CUT TO:
EXT, Park, DAY
USAGI and LUNA walking down a side path, trying to avoid other people as they talk.
USAGI
Oh?
LUNA
From what I gather in the police reports, she's moved all over Japan: Kyoto, Osaka, Sendai, Sapporo, even spent some time abroad. I was never able to track her down before she moved on to another place. And regardless, it's not easy for a cat to move from city to city.
USAGI
Huh. Weird.
LUNA
What?
USAGI
I dunno. . . I mean, police reports? Just for writing a manga?
LUNA
Not just ANY manga, Usagi. I told you, Sailor V was real. Nowadays they pretend she never existed, but back then the police were trying to track her down. Just like I am.
(chuckles)
Apparently, they took things a little personally, what with her catching criminals they never could. . . but they never caught her, and they couldn't link her with Baishaku.
USAGI
But YOU can?
LUNA
I'm not just any run of the mill cop. When I speak. . . well, people listen. And I'm counting on her listening to me.
USAGI
If she doesn't go into shock.
(beat)
And I'm coming along because. . .?
LUNA
Because finding Sailor V may help you remember who you are.
USAGI
Okay, hold on!
They stop.
USAGI
So Baishaku is appearing at some sci-fi convention at Big Sight this week.
LUNA
Yes?
USAGI
The SAME WEEK you happen to find me?
LUNA
. . . Well, yes.
USAGI
And you don't think that's a little weird?
PAUSE.
LUNA
(confidently)
No. No, I don't. Not in the least.
They continue walking.
USAGI
(sighs)
Of course you don't. It's fate.
LUNA
If you want to call it that.
USAGI
And I suppose it's "fate" that this thing is happening all the way in Odaiba.
LUNA
It could be worse. Last year it was held in Yokohama. The year before it was in Hiroshima.
USAGI
Still. . . I've never been that far. Not by myself, anyway. I'm not even sure I have enough money for the subway.
LUNA
Don't worry. I've got more than enough for the metro.
USAGI
. . . do I wanna know how a cat gets money?
LUNA
Stray cats are as much of a Tokyo institution as the Imperial Family. You can find a way to exploit it.
USAGI
Wait!
USAGI stops and gestures at her uniform.
LUNA
(sighs)
I was gonna wait until Odaiba to show this to you, but I guess doing it here is just as well.
A pen materializes on the ground in front of LUNA.
LUNA
Take it.
USAGI picks up the pen and examines it.
LUNA
With this pen, you can assume any disguise you want, just by thinking about it. And pressing the button, of course.
USAGI
I can turn into anything I want?
LUNA
That's right.
USAGI
. . . with a pen?
LUNA
No-one's around. Try it!
USAGI holds up the pen in front her face, closes her eyes, takes a deep breath, and presses the button. Nothing. She presses the button again. And again. Still nothing.
LUNA
Usagi?
USAGI presses the button repeatedly.
LUNA
Usagi. . . what's wrong?
USAGI stops and lowers the pen.
USAGI
(frustrated)
What's wrong is that we're a few thousand years past the warranty on this thing.
USAGI storms off. LUNA follows. As the two exit the park, a HOSITAL comes into view.
LUNA
No, no. You must have done something wrong.
The two come out onto a sidewalk.
USAGI
You know, you're probably right!
LUNA
Usagi, be quiet!
USAGI
Story of my life.
LUNA
We're on the street now. People might hear you!
USAGI keeps walking.
LUNA
Usagi! Usagi, what were you thinking about?
USAGI
What?
LUNA
When you were trying to transform! What were you thinking about?
USAGI
My normal clothes.
LUNA
Which ones?
USAGI
I don't know. T-shirt, jeans?
LUNA
Well, maybe you need to be more specific--
USAGI
Maybe?
USAGI stops.
USAGI
"Maybe?"! Luna you're the--
USAGI turns to face LUNA, her eye briefly catching the HOSPITAL as she does so.
USAGI
(briefly distracted)
--y-your're the one whose supposed to know how all this works!
LUNA
Well. . . I thought I did.
USAGI covers her face, trying to calm down.
LUNA
Look. . . we'll try it again later. And if it doesn't work, we'll find another way. Right now, we need to get to Odaiba.
No response from USAGI.
LUNA
Let's go.
LUNA starts to walk off.
USAGI
Luna?
LUNA stops.
USAGI
I'm. . . I'm gonna need a doctors note, right?
LUNA
Usagi, this is hardly the time.
USAGI
Well, we're here!
(points to the hospital)
LUNA
Usagi, there are DOZENS of free clinics where we can get--
USAGI
Luna!
USAGI sighs.
USAGI
Luna. . . do you think. . . do you think that Naru is in there?
LUNA turns toward the hospital, and sighs. CUT TO:
INT, Hospital Lobby
AMI sits in the lobby, looking through her notes. We CUT TO:
The notes, from AMI'S POV. We see a fairly good sketch of central Tokyo, marked with the locations of the "outbreaks" of sleeping sickness.
SAEKO MIZUNO(O.S.)
Hello, I'm Dr. Mizuno.
The camera pans up to reveal SAEKO standing over AMI.
SAEKO
You must be my new patient!
CUT TO:
AMI and SAEKO.
SAEKO
(gesture to AMI'S notes)
What's that? Questions for Dr. Tomoe?
AMI
Oh. No.
(closes the binder)
Just a school project.
AMI stands up.
SAEKO
You excited?
AMI
Yeah.
SAEKO
You're lucky. When I was a teenager, I cut class and travelled halfway across the city just to go to one of his lectures.
(beat)
Pretty badass, I know. Your Dad always had a thing for budding oncologists who play by their own rules.
SAEKO'S joke only upsets AMI.
SAEKO
Listen, I'm really glad you're doing this. You need a break from junior high. And besides, me and Dr. Tomoe go all the way back to my undergrad years. It'll be nice for you to finally meet him.
(beat)
I hope you have some good questions for him.
AMI
I read up on him a bit.
SAEKO
Great!
AMI and SAEKO start toward an exit.
SAEKO
What about?
AMI
Well, his lecture is on the connection between chromosome number and cander incidence, but I haven't really found any. . .
Their voices fade as they walk through the door. A moment later, USAGI enters the frame, having arrived at the lobby from another point in the hospital. We follow her as she approaches a receptionist. As she does so, we see LUNA sneak her way onto an elevator in the background.
CUT TO:
INT, NARU'S Hospital Room.
A hospital room, shared by NARU and three other patients, all afflicted with sleeping sickness. NARU is in terrible shape-- unlike previous victims, NARU has been intubated and is on assisted breathing. Beside Naru sits a rather handsome young man. USAGI opens the door, startling the boy a bit.
USAGI
Um, excuse me?
BOY
Usagi?
USAGI
. . . yes?
The boy puts on a pair of thick spectacles, after which we quickly recognize him a UMINO. He's clearly a bit out of it, due to a combination of fatigue and worry.
USAGI
Umino?
UMINO
Hi.
USAGI
I know I'm not the one to ask this, but. . . what are YOU doing here?
UMINO
Making sure my parents never speak to me again.
(beat)
They have her on a respirator now.
USAGI looks at NARU.
UMINO
Did you know that we're the only ones who showed up?
USAGI
No. I mean, I thought. . . w-what about her family?
UMINO
Naru's mom got it ever worse than she did. I guess she didn't have any other relatives.
USAGI walks up to NARU, so that she can see her face. NARU just stares out. After a moment, she blinks.
USAGI
(excited)
Naru?
Nothing. USAGI'S excitement diminished, she tries to take NARU'S hand. However, once she feels the tubes and finger cuff sensor attached to the hand, she abruptly lets go, backing off slightly.
UMINO
You're lucky. I actually knocked the finger cuff off and the machine started beeping like crazy. I thought I killed her!
UMINO barely manages to laugh. USAGI looks at her watch, and winces-- she has to go, but she doesn't want to.
UMINO
It's alright. You have to go.
USAGI, reluctantly, backs off and turns to the door. But just as she's about to walk out--
UMINO
We both know you have to keep your grades up.
USAGI stops.
USAGI
Umino!
USAGI turns around, about to give her rebuke, but she hesitates. She then gives one final look at NARU.
USAGI
I'm. . . I'm sorry.
USAGI leaves the room. CUT TO:
EXT, Hospital, DAY
USAGI waits at a bench. She holds onto the MOON PRISM with both hands, clenching it with all her strength. After a moment, she sees a letter and envelope materialize in front of her.
LUNA
You'll have to seal the envelope yourself-- they weren't designed for feline tongues. But whoever invented the hanko deserves a big, wet kiss.
USAGI picks up the letter and envelope. LUNA can tell that she's upset.
LUNA
(gently)
Let's go, Usagi.
LUNA and USAGI walk off.
CUT TO:
INT, Car
AMI and SAEKO, driving down an expressway. They're silent for a moment, but then AMI notices something pass by on the road.
AMI
Mom?
SAEKO
Yes, Ami?
AMI
We really should've taken that exit just now. There's not much traffic along that route, so we could get to Meiji a bit more--
SAEKO
Oh, dammit. I forgot, there's been a change of plans. Meiji Uni--
(beat)
The lecture has been cancelled. Relocated, actually, to Mugen Gakuen's head office. Dr. Tomoe's gonna give his talk at the lecture hall there.
AMI
(concerned)
Oh. . .
(pause)
Why wasn't the lecture held there in the first place?
SAEKO
Well. . . Dr. Tomoe's talks always seem to attract a certain crowd, and he didn't want them to disturb activities at the school. Apparently, Meiji didn't want them around either.
AMI
What kind of. . . "crowd"?
SAEKO
Oh, just. . . college kids, political types trying to make a scene. Get attention for their little pet causes.
AMI
Like?
SAEKO
You know. . . Animal research, that kind of thing.
AMI
Oh. . . Animal research.
SAEKO
(trying to change the subject)
You know, in a way, this is better than going to Meiji University. I've always wanted to show you Mugen Gakuen. It's an elite school. Only the best of the best even get admitted.
Pause. AMI'S starting to realize what this is really about.
AMI
Geniuses.
Long pause.
AMI
We'd get there faster if we took this exit. We'd beat the crowd.
After another pause, SAEKO activates her turning signal.
CUT TO:
EXT, Expressway, DAY
We see AMI and SAEKO'S car turn left-- and off frame-- only to reveal EUDIAL and TELLU'S Black SUV just ahead in the same lane.
EUDIAL(V.O.)
This shouldn't have taken so long.
CUT TO:
INT, SUV
TELLU is driving the SUV, while EUDIAL sits in the passenger seat, monitoring the control panel for the device keeping MARIE-- sitting in the back seat, retrained and connected to an IV-- in check.
EUDIAL
If I were driving we would've been there by now.
TELLU
In more pieces than we could count.
EUDIAL
I can still smell that place on her.
EUDIAL turns toward TELLU.
EUDIAL
And on you. Those pheromones are filling up the whole car.
(beat)
I can't stand it anymore.
EUDIAL rolls down the window.
EUDIAL
I don't like it, being so. . . out in the open, with that thing three feet behind me.
TELLU
You shouldn't have done that.
EUDIAL
What?
TELLU
Opened the window.
EUDIAL
And why--?
