Reasons Why I Should Write the Sailor Moon Movie #13: Yet Another Rewrites
"A man of genius makes no mistakes; his errors are volitional and are the portals of discovery."
- James Joyce, pictured above with his trademark badass eyepatch
Don't get me wrong, I'm not calling myself a genius or anything. I just thought this quote from Joyce was particularly appropriate for my latest list of re-writes and revisions to the Sailor Moon screenplay.
For those who might not know about him, James Joyce was an early 20th century Irish writer whose his controversial experimental novels (Ulysses especially) have cast an immense shadow over English literature. Because of this, many writers (like Salman Rushdie, Samuel Beckett, Jorge Luis Borges, and John Updike, to name just four) have looked to Joyce as the ideal to which they must aspire-- or the hurdle they must overcome. As an aspiring writer, I too developed an brief infatuation with Joyce as well. It was back in the early 2000's, when I was attending the University of Victoria that I bought a copy of Ulysses. Reading the novel at the time, I found it to be alternately beautiful, intimidating, boring, and infuriating. I managed to read up to chapter 14 (out of 18), but "paused" (really "gave up") at that point, as the particular method of narrative experimentation Joyce decided to implement in that chapter resulted in prose that wasn't so much read as slogged through. I do want to finish reading the novel, but the prospects of that happening aren't good.
For the purposes of this post, though, what I really want to talk about is Joyce's first novel, A Portrait of the Artist as a Young Man, in particular one episode from the novel which I've found to be informative to how I want to treat Ami Mizuno (there's actually another episode which also intrigued me, but I'll leave that for later). The Portrait is a fictionalized autobiography that tells of the Irish-Catholic upbringing of Stephen Dedalus-- Joyce's alter-ego-- and the philosophical and artistic development he underwent as a result.
The first chapter describes Stephen's early childhood at a private college for boys. The episode in question occurs after a pair of older boys are caught "smugging." This discovery prompts the already strict school to institute a harsh disciplinary program, and naturally, Stephen is one of the first to feel its wrath. Stephen broke his glasses, and while he waits for a new pair, he is excused from work. However, when Stephen tries to explain this to the prefect of studies (who entered the class to performing a surprise inspection of sorts), the prefect accuses him of breaking the glasses deliberately in order to get out of doing work. The prefect then summarily pandys Stephen-- that is, the prefect hits Stephen's hands with a stick. The experience is both painful and humiliating, and Stephen is angered by what he knows was an unjust punishment. So he summons up his courage and decides to report to the the prefect's actions to school's rector, even though he knows that this might get him into even more trouble. Fortunately, the rector sides with Stephen, and the small, fearful boy returns to his classmates greeted as a hero.
You might already see some similarities between this story and the last segment of the script. In thinking about how I would tighten up this portion of the script, I kept this story from the Portrait in mind. I thought of having Ami go through something similar, but with a twist-- she decides not to report what Sakurada has done to the principal (though she does, gently, confront Sakurada herself), and feels guilty as a result. The remainder of the movie will see Ami gradually working up her courage, the way Stephen did-- only here, her enemy is not an abusive prefect of studies, but evil monsters who steal human energy.
Of course, that's not the only difference between Ami and Stephen. I've also considered turning Ami into a sort of team detective, like Sherlock Holmes or, if you really want your head to explode, Roland Pryzbylewski (Did I just made an allusion to The Wire to describe a Sailor Moon character? Hell yes I did!). But, that'll come later. For now, re-writes:
- As I mentioned, I'll try to put something in showing that Ami knows Sakurada's discipline is wrong, but will lack the courage to do anything about it.
- Also, I decided to remove the scene where Usagi talks to Ami after the end of detention. On top of the scene feeling a little too forced, I thought that I made Ami a little too rude and unnecessarily unlikeable. It'll make more sense for Usagi to bump into Ami later in the day; that'll come in the next segment.
- Speaking of forced. . . I wanna see if there's a way to get Rei into detention that makes more sense than what actually happened. Maybe she'll report to the principal. . . come to think of it, maybe Makoto might consider doing such a thing herself, deciding instead to bide her time and not get into more trouble with Sakurada, lest she get kicked out of another school.
- The part where Mamoru talks about how he started writing hiragana backward might be better served with a flashback instead. I'm worried about the script getting bogged down with flashbacks, which is why I didn't do it that way in the first place. Looking back, though, I realized that a flashback might be better than the sorta dull monologue that I wrote.
Reasons Why I Should Write the Sailor Moon Movie #12: The Asagohan Club, Part #2, aka I Don't Like Mundys
Wow! Even the picture is boring!
Previously on Sailor Moon, we left Luna unconscious in the back of an alley, her head bandaged by three stoned medical interns. For your reference, the last two parts of the screenplay:
It's now been nearly a month since my last real Sailor Moon post. Seriously, I hope it was worth the wait.
We now return to our regularly scheduled movie:
MAN #2
It's days like this I remember (giggles) why I became a doctor! (laughs)
MAN #3
Oh man! I'm hungry guys. Let's get some dinner. (to MAN #1) Come on, let's go.
The THREE MAN leave. LUNA continues to lie on the ground, unconscious. We fade out.
CUT TO:
INT Hikawa Shrine, NIGHT
A sixteen-year old Miko named REI HINO kneels in front of a fire. We watch her for a few beats. She is uncannily still, and it's almost startling to see her head shoot up, as if she were startled by something. . . we fade out.
CUT TO:
INT Mizuno residence, NIGHT
In the living room of a clean, sterile apartment, 8-year old AMI MIZUNO sits at a table doing her homework. Numerous books and notes are piled upon the table, all carefully organised. The books are at the high school level-- AMI is no ordinary 8-year old. A TV blares in the background, showing a news report on the blood clinic incident that occurred earlier in the night. Ami shifts focus between her homework and the broadcast-- she is clearly curious about what has been happening in Tokyo these past months. . . we fade out.
CUT TO:
INT Kino residence NIGHT
A moderate constrast to to the apartment we saw before, this one has clearly been lived in. There's a bit of mess-- clothing on the floor, full garbage cans, some dishes in the sink. The walls and shelves are fully decorated with pictures and trinkets, some of which are Ainu in origin, others of which appear to be homemade. We see MAKOTO KINO sitting on a sofa, sobbing. Her moment of vulnerabilty shown here almost obscures her impressive height and physique, and her thoroughly Japanese dress and mannerisms almost hide the fact that she is actually Ainu. We'll see later that MAKOTO does not cry often, nor does she do so over trivial matters. As a siren blares outside the apartment window as we fade out. . .
CUT TO:
INT Chiba Residence, NIGHT
MAMORU quietly enters his large, expensive apartment- he's not stealing jewels for the money, that's for sure. The TV is on, showing the same news broadcast AMI was watching a moment ago. On a couch, hidden from view apart from a pair of feet sticking out from the end-- we'll learn more about the woman they belong to later. MAMORU stops at the foot of the couch and examines the woman on the couch, worried. . . we fade out.
CUT TO:
INT USAGI's bedroom, MORNING
We're now in a bedroom that looks like it might belong to a 12-year old girl. It actually belongs to a 14-year old named Serena Mundy, who's lying half-asleep on her bed. Even though her real name is Serena, we're going to be calling her USAGI from now on. A J-pop song is playing on a clock-radio next to her bed, and UASGI, not quite fully conscious, mumbles the lyrics to herself.
USAGI
(mumbling)
Doushiyou mune. . .ga tsumaru no. . .
After a moment, we hear a knock on the door. It's USAGI's younger brother, SAMMY.
SAMMY
(muffled by door)
Serena? Serena! Wake up!
USAGI
(grunts, then returns to mumbling)
. . .mo kaiten mokuba kiete mo. . .
SAMMY knocks harder.
USAGI
(mumbling)
. . . yo kisu wo . . .
SAMMY
Serena! It's past eight!
USAGI
(starting to wake up)
Mmmnnn! Sammy, leave me alone! Get lost!
SAMMY
(fading, as he's walking away)
I'm just trying to wake your lazy ass up. Baka!
USAGI
(still very sleepy)
Oh whatever! You're a baka. My alarm. . . woken me if. . . Kono haato. . . de chikatta koi YOOOOO!!
USAGI suddenly springs out of bed, throwing off her covers, and rushes toward her clock-radio. As this happens, Paul Simon's song "The Obvious Child" starts to play in the background:
USAGI opens the closet. She files through various hanging articles of clothing-- including a bathing suit covered in large bowties (anime reference FTW!)-- trying to find a clean school uniform.
USAGI
Oh God, please don't tell me I don't have a clean--
And, miraculously, she finds one!
USAGI
Yes!
She grabs the uniform as we
CUT TO:
INT- Bathroom.
Usagi is frantically brushing her teeth whist simultaneously trying to do up her hair.
CUT TO:
INT- Dining room.
USAGI rushes down the stairs. We see that USAGI wears a distinctive hairdo: her hair is. . . well, just look up any photo of the character and you'll see. USAGI's mother, VICTORIA MUNDY (obscure DIC dub reference FTW!) is cooking in the kitchen. SAMMY is already at the table. (A note before we go any further: In case it somehow wasn't obvious, the entire Mundy family, including father DARIEN MUNDY, whom we met earlier, are all Caucasian Americans living in Japan-- as such, they speak to each other in English). USAGI, upon coming down the stairs, heads into the kitchen, where she starts to argue with her VICTORIA. We follow the USAGI in the background, while keeping SAMMY in the foreground.
