It's true. I've been through earthquakes since I came to Tokyo. Not major, life-threatening earthquakes, or even lesser property-damaging earthqaukes, but minor vibrations in the ground, which I tend to notice while lying in bed.
Anyway. . . Much has been happening, and many photos have been taken, but I haven't been uploading them because the process is so tedious, eg. to upload a four minute YouTube video takes about three hours. Plus, I only have so much space available on my hard drive for photos and raw & edited movies. Sure, Akihabara is only a few kilometers away, but I still have trouble going to the damn convinience store, and buying something as simple as an overpriced alarm clock in Ginza* was a Byzantine liguistic experience. I can only imagine how hard it would be to buy an external hard drive.
Nonetheless, I do have a few updates. Here are a few pictures of Tabata neighborhood, where I live.
My house, at the very end:
A typical back street:
Meiji Street, near my house:
The sidewalk near Tabata station:
Finally, the tracks, my link to the rest of Tokyo:
I've done my fair share of sightseeing in Tokyo recently, but the pictures have yet to make it to my computer. The videos below were taken during one of my most recent trips, to Meiji Shrine. It was too much of a hassile to make one large video, so I broke it up into parts. Enjoy:
Finally, if anyone still cares, I'll be putting up a new Sailor Moon post pretty soon, mostly about how my experiences in Japan so far have caused me to rethink various aspects of the script. 'Til then!
I realized for the first time today that Brother's Grimm stories may be the only stories in existence where the main character is actually a MacGuffin.
Take Snow White. What real purpose does Snow White herself serve to the story? She doesn't really develop as a character. . . hell, she barely even acts as a character. The entire plot consists of the vaiorus reactions different people have to her existence-- the Queen, the Hunter, the Prince, the Dwarves-- without the character herself having to be at all active or interesting in any way. In other words, a MacGuffin.
So what brought on this little insight?
It starts with my insecurity about my Japanese language ability. I've been getting gradually better at picking apart the various sentences I hear from the various people I have encountered in Japan, but to a still fairly large extent I've sounded and acted like the typical dumb Gaijin. My anxieties came to a head yesterday. I decided to see if I could find the location where the musical play Snow White was being performed-- why I wanted to see the play, I'll get to in a moment. I found the location easily, but upon arriving, I realized that I might have some difficulty in obtaining tickets, due to my lingual deficiencies. So, I left, despondent.
That night, I felt terrible. I worried that I might have blown my only chance to reserve tickets to this play. I beleived, at the time, that this play might be the only chance I get to see Miyuu Sawai in person. That's right, Miyuu Sawai, former live action Sailor Moon, had the lead role in a stage adaptation of Snow White, one whose run just happened to correspond with my arrival in Japan. I decided that night that I must at least try to get tickets; melodramatic as it sounds, this was about more than meeting a former pseudo-Sentai star. . . it was about self-resepct.
So I went again today, this time (mostly) prepared: I brought a hairbrush (so that I would look presentable to ticket booth lady) and my Japanese books, so I could figure out how to ask for a reservation. I travelled to the famous Mistukoshi department store in Nihonbashi, the officially protected historical site wherein the theatre was located. I cracked open my books, took down notes, considered every possibile contingency-- the tickets are sold somewhere else, the tickets are sold out for the day, the tickets are sold out period-- and, fully prepared, went to the front desk to reserve my ticket.
In all, it took about two minutes. I paid 4000 yen for a ticket that very day. I spent the next hour and a half or so bombing around the department store and buying a 500 yen prepackaged nigiri lunch. . . which, as it will turn, was not the wisest use of my time, but more on that later. At 2 o'clock, I took my seat. Between then and beginning overture, the seats swelled with three-to-five year old girls and their mothers, along with a few older girls and boys. I was the only foreigner in the whole theatre. . . though interestingly, I was not the only adult male not accompanying children. At 2:30, the show began. . .
. . . Miyuu Sawai, centre stage, dancing with two professional ballerinas. A nice touch. . .
. . . The Queen. This actress, who appears to have operatic voice training, was so deliciously over-the-top that I thought she was going to steal the show. The ballerinas are now her evil minions. . .
. . . I kid you not, the voice of the magic mirror is a dead fucking for Zordon from Power Rangers. The octave, the voice enhancement effect-- it was dead on. I half expected the mirror to order Alpha to summon five teenagers with attitude. . .
. . . Miyuu Sawai and the Prince start singing. If you don't know already, Miyuu Sawai, as her character Usagi Tsukino, released two "charactersingles" to help promote Pretty Guardian Sailor Moon. Her singing in the play was quite a notch better. . .
. . .The Queen, spurned by the prince and consumed with jealosy, casts a spell on him which causes him to act like an instructor at the William Shatner school of stage fighting. . .
. . . I haven't really mentioned Sawai's performance yet, so I may as well now. Apart from the fact that she plays the least interesting "lead" character ever written, Sawai is, well, Sawai. That is, she displays a lot of the rather irritatingly forced mannerisms (unsubtle in all the wrong ways) while at the same time offering numerous glimpses of what she's truly capable of as an actress. . .
. . . JESUS FUCKING CHRIST THE DWARVES JUST BURST THORUGH THE SIDE DOOR AND NOW THEY'RE MARCHING THROUGH THE AISLES SINGING LOUDLY!! But seriously, it's The Fucking Dwarves who steal the show. Consisting of two men and five women, they are the comedic heart and soul of this play, mugging and pratfalling flawlessly. . .
. . . And thirty minute intermission. . .
. . . It turns out this "musical" consists of one song being repeated over and over again, and it's not a catchy song. . .