At that moment, MARIE begins to struggle.
CUT TO:
A close up of the control pad. We see various lifesign and brain activity charts on the pad, and one of those indicators is going into the red.
CUT TO:
EUDIAL and TELLU. EUDIAL presses a few buttons on the pad, and MARIE begins to calm down.
TELLU
Told you.
EUDIAL tries to brush off TELLU'S remark.
EUDIAL
She's getting hungry.
EUDIAL sets the control pad on the dashboard, takes off her seat belt, and leans over toward MARIE.
CUT TO:
Back Seat. As EUDIAL enters the frame from the front, MARIE leans over toward EUDIAL slowly but threateningly. EUDIAL pauses for a moment, then approaches the IV with caution.
CUT TO:
TELLU. She eyes the control pad, and then turns forward, facing the steering wheel, instrument panel, and radio. From TELLU'S left hand (currently on the steering wheel) emerge a pair of small, green, vine-like protrusions. These vines stretch out to the radio controls.
TELLU
(whispering)
Waste of my talent.
TELLU readjusts her bra with her right hand, while simultaneously turning on the radio using her left hand vines. The song "Lovely Yell" comes on.
TELLU
(to EUDIAL)
You really should have just sat in the back with her.
EUDIAL(O.S.)
It's IV is still half-full.
CUT TO:
EUDIAL, examining the IV sack.
EUDIAL
It knows the difference between real energy and this processed free-range crap.
CUT TO:
Front seat. EUDIAL returns to the front. For a moment, she looks around at all the cars on the expressway.
EUDIAL
The tunnels were so much more peaceful.
TELLU tightens her grip on the steering wheel.
TELLU
Are you gonna insist on keeping window open?
EUDIAL
Until the smell disappears, yes.
TELLU stretches her left arm out to EUDIAL, holding her hand limp, as if showing off a ring.
TELLU
Well, you're gonna be waiting a while.
EUDIAL reacts with disgust as she smells TELLU'S arm.
EUDIAL
You're secreting pheromone?!
TELLU
I'm just putting my talents to their fullest use.
EUDIAL
That's vile!
CUT TO:
EXT, Freeway, DAY. From a distance, we watch as the SUV passes. We pan to reveal a WHITE CAT, facing away from us, following the SUV intently. CUT TO:
INT, Shimbashi Station, Subway Platform
We watch as hordes of people flood out of a stopped subway train. We can just barely make out USAGI and, some distance away from her, LUNA. CUT TO:
INT, Shimbashi Station, Hallway
A close up on USAGI'S feet. For two or three seconds, she walks normally. Then, on a whim, she begins to walk with her feet en pointe-- poorly. We CUT TO:
A full shot of USAGI. She manages to maintain her precarious balance for a couple of steps, but loses her balance on the third and falls forward. As she lifts her head, she notices someone looking at her. CUT TO:
USAGI'S POV. A middle-aged Japanese woman, turning her head back to stare at USAGI as she walks past her. From offscreen, we hear a meow. CUT TO:
USAGI on the ground, with LUNA standing beside her. CUT TO:
Another part of the hallway, away from the crowds, where USAGI and LUNA are safe to talk.
LUNA
What was that?
USAGI
En Pointe. Weird. . . I haven't tried that in years.
LUNA
"En" what?
USAGI
Oh. . . I took lessons in ballet as a kid, back in those heady days when I actually got good grades and didn't yet realize I was a klutz. I don't even remember why I got into it in the first place. Betcha didn't think I was the type.
(beat)
And you'd be right.
LUNA
Actually. . . that fits you, somehow.
Pause.
USAGI
So, where to now?
LUNA
The Yurikamome.
(beat)
Er, the monorail. It's late morning, and the convention is only open to business and media officials today, so it shouldn't be too crowded.
LUNA takes a look around.
LUNA
Here.
LUNA materializes a 500 yen piece.
LUNA
This should be enough to get to and from Big Sight. The platform is upstairs. Let's go.
CUT TO:
EXT, Monorail Platform, DAY
USAGI walks up to LUNA, whose waiting for her in a remote area.
USAGI
Four hundred yen, Luna.
LUNA
That's. . . both ways, right?
CUT TO:
INT, Monorail Train,
USAGI and LUNA sit silently on the train, watching the scenery pass, USAGI doing so with a look of excitement--she's never been here on her own-- mixed with contrition. We intermittently cut in between this shot and. . .
An external shot of the monorail, making its way down the track and across Rainbow Bridge on its way to Odaiba.
CUT TO:
INT, Juuban Junior High, Hallway
It's lunch time, and students, including MAKOTO, fill the halls. MAKOTO, bento box in hand, tries to peek above and around the students, seeing if she can catch sight of USAGI or AMI. After a moment, she gives up. However, she does quickly spot a group of girls all admiring a flower brooch worn by one of their friends. The girl who owns the brooch yawns, and looks quite fatigued, but is excited by all the attention. Indeed, all of the girls seem, to varying degrees, at once tired and enthusiastic over the strange little trinket. MAKOTO, baffled by the girls' display, walks on.
CUT TO:
INT, Juuban Junior High, Sakurada's Room
MAKOTO peeks through the door window to see if AMI is inside. No luck. However, Sakurada is there, sitting at her desk, looking slightly fatigued. MAKOTO moves away from the door and proceeds down the hallway. A group of girls pass by in the other direction. Again, they're focussing on one particular girl in the group, who looks unusually drained.
GIRLS
How did you lose all that weight? . . . They have this weird beam over at Shapely's, they fire it, and you lose weight! . . . Wow! . . . Are you sure that's healthy?
CUT TO:
INT, T+A Academy, Drama Classroom
In an otherwise empty classroom, a group of girls (four or five) practice a song and dance routine. When it ends a few minutes later, they stand for a moment in silence, maintaining their ending pose, as if waiting for an acknowledgement they know isn't coming. Finally, the lead performer breaks the silence.
LEAD PERFORMER
Well. . .
(she breaks pose)
I'd say we nailed it.
The girls all break pose, maintaining their silence.
LEAD PERFORMER
Good work, everyone.
(pause)
I'm sure Sister Jessica will be pleased--
At that moment, another GIRL enters.
LEAD PERFORMER
So, you've decided not to quit after--?
GIRL #2
We need to talk.
CUT TO:
INT, T+A Academy, Hallway
REI walks down the hallway, glancing briefly at other students as she walks by. They no longer crowd around her like before-- rather, they stare at her suspiciously. After a couple of moments, she's stopped by the GIRLS from the last scene.
REI
Excuse me.
REI tries to walk past, but the GIRLS stop her, eyeing her menacingly.
REI
Do you mind?
LEAD PERFORMER
We need to talk, Hino.
GIRL #2
What were you doing in Sister Jessica's room yesterday?
REI
. . . Nothing. I never even went in her room.
GIRL #2
Bullshit. We know that the school called the cops on you.
(beat)
What were you doing?
REI
I REALLY don't have time for th--
GIRL #2 blocks REI, and when REI tries to move around once more, she shoves her, clumsily, against a wall. The girls all give a glance at GIRL #2-- they didn't want something like this happen. A few of the other students run off, but most huddle around to watch.
REI
You can't be THAT stupid, can you?
LEAD PERFORMER
Look, everyone saw the cops questioning you after school.
GIRL #2
Just tell us what you were doing in her room.
REI
Why don't you tell me.
(pause)
You can't.
(beat)
You don't have the faintest clue. You're just--
GIRL #2 hits the wall next to REI. REI doesn't flinch.
GIRL #2
Shut up!
REI
Scared. You're scared. . . and, to top it off, you are REALLY bad at this.
Pause. The girls try not to let on, but they're getting a little intimidated. REI, never once looking away from the girls, pushes her way past them and calmly walks down the hallway and turns a corner. Once she knows she's alone, REI stops, leans against a wall, covers her mouth and closes her eyes, shaking.
Click here to continue.
Monday, January 3, 2011
Wherein I Parody the Entire Sailor Moon Franchise in Under Five Minutes!
CUT TO:
EXT, Tokyo Big Sight, Waterfront Park, DAY
In the background, about a hundred meters away, we see the massive Tokyo Big Sight Convention Center. Contrary to expectations, the place is swarming with fans, many of whom are dressed in costume. In the foreground, at a small waterfront park, USAGI sits at a bench, near some bushes, holding an open binder on her lap. Inside the binder, USAGI is drawing a picture, although we can't quite see what exactly she's drawing. A few pieces of SAILOR V memorabilia lay on the bench next to USAGI. After a moment of drawing, USAGI looks up to the water in front of her.
CUT TO: USAGI'S POV. We see a masted ship docked some ways down the waterfront. Nearer to USAGI, fish occasionally lear out of the water.
LUNA(O.S.)
Usagi?
CUT TO: Full shot of USAGI, with LUNA standing in the bushes behind her. USAGI, carrying the binder and the memorabilia, goes into the bushes.
USAGI
Any luck?
LUNA
No. Apparently, the phrase "business and media only" means every cosplayer from here to Sapporo is still allowed to come, they just have to hang around outside. That means more security. Every entrance is being checked thoroughly. I could get in, maybe. But not you. Not without a disguise.
(sees binder)
So what were you doing?
USAGI
Oh, I, uh. . .
LUNA comes in to take a closer look at USAGI'S drawing.
USAGI
I was just, y'know, visualizing.
We CUT TO: LUNA'S POV, showing USAGI'S drawing. It consists of five sailor-suited heroines in heroic pose, all wearing tiaras and eyemasks. USAGI stands in the center: her hair, still done up in her trademark odango style, is now silver instead of blonde. In addition to the standard uniform, she also wears a cape and carries a large pistol at her side. SAILOR V stands to her right. To her left is a warrior in a blue and white uniform, with various cybernetic implants and a blue visor in place of the standard mask. To USAGI'S left is a warrior in a red and white uniform, more elegant and elaborate than the rest. To that soldier's left is a very tall, very muscular warrior in a green and white uniform, smoking a cigarette. At the far edge of the paper, we see USAGI'S drawings of NARU and UMINO, cheering the warriors on.
LUNA(O.S.)
I . . . see.
USAGI(O.S.)
I just grabbed my pencil and, well, drew whatever came to me.
CUT TO: Two shot of USAGI and LUNA.
USAGI
Thought it might jog some memories.
LUNA
That's. . . um. . . well, I. . . I don't think there were any robots in--
USAGI
Cyborgs.
LUNA
What?
USAGI
She's not a robot, she's a cyborg.
LUNA
Ah. Well, there weren't any cyborgs in the ancient kingdom. Or cigarettes.
USAGI
Well, that's just artistic license.
LUNA
A cape would probably just get in the way.
USAGI
Not if I'm careful!
LUNA
And is that a gun?
USAGI
Well, yeah. If I'm gonna take out monsters, I may as well do it with some flair. Besides, it's not just any gun, it's, y'know, magic, and stuff.
(pause)
I'm not even close, am I?
LUNA
No, no, um. . . you got the right number of people. Except one of them is the Princess.
USAGI
(whispering)
The Princess! Crap!
LUNA
And you Sailor V is pretty--
LUNA catches a glimpse of the Sailor V memorabilia, realizing that USAGI copied her Sailor V off of a poster. Then she looks up at USAGI, realizing she's holding the DISGUISE PEN in her hand.