VICTORIA
Well it's about time--
USAGI
Why didn't you wake me--
VICTORIA
I sent Sammy up to your--
USAGI
You know I'm gonna be late again--
VICTORIA
Of course I know, that's why I--
USAGI
God! Just give me my breakfast--
VICTORIA
Your breakfast is on the table--
USAGI
Oh my God, Mom!
SAMMY
(Sarcastically, to himself, as the other two are bickering)
I'm Serena Mundy, but everybody calls me "Tsukino Usagi". I like the name 'cause I'm too much of a dumbass to realize it's an insult. I'm 14 years old, though you'd never know it from the way I act, and for reasons no-one can quite comprehend, I've made it all the way to the eigth grade.
VICTORIA
Don't talk to me like--
USAGI
You can SEE it SITTING on the TABLE, NOT getting eaten--!
USAGI starts toward the table.
VICTORIA
You show me some respect--
SAMMY
I'm a clutz.
USAGI
And you don't think "Hey, maybe Serena hasn't gotten--"
As the words come out of her mouth, USAGI trips and falls over her backpack, which is off camera at the moment.
SAMMY
And I'm a crybaby.
USAGI gets up, crying.
USAGI
(teary eyed and congested)
Who leaves things on the ground, Mom?
VICTORIA
It's yours, Serena!
USAGI
Oh my God!
USAGI bends down and picks up her backpack from the floor.
USAGI
How could you just leave my backpack here?
VICTORIA
I'm not gonna pick up your things for you!
USAGI looks at the clock. It's eight thirty.
USAGI
OH MY GOD, Mom! Now I'm gonna be late and I'm gonna be hungry all day--
VICTORIA
Your breakfast is right there!
USAGI
I have to go right now or I'll be late! Thanks a lot! GOD I already have the shakes!
USAGI leaves. VICTORIA grabs USAGI's lunch.
VICTORIA
Serena! (beat) I guess you wanna spend your WHOLE DAY starving.
VICTORIA walks over to SAMMY and hands him USAGI's lunch.
VICTORIA
Sammy, could you give this to your sister before she runs off?
SAMMY
Like fatass needs it.
NOTE: USAGI is not really fat. Sammy is just being a little brother.
VICTORIA
Sammy, I get enough from Serena! Don't you start.
EXT-- Sidewalk in front of MUNDY residence, MORNING.
USAGI is running down the sidewalk, toward the left of the screen. SAMMY runs out onto the sidewalk.
SAMMY
Serena! You forgot your lunch.
USAGI stops, lets out an exasperated whine, turns around, runs to SAMMY, and continues running toward the right of the screen.
SAMMY
(pointing left)
Your school's that way.
USAGI stops, lets out another exasperated whine, turns around, and runs to toward the left of the screen.
CUT TO:
INT- MAMORU's bedroom.
"The Obvious Child" cuts out, replaced by "I Don't Like Mondays" by Boomtown Rats. I'm sure it's possible to get these two songs to blend into each other somehow:
Mamoru lies asleep face down on his bed, wearing only his underwear. There are old BURN MARKS running down his back and along his right arm. The backpack he was carrying the night before leans against a wall. Stickers adorn the walls, doors, and drawers of his room. Some of these stickers say "socks," "shirts", "pants", etc. indicating where things are; others give instructions, either written or pictoral, on how to perform basic tasks, like getting dressed; still others contain brief reminders like, for example, "are the lights off?"
Mamoru slowly stirs after a couple of beats. He forces himself out of bed and turns of the alarm, still tired from the night before. Sitting at the edge of his bed, and appears confused for a moment.
MAMORU
Your name is Mamoru Chiba. (looks to the clock, and sighs) Dammit! (beat) You are a second year high school student attending Azabujuuban High School.
Cut to MAMORU in the shower. He is obscured by a glass shower screen. We can still hear him though.
MAMORU
Hatoyama Yukio is the current Prime Minister. He was preceded by Taro Aso, then Yasuo Fukuda, then Shinzo Abe, then--
CUT to a shot of MAMORU standing in front of the bathroom mirror, wearing a towel. We see more BURNS across his chest, though they are not quite as prominant as the ones on his back. He's brushing his teeth with his right hand. He appears to have difficulty manipulating the toothbrush, suggesting that his right hand has been damaged in an injury, likely the same one that scarred him so badly. After taking a break to spit, he starts talking again.
MAMORU
On July 14th, 1853, a deligation of four American ships, the. . . Mississippi, Plymouth, Saratoga, and Susquehanna, arrived at Uraga harbour--
Cut back to MAMORU's bedroom. Still wearing nothing but a towel, he walks toward the closet. MAMORU's movements lack the spontaneity he showed the previous night; he has a sort of military formalism to him, robotic almost. As walks to the closet, we briefly see a set of four STONES lying on his dresser. The set consists of one piece each of Jadeite, Nephrite, Zoicite, and Kunzite.
Mamoru opens the closet, where his clothes, about as formal as daily casual wear can get away with being, are neatly, statically, arranged.
MAMORU
Today is Monday.
MAMORU grabs the left-most suit in the closet, and starts to get dressed. He continues his monologue as he dresses.
MAMORU
Yesterday was Sunday. For breakfast I had rice with egg, natto, fish, and miso soup. I walked with mother to the park in the morning, and in the afternoon I visited Rei at the shrine. For dinner. . .
Mamoru, while still buttoning up his shirt, ceases his monologue for a moment, as if aware of how silly sounds. Once he finishes buttoning up his shirt, he turns around continues his monologue.
MAMORU
For dinner I ate curry with mother. . . Even though curry is her favourite dish, she wasn't able to finish her. . .
MAMORU glances down at the backback and stops. After staring at it for a moment, he kneels down and apprehensively opens the zipper, revealing a bag of stolen jewels. Mamoru gasps in fear, covering part of his face woth one hand. MAMORU stands up and paces back and fourth, still covering his face, growing ever more agitated. After a moment, he calms down slightly.
MAMORU
(calming himself)
The police don't hesitate, Mamoru. They don't.
MAMORU closes the bag and hides it in the closet.
INT- Chiba residence, kitchen.
Mamoru enters the main living area of the apartment. More stickers adorn the shelves and appliances. One NOTE, different from the others, has been left on the fridge.
MAMORU
(calling out)
Mama? Mama?
MAMORU walks into the kitchen and finds the note. He reads it. We don't see the letter, but it's clear that it's saying that MAMORU's mother is out of the house.
CUT TO:
EXT- Alley, MORNING.
We return to the alley where we last saw LUNA ("I Don't Like Mondays" is still playing). She's still lying on the ground unconscious. After a couple of beats, she slowly wakes up. Luna's really out of it-- she tries to stand up once, but stumbles. She slowly manages to stand up again, but her balance is still a little off.
We cut, briefly, to LUNA's POV. The BANDAGE on her forehead is really messing with her LUNA-SENSE-- this is manifested, at first, by distorted vision and muffled sound.
Cutting back to a shot of LUNA, we see her trying to remove the bandage, to no avail. After a few moments, she gives up and starts to turn toward the end of the alley.
We quickly cut to LUNA's POV, where we see some nebulous figure appear out of no where.
Cutting back to the exterior view of LUNA, we see her recoil in shock, falling down again. However, the nebulous figure is no-where to be found.
Cutting to LUNA's POV, we see that it has disappeared from her view as well. This establishes that LUNA's malfunctioning LUNA sense is causing her to hallucinate as well.
Cutting back to an exterior shot, we see LUNA wait for a beat, and then slowly stand up and walk toward the end of the alley.
EXT- Street, MORNING.
LUNA slowly emerges from the alley and makes her way down the sidewalk, still staggering, meowing at passers-by in the hopes of assistance. Nobody stops. In the background, a couple of blocks away, we see a HOSPITAL.
We cut again to LUNA's POV. The crowds of people walking by are making worse LUNA's already distorted vision.
EXT- Sidewalk, MORNING.
We see USAGI running down the sidewalk. We can see that USAGI's not in the best shape-- her running is clumsy and she's out of breath.
USAGI
Oh god, the bus! The bus! I can still make it!
USAGI makes as much of a break for the bus as she can muster in her fatigued state. As she does, we see a tall girl in a green, brown, and white school uniform easily pass Usagi. It's MAKOTO KINO.
MAKOTO
Sumimasen!
USAGI, dismayed, watches as MAKOTO passes her without even breaking a sweat.
USAGI
Really? Really? How is that even--
Distracted, USAGI trips and falls.
USAGI
Owwww!
MAKOTO runs right past the bus. As USAGI struggles to get up, we see a couple of schoolgirls just barely make it onto the bus before is pulls away. USAGI stands up just in time watch as the bus drives off. She just stands there for a moment. Then, to vent her frustration, she kicks at the air a few times.
EXT, LUNA sidewalk, MORNING
LUNA continues to walk along the sidewalk. The segment of the sidewalk is lined with trees. Her condition has gotten worse. Brief shots from her POV show some of the hallucinations she has to endure-- shadowy phantasms in shaped like the cats from the cat mansion; pink sakura pedals that appear to fall from the trees and sink into the earth like drops of blood in water; the ground itself sinking in slightly, like a rubber sheet, where-ever LUNA sets foot. The hullucinations clearly have LUNA agitated. Suddenly, from LUNA's POV we see a huge fissure appear to open up in the ground, rushing toward LUNA. She panics and quickly scales one of the nearby trees. After glancing around to see if she can see the hallucinatory fissure, she rests on an branch overhanging the sidewalk, trying once again to pry off the bandage.
