonight.

HINO

Sir, those comments. . . they were made two days ago. They've been taken out context--

SENIOR

There would be no shame if you were to decide not to give your speech tonight--

HINO

(interrupting)

How could I possibly know that something like this would--?

SENIOR

Respect, Takashi.

(beat, then slowly)

Show some goddamned respect. Do you understand me?

HINO is silenced.

SENIOR(V.O.)

-- as a symbol of that comittment, we now unveil the first--

CUT TO:

A few minutes later. The crowd is gathered in front of a small stage, where SENIOR is now delivering HINO'S speech.

SENIOR

-- of a series of new upgrades that will increase the transmission power and data hanlding capacity of the Tokyo Sky Tree, transforming it into an information hub unlike any the world has ever seen.

SENIOR goes on. We pan to HINO, who bitterly cradles a glass of liquor. After a moment, WAKAGI approaches.

WAKAGI

Minister?

HINO turns and fakes a smile.

HINO

Commissioner! I didn't realize you were invited!

WAKAGI

Actually, I'm not.

HINO

Then your trespassing!

(looking around)

Where's a cop when you need one?

(pulls in, quieter, tone becomes more serious)

What the hell are you doing here?

WAKAGI

Minist-

HINO

We have a separate line--

WAKAGI

That's what I needed to talk to you about.

HINO

Oh my God. How?

WAKAGI

(beat)

I don't know. But we have to get rid of it.

HINO

Then get rid of it!

(beat)

It's really been my day today, hasn't it?

WAKAGI

(bitterly)

It's been a lot of people's day today.

WAKAGI walks off. As Hino recovers from Wakagi's retort, we hear SENIOR once again.

SENIOR

Now where is he? Professor? Ah! There he is, Professor Souichi Tomoe!

HINO looks over toward TOMOE, standing next to a window, waving politely.

HINO(V.O.)

Professor?

CUT TO:

A few minutes later. The party is now well underway. HINO approaches TOMOE, who is looking out the window of the observation deck.

HINO

Professor?

TOMOE

I can hear you.

HINO is stung by this, yet another insult.

TOMOE

Takashi. Relax. You're one of the few people I can afford not be polite to. Consider it a compliment.

HINO relaxes, and then looks around.

TOMOE

I thought you were giving the speech tonight.

HINO

No. Change of plans.

HINO catches a glimpse of SENIOR.

HINO

Pompous ass. Thinks he's hot shit 'cause he used to hang with Mishima. "Respect." What the hell does he know about anime--?

TOMOE

(ignoring HINO)

I didn't think it was possible to see this far from a building.

HINO turns to TOMOE.

TOMOE

(excited)

This tower is six hundred thirty-four metres tall. That means it's visible from ninety kilometers away. Ninety kilometers! People can see us from ninety kilometers away! Can you believe that?

HINO

I suppose. . .

TOMOE

(abruptly)

Takashi. . . everyone--

(eyes the partygoers)

-- can see us up here.

TOMOE eyes HINO. He gets the message.

CUT TO:

INT, Bar

An upscale bar, packed with a mix of hip locals and foreigners. After a moment, we see BANDANA sitting at the bar, cradling a drink, much like HINO was a moment ago. She looks around, admiring some of the handsome men that have come out tonight. Eventually she spots one young man who bears a close resemblance to Sempai. BANDANA like. She tentatively prepares herself to approach the young man, but just as she's about to get up, she catches a glimpse of herself in the reflective bartop-- while she may have been beautiful once, age and illness has left their mark. Giving up on the idea of asking the man out, she pulls ou her cell phone. We can hear the sound of Sid Viscious' cover of "My Way" fade in as we

CUT TO:

INT, Tokyo Sky Tree, First Observatory

Another party, this time on the Sky Tree's larger lower deck. This party, consisting of scientists and laborers who actually did all the work that is being celebrated on the upper floor, is louder, rougher. . . in other words, more like a party. Amidsts the pariters, we see working class FREETER wailing into a karaoke machine, singing "My Way" in the most stereotypically Japanese way you could imagine. We pan to reveal HINO and TOMOE leaning against a wall.

HINO

Are you sure this isn't too loud?

TOMOE doesn't respond.

HINO

Tomoe-san?

TOMOE

It's perfect!

TOMOE starts nodding his head with the music.

HINO

I thought we were going somewhere else. Somewhere private.

TOMOE

No. I just wanted to get away from the suits.

A young boyfriend and girlfriend walk by TOMOE and HINO. The girl catches a glimpse of TOMOE'S eyepatch, and nods approvingly.

HINO

(in disbelief)

What the hell was that?

TOMOE

The patch!

HINO

Unbelievable. You could have lazy eye for all she knows.

(shakes head)

Damn kids.

TOMOE

How's yours?

HINO

What?

TOMOE

Rei! I didn't see her tonight.

HINO

Do you really need to ask?

TOMOE

(with music)

-all else to do!

(to HINO)

She's coming Friday night, right?

HINO

Yes, yes. Definitely. Firday is your night. I won't allow her to miss it.

TOMOE

"Won't allow her?"

HINO

Absolutely not.

TOMOE looks a HINO, disappointed in him.

HINO

By the way, congratulations!

From HINO'S pocket, we can see some flashing lights.

HINO

These upgrades are a major acheivement. At least from what I understand.

TOMOE

You understand more than I do. I'm just here to show my face for the Foundation.

HINO

You're far too humble, Tomoe-sensei.

TOMOE looks at HINO, and points to the flashing light in his pocket. HINO reaches in and pulls out a cell phone. Plugging one ear with his finger, TOMOE answers the phone.

TOMOE

Mushi-mushi?

(pause)

What?

(pause, then sharply)

You what?

TOMOE turns to HINO. HINO looks worried.

HINO

Why didn't you tell me?

(pause)

Of course I would want to know! You think I don't care-- look, hold on, I'll be right-- I'll be right there! Give me twenty minutes!

HINO hangs up,

HINO

(apologetically)

I'm. . .

(bows)

I'm sorry. I have to go. Forgive me.

TOMOE

I'll see you Friday.

HINO leaves.

HINO

(as he exits)

Rei too!

TOMOE looks around the room, and eventually spots a impressive looking bit of electronics along the central support beam of the tower. We walks over to take a closer look. He cut between him and his POV of the electronics. It is, supposedly, part of the upgrades to Tokyo Sky Tree. As he examines it, his look is. . . inscrutable. Is he confused by the electronics? Intrigued? We hold on Tomoe and then

CUT TO:

Tomoe, once again looking out over the city, somehow. . . revitalized.

CUT TO:

To Be Continued.