LUNA
Usagi, were you using the disguise pen to draw that?
USAGI
Oh, yeah. I was. And talk about convenience! Did you know that this pen, on top of it's obvious disguise applications, can also be used for writing and drawing? Who knew?
LUNA
Have you even tried to transform into anything since I've been gone?
USAGI
(frustrated)
Yes, I tried! I tried closing my eyes, picturing all kinds of outfits in my mind. Nothing. Then I tried. . . incantations.
LUNA
Incantations?
USAGI sighs, and holds up the pen.
USAGI
Magic disguise pen power! Change me into a--
CUT TO: USAGI'S POV. We see the masted ship.
USAGI(O.S.)
-- sea captain, or a--
We pan right, to a passenger airliner approaching Haneda airport.
USAGI(O.S.)
-- flight attendant.
CUT TO: USAGI and LUNA.
USAGI
Nothing.
(beat)
You know, whoever thought a disguise PEN was a good idea. . . is probably dead. But he's still an idiot.
LUNA sighs.
USAGI
You know what I would have done instead?
(beat)
A cell phone.
LUNA
What?
USAGI
Yeah, it makes perfect sense. Way more sense than a pen. No-one would question why I'm talking to a cell phone. I'd flip out a cell phone and say "change me into whatever." Actually, cell phones have built in cameras too, so I wouldn't even need any of this "picture in your mind" crap. I could just take pictures of whoever I wanted to become and store them on the phone's memory for later use!
LUNA nods her head-- that actually sort of makes sense to her.
CUT TO: USAGI'S POV. Usagi follows a business-woman as she passes by.
USAGI
Just point at the disguise you want. . .
USAGI raises the pen so it's in line with the woman.
USAGI
And. . .
CUT TO: A close up of the pen as USAGI pushes the button.
USAGI
Click!
We pan up USAGI'S arm, into a full body shot, revealing that she's now wearing the same outfit as the woman! USAGI quickly realizes what has happened and screams in shock, attracting the attention of passers-by, including the business-woman. After staring at her for a moment, they continue on their way.
LUNA
It worked!
USAGI
It . . . worked.
LUNA
Do it again!
USAGI
Do it. . . how?
LUNA
Look at someone else and try it again!
USAGI looks around, eventually spotting a trashy looking woman with bleached hair.
USAGI
Oh-ho-ho!
USAGI raises the pen and clicks-- presto! She's in the same trashy outfit as the woman, with the same bleached hair-do and overdone make-up. USAGI admires her new look.
LUNA
This would be the part where I mention that the disguise pen is NOT a toy.
USAGI
This is awesome!
USAGI starts walking down the path, flaunting her look.
USAGI
Oh Man!
After a couple of steps, USAGI realizes that something is off. She wiggles her hips, presses her thighs together, and immediately blushes in disgust and horror.
USAGI
Oh. . . my God!
USAGI quickly points the pen at someone else, instantly transforming into more conservative attire. She wiggles her thighs again, and breathes a sigh of relief.
LUNA
Okay Usagi, we know how works now, so let's be careful from here on out.
USAGI
You're the one who told me to try it again!
LUNA
Yeah, yeah.
USAGI looks off toward some of the cosplayers in the distance.
USAGI
Actually, I have an idea.
We CUT TO: A still shot of USAGI, dressed as a biker.
USAGI
Sometimes a fearless biker!
CUT TO: Another still shot of USAGI, now disguised as a nurse.
USAGI
Sometimes a caring nurse!
CUT TO: LUNA, lying down, covering her face with her paws.
LUNA
What have I done?
CUT TO: USAGI, still dressed as a nurse, scanning the cosplayers in the distance.
USAGI
But in reality. . .
CUT TO: USAGI'S POV. We pan across the cosplayers, stopping on a young woman dressed as SAILOR V. In a flash, the screen goes white. Then, from left frame, USAGI emerges, in profile, bathed in white light, dressed as SAILOR V-- complete with blonde wig.
USAGI
Sailor Suited Soldier--
CUT TO: A similar shot, only with USAGI emerging from right frame.
USAGI
-- of Love and--
USAGI, and the music, pause. USAGI removes the blonde wig and throws it to the ground, revealing that her own hair has been tied up into a tight bun. She, and the music, resume.
USAGI
-- Love and beauty!
CUT TO: A close up shot of USAGI'S hand, raised in the air. Zoom out to reveal USAGI, doing her best to mimic SAILOR V'S iconic poses.
USAGI
SAILOR. . .
(pause)
Luna, we need to think of a name.
LUNA groans.
USAGI
I was thinking of Sailor R, you know, like rabbit?
USAGI undoes her hair and refashions it into her trademark Odango.
LUNA
Realistically, you're not gonna have time to give a speech like that.
USAGI
That's not the point. I'm visualizing, remember?
LUNA
You're goofing off is what you're doing. You do remember you have a friend in hospital, right?
USAGI is taken aback for a moment, but then regains her composure.
USAGI
Luna, who got the disguise pen to work?
LUNA groans.
USAGI
What was that? Who got it to work?
LUNA
You are a chi--
USAGI
That's right, I did! So. . . Sailor R?
LUNA
(sighs)
Whatever floats your boat.
USAGI
Yeah, I'm not really feeling Sailor R. I'll think of another name later.
LUNA grits her teeth.
USAGI
For now. . . the enemy is on the loose.
USAGI points at a random tree.
USAGI
(to tree)
A fan devotes her energy to what she loves, and in doing so helps true art thrive!
LUNA
What?
USAGI
(to LUNA)
The fans, Luna? There's a monster--
(points to tree)
--trying to siphon off the energy of the fans.
(points to the crowd, and then back to tree)
And I will not stand for such loathable cowardice,--
LUNA
Loathable?
USAGI
--for I am . . .
(thinks for a moment)
Sailor R!
LUNA
You just said you weren't--
USAGI
And I am here to punish ALL those who would do evil. . . things.
(points to tree)
And THAT, my friend. . . THAT is what YOU. . .are!
(beat)
Yeah, that's gonna need a bit of work.
USAGI engages her arboreal foe in PGSM-style "Ballet Fu," complete with the classic PGSM fight music. We watch this embarrassing display for a few seconds, and then--
CUT TO: A long shot of USAGI and LUNA. In the foreground, a couple of longshoremen observe and discuss USAGI'S strange spectacle.
LONGSHOREMAN #1
What did I tell you? These conventions always bring them out.
LONGSHOREMAN #2
Are you sure she's alright?
LS #1 shrugs.
LS #2
Who's she talking to, anyway?
LS #1
The tree, I think.
LS #2
What did the tree do, anyway?
LS #1
How the hell should I know?
(beat)
I think she was talking to that stray cat a minute ago, too.
LS #2
Poor cat. One minute, he's looking for a little food, a little companionship. Next thing he knows, he's being dragged into some poor girl's delusional fit.
LS #1
And you know what the crazy thing is?
(beat)
I've been watching this for so long, I can almost hear the damn cat talking back her!
The LONGSHOREMEN laugh.
CUT TO:
USAGI and LUNA. USAGI walks back up to LUNA, exhausted from her battle.
USAGI
(panting)
Okay, I've beaten it into submission. . . So what happens now? Does it explode or something?
LUNA
Ugh.
USAGI
Luna!
LUNA
No, Usagi, you're not done yet. The enemies you'll be dealing with, they're not exactly. . . physical. You can't just beat them to death. You need something. . . more.
USAGI
Like what?
LUNA
Well. . . Your tiara.
USAGI
My tiara?
(points to the wig on the ground)
You mean. . . ?
LUNA
Yes, that one.
USAGI
. . . Okay.
USAGI runs over to the discarded wig and breaks off the attached plastic tiara. She then raises the tiara over her head, holding it like a dagger, and runs toward the tree.
USAGI
AAAGGHHH!
LUNA
Usagi?!
USAGI starts stabbing at the tree with her tiara.
USAGI
Gah! Gah! GA-AH!
LUNA
No, no, no! Usagi, stop! Stop!
USAGI stops.
LUNA
Usagi, you throw it!
USAGI looks back at the tree.
USAGI
I throw it?
LUNA
Yes.
USAGI puts some distance between her and the tree.
LUNA
"Like a flash of twilight, it soars across the sky, cutting through our foes like the Moon through the clouds."
USAGI
More ancient tongue?
LUNA
Yes.
USAGI
Right.
(beat)
'Cause throwing a tiara makes way more sense than a gun.
USAGI throws the tiara overhand. It slams into the ground a few feet before the tree.
LUNA
Usagi!
USAGI
Dammit!
USAGI runs over and picks up the tiara.
LUNA
Is any of this working? At all?
(beat)
Is this jarring ANY memories whatsoever?
USAGI looks down at the tiara. Then, almost impulsively, she throws the tiara like a frisbee. The tiara flies rights past the tree-- toward a group of cosplayers.
USAGI
Oh crap. Oh crap oh crap oh crap oh--
The tiara flies toward one of the cosplayers and becomes lodged in her wig. The cosplayer doesn't even notice-- in fact, the tiara looks pretty good sticking out of the wig. USAGI and LUNA observe this for a moment.
USAGI
So. . . shall we?
Click here to continue.
EXT, Tokyo Big Sight, Waterfront Park, DAY
In the background, about a hundred meters away, we see the massive Tokyo Big Sight Convention Center. Contrary to expectations, the place is swarming with fans, many of whom are dressed in costume. In the foreground, at a small waterfront park, USAGI sits at a bench, near some bushes, holding an open binder on her lap. Inside the binder, USAGI is drawing a picture, although we can't quite see what exactly she's drawing. A few pieces of SAILOR V memorabilia lay on the bench next to USAGI. After a moment of drawing, USAGI looks up to the water in front of her.
CUT TO: USAGI'S POV. We see a masted ship docked some ways down the waterfront. Nearer to USAGI, fish occasionally lear out of the water.
LUNA(O.S.)
Usagi?
CUT TO: Full shot of USAGI, with LUNA standing in the bushes behind her. USAGI, carrying the binder and the memorabilia, goes into the bushes.
USAGI
Any luck?
LUNA
No. Apparently, the phrase "business and media only" means every cosplayer from here to Sapporo is still allowed to come, they just have to hang around outside. That means more security. Every entrance is being checked thoroughly. I could get in, maybe. But not you. Not without a disguise.
(sees binder)
So what were you doing?
USAGI
Oh, I, uh. . .
LUNA comes in to take a closer look at USAGI'S drawing.
USAGI
I was just, y'know, visualizing.
We CUT TO: LUNA'S POV, showing USAGI'S drawing. It consists of five sailor-suited heroines in heroic pose, all wearing tiaras and eyemasks. USAGI stands in the center: her hair, still done up in her trademark odango style, is now silver instead of blonde. In addition to the standard uniform, she also wears a cape and carries a large pistol at her side. SAILOR V stands to her right. To her left is a warrior in a blue and white uniform, with various cybernetic implants and a blue visor in place of the standard mask. To USAGI'S left is a warrior in a red and white uniform, more elegant and elaborate than the rest. To that soldier's left is a very tall, very muscular warrior in a green and white uniform, smoking a cigarette. At the far edge of the paper, we see USAGI'S drawings of NARU and UMINO, cheering the warriors on.