CUT to USAGI running along another stretch of the same sidewalk. She's not paying as much attention to where she is headed as she should be.
USAGI
Five minutes. I can still make it, I just need a good excuse. (beat) Come on, think, Usagi! (beat) Why does morning have to come? Why can't I just sleep?
CUT to LUNA. She appears to be relaxing when, out of no-where, the nebulous shape appears in her POV, startling her so much that loses her balance and falls right on top of. . . a slight, wispy woman with a RED BANDANA and a METALLIC CANE. The WOMAN, whom we'll call BANDANA for now, manages to remove LUNA from on top of her head, despite LUNA's panicked struggles. NOTE: In this shot, we see BANDANA from the rear, so that her face is not visible.
BANDANA
Hey! What are you doing?
LUNA struggles.
BANDANA
Hey, hey! No, kitty! Calm down. Calm down.
LUNA stops struggling, but isn't exactly calm just yet. BANDANA examines LUNA's forehead.
BANDANA
Who did this to you? I can't imagine how much this must be bugging you. Here. . . let me--
USAGI runs into frame--
USAGI
--just pulled away, laughing at me--
-- and collides with BANDANA. USAGI, BANDANA, and LUNA all fall down. USAGI quickly gets up and LUNA runs off. BANDANA struggles to pick herself up. USAGI trys to help BANDANA up.
USAGI
(in nervous, slightly incorrect and overly informal Japanese)
Oh no! Oh no, uh, there is no excuse! I have made a mistake! Uh, please be nice to me--!
BANDANA
(harshly)
BAKA!
BANDANA sharply shoos USAGI away, and tries to get up on her own. USAGI is taken aback by her anger.
BANDANA
(Unintelligible but very angry Japanese-- it's for the better that USAGI doesn't understand most of it)
USAGI
Uh, uh. . . your cat! Your cat went down that road! Please wait!
USAGI runs off onto a side road where LUNA went. She finds LUNA lying on the ground, moaning-- she wasn't able to make it far with her perception as messed up as it is.
USAGI
Koneko-chan?
LUNA looks up at USAGI, who slowly walks toward her. From LUNA's POV, we see that USAGI is not as distorted as everything else.
USAGI
Hey Koneko-chan. (beat) I really messed up and hurt your owner, Koneko-chan. But I can still bring you back to her. Maybe then she'll forgive me. . . she didn't do this to you, did she?
USAGI examines the bandage.
USAGI
No way, she wouldn't do that to you. I'll bet some punk kids did this to you and she was just trying take it off.
LUNA meows.
USAGI
Yes, yes, I'll get it off for you and bring you back to your owner. Then she can tell me your name.
LUNA meows again. USAGI gets a grip on one of the edges of the bandage.
USAGI
I always hated this part. It's gonna hurt. I just hope you don't get angry at me too. . . Here we go.
USAGI rips of the bandage. . . and in that instant LUNA is surrounded by light, like nothing she's ever experience before. Also, at that very moment, at least as I imagine it, the song "Mohammed" by Dandy Warhols starts to play. Make of that song choice what you will:
After a moment, LUNA realizes that the light is coming from USAGI! Cutting out of LUNA's POV, we see USAGI, in normal daylight, standing over an awestruck LUNA, throwing the bandage aside.
USAGI
I'll bet that feels better. Now come on--
USAGI snatches up LUNA and runs out to the sidewalk where BANDANA was before, but BANDANA is no-where to be found. USAGI looks around for a couple of beats--
USAGI
Now where the heck did she--
-- and then realizes that BANDANA is not actually LUNA's owner.
USAGI
Wait a minute, she's-- (beat) you manipulative-! She was just trying to help you too!
USAGI sets LUNA down on the sidewalk.
USAGI
You trick me into thinking that you're her cat, and-- (beat) oh no! Now I AM gonna be late! Thanks a lot, Koneko-chan, you heartless bitch!
USAGI runs off.
USAGI
I hope you're happy! Really, I hope you're happy. . . in hell!
LUNA doesn't pay attention to the insults-- she's too enthralled with what she's discovered. After a few moments of taking it all in, LUNA starts after USAGI.
INT, Juuban High School Classroom, MORNING.
We see a POV shot of classroom full of students, and a FEMALE TEACHER talking into the camera, indulging her (and my) inner Tarantino.
TEACHER
This has been going on for far too long. It's the same story, Thursday, Friday. . . and now today. Today, just like the past two days, you didn't show up at the beginning of class, which meant I had to waste my time-- to say nothing of the other students' time-- calling out your name. . . three times, was it? Three times, in the vain hope that you simply didn't hear me, in the vain hope that I was simply going blind in my old age and THAT was why I didn't see you anywhere in class. Three times I had to bring everything to a grinding halt so I can call out: "Chiba-san? Chiba-san? Chiba-san?"
We cut out of the POV and see that the teacher is indeed talking to MAMORU, and not to USAGI as we might have guessed.
MAMORU
Sensei, there is no excuse. I meant no disrespect--
Cut back to TEACHER.
TEACHER
THEN, once the class has begun, once my lecture has really started to hit it's stride, you come in through that door and break my concentration. (pause) Do you like history, Chiba-san?
MAMORU
Sensei?
TEACHER
Do. You. Even. . . LIKE. . . History? It's okay if you don't, Chiba-san. I find the stuff I have to teach here in school to be a little dull, myself. I've always prefered American history over Japan's. Same bulk amount of events in a far briefer time period. It's efficient, and there's no need to worry about obscure minutia from millenia past. But that's something I like to keep to myself. I come in to class, I teach the material I'm assigned to teach, and, quite frankly, don't care whether the students are happy about it or not, because whatever they're feelings on the subject, every single one of them has the courtesy to keep it to themselves, too. Everyone, that is, except you.
MAMORU
Sensei, I do apoligize sincerely for wasting yours and, err,--
(slight emphasis)
THE STUDENTS' time. There's no need to go over what's already been covered. I assume we're beginning our discussion of the arrival of Commodore Perry? The Black Ships?
TEACHER
Don't think for a moment that you're going to get out of this just because you glanced through your textbook while riding the bus, you presumptuous ass. (pause) Sit down.
Cut to:
INT-- Juuban Junior High School. We see a doorway, identical to the one that Mamoru was standing in front of. USAGI bursts through the door and bows deeply. I'll try to keep the Japanese to a minimum, but I think the scene tha follows serves to illustrate USAGI's difficulties in Japanese (and likely mine as well :P).
(Sensei. . . there is no excuse. I have made mistake. There was. . . this cat-)
We cut back and fourth between USAGI and her teacher, HARUNA SAKURADA, as they talk. The classroom looks almost identical to the one MAMORU was in, but the students are younger, junior high level. SAKURADA stands at the blackboard, right in the middle of writing a Kanji on the board. She continues to hold her chalk against the board as they talk.
SAKURADA
Ah! Neko ga ARI-mashita. Neko wa NAKATTA desu ka?
(Ah! There was a cat. A DEAD cat, you say?)
USAGI
Umm. . . Iie, iie, uhh, neko ga I-mashita-- uh, neko ga. . . I-mashita kara--
(Umm. . . No, no, uhh, there was this LIVING cat. . . And 'cause of. . . this cat--)
SAKURADA
"Kara"?
("'Cause"?)
USAGI
Umm! Neko ga imashita NO-DE. . . osoi desu.
(Umm! BECAUSE of this cat. . . I'm late.)
USAGI senses it's hopeless.
SAKURADA
Suwarinasai.
(Please sit down)
USAGI
(sheepish)
Hai, sensei.
(Yes, sensei)
USAGI moves to her seat. It might have been easier for her if the class broke into laughter. . . but they're stone silent. We follow USAGI to her seat, located right next to that of a girl of the same age named NARU OSAKA.
EXT- Juuban Junior High School, MORNING
LUNA, who has regained her composure and agility now that the bandage is removed, is walking along the outside windowsill of USAGI's second-floor classroom. She looks inside at USAGI, who's taking notes. She is silent for a few moments, and then. . .
LUNA
(whispering)
I found you. (pause) I finally found you. A blonde haired, blue eyed junior high schoolgirl. Just like the last time.
LUNA looks out at the school's clock tower. The time is 9:30. She looks back into the classroom.
LUNA
3 o'clock, Luna.
LUNA walks away from the windowsill.
EXT, Cat Mansion, LATE MORNING
LUNA is once again walking the fence along the cat mansion. Her antenna is extended, and we hear police dispatches in the background. The dispatches are irrelevent to LUNA's search so far. As she walks, she looks around the mansion for any signs of JESSY.
LUNA jumps down onto the sidewalk in front of the entrance to the mansion yard, looking in the direction she saw JESSY waling the night before.
EXT- Sidewalk, LATE MORNING
LUNA walks down the sidewalk towards the corner where she encountered MAMORU the night before. However, rather than taking a right down the path MAMORU took, she turns left, in the direction from which MAMORU came.
We CUT TO a few blocks later. LUNA has entered commercial district. We watch her walk down the sidewalk for a moment, and then--
POLICE OFFICER (O.S.)
This is (officer's ID). I'm currently at (gives address). I responded to the (gives whatever code is used for jewel store robberies). I'm still waiting for the crime scene investigators to come and relieve me. Any word on when they'll arrive? Over.
LUNA stops as soon as she hears the address-- it's nearby.
POLICE DISPATCH (O.S.)
Dispatch to (officer's ID). Sorry for the delay. Priority right now is on the health code violation that happened last night the blood clinic, over.
POLICE OFFICER (O.S.)
(slightly frustrated, over both the delay and "health code" euphamism)
Roger, out.
LUNA
(to herself)
You just keep getting in my way.
LUNA walks off in the direction of the address mentioned by the officer as we
CUT TO:
EXT, Commerical area, NEAR NOON.
We see a row of stores along the street. One of them stands out like a sore thumb: a jewellery store with smashed in windows, not yet covered with police tape. A POLICE CRUISER is parked in front of the store, its lights flashing. Four people stand in front of the store: a POLICE OFFICER(JEWEL STORE COP, let's call him) and a family of three Jainist Indians. The JAIN FATHER and JAIN MOTHER are conservative and traditional in appearance, but the appearance of the JAIN SON, in his early twenties, is painfully trendy: long, feathered hair, hip clothes, shades resting on his forehead, and what just might be make up-- you wouldn't feel too bad calling him a douchebag were it not for how clearly upset he is at what has happened.
JAIN FATHER
(in Japanese)
What do you mean a "health code violation?"
JEWEL STORE COP
I'm really not at any liberty to make any official statement on the matter. Honestly. . . OFFICIALLY, I know roughly as much about it as you do.
JAIN FATHER
What kind of a "health code violation" would take up so much resources? (sighs, distraught) As long as they aren't here that crook is getting farther away!
JAIN MOTHER
I want us to go home, officer.
JAIN MOTHER gestures to the second floor of the store, indicating that's where they live.
JAIN MOTHER
This delay, this health code violation, is keeping up out of our own home! Is there nothing we can do?
JEWEL STORE COP
Ma'am. . . look, I'm not supposed--
JAIN FATHER
(in HINDI, not neccessarily subtitled-- NOTE: Jain Indians, from what I've gathered, speak many of the Indian languages(Hindi, Punjabi, Urdu, Sanskrit, etc); which one they speak depends, I assume, on what region of India the hail from. Hindi is my guess, but like everything in this first draft, it is not written in stone)
Look, they've already made up their mind--
JAIN MOTHER
(HINDI)
How do you know? They're sending investigators, that says they haven't--
JAIN FATHER
What else could it possibly look like--?
As this discussion unfolds, we see that LUNA has been listening in on the conversation.
JEWEL STORE COP
Excuse me! Excuse me! Look, unofficially, OFF the record, the reason for the delay is the sleeping sickness.
The JAIN FATHER sniffs contemptuously.
JEWEL STORE COP
Resources are being diverted to areas where the sickness has occurred. Now I'm NOT supposed to tell you that, but I DON'T like being left out of the loop, and I figure you don't either. So if you have something to say, say it to me.
A brief, but tense pause. Then. . .
JAIN MOTHER
We take sleeping pills.
JEWEL STORE COP
Yes, I know. You told me that.
JAIN MOTHER
That's why we didn't hear the windows being smashed.
JEWEL STORE COP
Yes, you already stated that. And that your son was out with friends. We got statements from three of his friends corroborating his statement.
JAIN FATHER
If we wanted to collect the insurance, (turns to his son) DON'T you THINK we would have LEFT IN the security tape?
JAIN SON
(HINDI)
When are you going to stop, Dad? I forgot!
JAIN FATHER
(HINDI)
It's embarrassing enough to have to look at you!
JAIN MOTHER
(HINDI)
Don't make a scene! Please! We're drawing enough attention!
JAIN SON
(HINDI)
Go to hell!
JAIN SON storms off, walking down the sidewalk. LUNA briefly watches him walk off, then focuses back on the store.
JEWEL STORE COP
Excuse me! Excuse me! Hey! In the loop, okay?
JAIN FATHER
We're not even going to our insurance thanks to this! You know they're gonna screw us out of it!
In the growing heat of the argument, LUNA takes an opportunity to sneak into through the broken window, carefully avoiding the shards of glass on the ground.
INT- Jewel Store
The three continue to argue outside. LUNA surveys the damage. The store probably didn't look very good even before the break-in-- it's quite crowded and the Jain artworks lining the walls, while beautiful on their own, feel almost takcy in such large numbers and density as they are here. The only light comes from the sunlight outside. LUNA takes a brief look around, and then closes her eyes, attemping to focus LUNA-SENSE. We see a few glimmers of information-- a few rose pedals briefly appear, hanging in the air, but after a few seconds, LUNA is overcome with a strong pain in her head, and has to stop. She knows that this is definately where the criminal she saw last night struck, but her LUNA-SENSE is still too damaged to tell her anything more.
LUNA
(sighs) Damn.
CUT TO:
EXT- Sidewalk, NEAR NOON
LUNA walks across the street to the sidewalk opposite the Jewellery store. She walks for a few seconds until encounter a pair of middle-aged Japanese women, gossiping about the break-in. LUNA slows as she passes them by to hear what they have to say.
GOSSIPER #1
You would never see a other jewellers robbed like this, so blatantly.
GOSSIPER #2
The family drew too much attention to themselves, that's what it is. I swear, they talked so loudly sometimes--
GOSSIPER #1
They made a target out of themselves. I hear the son didn't even load the security tape last night, so police will probably have no leads--
GOSSIPER #2
Well, THAT'S suspicious.
GOSSIPER #1
No, no. It's like you said. They're just careless. You could tell just from their daily conduct how sloppy they are about everything. Honestly, I don't think I would miss them if they DID leave the neighborhood over of this.
LUNA's heard enough. As she walks away, we hear schoolbell ringing. We then cut to
INT, Juuban High School, Hallway, NOON
A hallway in another school. It's lunchtime, and the hallway is packed with students. In the crowd, we see MAMORU and his male friend, MOTOKI FURAHATA, walking down the hall. MAMORU, despite his bad morning, appears to have hit his stride, looking cool, almost suave, amongst the many undistinguished teenagers in the crowd.
MOTOKI
"Presumptuous Ass?"
MAMORU
Yup.
MOTOKI
I've never been chewed out like that in class.
MAMORU
You've never been late for class three days in a row. I deserved every--
MAMORU is interrupted by a cute girl saying hello as she walks by, obviously flirting with him.
MAMORU
(to girl)
Hi, Hina.
(to MOTOKI)
I deserved every word of it. What's sad is that I actually DO like history.
Cut to:
EXT-- Juuban High School, Courtyard, NOON.
MAMORU and MOTOKI walk through the courtyard. We can see now that MAMORU is carrying a book in his left hand.
MAMORU
Maybe it's just part of my natural development.
MOTOKI
What do you mean?
MAMORU
Well. . . I remember Mother telling me about when I was recovering. I was just starting to learn how to write hiragana again, and I was doing it perfectly, like down pat. And then one day, I started writing my hiragana backwards. So of course, Mother gets worried and she takes me to my developmental shrink, and he tells me its perfectly normal. It means I'm no longer just copying hiragana robotically. I'm consolidating what I've learned. Maybe that's what happening here. Maybe my own internal clock--
Just a MAMORU is finishing, MOTOKI stops. MAMORU stops after him. MOTOKI is glaring at a slick, handsome older student, whom we'll call SEMPAI, putting the moves on a cute younger girl. SEMPAI has a black eye, which the cute girl is pawing over.
MOTOKI
Doesn't word get around in this school? Guy get's knocked out, by a GIRL, and he's still up to his elbows in potential mates. You hear all the time about virulent gossip, yet the one time some actual good could come of it. . . Look at that dumb kid, fawning all over his black eye.
(imitating the cute girl)
Gosh, it's so big! Oooh, (giggles) a double entendre, I'm totally a woman now!
MAMORU
(imitating SEMPAI, with a hint of Stallone)
Oh yeah, there were like, two, er, FIVE of them. American Marines. Huge black guys with gang tattoos.
MOTOKI
(imitating the girl)
Gang tattoos?! Those are the meanest tattoos of all! Meaner than pirate tattoos!
The two guys, having laughed and had their fun, continue walking, alongside the courtyard wall.
MOTOKI
(sniffs)
I dunno. I always thought that guy was beneath Makoto.
(tentatively)
You talk to her, right? I've seen you two together.
MAMORU
Here and there.
MOTOKI
How'd you two ever connect in the first place?
MAMORU
I dunno. I guess we all get a built in detector that allows us to sniff out other orphans.
MOTOKI
Makoto's an orphan?
MAMORU
Yeah, you didn't know? Anyway, why do you ask? You wanna show her YOUR black eye?
MOTOKI
(a little embarrassed)
Oh, that's classy, Mamoru. Pure biting wit. (pause) No, I'm just concerned. I mean, she's been kicked out of school over this. I'm sure she's having a tough time of it.
CUT TO:
EXT, Sidewalk in front of Juuban Junior High, NOON. We see three almost-stereotypical young punks roughing up a small, bespectacled teenager, UMINO, who's carrying a lunch box. The LEAD PUNK does all the talking.
LEAD PUNK
I heard you you were messing with my cousin, kid. Why're you messing with my cousin? What did he do to you?
UMINO
What cousin--?
LEAD PUNK grabs UMINO's lunch box and opens it up, grabbing a handful of fried shrimp.
LEAD PUNK
My cousin has a shellfish allergy. Hell, I won't be able to to shake his hand all day because of this.
LEAD PUNK throws the shrimp onto the ground.
UMINO
That was my lunch, you--!