LUNA(O.S.)
I . . . see.
USAGI(O.S.)
I just grabbed my pencil and, well, drew whatever came to me.
CUT TO: Two shot of USAGI and LUNA.
USAGI
Thought it might jog some memories.
LUNA
That's. . . um. . . well, I. . . I don't think there were any robots in--
USAGI
Cyborgs.
LUNA
What?
USAGI
She's not a robot, she's a cyborg.
LUNA
Ah. Well, there weren't any cyborgs in the ancient kingdom. Or cigarettes.
USAGI
Well, that's just artistic license.
LUNA
A cape would probably just get in the way.
USAGI
Not if I'm careful!
LUNA
And is that a gun?
USAGI
Well, yeah. If I'm gonna take out monsters, I may as well do it with some flair. Besides, it's not just any gun, it's, y'know, magic, and stuff.
(pause)
I'm not even close, am I?
LUNA
No, no, um. . . you got the right number of people. Except one of them is the Princess.
USAGI
(whispering)
The Princess! Crap!
LUNA
And you Sailor V is pretty--
LUNA catches a glimpse of the Sailor V memorabilia, realizing that USAGI copied her Sailor V off of a poster. Then she looks up at USAGI, realizing she's holding the DISGUISE PEN in her hand.
LUNA
Usagi, were you using the disguise pen to draw that?
USAGI
Oh, yeah. I was. And talk about convenience! Did you know that this pen, on top of it's obvious disguise applications, can also be used for writing and drawing? Who knew?
LUNA
Have you even tried to transform into anything since I've been gone?
USAGI
(frustrated)
Yes, I tried! I tried closing my eyes, picturing all kinds of outfits in my mind. Nothing. Then I tried. . . incantations.
LUNA
Incantations?
USAGI sighs, and holds up the pen.
USAGI
Magic disguise pen power! Change me into a--
CUT TO: USAGI'S POV. We see the masted ship.
USAGI(O.S.)
-- sea captain, or a--
We pan right, to a passenger airliner approaching Haneda airport.
USAGI(O.S.)
-- flight attendant.
CUT TO: USAGI and LUNA.
USAGI
Nothing.
(beat)
You know, whoever thought a disguise PEN was a good idea. . . is probably dead. But he's still an idiot.
LUNA sighs.
USAGI
You know what I would have done instead?
(beat)
A cell phone.
LUNA
What?
USAGI
Yeah, it makes perfect sense. Way more sense than a pen. No-one would question why I'm talking to a cell phone. I'd flip out a cell phone and say "change me into whatever." Actually, cell phones have built in cameras too, so I wouldn't even need any of this "picture in your mind" crap. I could just take pictures of whoever I wanted to become and store them on the phone's memory for later use!
LUNA nods her head-- that actually sort of makes sense to her.
CUT TO: USAGI'S POV. Usagi follows a business-woman as she passes by.
USAGI
Just point at the disguise you want. . .
USAGI raises the pen so it's in line with the woman.
USAGI
And. . .
CUT TO: A close up of the pen as USAGI pushes the button.
USAGI
Click!
We pan up USAGI'S arm, into a full body shot, revealing that she's now wearing the same outfit as the woman! USAGI quickly realizes what has happened and screams in shock, attracting the attention of passers-by, including the business-woman. After staring at her for a moment, they continue on their way.
LUNA
It worked!
USAGI
It . . . worked.
LUNA
Do it again!
USAGI
Do it. . . how?
LUNA
Look at someone else and try it again!
USAGI looks around, eventually spotting a trashy looking woman with bleached hair.
USAGI
Oh-ho-ho!
USAGI raises the pen and clicks-- presto! She's in the same trashy outfit as the woman, with the same bleached hair-do and overdone make-up. USAGI admires her new look.
LUNA
This would be the part where I mention that the disguise pen is NOT a toy.
USAGI
This is awesome!
USAGI starts walking down the path, flaunting her look.
USAGI
Oh Man!
After a couple of steps, USAGI realizes that something is off. She wiggles her hips, presses her thighs together, and immediately blushes in disgust and horror.
USAGI
Oh. . . my God!
USAGI quickly points the pen at someone else, instantly transforming into more conservative attire. She wiggles her thighs again, and breathes a sigh of relief.
LUNA
Okay Usagi, we know how works now, so let's be careful from here on out.
USAGI
You're the one who told me to try it again!
LUNA
Yeah, yeah.
USAGI looks off toward some of the cosplayers in the distance.
USAGI
Actually, I have an idea.
We CUT TO: A still shot of USAGI, dressed as a biker.
USAGI
Sometimes a fearless biker!
CUT TO: Another still shot of USAGI, now disguised as a nurse.
USAGI
Sometimes a caring nurse!
CUT TO: LUNA, lying down, covering her face with her paws.
LUNA
What have I done?
CUT TO: USAGI, still dressed as a nurse, scanning the cosplayers in the distance.
USAGI
But in reality. . .
CUT TO: USAGI'S POV. We pan across the cosplayers, stopping on a young woman dressed as SAILOR V. In a flash, the screen goes white. Then, from left frame, USAGI emerges, in profile, bathed in white light, dressed as SAILOR V-- complete with blonde wig.
USAGI
Sailor Suited Soldier--
CUT TO: A similar shot, only with USAGI emerging from right frame.
USAGI
-- of Love and--
USAGI, and the music, pause. USAGI removes the blonde wig and throws it to the ground, revealing that her own hair has been tied up into a tight bun. She, and the music, resume.
USAGI
-- Love and beauty!
CUT TO: A close up shot of USAGI'S hand, raised in the air. Zoom out to reveal USAGI, doing her best to mimic SAILOR V'S iconic poses.
USAGI
SAILOR. . .
(pause)
Luna, we need to think of a name.
LUNA groans.
USAGI
I was thinking of Sailor R, you know, like rabbit?
USAGI undoes her hair and refashions it into her trademark Odango.
LUNA
Realistically, you're not gonna have time to give a speech like that.
USAGI
That's not the point. I'm visualizing, remember?
LUNA
You're goofing off is what you're doing. You do remember you have a friend in hospital, right?
USAGI is taken aback for a moment, but then regains her composure.
USAGI
Luna, who got the disguise pen to work?
LUNA groans.
USAGI
What was that? Who got it to work?
LUNA
You are a chi--
USAGI
That's right, I did! So. . . Sailor R?
LUNA
(sighs)
Whatever floats your boat.
USAGI
Yeah, I'm not really feeling Sailor R. I'll think of another name later.
LUNA grits her teeth.
USAGI
For now. . . the enemy is on the loose.
USAGI points at a random tree.
USAGI
(to tree)
A fan devotes her energy to what she loves, and in doing so helps true art thrive!
LUNA
What?
USAGI
(to LUNA)
The fans, Luna? There's a monster--
(points to tree)
--trying to siphon off the energy of the fans.
(points to the crowd, and then back to tree)
And I will not stand for such loathable cowardice,--
LUNA
Loathable?
USAGI
--for I am . . .
(thinks for a moment)
Sailor R!
LUNA
You just said you weren't--
USAGI
And I am here to punish ALL those who would do evil. . . things.
(points to tree)
And THAT, my friend. . . THAT is what YOU. . .are!
(beat)
Yeah, that's gonna need a bit of work.
USAGI engages her arboreal foe in PGSM-style "Ballet Fu," complete with the classic PGSM fight music. We watch this embarrassing display for a few seconds, and then--
CUT TO: A long shot of USAGI and LUNA. In the foreground, a couple of longshoremen observe and discuss USAGI'S strange spectacle.
LONGSHOREMAN #1
What did I tell you? These conventions always bring them out.
LONGSHOREMAN #2
Are you sure she's alright?
LS #1 shrugs.
LS #2
Who's she talking to, anyway?
LS #1
The tree, I think.
LS #2
What did the tree do, anyway?
LS #1
How the hell should I know?
(beat)
I think she was talking to that stray cat a minute ago, too.
LS #2
Poor cat. One minute, he's looking for a little food, a little companionship. Next thing he knows, he's being dragged into some poor girl's delusional fit.
LS #1
And you know what the crazy thing is?
(beat)
I've been watching this for so long, I can almost hear the damn cat talking back her!
The LONGSHOREMEN laugh.
CUT TO:
USAGI and LUNA. USAGI walks back up to LUNA, exhausted from her battle.
USAGI
(panting)
Okay, I've beaten it into submission. . . So what happens now? Does it explode or something?
LUNA
Ugh.
USAGI
Luna!
LUNA
No, Usagi, you're not done yet. The enemies you'll be dealing with, they're not exactly. . . physical. You can't just beat them to death. You need something. . . more.
USAGI
Like what?
LUNA
Well. . . Your tiara.
USAGI
My tiara?
(points to the wig on the ground)
You mean. . . ?
LUNA
Yes, that one.
USAGI
. . . Okay.
USAGI runs over to the discarded wig and breaks off the attached plastic tiara. She then raises the tiara over her head, holding it like a dagger, and runs toward the tree.
USAGI
AAAGGHHH!
LUNA
Usagi?!
USAGI starts stabbing at the tree with her tiara.
USAGI
Gah! Gah! GA-AH!
LUNA
No, no, no! Usagi, stop! Stop!
USAGI stops.
LUNA
Usagi, you throw it!
USAGI looks back at the tree.
USAGI
I throw it?
LUNA
Yes.
USAGI puts some distance between her and the tree.
LUNA
"Like a flash of twilight, it soars across the sky, cutting through our foes like the Moon through the clouds."
USAGI
More ancient tongue?
LUNA
Yes.
USAGI
Right.
(beat)
'Cause throwing a tiara makes way more sense than a gun.
USAGI throws the tiara overhand. It slams into the ground a few feet before the tree.
LUNA
Usagi!
USAGI
Dammit!
USAGI runs over and picks up the tiara.
LUNA
Is any of this working? At all?
(beat)
Is this jarring ANY memories whatsoever?
USAGI looks down at the tiara. Then, almost impulsively, she throws the tiara like a frisbee. The tiara flies rights past the tree-- toward a group of cosplayers.
USAGI
Oh crap. Oh crap oh crap oh crap oh--
The tiara flies toward one of the cosplayers and becomes lodged in her wig. The cosplayer doesn't even notice-- in fact, the tiara looks pretty good sticking out of the wig. USAGI and LUNA observe this for a moment.
USAGI
So. . . shall we?
Click here to continue.
Did I Mention That I'm Picturing George Takei as Dr. Tomoe?
CUT TO:
EXT, Mugen Gakuen, DAY
AMI and SAEKO'S car pulls up to the towering headquarters of MUGEN GAKUEN. Unfortunately for them, protestors have already beaten them to it.
CUT TO:
INT, AMI and SAEKO in car.
AMI anxiously looks out of the car at the protesters. We briefly get a glimpse of the pandemonium, never getting a terribly good look at the protesters-- a few signs here and there in Chinese, a few ultra-rightest counter-protesters in black vans-- all we need to know is that they are there.
SAEKO
(anxious, but trying to hide it)
It's okay, Ami. We'll be waved through in no time.
The car pulls up past the horde of protesters, up to a security guard. SAEKO opens the car window, speaks to the guard, shows a pass of some sort, and the car is waved inside.
SAEKO
(less tense)
See?
AMI gazes up at the huge, imposing building. It scares her a little bit.
CUT TO:
INT, Lecture Hall
AMI and SAEKO sit in a half-filled lecture hall. AMI looks around.
AMI
(whispering)
Mom? Shouldn't more people be coming?
SAEKO
Of course, Ami.
AMI
The lecture begins in less than three minutes. You'd think--
At that moment, hordes of students, dressed in the same military-style uniforms as what REI saw the day before, flood into the lecture hall, guided by more senior students.
SAEKO
See?
The students file in quickly, rushed in by their seniors. The students, even by Japanese standards, are highly disciplined, almost military-like. Within about ten seconds, all the vacant seats in the lecture hall have been filled. Almost immediately after that, the guest of the hour, DR. SOUICHI TOMOE appears on stage, welcomed by a particularly high ranked senior. The students, reflexively, stand and applaud almost immediately. They are shortly joined by the other guests. TOMOE, a man easily into his nineties, looks surprisingly spry and energetic-- not a day over sixty. The applause gradually dies down.
EDIT: I can't believe I forgot to mention this: TOMOE has only one eye. His right eye socket is covered with an eyepatch.
TOMOE
Thank you. I've decided to dispense with the formal introductions. Clearly I have enough attention without someone calling my out my name on stage.
The students laugh. AMI, SAEKO, and the other guests don't.
TOMOE
Truly, though, I am grateful that you all have braved the weather, so to speak. Before I proceed to the body of my presentation, I hope you will indulge an old man a few sentimental reflections. Contrary to some of the assertions voiced outside, I have been giving great thought in recent times to nothing less than the meaning of my life. It is perhaps because of this that, more than ever, the opening words of my allegedly seminal text, "Genetics," carry more weight than ever. I wrote: "the genome is often crudely described as a blueprint, a code, a mechanism. Yet I cannot help but see in the genome nothing less than out entire history. The great scroll upon which the story of our tribe, the tribe of Earth--" forgive me, I was going through a Carl Sagan phase at the time.
TOMOE is noticeably lightening up. So are the guests-- AMI giggles at the Sagan line.
TOMOE
It is history. A history far vaster and richer than the lists of names and dates, wars and treaties, nations and petty ideologies that usual bear the name.
At that moment, a pair of audience members stand up and begin to set up a display.
TOMOE
It is heritage. It is the scrolls of the Torah, the oral legends of Homer, written into our very selves.
The two audience members, actually protesters, unfurl a banner.
PROTESTER
Hey butcher!
The audience looks at the poster, written in Chinese. We only catch a brief glimpse before cutting to AMI'S reaction. She has an idea of what it says, and it upsets her.
PROTESTER
Here's your heritage!
The protesters are quickly taken down by security. The audience, and TOMOE, are silenced.
AMI(V.O.)
I'm not sure I want to see Dr. Tomoe anymore.
CUT TO:
INT, Tomoe's Office, Reception
AMI and SAEKO wait outside of TOMOE'S office. SAEKO tends to AMI, adjusting her shirt, fixing up her hair, etc., in preparation for the meeting.
SAEKO
Ami, Dr. Tomoe's been waiting to see you for a long time.
AMI
Why? Why today? Why wait so long?
SAEKO
You know how busy he is, Ami. I was barely able to squeeze in our meeting today.
AMI
Mom, why are we really here?
SAEKO sighs. A short moment later, a SECRETARY-- actually another student in uniform-- emerges from TOMOE'S office.
SECRETARY
Dr. Mizuno?
SAEKO
(to AMI)
Ami, we've come this far. Just talk to him.
CUT TO:
INT, Tomoe's Office
In the foreground, we see TOMOE, slowly pacing in front of his desk, clearly upset at what happened at the lecture hall today. In the background, we see the SECRETARY enter through the office's front door.
SECRETARY
Doctor? Your two o'clock is here. Dr. Mizuno.
TOMOE
(distracted)
Ah, thank you.
AMI and SAEKO enter, and the SECRETARY leaves.
SAEKO
(bows)
Dr. Tomoe.
TOMOE pauses for a minute, as if trying to place SAEKO.
TOMOE
Ah, Dr. Mizuno. It's been a long time.
Now AMI really thinks something is off.
CUT TO:
AMI, sitting silently. She's looking around at the various office furnishings-- the bookshelves, the desk, the large window behind TOMOE'S desk. SAEKO is discussing some of her medical work with TOMOE, who FIDGETS WITH A PEN IN HIS LEFT HAND, just barely managing to feign interest. When she finishes, TOMOE smiles, more to be polite than anything else.
TOMOE
Well. . . you have come a long way, Saeko.
(in English, almost perfect, with a hint of a New England accent)
Tell me, do you still study English?
SAEKO
(in English, unperfect to say the least)
Ah, yes, little.
TOMOE
(English)
Ah. "Little."
SAEKO
(English)
I have sometimes English patients in hospital. I work as translator.
TOMOE
(English)
That's outstanding.
(beat)
I've always been rather enamoured of foreign tongues. English was the first foreign language I ever learned. I'm still flabbergasted at how ably I assimilated the language, but then I guess I've always been a might perspicacious.
SAEKO nods and smiles-- she won't admit it, but she didn't understand half of what he said. AMI, however, is a little turned off by his pretentiousness.
TOMOE
(in Japanese)
But listen to us, rambling on. I'll bet little Ami is bored out of her mind.
AMI turns to TOMOE nervously. SAEKO smiles proudly.
TOMOE
How old are you, Ami?
AMI
Eight.
TOMOE
Do you know why you're here?
SAEKO
Dr. Tomoe, I didn't want to tell--
TOMOE
Saeko, please, let Ami speak.
AMI looks downward, nervously.
TOMOE
Let me start a little simpler. What's a day in the life of Ami Mizuno like?
AMI
(slowly, timidly)
I spend my days in school--
TOMOE
Obviously. What level?
AMI
Junior high. Eighth grade.
TOMOE
Not bad. And what do you do outside of school? Sports? Shopping?
AMI
I spend a couple of hours each day in cram school.
TOMOE
One of ours, I hope?
AMI nods.
TOMOE
And then?
AMI
I go home, cook dinner.
TOMOE
And study, no doubt.
AMI
Yes.
TOMOE
I see. Diligence. It's a respectable quality.
(beat)
Listen, you probably are bored. There's a playroom down the hall with a TV. You could wait there until we're done.
SAEKO is now clearly upset, as is AMI.
SAEKO
That's okay, Ami. We should get going.
SAEKO stands up and bows.
SAEKO
(barely contained anger)
Doctor. Thank you for seeing me again.
TOMOE
Any time.
SAEKO makes for the door. AMI, however, doesn't move.
SAEKO
Ami, come on!
AMI looks up at TOMOE.
TOMOE
Your mother's calling you.
AMI gets up and walks toward the door. As she walks, she sees her mother shiver a little, as if cold. She looks back at TOMOE. He appears, through subtle behavioural cues, to be cold as well.
AMI
Doctor, is it a bit cold in here?
SAEKO
Ami!
AMI
You both look cold.
(beat)
Would you like one us to get the thermostat? We're both up, we can turn the temperature up a bit before we leave.
(beat)
If you'd just tell us where the thermostat is.
TOMOE'S eyes dart about the room, looking for the climate control panel. AMI observes this for a fraction of a second, and then--
AMI
That's what I thought.
(beat)
This isn't your office.
Pause. TOMOE picks up the nameplate off of his desk and looks at it, with sarcastic confusion.
TOMOE
Well. . . I better let management know. There's been a huge mistake.
SAEKO
Ami, let's go!
AMI
Your name is on the door, and on the desk, but you almost never set foot in here.
TOMOE
(vaguely intrigued)
And what gave you that idea?
AMI
Your books are all in Japanese.
TOMOE
Well, Ami, we ARE in--
AMI
You spent years at Princeton. You say you were "enamoured" with English. Now, I never learned that particular word in class, but it sounds an awful lot like "amour," the French word for love. So if you really love the language so much, how come not a single book on your shelf has an English title? For that matter, why are they all medical texts? Yes, you're a doctor, but you have such a broad range of interests-- physics, cosmology, ancient history, psychology, literature-- why aren't they represented on your bookshelf? Then there's your desk. Your computer is set up for a right-handed user, yet watching you fiddle with that pen-- which you had to search through three drawers to find, I might add-- I'd guess that you prefer your left hand. Your notepad is completely unused, not a single sheet has been removed. Your garbage pail is totally empty. Your calendar hasn't been changed in thirty-seven days. And where are the photos? I understand if you don't want to put up family pictures, but what about that famous photo of you and Albert Einstein at Princeton? Where are the pieces of ancient Egyptian memorabilia you like to collect? Where's the art? And why, Doctor, is one of your students performing duties that by all rights ought to be left to a full-time receptionist?
Pause. AMI is shaking-- she's never done anything like this to anyone, let alone a respected professor. But she's on a roll.
AMI
Doctor, this school is a vanity project. You never even set foot in here. If you don't take this school seriously, then why should--
TOMOE slams his hand on his desk, immediately taking the wind out of AMI. She's reverted back to the scared girl we saw before.
TOMOE
(eyes fixed on AMI)
Saeko. . . could you step outside please?
We hold on TOMOE as the sound of a ringing phone appears. After a moment, we CUT TO:
INT, Underground Lab, PROFESSOR'S Lab
THE PROFESSOR'S phone, once again ringing, once again without anyone there to answer.
CUT TO:
INT, Underground Lab, Control Room
KAO LING, once again hanging up her cell phone. Cyprine and Ptilol, as usual, are manning the controls in the background.
KAO LING
(whispering)
Where are you? Where the hell are you?
CYPRINE
Twenty minutes 'til curtain.
KAO LING, reluctantly, walks over to the control area and takes charge.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
We are immersed in a sea of people-- business-people, security, journalists, costumed professional performers, amateur cosplayers, and "civilians" alike-- in the large, open area at Tokyo Big Sight. The organizers of the convention have gone all out, setting up huge TV screens and stages for live performers (singers, dancer, etc.). The TV is showing an anime piece commissioned just for the festival, packed to the brim with fleeting references to all kinds of sci-fi franchises: we see the TARDIS, the new Galactica, new Cylons, the new Enterprise, Harry Potter, LOTR, zombie hoards, Babylon 5, the fucking Twilight movies, and a stream of anime allusions only a Gainaxer could convincingly pull off. The live performers, meanwhile, are performing a updated (ie. tacky, J-pop-ish) version of ELO's "Twilight," complete with hilarious Engrish lyrics and Super-Sentai-inspired backup dancers. You read my blog. You knew this was coming.
The camera pulls back through the crowd, until we see, from behind, a BLONDE-HAIRED woman wearing a big, red bow, somewhat distant from the other people. For now, we shall call her BLONDIE. She watches the performance, hardly moving. We hold for a couple of seconds and
CUT TO:
INT, EUDIAL and TELLU'S Car
We find the car parked in a massive underground lot. TELLU and EUDIAL are sitting in the car, and from their restless mannerisms, it's clear they've been waiting a while. We hear KAO LING over the radio (reminder: the receivers are built directly into their ears).