LEAD PUNK
It's selfish enough that you bring this to a public place, but then to THROW it--
UMINO
I never did anything to your--
LEAD PUNK grabs onto UMINO's lower jaw, pushing his mouth shut.
LEAD PUNK
Kid, if there's one thing I REALLY hate, it's when people try to make a liar out of me. Are you trying to make a liar out me? Isn't it enough that you poisoned my cousin? You wanna make me look foolish too?
MAKOTO(O.S.)
Actually, it was me.
The punks look sideways, and they (and we) see Makoto, tall and intimidating.
I'm the one who threw shrimp at your cousin. Rubbed him all over with it. I had to. Lazy bum owed me money. I can't just let that slide.
LEAD PUNK
Piss off.
Just as the punks are about to return to manhandling UMINO--
MAKOTO
And, rest assured, NO-ONE needs to help YOU look foolish.
The LEAD PUNK chuckles, backs off of UMINO and slowly struts his way to MAKOTO.
LEAD PUNK
You think I won't hit a girl?
MAKOTO
(chuckles)
Come now. If I believed that, I'd actually have to give you some credit.
Suddenly, the punks let go of UMINO. UMINO, after briefly glancing at MAKOTO, makes a break for it. MAKOTO glances at the street.
MAKOTO
But I DO assume, at least, you're not a COMPLETE idiot.
LEAD PUNK looks to the street, and sees a police cruiser come to a stop next to him and MAKOTO. LEAD PUNK glares back at MAKOTO.
LEAD PUNK
Do you know what my hobby is? (beat) Fortune telling. Really. And just because I like you so much, I'll read you your fortune, absolutely free. I predict that, come three o'clock, (looks at the police) when the pigs are gone, everyone in that school is going to hear you crying out, "Help me!"
MAKOTO doesn't flinch. After a tense moment, LEAD PUNK walks away.
CUT TO:
EXT, Juuban High Courtyard, NOON
MAMORU
Makoto? Aw, I'm sure she's fine. Hell, she's EMANCIPATED. A new school is nothing next to that.
MOTOKI
She's emancipated? Christ! How the hell did I not know that?
MAMORU
'Cause you didn't have the balls to ask until. . .
And now MAMORU comes to an abrupt stop. The two stand a few feet from a corner, past which lies a street. After a second or two, a police cruiser drives by, silently, but with its lights flashing. It disappears around the corner.
MOTOKI
Mamoru?
MAMORU just stares. Whatever suave airs he was carrying have disappeared completely. He has become detached. He knows something is waiting for him around the corner-- we hold for a moment, ominous music building up all the while, waiting for whatever that "something" is to pop out. Then--
REI(O.S.)
Mamo-chan?
MOTOKI
Rei?
From around the corner emerges REI HINO, the Miko we saw earlier. Her appearance and demeanour here couldn't be more different. She wears modern, fasionable clothes and carries an air of aloof cockiness. She's holding a large bag.
REI
What the hell are you doing?
MAMORU
(still a little out of it)
Oh, uh. . . Hi Rei.
REI
Hi nothing. Keep walking!
REI retreats back around the hall. MAMORU shakes his head slightly, and then walks along the wall toward the corner. As he comes past the corner, REI "accidentally" bumps into him.
REI
(faux suprise)
Oh my! Oh, I am so. . . (exaggerated) Mamo-chan?
MOTOKI
Sheesh. I gotta get out of here. You two are making me depressed. I'll see you later. Bye Rei. (to himself) Emancipated?
MAMORU
(distracted)
Yeah, see you, Motoki.
REI
Ja ne!
MOTOKI leaves. MAMORU and REI continue walking, with REI still hanging on to him.
REI
So did you see me, or what?
The two emerge onto the sidewalk. MAMORU takes a quick look around for the cruiser-- it's gone.
MAMORU
Hmm?
REI
How did you know I was hiding back there?
MAMORU
I. . . didn't. Not really. I just. . .
REI isn't impressed.
MAMORU
What are you doing here?
REI
The temple, (sarcastcially) "In cooperation with Juuban Cultural Centre!", (normal) has arranged a little song and dance over at the junior high. Tea ceremonies, Shinto rituals, ikebana, origami. . .
MAMORU
Uh-huh.
REI
(sarcasm)
Why, gosh, Rei, you don't sound impressed at all!
MAMORU
When do you ever?
REI lets of MAMORU's arm. We see that her cute, showy intimacy with MAMORU has vanished.
REI
(sighs)
All it would take is a field trip to the temple. It's not like we're that far away, or that busy. If you're gonna put on a demonstration of Shinto ritual, do it in a Shinto temple. Otherwise, it's . . .
(looks at MAMORU, knowingly)
It's just a parody.
REI is silent for a moment. For that moment, her guard softens a bit, betraying, just a little bit, a feeling of anxeity-- about what, we're not sure yet.
REI
Anyway, I was on my way there, and I thought I'd say "Hi."
MAMORU
Hi.
REI
Heh.
(beat)
I almost wonder if this is all because of what's been happening recently.
(beat)
I've had this feeling. . .
REI trails off, realizing MAMORU isn't really paying attention. REI
(slightly louder)
What's with the book?
MAMORU, startled back into attention, holds up the book for Rei. It's titled "Gemology".
REI
"Gemology"?
MAMORU
Yeah.
A Pause.
REI
. . . and?
Another pause.
MAMORU
Rei? Do you remember that time about a month ago, you talked about how you're interested in interpreting dreams?
REI
Um. . .no? (beat) No, I don't. I told you about that?
MAMORU
Yeah, you did, it was. . .
MAMORU pauses, now unsure if REI did, in fact, tell him about that.
MAMORU
Well. . . anyway. That's. . . (shows the book) sort of was this is about.
(Pause)
It's difficult to expalin, and I don't wanna bother you right now. You have to get going. Maybe I could meet you at the temple after school today.
REI
Of course. (Looks at watch) Um, yeah, I DO have to get going. I'll see you at temple.
REI runs off, slowing briefly to take a last glance back at MAMORU, who continues going his way. CUT TO:
INT- Pay phone, NOON.
MAMORU repeatedly recites a phone number, forewards and backwards, with ease. Then, holding the reciever in his left hand, he inserts, with some difficulty, a calling card into the phone with his heavily scarred right hand. He then, slowly, dials the number he was reciting. His damaged hand makes this difficult as well, but he manages, and we hear the phone on the other end begin to ring.
MAMA
(distorted, coming through phone speaker)
Mushi mushi.
MAMORU
Hi, Mama!
MAMA
Mamo! How are you?
MAMORU
I'm okay. I just wanted to see if you made it home alright.
The sound of the conversation fades as we CUT TO:
INT, Juuban Junior High Cafeteria, NOON.
USAGI sits at a table, doodling on a piece of paper. Her lunch box sits on the table, slightly to her right, a couple of napkins its only remaining contents. We cut to a close up of the paper, revealing it to be a Japanese test. We see her mark, "30%", circled in red. Beneath the mark, we see a note written in katakana that says "IF YOU WEREN'T ALWAYS LATE MAYBE YOU WOULD DO BETTER!!" We see that USAGI has added a speech bubble around the note, along with an unflattering, "super deformed" drawing of HARUNA SAKURADA. We also see a "super deformed," manga-esque version of USAGI, tripping over a likewise manga-esque version of LUNA with crosses for eyes. An arrow points to the cat drawing, with a caption written in hiragana and katakana saying "Neko ga ARIMASHITA YO"-- "There was a DEAD CAT!" USAGI's drawing style actually isn't half bad, and is reminiscent of Naoko Takeuchi's style.
NARU OSAKA(O.S)
So the cat WAS dead!
We cut to reveal NARU, the girl who was sitting next to USAGI in class, taking a seat beside her.
NARU
You should have kept at it! She might have believed you this time. Who would make up a story like that?
USAGI
(sighs, and looks at her lunch box)
Naru-chan! Why didn't mom pack me more lunch?
NARU
Usagi! You're a girl, and you're complaining about not having enough to eat?
USAGI
I didn't even have breakfast! And besides, I'm growing. Plus, I didn't want to be hungry during the tea ceremony! If I remembered that was today, I might've woken up earlier!(excited) Why can't afternoon come faster!
NARU
Hmm. . . The cultural festival is okay. But guess where I'M going tonight.
USAGI
Where?
Before NARU can finish, UMINO, the short bespectacled boy we met earlier, forces his way into the conversation.
UMINO
Guys! You are NOT gonna beleive what just happened to me! Some guys started pushing me around--
USAGI
Umino!
UMINO
-- and all of a sudden this huge girl comes in and scares them off!
NARU
Umino! I was--
USAGI
Wait-- what huge girl?
NARU
Usagi!
USAGI
I wanna hear this!
UMINO
She was HUGE.
USAGI
You said that.
UMINO
Like, maybe two meters.
NARU
Umino, AMERICAN girls aren't that tall. Hell, American MEN aren't that tall.
UMINO
Well, she was! I'm pretty sure, anyway. And she had curly hair and thick mean eyebrows and she wore this green and brown school uniform, and I think I saw her carrying a pack of cigarrettes, but I can't be too sure.
USAGI
Oh God. I hope I don't bump into her. . .
UMINO
I asked around, here and there. Turns out she's a transfer student.
USAGI
(a little worried)
Oh no. . .
UMINO
Got kicked out of her old high school for fighting.
USAGI
(more worried)
Oh no!
UMINO
I even heard all the teachers are so afraid of her that they won't tell her to wear a proper uniform.
NARU
Umino, how you can such good grades and be such an idiot.