KAO LING(V.O.)
Have you checked the inventory?
EUDIAL
Yes. Twice. Not like we had anything else to do.
KAO LING(V.O.)
Eudial.
EUDIAL
(sighs)
The energy collector and delivery device are functioning properly, as is the remote link.
KAO LING(V.O.)
Good. You're on in twenty minutes. Move out.
CUT TO:
EXT, EUDIAL and TELLU'S car. EUDIAL and TELLU step out, ready to commence their operation. The musics from outside can be faintly heard within the underground lot.
TELLU
(stops and listens)
Are they bringing back Densha Otoko?
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to the rear shot of BLONDIE. She turns her head slightly to the left (her face is still hidden), and after a moment walks off frame in the direction she was looking. We pan right to reveal USAGI and LUNA in the distance, well away from the crowds.
USAGI(V.O.)
So what are we gonna do once we find Marie?
CUT TO: Two shot of USAGI and LUNA. USAGI has returned to her usual clothing.
LUNA
Talk to her. Ask her questions, like "Who is Sailor V?" "How do we get in contact with her?"
USAGI
What if she doesn't know?
LUNA
She knows. She has to know at least something. There's no way that she--
LUNA suddenly cringes in pain.
USAGI
Luna?
CUT TO:
LUNA'S POV. Her LUNA-SENSE has returned, briefly, and we something inside the main building. Something similar to what LUNA saw that night at the Cat Mansion.
CUT TO:
INT, Big Sight, Hallway
TELLU, EUDIAL, (both carrying metallic briefcases) and MARIE walk down a hallway. A security guard smiles and nods as the women pass. We follow them until they hit a T-junction, at which point EUDIAL heads left and TELLU and MARIE head right. We pan 180 degrees, back to the security guard. Behind the guard, at the other end of the hallway, we just barely make out BLONDIE and a WHITE CAT as they dart out of sight. The security guard just barely notices the two out of the corner of his eye, and pursues.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to USAGI and LUNA. LUNA'S head still hurts, but she's doing better.
USAGI
What's wrong, Luna?
LUNA
They're here.
CUT TO:
INT, Big Sight, Hallway
We see the security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into Radio)
Be advised, I have a possible intruder, Caucasian female, blonde hair, roughly 160 centimeters, teenaged or young adult, last seen in
(gives location)
CUT TO:
INT, Big Sight, Security Command and Communication Center (Capcom)
We see about half a dozen security operatives, looking over dozens of TV screens displaying security feeds from all across the convention. At the center of it all is the CHIEF of security.
CHIEF
(into radio)
Acknowledged. We don't have any sign of the intruder on camera, but we'll keep an eye out.
At that moment, the door opens, and EUDIAL enters, wearing a gas mask, holding some sort of jerry-rigged recording device in her hand. She sets the briefcase on the floor, and an antenna extends out of it automatically. She then throws a package into the middle of the room. The security officials pull their weapons on her. The CHIEF tries to call for help, but the radios bursts into static, the result of a signal sent out by the antenna. The guards scream at EUDIAL to get on the floor; all EUDIAL does in response is hold out the recording device. Finally, the guards fire their tazers at EUDIAL. She closes her eyes and reacts to the current flowing through her body, but only slightly. She then smiles, as if the current is only tickling her. Once the tazers are spent, the guards stare at EUDIAL in stunned silence. She takes a closer look at the recording device, pressing a few buttons on its console.
EUDIAL
Nice. Really strong emotions. Gives the computer more to work with.
EUDIAL reaches into her pocket and pulls out a remote detonator.
EUDIAL
I think we're done here.
EUDIAL activates the detonator. Red gas spews out of the package EUDIAL threw on the floor. Within seconds, everyone in the room (other than EUDIAL, of course) is unconscious.
CUT TO:
INT, Big Sight, Hallway
The security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into radio)
Capcom, I repeat, I have lost contact with the subject. Please respond!
CUT TO:
INT, Capcom
EUDIAL is at the control panel. She is hooking a series of devices into the controls. Once they are fully connected, we see the security feeds become distorted.
EUDIAL
Alright, Kao Ling. You should be recieving the data now.
CUT TO:
INT, Big Sight, Hallway
The GUARD awaits his response.
CHIEF(V.O.)
Negative, no visual on the subject as of yet.
CUT TO:
INT, Underground Lab, Control Room
We cut immediately to a close-up of PTILOL, indicating that HER voice is being made to sound like the CHIEF'S.
PTILOL
Will keep you advised, over.
CUT TO:
A shot of the entire control room. The TV screens in the control room are now displaying the security feeds from the convention. Both CYPRINE and PTILOL are monitoring the screens and giving various commands over the radio. From this, it's clear that our villains are now running the show.
KAO LING
(to EUDIAL)
How long until the tagging software is online?
CUT TO:
INT, Capcom
EUDIAL puts the finishing touches on one last piece of equipment.
EUDIAL
(to KAO LONG)
Right now.
On the security screens, we see a grainy still image (taken from the VHS footage from earlier)of SAILOR V appear. We then see a software program scan the faces of everyone visible on camera, comparing their faces to SAILOR V'S and assigning a probability of match. EUDIAL eyes the screens greedily. For all her strength and ability, she's nevertheless excited about the newest little bit of power she now wields.
EUDIAL
(to TELLU)
I see you.
Cut to a close-up of one of the feeds. We see TELLU, tending to MARIE in a private waiting room. TELLU turns to the camera and gives the finger.
CUT TO:
EXT, Big Sight Outer Area, DAY
USAGI and LUNA, away from the crowd.
LUNA
I only saw it for a moment, but it was definitely them.
USAGI
(a little scared)
So. . . what are we gonna do?
LUNA
(to herself)
What are they doing here? Why here? This doesn't fit the pattern-- it's too public.
USAGI
Luna?
LUNA
I thought I was starting to figure them out.
USAGI
Hello?
LUNA
(an idea occurs to her)
Are THEY after Marie too? Are THEY looking for Sailor V? Jeeze, I thought this whole thing was a long shot, but now. . .
USAGI
Excuse me, Luna, but are we having a conversation or are you just talking to yourself?
LUNA turns around, and meows, indicating something behind USAGI. She turns around, and sees a young man in an extravegant costume watching her.
USAGI
Oh, don't you even THINK of judging me. Not in that outfit!
The young man, thoroughly rebuked, slinks away.
LUNA
Listen. . . I'm gonna try to get inside and figure out what's happening.
(looks around, then to herself)
My God, all these people, how am I gonna get them out?
(beat)
Usagi?
USAGI
(scared, but with a newfound determination)
Yeah?
LUNA
Usagi, I want you to get out of here.
USAGI'S taken aback.
LUNA
I want you to promise me that you're gonna get as far awaw from here as you can.
(beat)
Usagi, I need you to tell me that--
USAGI
The only reason I'm out here is because YOU dragged me here.
Now LUNA'S taken aback.
LUNA
Oh. Well, then. . . be careful!
After a pause, the two part ways, LUNA toward Big Sight, USAGI down the waterfront. LUNA stops and turns her head to face USAGI.
LUNA
I mean it!
LUNA runs off after a beat. USAGI continues down the waterfront. Despute her rebuke to LUNA, USAGI'S clearly conflicted. After a few steps, she stops and turns to face Big Sight. We pan across the scene, following USAGI'S POV as she scans the crowds attending the convention. There must be thousands of people. After a moment, USAGI takes the MOON PRISM in her hand and attempts to transform. Nothing. She tries again, "harder" this time. Still nothing.
USAGI
(to the MOON PRISM)
Is there a magic word or something? "Moon prism powers, activate? Form of something not useless?"
She sighs, and then poses for another transformation attempt, mouthing something to herself.
USAGI
(murmering)
Moon prism. . . Moon. . . Prism. . .
USAGI thinks she's onto something. The musics begins to build as USAGI readies herself for what may be her first transformation.
USAGI
Moon. . . !
USAGI raises her hand. Tension mounts.
USAGI
Prism. . . !
Pause. . . and just when it looks like shit's about to get real, USAGI abruptly opens her eyes and looks to the side.
USAGI
YOU again?!
CUT TO:
USAGI'S POV. It's the same extravagently dressed cosplayer from a moment earlier, spying on USAGI. Once he's spotted, he quickly runs off.
CUT TO:
USAGI, getting her out her pose, dispondent.
USAGI
What am I thinking?
USAGI pulls out the disguise pen and examines it.
USAGI
(repeating LUNA'S words)
I would know how. Only I would know how.
(to the pen)
Well. . . I figured YOU out, didn't I?
USAGI looks toward Big Sight, then back at the pen, and then back at Big Sight. She's made up her mind. One way or another, she's going in.
Stay Tuned for the Next Installment, coming in the next few days!
EXT, Mugen Gakuen, DAY
AMI and SAEKO'S car pulls up to the towering headquarters of MUGEN GAKUEN. Unfortunately for them, protestors have already beaten them to it.
CUT TO:
INT, AMI and SAEKO in car.
AMI anxiously looks out of the car at the protesters. We briefly get a glimpse of the pandemonium, never getting a terribly good look at the protesters-- a few signs here and there in Chinese, a few ultra-rightest counter-protesters in black vans-- all we need to know is that they are there.
SAEKO
(anxious, but trying to hide it)
It's okay, Ami. We'll be waved through in no time.
The car pulls up past the horde of protesters, up to a security guard. SAEKO opens the car window, speaks to the guard, shows a pass of some sort, and the car is waved inside.
SAEKO
(less tense)
See?
AMI gazes up at the huge, imposing building. It scares her a little bit.
CUT TO:
INT, Lecture Hall
AMI and SAEKO sit in a half-filled lecture hall. AMI looks around.
AMI
(whispering)
Mom? Shouldn't more people be coming?
SAEKO
Of course, Ami.
AMI
The lecture begins in less than three minutes. You'd think--
At that moment, hordes of students, dressed in the same military-style uniforms as what REI saw the day before, flood into the lecture hall, guided by more senior students.
SAEKO
See?
The students file in quickly, rushed in by their seniors. The students, even by Japanese standards, are highly disciplined, almost military-like. Within about ten seconds, all the vacant seats in the lecture hall have been filled. Almost immediately after that, the guest of the hour, DR. SOUICHI TOMOE appears on stage, welcomed by a particularly high ranked senior. The students, reflexively, stand and applaud almost immediately. They are shortly joined by the other guests. TOMOE, a man easily into his nineties, looks surprisingly spry and energetic-- not a day over sixty. The applause gradually dies down.
EDIT: I can't believe I forgot to mention this: TOMOE has only one eye. His right eye socket is covered with an eyepatch.
TOMOE
Thank you. I've decided to dispense with the formal introductions. Clearly I have enough attention without someone calling my out my name on stage.
The students laugh. AMI, SAEKO, and the other guests don't.