UMINO
(sighs)
Don't talk to me about grades, Naru!
UMINO reaches into his back pack and pulls out his exam.
UMINO
I blew my last test.
UMINO sets his test on the table. His mark: 95%. USAGI's face sinks.
NARU
Umino!
UMINO
You know what I lost marks for? Things like saying "Hai, soo desu" instead of "Ee, soo desu nee." Who cares?
NARU
Umino! Shut up!
UMINO
What?
NARU
(whispering, gesturing to USAGI)
Usagi!
UMINO
(whispering)
What? She blew the test too?
NARU
(whispering)
Of course she--
(louder)
Um, she's a little dissappointed with the result she got.
UMINO
Oh.
(to USAGI)
So whaddya get? Like seventy?
NARU
Oh my God, Umino--!
USAGI
(laughing, with her hand behind her head-- pure anime)
Yeah!. . . Yeah. Seventy percent. GOD. . .damn it! Oh well. I guess I'll just have to work harder!
NARU
Usagi. (points at the table) You left your test out.
USAGI quickly yanks the test off the table.
USAGI
What is this-- NARU! Thirty percent?! I am. . . shocked!
NARU
Thanks, Usagi!
UMINO
Thirty percent, huh?
USAGI
Aww!
USAGI lays her head on the table.
UMINO
Don't get too upset, Usagi. You're lucky. Your parents don't expect that much of you.
USAGI
AWW!
NARU
Umino--!
UMINO
No, I mean it! Me? I HAVE to get the top grade.
NARU
Umino. I am going to kill you.
USAGI
(in English, and still sad)
Don't hate the playa, Naru, hate the game.
NARU and UMINO
What?
USAGI raises her her head.
USAGI
Nothing.
UMINO sees something appear.
UMINO
Ever since "girl genius" came along--
UMINO points his head in the direction of AMI MIZUNO, whom for a split second we can see walking past a group of girls. One of those girls is fourteen years old, fairly tall, cute, and has short hair. When USAGI looks in the direction he points, it's this girl, and not the real AMI, that she sees.
UMINO
-- I've never been able to get the top mark. Always perfect, perfect, perfect!
USAGI
THAT'S the genius girl?
NARU
Yeah. You've never see her before?
USAGI
I don't even know her name!
NARU
It's Ami Mizuno.
UMINO
(bitterly)
Ami Mizuno.
USAGI
She's cute!
NARU
. . . Okay.
UMINO
How am I supposed to compete with a 300 IQ?
USAGI
Maybe I can get her to tutor me. . .
The group of girls then see NARU and wave her over.
NARU
Uh, just a minute!
(to USAGI)
Anyway, BEFORE I was interrupted, I was telling Usagi about the ULTRA-exclusive jewellery show I'll be attending tonight!
USAGI gasps.
USAGI
No way!!
NARU
Yes! It's gonna be great!
USAGI
I have to come!
NARU
It's "invitation only".
USAGI
Come on!
USAGI starts clinging to NARU. As the conversation unfolds, UMINO stares at the two with and increasing look of horror.
NARU
I only got in 'cause my mom's hosting it!
USAGI
Please!
NARU
No!
USAGI
Bring me something back!
NARU
I'll tell you everything that happened!
USAGI
I want a diamond!
NARU
No!
USAGI
An emerald?
NARU
No!
USAGI
Ruby?
NARU
Usagi!
USAGI
I won't breathe a word!
NARU
I gotta go!
NARU gets up from the table.
NARU
I'll talk to you about it tomorrow!
NARU walks over to her friends.
USAGI
Aw. . . Naru's mom takes her to jewellery shows. My mom's gonna yell at me over my test. And she even hangs out with genius girl.
UMINO
Um. . . not really.
USAGI
Well whaddaya call. . . ?
As NARU approaches the group of girls, they start clinging to her and saying things like "Diamonds!", "Rubys!", "Emeralds!" in exagerrated American accents. NARU, while not exactly pleased, doesn't exactly protest either. USAGI sees this, and then looks back down at her test, just that much more saddened by their display. We hear the school bell ring in the background as we CUT TO:
INT, Juuban Junior High Gymnasium
. . . another test, like the one USAGI wrote, only with a perfect grade. We cut AMI MIZUNO, who's holding the exam. She's not exactly excited about her mark.
SAKURADA(O.S.)
You should be pleased with your mark.
We cut to a two shot of SAKURADA and AMI.
SAKURADA
Another perfect mark. The only student to get perfect marks in the Kanji and Grammar sections.
AMI
(forcing a smile)
It's. . . a relief.
SAKURADA keeps on talking, mostly in the form of stereotypical "hard work good" platitutdes. AMI briefly glances two students about thrity feet away. They were looking at and talking about AMI, which is obvious from the way they quickly turn away when AMI sees them. AMI is still able to see them talking, and although we, and she, cannot hear them, AMI is able to decipher what they're saying through lip-reading. This, in part, will help to establish that AMI really is brilliant.
AMI GOSSIPER #1
(subtitles)
Sensei is praising Mizuno again. Sensei NEVER praises anyone.
AMI GOSSIPER #2
(subtitles)
And people wonder where her attitude comes from. I almost don't care if that freak sees us.
AMI looks back toward SAKURADA. SAKARUDA'S cell phones starts ringing (it's ringtune is "Don't You Forget About Me") in the middle of a sentence.
SAKURADA
There are many people who are intelligent, but don't-- oh! I have to take this. You go ahead and enjoy the festival. Don't wait up for me!
AMI
(a little disturbed by SAKURADA's informality)
Hai. . . (subtle emphasis) Sensei.
AMI walks off. SARAKUDA walks off to the side to talk in public.
SAKURADA
Kouichi-kun! Aw, you couldn't wait to hear my voice. Well, rest assured, I too am eagerly awaiting our date to--
In an anime-eqsue flourish, the area around SAKURADA darkens. Even a couple of people nearby notice. Clearly, the phone call does not bear good news.
SAKURADA
Business? Tonight? But Monday's the best--
And the area darkens even further.
SAKURADA
No. I understand.
SAKURADA ends the call, obviously upset. She starts to walk out of frame, but a couple of students, obnoxiously chatting with one-another, cross in her path. She is not amused.
CUT TO:
INT, Juuban Junior High Gymnasium, The Cultural Festival.
The school gymnasium has been filled with avenues of booths. There are different booths for all the various cultural activites Rei mentioned: Tea ceremonies, Shinto rituals, ikebana, origami, and the like. And unfortunately, just as Rei said, it's also little more than a parody of Japanese culture; while the presenters at the various booths are certainly earnest about their activities, there's a certain cheapness to the proceedings, not helped much by the basketball hoops hanging against the walls, or the fact that then only thing separating some of the booths is a piece of cubicle wall.
We see AMI walking down one of the avenues. We pan the camera to follow her until MAKOTO comes into to frame, after which we hold on her. MAKOTO is at one of the booths, with a three other students, learning about the art of ikebana, or Japanese flower arranging. MAKOTO is quite good at flower arranging, and even assists the other students.
CUT TO:
"Kagura Booth," where a group of Shinto shrine maidens, including REI, are performing a minature Kagura Dance. All of the maidens are dressed in their white and red shrine maiden dress. For all of REI's earlier disdain, it's clear that she is serious about the dance. It's here that we finally get a glimpse of the focussed REI we saw the night before. We observe the dance for a moment, and then CUT TO:
"Tea Ceremony Booth." USAGI is sitting, on her behind (as opposed to her shins and knees, which will come later), along with about six other students. Name cards assign which students will sit where. They are listed in (Japanese) alphabetical order. There are still a couple of vacant spots, including the spot right next to USAGI. The equipment is all ready and, in another affront to tradition, all electronic. The host has yet to arrive. USAGI, for once, isn't late.
USAGI takes a look at her nametag-- written "se-ri-na mu-n-di" in katakana-- and the nametag in the empty spot next to her-- "a-mi mi-zu-no," in hiragana. USAGI mouths out the name, "Ami Mizuno," realizing that "Genius Girl" will be sitting right next to her.
At that moment, USAGI hears someone approaching the vacant spot, so she averts her eyes momentarily. AMI takes a seat next to USAGI. AMI sits in the proper kneeling position, and looks quite comfortable. USAGI looks over to her side to catch a glimpse of AMI. She mouths out her name again, surprised by the 8-year old waif next to her. And right at THAT moment, the tea ceremony host, an effeminate young man named TAMASABUROU, arrives. Everyone scrambles into kneeling positions.
TAMASABUROU
It's alright. There's no need to rush.
CUT TO:
"Kagura Booth." The dance continues. Now, MAKOTO is among those watching-- from the rear, owing to her height. REI catches a glimpse of MAKOTO, and for a moment betrays an expression of vague recognition.
CUT TO:
"Tea Ceremony Booth". We see the electric kettle turn off, steam rising out of its spout. All the girls are in kneeling positions, and all but AMI are uncomfortable. USAGI is particularly distraught. In a blatant reference to the anime, we pan left across the feet of various kneeling students. When we come to USAGI's clearly aching feet, we see an arrow pointing to them, with a caption "Asleep." When we pan further left to AMI's feet, we see another arrow pointing at them, with the caption "Just a little bit asleep."
We cut back to a shot of the ceremony. There are many details to a tea ceremony-- even a 'parody' like the one here-- and I can't hope to give an adequate written description of what happens. You can watch the video below to get a pretty good idea of what such a ceremony looks like. For the purposes of the script, I'll try to keep the description to the bare essentials.