TOMOE
Truly, though, I am grateful that you all have braved the weather, so to speak. Before I proceed to the body of my presentation, I hope you will indulge an old man a few sentimental reflections. Contrary to some of the assertions voiced outside, I have been giving great thought in recent times to nothing less than the meaning of my life. It is perhaps because of this that, more than ever, the opening words of my allegedly seminal text, "Genetics," carry more weight than ever. I wrote: "the genome is often crudely described as a blueprint, a code, a mechanism. Yet I cannot help but see in the genome nothing less than out entire history. The great scroll upon which the story of our tribe, the tribe of Earth--" forgive me, I was going through a Carl Sagan phase at the time.
TOMOE is noticeably lightening up. So are the guests-- AMI giggles at the Sagan line.
TOMOE
It is history. A history far vaster and richer than the lists of names and dates, wars and treaties, nations and petty ideologies that usual bear the name.
At that moment, a pair of audience members stand up and begin to set up a display.
TOMOE
It is heritage. It is the scrolls of the Torah, the oral legends of Homer, written into our very selves.
The two audience members, actually protesters, unfurl a banner.
PROTESTER
Hey butcher!
The audience looks at the poster, written in Chinese. We only catch a brief glimpse before cutting to AMI'S reaction. She has an idea of what it says, and it upsets her.
PROTESTER
Here's your heritage!
The protesters are quickly taken down by security. The audience, and TOMOE, are silenced.
AMI(V.O.)
I'm not sure I want to see Dr. Tomoe anymore.
CUT TO:
INT, Tomoe's Office, Reception
AMI and SAEKO wait outside of TOMOE'S office. SAEKO tends to AMI, adjusting her shirt, fixing up her hair, etc., in preparation for the meeting.
SAEKO
Ami, Dr. Tomoe's been waiting to see you for a long time.
AMI
Why? Why today? Why wait so long?
SAEKO
You know how busy he is, Ami. I was barely able to squeeze in our meeting today.
AMI
Mom, why are we really here?
SAEKO sighs. A short moment later, a SECRETARY-- actually another student in uniform-- emerges from TOMOE'S office.
SECRETARY
Dr. Mizuno?
SAEKO
(to AMI)
Ami, we've come this far. Just talk to him.
CUT TO:
INT, Tomoe's Office
In the foreground, we see TOMOE, slowly pacing in front of his desk, clearly upset at what happened at the lecture hall today. In the background, we see the SECRETARY enter through the office's front door.
SECRETARY
Doctor? Your two o'clock is here. Dr. Mizuno.
TOMOE
(distracted)
Ah, thank you.
AMI and SAEKO enter, and the SECRETARY leaves.
SAEKO
(bows)
Dr. Tomoe.
TOMOE pauses for a minute, as if trying to place SAEKO.
TOMOE
Ah, Dr. Mizuno. It's been a long time.
Now AMI really thinks something is off.
CUT TO:
AMI, sitting silently. She's looking around at the various office furnishings-- the bookshelves, the desk, the large window behind TOMOE'S desk. SAEKO is discussing some of her medical work with TOMOE, who FIDGETS WITH A PEN IN HIS LEFT HAND, just barely managing to feign interest. When she finishes, TOMOE smiles, more to be polite than anything else.
TOMOE
Well. . . you have come a long way, Saeko.
(in English, almost perfect, with a hint of a New England accent)
Tell me, do you still study English?
SAEKO
(in English, unperfect to say the least)
Ah, yes, little.
TOMOE
(English)
Ah. "Little."
SAEKO
(English)
I have sometimes English patients in hospital. I work as translator.
TOMOE
(English)
That's outstanding.
(beat)
I've always been rather enamoured of foreign tongues. English was the first foreign language I ever learned. I'm still flabbergasted at how ably I assimilated the language, but then I guess I've always been a might perspicacious.
SAEKO nods and smiles-- she won't admit it, but she didn't understand half of what he said. AMI, however, is a little turned off by his pretentiousness.
TOMOE
(in Japanese)
But listen to us, rambling on. I'll bet little Ami is bored out of her mind.
AMI turns to TOMOE nervously. SAEKO smiles proudly.
TOMOE
How old are you, Ami?
AMI
Eight.
TOMOE
Do you know why you're here?
SAEKO
Dr. Tomoe, I didn't want to tell--
TOMOE
Saeko, please, let Ami speak.
AMI looks downward, nervously.
TOMOE
Let me start a little simpler. What's a day in the life of Ami Mizuno like?
AMI
(slowly, timidly)
I spend my days in school--
TOMOE
Obviously. What level?
AMI
Junior high. Eighth grade.
TOMOE
Not bad. And what do you do outside of school? Sports? Shopping?
AMI
I spend a couple of hours each day in cram school.
TOMOE
One of ours, I hope?
AMI nods.
TOMOE
And then?
AMI
I go home, cook dinner.
TOMOE
And study, no doubt.
AMI
Yes.
TOMOE
I see. Diligence. It's a respectable quality.
(beat)
Listen, you probably are bored. There's a playroom down the hall with a TV. You could wait there until we're done.
SAEKO is now clearly upset, as is AMI.
SAEKO
That's okay, Ami. We should get going.
SAEKO stands up and bows.
SAEKO
(barely contained anger)
Doctor. Thank you for seeing me again.
TOMOE
Any time.
SAEKO makes for the door. AMI, however, doesn't move.
SAEKO
Ami, come on!
AMI looks up at TOMOE.
TOMOE
Your mother's calling you.
AMI gets up and walks toward the door. As she walks, she sees her mother shiver a little, as if cold. She looks back at TOMOE. He appears, through subtle behavioural cues, to be cold as well.
AMI
Doctor, is it a bit cold in here?
SAEKO
Ami!
AMI
You both look cold.
(beat)
Would you like one us to get the thermostat? We're both up, we can turn the temperature up a bit before we leave.
(beat)
If you'd just tell us where the thermostat is.
TOMOE'S eyes dart about the room, looking for the climate control panel. AMI observes this for a fraction of a second, and then--
AMI
That's what I thought.
(beat)
This isn't your office.
Pause. TOMOE picks up the nameplate off of his desk and looks at it, with sarcastic confusion.
TOMOE
Well. . . I better let management know. There's been a huge mistake.
SAEKO
Ami, let's go!
AMI
Your name is on the door, and on the desk, but you almost never set foot in here.
TOMOE
(vaguely intrigued)
And what gave you that idea?
AMI
Your books are all in Japanese.
TOMOE
Well, Ami, we ARE in--
AMI
You spent years at Princeton. You say you were "enamoured" with English. Now, I never learned that particular word in class, but it sounds an awful lot like "amour," the French word for love. So if you really love the language so much, how come not a single book on your shelf has an English title? For that matter, why are they all medical texts? Yes, you're a doctor, but you have such a broad range of interests-- physics, cosmology, ancient history, psychology, literature-- why aren't they represented on your bookshelf? Then there's your desk. Your computer is set up for a right-handed user, yet watching you fiddle with that pen-- which you had to search through three drawers to find, I might add-- I'd guess that you prefer your left hand. Your notepad is completely unused, not a single sheet has been removed. Your garbage pail is totally empty. Your calendar hasn't been changed in thirty-seven days. And where are the photos? I understand if you don't want to put up family pictures, but what about that famous photo of you and Albert Einstein at Princeton? Where are the pieces of ancient Egyptian memorabilia you like to collect? Where's the art? And why, Doctor, is one of your students performing duties that by all rights ought to be left to a full-time receptionist?
Pause. AMI is shaking-- she's never done anything like this to anyone, let alone a respected professor. But she's on a roll.
AMI
Doctor, this school is a vanity project. You never even set foot in here. If you don't take this school seriously, then why should--
TOMOE slams his hand on his desk, immediately taking the wind out of AMI. She's reverted back to the scared girl we saw before.
TOMOE
(eyes fixed on AMI)
Saeko. . . could you step outside please?
We hold on TOMOE as the sound of a ringing phone appears. After a moment, we CUT TO:
INT, Underground Lab, PROFESSOR'S Lab
THE PROFESSOR'S phone, once again ringing, once again without anyone there to answer.
CUT TO:
INT, Underground Lab, Control Room
KAO LING, once again hanging up her cell phone. Cyprine and Ptilol, as usual, are manning the controls in the background.
KAO LING
(whispering)
Where are you? Where the hell are you?
CYPRINE
Twenty minutes 'til curtain.
KAO LING, reluctantly, walks over to the control area and takes charge.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
We are immersed in a sea of people-- business-people, security, journalists, costumed professional performers, amateur cosplayers, and "civilians" alike-- in the large, open area at Tokyo Big Sight. The organizers of the convention have gone all out, setting up huge TV screens and stages for live performers (singers, dancer, etc.). The TV is showing an anime piece commissioned just for the festival, packed to the brim with fleeting references to all kinds of sci-fi franchises: we see the TARDIS, the new Galactica, new Cylons, the new Enterprise, Harry Potter, LOTR, zombie hoards, Babylon 5, the fucking Twilight movies, and a stream of anime allusions only a Gainaxer could convincingly pull off. The live performers, meanwhile, are performing a updated (ie. tacky, J-pop-ish) version of ELO's "Twilight," complete with hilarious Engrish lyrics and Super-Sentai-inspired backup dancers. You read my blog. You knew this was coming.
The camera pulls back through the crowd, until we see, from behind, a BLONDE-HAIRED woman wearing a big, red bow, somewhat distant from the other people. For now, we shall call her BLONDIE. She watches the performance, hardly moving. We hold for a couple of seconds and
CUT TO:
INT, EUDIAL and TELLU'S Car
We find the car parked in a massive underground lot. TELLU and EUDIAL are sitting in the car, and from their restless mannerisms, it's clear they've been waiting a while. We hear KAO LING over the radio (reminder: the receivers are built directly into their ears).
KAO LING(V.O.)
Have you checked the inventory?
EUDIAL
Yes. Twice. Not like we had anything else to do.
KAO LING(V.O.)
Eudial.
EUDIAL
(sighs)
The energy collector and delivery device are functioning properly, as is the remote link.
KAO LING(V.O.)
Good. You're on in twenty minutes. Move out.
CUT TO:
EXT, EUDIAL and TELLU'S car. EUDIAL and TELLU step out, ready to commence their operation. The musics from outside can be faintly heard within the underground lot.
TELLU
(stops and listens)
Are they bringing back Densha Otoko?
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to the rear shot of BLONDIE. She turns her head slightly to the left (her face is still hidden), and after a moment walks off frame in the direction she was looking. We pan right to reveal USAGI and LUNA in the distance, well away from the crowds.
USAGI(V.O.)
So what are we gonna do once we find Marie?
CUT TO: Two shot of USAGI and LUNA. USAGI has returned to her usual clothing.
LUNA
Talk to her. Ask her questions, like "Who is Sailor V?" "How do we get in contact with her?"
USAGI
What if she doesn't know?
LUNA
She knows. She has to know at least something. There's no way that she--
LUNA suddenly cringes in pain.
USAGI
Luna?
CUT TO:
LUNA'S POV. Her LUNA-SENSE has returned, briefly, and we something inside the main building. Something similar to what LUNA saw that night at the Cat Mansion.
CUT TO:
INT, Big Sight, Hallway
TELLU, EUDIAL, (both carrying metallic briefcases) and MARIE walk down a hallway. A security guard smiles and nods as the women pass. We follow them until they hit a T-junction, at which point EUDIAL heads left and TELLU and MARIE head right. We pan 180 degrees, back to the security guard. Behind the guard, at the other end of the hallway, we just barely make out BLONDIE and a WHITE CAT as they dart out of sight. The security guard just barely notices the two out of the corner of his eye, and pursues.