Before the tea is served, sweets-- in this case, a sort of dark soy jelly, with a piece of wood soft of like a toothpick-- are passed around on a plate. As this happens, TAMASABUROU begins mixing the tea. AMI is the first to receive the plate. She bows to the host, who in turn bows to AMI. AMI takes one of the sweets from the plate and places it on her plate. AMI's technique, naturally, is perfect, and USAGI does her best to examine her movements. AMI takes the plate of sweets and passes it USAGI, bowing afterwards. USAGI tries to bow back, but her leg starts to seize up. USAGI winces, and AMI and TAMASABUROU both look worried. However, some of the other students look at USAGI with disdain. USAGI carefully bows and recieves the plate.
TAMASABUROU
It's okay if you want to sit in a more comfortable position.
USAGI looks around at the other students. She's not gonna give them the pleasure.
USAGI
It's alright.
USAGI then takes her "toothpick" and sticks it into one of the treats, lifts it, and drops it on her plate. A couple of students snicker, and USAGI realizes her mistake. Embarrassed, she passes the plate to the next and bows, again wincing from the pain of her seizing leg. USAGI looks at her treat, and then at AMI's plate. AMI is using her "toothpick" to cut the treat into smaller pieces. USAGI tries to do the same. Unfortunately, it's not nearly as easy at it looks. She struggles for a couple of moments trying to cut the treat, earning yet more quiet snickers from some of her classmates. Then -- snap! The student next to USAGI breaks her toothpick. USAGI looks up at the students who were mocking her. They continue to focus on USAGI, unaware of-- or ignoring-- the other student's mistake.
CUT TO:
"Kagura Booth." The Kagura dance has ended. After the audience has finished applauding, MAKOTO breaks off and heads for another booth, but is stopped by SAKURADA, whose mood has not improved since she was on the phone.
MAKOTO
Yes, sensei?
SAKURADA
Where's your uniform?
MAKOTO
I'm. . . sorry? I thought it was taken care of--?
SAKURADA
What do you mean?
MAKOTO
I'm the new transfer student, Makoto Kino. I tried to get a new uniform, but there were none available in my size, so Principal said that I could wear my old uniform until one can be ordered in.
CUT TO:
Tea Ceremony. The tea is now being passed around, and not a moment too soon. USAGI is in agony. TAMASABUROU passes a cup of tea to AMI-- this being the Japanese tea ceremony, this simple act is steeped in complicated movements, which once again AMI is able to do perfectly. AMI turns to USAGI and apologizes to her for being served first (oh Japan. . .). She then drinks her tea, yet again performing the complex task in perfect form.
CUT TO:
MAKOTO and SAKURADA.
SAKURADA
Makoto Kino. . . You got kicked out of your school, didn't you.
MAKOTO
Um, there was a disagreement between me and the faculty--
SAKURADA
For fighting.
MAKOTO
Sensei, respectfully, I'd--
SAKURADA
Respectfully? You come in that ugly uniform, complaining about how we don't have anything that fits you, and you talk about acting respectfully?
CUT TO:
Tea Ceremony. TAMASABUROU proceeds to USAGI. He gives USAGI her cup and bows.
CUT TO:
MAKOTO and SAKURADA.
MAKOTO
Sensei, please--
SAKURADA
You're not going to last a week here.
CUT TO:
Tea Ceremony. USAGI, having received her tea, attempts to bow to TAMASABUROU, but her leg cramps up, much worse than earlier. USAGI gasps in pain, trying to clentch her cramping leg. In the process, she spills piping hot tea all over TAMASABUROU. Shocked and in pain from the tea, TAMASABUROU stumbles backward and trips over one of the students across from USAGI. USAGI tries to help, but when she starts to stand up, her leg seizes again, and she too stumbles backwards, knocking over the piece of cubicle wall beside her. The cubicle wall crashes into the neighboring booth, sending students scrambling out of harms way. TAMASABUROU too, knocks over the cubicle wall on the other side, ruining the OTHER neighboring booth. USAGI lies on top of the toppled cubicle wall, clasping her seizing leg in agony. We cut to reveal that MAKOTO and SAKURADA beholding this spectacle-- they were nearby the whole time. And, somehow, not only was AMI untouched by these stumbling masses, but she didn't even spill a drop of tea.
Only in the movies.
SAKURADA walks toward USAGI.
USAGI
Sakaruda-sensei! Thank you! I think I need the school nurse!
SAKURADA
Room 1-110.
USAGI
Sensei?
SAKURADA
You're spending the rest of the day in room 1-110. I may even keep you after school.
USAGI
What?! No! That's . . . That's detention! You can't do that! Sensei!
SAKURADA walks back up to MAKOTO.
SAKURADA
And you can join her.
CUT TO:
INT, Juuban Junior High, Room 1-110.
MAKOTO and USAGI, sit next to each other, silently, in de facto detention. We cut briefly to a clock, and see that the time is about 1:35. MAKOTO has her arms crossed over her chest, and is absolutely still. She gives a piercing stare toward the front of the class, her anger palpable. USAGI, recognizing MAKOTO from UMINO's description, is a more than a little anxious sitting next to the person she beleives is a bully. We watch them in silence for a moment.
Back to the clock-- it's now 1:50.
MAKOTO hasn't budged an inch. USAGI, however, is already getting restless. She stretches and yawns, and then taps her desk. Looking over at MAKOTO, she sees her distinctive RED EARRINGS, which are of Ainu origin.
USAGI
Wow!
USAGI shifts in her seat to get a closer look.
USAGI
Those are really nice earrings!
MAKOTO doesn't respond.
USAGI
I have a friend-- I'm Serena, by the way, but everyone calls me Usagi. "Tsukino Usagi." It's (points at her hair) kind of a joke. "Usagi." Don't know where "Tsukino" comes from, but. . . I'll roll with it. Wow, these are nice earrings!
USAGI reaches overs and gently handles one of the earrings.
USAGI
Like I said, I have a friend who's mom is. . .
MAKOTO slowly, menacingly turns her head toward USAGI. USAGI lets go of the earrings, and trails off as MAKOTO glares at her. USAGI turns to the front of the class, as does MAKOTO a moment later.
CUT TO:
INT, Juuban Junior High Gymnasium
The cultural fest has begun to hit high gear. A miniature version of the Sanja Matsuri Shinto festival is moving down the avenues of booths. Taiko Drummers are performing at one of the larger booths.
CUT TO:
INT, Juuban Junior High, Room 1-110.
Clock-- 2:17.
The sounds of the cultural festivals are audible from here. USAGI looks out of the class longingly. It's clear that the stresses of her day are starting to wear her down. The culture fest was the one thing she was looking forward to, and now she's been kicked out. She rests her head on her desk. MAKOTO, though still angry, is also getting restless. Then she starts to hear USAGI softly crying. MAKOTO looks over at USAGI, and seeing USAGI with her head on her desk, crying, causes MAKOTO's own expression to soften, her anger to clearly disappear. MAKOTO slowly shifts in her seat, trying to get in a better position to talk with USAGI. Then, just when MAKOTO is about to speak, SAKURADA bursts in with two male students. USAGI quickly lifts her head up and wipes off her eyes.
SAKURADA
(directing students to their seats)
You, there! You, over there! Not a word out of any of you.
The boys take their seats. MAKOTO glares at SAKURADA as she leaves the classroom. The instant she leaves, the two boys start talking to one another, obnoxiously but not too loudly.
CUT TO:
INT, Juuban Junior High Gymnasium
The cultural fest is winding down. Booths are being taken down, including the "Kagura Booth," where REI was performing. While the others shrine maidens take down their display, REI searches for something.
REI
Where the hell did I leave my bag-- oh no! (to the other maidens) I'll be back in a minute. I think I left my clothes in the change room.
REI runs off.
CUT TO:
INT, Juuban Junior High, Room 1-110.
Clock-- 3:00. Three more students have joined detention. The "no talking rule" is only being obeyed by USAGI and MAKOTO-- all the other students are chatting away. Then, the classroom door opens, and all the students become silent. In comes AMI, to USAGI's surprise. SAKURADA follows.
SAKURADA
Don't worry about the other students. They won't bother you. (to the others) Isn't that right.
STUDENTS
Hai, Sensei!
AMI
(to SAKURADA, bowing)
Thank you.
(to the STUDENTS, bowing)
Thank you.
AMI takes a seat near the back of the classs and takes out her books. SAKURADA leaves, and the STUDENTS start chatting again, to AMI's dismay.
STUDENTS
ARIGATO! ARIGATO!
CUT TO:
INT Juuban Junior High, Girls Locker Room
REI, still in her shrine maiden dress, runs around the locker room, looking around for her clothes bag. Finally she spots it.
CUT TO:
Outside Locker room. REI has changed back into her modern, casual dress. She starts to walk back toward the gymnasium when she encounters SAKURADA.
SAKURADA
And where's YOUR uniform?
REI
Excuse me, miss?
SAKURADA
And why are you loitering around the halls after school hours?
REI
Ah. . . Sensei, you misunderstand--
SAKURADA
You're all just coming out of the woodwork today. Room 1-110.
REI
Room 1-110? What about--?
SAKURADA
(pointing)
Now!
REI doesn't respond, still confused.
SAKURADA
Don't try and push me. Get moving.
REI heads in the direction SAKURADA pointed. SAKURADA follows close behind.
CUT TO:
Room 1-110.