CUT TO:
EXT, Tokyo Big Sight, Outer Area, DAY
Back to USAGI and LUNA. LUNA'S head still hurts, but she's doing better.
USAGI
What's wrong, Luna?
LUNA
They're here.
CUT TO:
INT, Big Sight, Hallway
We see the security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into Radio)
Be advised, I have a possible intruder, Caucasian female, blonde hair, roughly 160 centimeters, teenaged or young adult, last seen in
(gives location)
CUT TO:
INT, Big Sight, Security Command and Communication Center (Capcom)
We see about half a dozen security operatives, looking over dozens of TV screens displaying security feeds from all across the convention. At the center of it all is the CHIEF of security.
CHIEF
(into radio)
Acknowledged. We don't have any sign of the intruder on camera, but we'll keep an eye out.
At that moment, the door opens, and EUDIAL enters, wearing a gas mask, holding some sort of jerry-rigged recording device in her hand. She sets the briefcase on the floor, and an antenna extends out of it automatically. She then throws a package into the middle of the room. The security officials pull their weapons on her. The CHIEF tries to call for help, but the radios bursts into static, the result of a signal sent out by the antenna. The guards scream at EUDIAL to get on the floor; all EUDIAL does in response is hold out the recording device. Finally, the guards fire their tazers at EUDIAL. She closes her eyes and reacts to the current flowing through her body, but only slightly. She then smiles, as if the current is only tickling her. Once the tazers are spent, the guards stare at EUDIAL in stunned silence. She takes a closer look at the recording device, pressing a few buttons on its console.
EUDIAL
Nice. Really strong emotions. Gives the computer more to work with.
EUDIAL reaches into her pocket and pulls out a remote detonator.
EUDIAL
I think we're done here.
EUDIAL activates the detonator. Red gas spews out of the package EUDIAL threw on the floor. Within seconds, everyone in the room (other than EUDIAL, of course) is unconscious.
CUT TO:
INT, Big Sight, Hallway
The security guard from earlier, still in pursuit of BLONDIE.
GUARD
(into radio)
Capcom, I repeat, I have lost contact with the subject. Please respond!
CUT TO:
INT, Capcom
EUDIAL is at the control panel. She is hooking a series of devices into the controls. Once they are fully connected, we see the security feeds become distorted.
EUDIAL
Alright, Kao Ling. You should be recieving the data now.
CUT TO:
INT, Big Sight, Hallway
The GUARD awaits his response.
CHIEF(V.O.)
Negative, no visual on the subject as of yet.
CUT TO:
INT, Underground Lab, Control Room
We cut immediately to a close-up of PTILOL, indicating that HER voice is being made to sound like the CHIEF'S.
PTILOL
Will keep you advised, over.
CUT TO:
A shot of the entire control room. The TV screens in the control room are now displaying the security feeds from the convention. Both CYPRINE and PTILOL are monitoring the screens and giving various commands over the radio. From this, it's clear that our villains are now running the show.
KAO LING
(to EUDIAL)
How long until the tagging software is online?
CUT TO:
INT, Capcom
EUDIAL puts the finishing touches on one last piece of equipment.
EUDIAL
(to KAO LONG)
Right now.
On the security screens, we see a grainy still image (taken from the VHS footage from earlier)of SAILOR V appear. We then see a software program scan the faces of everyone visible on camera, comparing their faces to SAILOR V'S and assigning a probability of match. EUDIAL eyes the screens greedily. For all her strength and ability, she's nevertheless excited about the newest little bit of power she now wields.
EUDIAL
(to TELLU)
I see you.
Cut to a close-up of one of the feeds. We see TELLU, tending to MARIE in a private waiting room. TELLU turns to the camera and gives the finger.
CUT TO:
EXT, Big Sight Outer Area, DAY
USAGI and LUNA, away from the crowd.
LUNA
I only saw it for a moment, but it was definitely them.
USAGI
(a little scared)
So. . . what are we gonna do?
LUNA
(to herself)
What are they doing here? Why here? This doesn't fit the pattern-- it's too public.
USAGI
Luna?
LUNA
I thought I was starting to figure them out.
USAGI
Hello?
LUNA
(an idea occurs to her)
Are THEY after Marie too? Are THEY looking for Sailor V? Jeeze, I thought this whole thing was a long shot, but now. . .
USAGI
Excuse me, Luna, but are we having a conversation or are you just talking to yourself?
LUNA turns around, and meows, indicating something behind USAGI. She turns around, and sees a young man in an extravegant costume watching her.
USAGI
Oh, don't you even THINK of judging me. Not in that outfit!
The young man, thoroughly rebuked, slinks away.
LUNA
Listen. . . I'm gonna try to get inside and figure out what's happening.
(looks around, then to herself)
My God, all these people, how am I gonna get them out?
(beat)
Usagi?
USAGI
(scared, but with a newfound determination)
Yeah?
LUNA
Usagi, I want you to get out of here.
USAGI'S taken aback.
LUNA
I want you to promise me that you're gonna get as far awaw from here as you can.
(beat)
Usagi, I need you to tell me that--
USAGI
The only reason I'm out here is because YOU dragged me here.
Now LUNA'S taken aback.
LUNA
Oh. Well, then. . . be careful!
After a pause, the two part ways, LUNA toward Big Sight, USAGI down the waterfront. LUNA stops and turns her head to face USAGI.
LUNA
I mean it!
LUNA runs off after a beat. USAGI continues down the waterfront. Despute her rebuke to LUNA, USAGI'S clearly conflicted. After a few steps, she stops and turns to face Big Sight. We pan across the scene, following USAGI'S POV as she scans the crowds attending the convention. There must be thousands of people. After a moment, USAGI takes the MOON PRISM in her hand and attempts to transform. Nothing. She tries again, "harder" this time. Still nothing.
USAGI
(to the MOON PRISM)
Is there a magic word or something? "Moon prism powers, activate? Form of something not useless?"
She sighs, and then poses for another transformation attempt, mouthing something to herself.
USAGI
(murmering)
Moon prism. . . Moon. . . Prism. . .
USAGI thinks she's onto something. The musics begins to build as USAGI readies herself for what may be her first transformation.
USAGI
Moon. . . !
USAGI raises her hand. Tension mounts.
USAGI
Prism. . . !
Pause. . . and just when it looks like shit's about to get real, USAGI abruptly opens her eyes and looks to the side.
USAGI
YOU again?!
CUT TO:
USAGI'S POV. It's the same extravagently dressed cosplayer from a moment earlier, spying on USAGI. Once he's spotted, he quickly runs off.
CUT TO:
USAGI, getting her out her pose, dispondent.
USAGI
What am I thinking?
USAGI pulls out the disguise pen and examines it.
USAGI
(repeating LUNA'S words)
I would know how. Only I would know how.
(to the pen)
Well. . . I figured YOU out, didn't I?
USAGI looks toward Big Sight, then back at the pen, and then back at Big Sight. She's made up her mind. One way or another, she's going in.
Stay Tuned for the Next Installment, coming in the next few days!
Thursday, December 23, 2010
How The Karate Kid Should Have Ended
Daniel
Great, that solves everything. I'll go to the police and press charges.
Miyagi
Now use head for something other than target.
Roll Credits.
Great, that solves everything. I'll go to the police and press charges.
Miyagi
Now use head for something other than target.
Roll Credits.
Wednesday, December 8, 2010
Because Alignment Charts Are Popular This Week. . .
. . . and because this whole Sailor Moon Movie thing was also based on something Mightygodking did (see here). . .
. . . and because my photo-editing software and skills are both zero. . .
Here's my Sailor Moon Movie alignment. . . list.
Lawful Good -- Rei Hino
Neutral Good -- Makoto Kino
Chaotic Good -- Usagi Tsukino
Lawful Neutral -- Ami Mizuno
True Neutral -- Minako Aino
Chaotic Neutral -- Mamoru Chiba
Lawful Evil -- Kaolinite
Neutral Evil -- Eudial
Chaotic Evil -- Dr. Tomoe
. . . and because my photo-editing software and skills are both zero. . .
Here's my Sailor Moon Movie alignment. . . list.
Lawful Good -- Rei Hino
Neutral Good -- Makoto Kino
Chaotic Good -- Usagi Tsukino
Lawful Neutral -- Ami Mizuno
True Neutral -- Minako Aino
Chaotic Neutral -- Mamoru Chiba
Lawful Evil -- Kaolinite
Neutral Evil -- Eudial
Chaotic Evil -- Dr. Tomoe
Friday, December 3, 2010
Because my Mind Sometimes Wanders. . .
Here's my list of hypothetical hipster bands named after the worst episodes of Star Trek ever made:
The Naked Now
Spock's Brain & The Turnabout Intruders
The Sub Rosa
The Royales
Profit and Lace
Take Me Out to the Holosuite feat. The Vic Fontaine Orchestra
William T. Riker & The Shades of Grey
Menage a Troi
A Fistful of Datas
The 37's
And my personal favourite,
The Outrageous Okonas
Actually, I could imagine The Outrageous Okonas as a sort of Austrian Death Machine style concept band, writing Irish punk songs all named after lines from the episode:
"Acting Ensign Wesley Wesley Crusher"
"You're a Droid and I'm Annoyed"
"Tip O'Neil in a Dress"
"The Lieutenant Commanders of Mirth" (Actually, I was considering this as a band name)
"Take My Worf. Please!"
"My Timing is Digital"
"Have You Seen Any Good Looking Computers Lately?"
"Excellent Vision and a Healthy Libido"
"An Easy Room"
"A Monk, a Clone and a Ferengi Decide to Go Bowling Together. . ."
"Mischievous, Irreverent, and Somewhat Brazen"
"Cad, knave, rake, rascal, scoundrel, villain, wild elephant"
"Is That a Woman's Voice I Hear?"
. . . and on and on.
The Naked Now
Spock's Brain & The Turnabout Intruders
The Sub Rosa
The Royales
Profit and Lace
Take Me Out to the Holosuite feat. The Vic Fontaine Orchestra
William T. Riker & The Shades of Grey
Menage a Troi
A Fistful of Datas
The 37's
And my personal favourite,
The Outrageous Okonas
Actually, I could imagine The Outrageous Okonas as a sort of Austrian Death Machine style concept band, writing Irish punk songs all named after lines from the episode:
"Acting Ensign Wesley Wesley Crusher"
"You're a Droid and I'm Annoyed"
"Tip O'Neil in a Dress"
"The Lieutenant Commanders of Mirth" (Actually, I was considering this as a band name)
"Take My Worf. Please!"
"My Timing is Digital"
"Have You Seen Any Good Looking Computers Lately?"
"Excellent Vision and a Healthy Libido"
"An Easy Room"
"A Monk, a Clone and a Ferengi Decide to Go Bowling Together. . ."
"Mischievous, Irreverent, and Somewhat Brazen"
"Cad, knave, rake, rascal, scoundrel, villain, wild elephant"
"Is That a Woman's Voice I Hear?"
. . . and on and on.
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