REI enters the room, followed by SAKURADA. REI is surprised to see MAKOTO in the classroom, and SAKURADA is surprised to see the school PRINCIPAL standing at the front of the class.
SAKURADA
Principal!
PRINCIPAL
Sakurada-sensei. (to REI) And. . . you would be?
REI
(glances at MAKOTO) Um. . . Ayanami. Rei Ayanami.
A couple of students in the back of the class snicker at REI's remark.
PRINCIPAL
I recognize everyone else, including Kino-san, but I don't remember you. . . Ayanami-san.
REI
(glances at SAKURADA)
I actually attend Thibault et Albert Academy for Girls. I was here at Juuban Junior High as part of the cultural festivities. Me and a few other Miko were performing the Kagura dance, on behalf of Higawa shrine.
And now MAKOTO takes interest, recognizing the name of the shrine.
SAKURADA
(taken aback)
Why . . didn't you say anything?
REI
(beat)
Usually, I go along with what others tell me to do. It's how I cope with life.
After a beat, she mimics aiming and shooting a gun at SAKURADA.
REI
Point. Aim. Shoot. Point. Aim. Shoot.
SAKURADA
(offended)
Get out.
MAKOTO cracks a smile, impressed at REI. REI leaves whistling "Fly me to the Moon" on her way out. The PRINCIPAL directs SAKURADA to the front of the class and speaks with her quietly.
PRINCIPAL
I'm very disappointed you didn't inform me of this.
SAKURADA
Sir, I was simply trying to maintain some discipline. This was a very important event for our school.
PRINCIPAL
Yes, and it would be nice if at least half of the student body weren't locked up in a classroom, unable to enjoy it.
SAKURADA
Sir--
SAKURADA
This was overkill, Haruna. Besides, we can't hold children in after school detention. It's against--
SAKURADA's cell phone rings again, blasting "Don't You Forget About Me." SAKURADA looks at PRINCIPAL, ask if to ask permission to answer the phone. PRINCIPAL gives an exasperated shrug, and SAKURADA answers the phone.
SAKURADA
(Inaudible at first, then. . .)
You can! Oh, that's great! Yeah! Yeah! I'll see you then!
(And then inaudible again)
SAKURADA hangs up the phone. She looks, sheepishly, at the class, and then at PRINCIPAL, and then at the class again.
SAKURADA
I. . . I want you all to think about what you've done. (pause) Dismissed.
PRINCIPAL walks out, sighing and shaking his head. The other students stand up, stretch there arms out and leave. USAGI looks back at AMI, who is still studying. USAGI walks up to AMI. MAKOTO remains at her desk, waiting for everyone to leave.
USAGI
Ami?
AMI looks up, startled.
USAGI
Hi! I'm Serena. I was the girl sitting next--
AMI surprises USAGI by speaking in grammatically perfect, nearly accent free English. She tries to hide ner nervousness with a calm, near monotone voice.
AMI
(English)
Serena Mundy. I know you. Everyone calls you Usagi.
USAGI
(Japanese)
Wow! Um. . . You don't have to speak to me in English. I can get by in Japanese.
AMI
What do you want?
USAGI's taken aback-- even for an American like USAGI, AMI's tone is blunt.
USAGI
You're not just gonna wait here, are you?
AMI
Why are you interested in what I'm doing?
SAKURADA
Mundy-san. Ami has cram school at five o'clock. I let her sit here and study until then.
USAGI
(pause)
Okay. (smiles) Maybe I'll see you tomorrow.
AMI doesn't respond. USAGI walks out of class, glancing a couple of times at AMI, who watches USAGI as she leaves. When USAGI is out of the class, MAKOTO gets up to leave. When she gets to the door, she stops. We see her clenching her fist for a moment, and then. . .
MAKOTO
Sensei.
MAKOTO turns to face SAKURADA. She's doing everything she can to hold back her anger. . . what she's doing needs to be done.
MAKOTO
Sensei. . . I should have made sure that all the teachers were made aware of my situation. (beat) I apologize.
CUT TO:
INT, Juuban Junior High, Hallway.
MAKOTO leaves the class room. She's fuming. After a moment, she covers her hands with her face, and then, almost letting out her anger, she rushes toward wall, with her fist raised, ready to bang on it. However, when she comes to the wall, she calms herself enough so that she only taps the wall with her fist. When her fist comes close to touching the wall however, MAKOTO gets a rather large static shock. She covers her fist, and then looks at the wall, wondering what just happened. We CUT TO:
INT, Metro car, DAY
We see LUNA, hitching yet another ride on the Metro. Based on the background music, we'll be able to tell that LUNA is in a hurry.
CUT TO:
EXT, Metro stop, DAY
LUNA exits the metro and runs out of the station.
CUT TO:
EXT, Sidewalk, DAY
LUNA runs along the sidewalk. We follow her for a few seconds until she reaches
EXT, Juuban Junior High Courtyard, DAY
Panting, LUNA stops and looks at the clock tower-- 3:15. She's too late. . . But just then, we see the group of students held in detention exit the front door. As they walk past, LUNA looks for any sign of the girl she saw earlier. None. LUNA's about to give up. . . when out comes USAGI. LUNA darts behind a tree and watches USAGI go by. CUT TO:
EXT, Sidewalk, DAY.
USAGI walks about a hundred feet down the sidewalk towards a corner. As she's about to pass it, LEAD PUNK, the jerk who was harrassing UMINO earlier, comes out from behind the corner and bumps into USAGI. He then grabs onto his left arm and winces, as if in pain.
USAGI
Sumimasen!
USAGI quickly bows. LEAD PUNK continues to grasp onto his arm. The other two punks come out from around the corner.
LEAD PUNK
You broke my arm!
USAGI
What? What? No! I couldn't have.
PUNK #2
You calling him a liar?
LEAD PUNK then lets go of his arm. Any pretense to being in pain have vanished.
LEAD PUNK
Yeah. You calling me a liar?
USAGI
Guys. . . please. I've had a rotten day.
LEAD PUNK
YOU'VE had a terrible day? I just got my arm broken.
LEAD PUNK shoves USAGI with his "broken" arm.
LEAD PUNK
And the guilty party won't even admit fault. In fact, the guilty party has accused ME of lying!
PUNK #3
You hate that.
LEAD PUNK
I do hate that. You know why? Because I know what it's like to be decieved.
The other PUNKS surround USAGI.
LEAD PUNK
Like today. I was challenged by some cunt who goes to that school over there. So, being a man of honour, I came all the way back here, out of MY way. . . and she's no-where to be found.
LUNA(O.S.)
Hey! I can see you!
CUT TO:
EXT, Courtyard, DAY
LUNA peeks around the corner of the courtyard gate, trying to scare off the PUNKS.
LUNA
Leave that girl alone, or I'll call the police.
CUT TO:
EXT, Sidewalk, DAY.
LEAD PUNK
(to LUNA)
Piss off!
(to USAGI)
So here I am, veins flowing with adrenaline, with no outlet. And then you come along. And break my arm. (beat) Maybe I should break yours.
And just when everything seems hopeless. . .
MAKOTO (O.S.)
HELP ME!
LEAD PUNK turns toward MAKOTO, and gets punched right in the nose. Hard. He stumbles back, and PUNK #2 and PUNK #3 move toward MAKOTO. PUNK #2 reaches toward MAKOTO with his right hand, but MAKOTO grabs it, twists it, and pulls PUNK #2 to the ground. At the same time, she side kicks PUNK #3 in the pelvis, causing him to double over. Immediately, MAKOTO executes an axe kick down on PUNK #3's head. He falls down, unconscious. MAKOTO then kicks PUNK #2 in the gut three times, and leaves him whining in pain. MAKOTO walks over toward LEAD PUNK, who's nursing bloody nose.
MAKOTO
Look on the bright side. At least I didn't make a liar out of you.
As MAKOTO taunts LEAD PUNK, USAGI takes her chance to make a run for it. As MAKOTO turns around, she see USAGI running off.
MAKOTO
Heh. You're welcome.
LUNA runs out of the courtyard in pursuit of USAGI.
Like I said earlier, I've been working on a large part of the Sailor Moon script these past couple of weeks. In addition to my usual marking load, I've been delayed by work I'm putting into a skit for Japanese class. I'd like to say that the next part will be up after this weekend, and I will be putting in some effort then, but I can't really make any promises.
But I can give a sneak peak. A sneak peek that's only slightly accurate, heavily sarcastic, woefully insifficient, and probably a waste of your time, but one which nonetheless contains some very small indication of what's to come, though in ways which will only make sense once you've read the script.
Oh yeah, there were like, two, thr-- FIVE of them. American GI's-- I mean, Marines. Yeah, that's it. Marines. Huge black guys with gang tattoos.
GIRL
Not gang tattoos! Those are the meanest tattoos of all! Meaner than pirate tattoos!
SEMPAI
So I'm like 'we gonna settle this Yankee?' and that's when one of 'em, the biggest one in the group, sucker punches me right in the eye like a pussy, and that's how I got this baby right here (points to black eye). But I didn't even flinch. Just stood there all lookin' like 'that all you got? Shoulda brought an Abrahms, bitches'.
GIRL
Gosh. I wonder if EVERYTHING is as big as this black eye? Oh golly! I just made my first innuendo! I could simply faint from all this excitement!
Once a graduate student at the University of Northern B.C., I now spend my days in Prince George, preparing for life in Japan as a JET A.L.T. while doing physics research on the side. Also, I met Miyuu Sawai from Pretty Guardian Sailor Moon once.