. . . Turns out princess can't cook worth a shit. I actually really liked that part. Must be the anti-royalist lefty in me, though the reaction from the always kickass dwarves really sold it. . .
. . . So we're an hour and a half in and Snow White still hasn't been poisoned. . .
. . . Oh, wait, Snow white was poisoned, Prince was broken out of prison, Prince somehow found Snow White in the middle of the woods, Queen somehow found him in the middle of the woods, big fight, Queen was killed when Prince fired Hunter's bow, kiss, wake up, lovey love love, but wait, Snow White can't leave the dwarves behind but the Prince understands. . . all in about the last ten minutes of the play. . .
That's curtain. Miyuu Sawai and the Prince bow, then the Dwarves bow, then the Queen and Hunter and others all bow, and show's over.
OR IS IT?
. . . Before I go on, there's something I have to confess. You're gonna hate me for it, nearly as much as I hate myself for it.
I didn't bring my camera.
It would be one thing if I simply forgot. But no, I made a deliberate decision not to bring my camera. I wasn't even sure that I would get to see the play at all, let alone that very day. And I was certain that whenever I did get to see the play, I wouldn't be allowed to take photos, nor would there be any photography of the actors taking place. So, I decided that it wouldn't be worth the hassle to bring the camera.
By the end of the play, this seemed like it had been a wise decision. The curtain down, the lights came on, and everybody filed out the door. But, as the audience made their way down the main hall, we were stopped by one of the theatre employees.
"Oh no," I thought. "You're not. . . Don't tell me. . . No, no, you short bald Japanese man, don't do this to me! Don't--"
And then it happened. Miyuu Sawai, the prince, and five of the seven dwarves all filed out of the same exit the audience had taken and lined up against the wall to pose for photos. Children lined up all the way back into the fucking theatre, waiting for their chance to pose with the characters of the play, while I stood just across from them, not ten feet away from the live action Sailor Moon herself.
Fuck me.
I seriously debated whether or not to stay. The line up, mostly kids and moms with a few scattered teenage girls and adult men, was pretty damn long. Plus, I was not, shall we say, exactly the target demographic of this enterprise. Eventually, sheer economic considerations won out-- I paid 4000 yen for this, I may as well get the whole experience, camera or not.
Thus, when the last of this kids passed through, I walked up to the first dwarf. She stood up (they had all been kneeling down for the kids up till this point) took my hand, and said "Arigato Gozaimasu". . . followed by "Ooki!", i.e. "Big!" I replied with my own "Arigato Gozaimasu", nodded at the mention of my size, and moved on to the next dwarf, who smiled, took my hand, thanked me, and also remarked at my size. This pattern was repeated as I made my way through the dwarves, with one of the actresses having the courtesy to break the monotony by saying "thank you very much" in English. . . followed by another remark at my size. Then came the prince. He stood up, shook my hand, thanked me in a very deep voice and then, despite being probably a good six feet tall himself, also said "ooki!" Honestly, I can't really sure whether they were shocked at how tall I was or, given the notorious ambiguity of the Japanese language, they were very politely asking what the hell someone of my age was doing at a play like this.
Up until this point I had been avoiding eye contact with Miyuu Sawai, so as not to weird her out. In retrospect, this may have actually been a mistake, given how our meeting went. After the dwarves, and the prince, finally, I came to Miyuu Sawai. Her eyes widened slightly at the sight of me-- being incredibly vain, I like to imagine that she was pleasantly surprised at the sight of a gaijin fan, especially one possessing the novelty of hugeness. She took my hand, like all the others, and thanked me for coming, and I thanked her in return. I made no mention whatsoever of Sailor Moon, thinking that it might be inappropriate for this particular venue. This is about Snow White damn it, not a role Miyuu Sawai stopped playing back in 2005. Again, in retrospect this might have been a mistake. In trying to play it as cool as I could, I worry that I may have given the impression that I had no clue who Miyuu Sawai was. To her, I was probably just some Gaijin out for a really childish day of entertainment, who had no idea at all with whom he was shaking hands.
So, after a few simple words, I parted hands with Miyuu Sawai and made my way into the crowd that awaited their chance to take yet more photos of the cast. I stood just outside the crowd, taking one last look. As the crowd broke into one last burst of applause, Miyuu Sawai caught one last glimpse of me and waved. If you've ever seen me give my dorky wave. . . well, that's the wave I gave her back, out of pure instinct. The actors retreated back into the theatre, and the crowd dispersed. I walked off, with a mixture of satisfaction, a strange lack of excitement, and extreme regret at not having brought my camera. A regret which would later be joined by a further regret at not saying, "hey, I really like you in Sailor Moon."
But, there are always second chances. It turns out that the same theatre company behind this production of "Snow White" is at work producing another play, called "Imagine 9/11". . . I could not think of more diametrically opposite subject matter. And indeed, Miyuu Sawai is slated to star in this new play. Whether or not I get the chance to meet Sawai again, I am interested in seeing this play. But I will bring the damn camera this time.
Sensoji Shrine, a famous Buddhist shrine and market in Asakusa:
The Edo-Tokyo Museum:
Tokyo Tower-- why go up to the observation deck of the Metropolitan Government Building for free when you can get the same view for 1200 800 yen? Actually, there are two levels to Tokyo Tower, but to access the second level, you have to pay about 1200 yen:
Today, I saw my first black van. In fact, I saw a whole mini-convoy of Uyoku Dantai propoganda wagons circling the National Diet building. Uyoku Dantai is the term used for Japanese ultra right-wing groups, of which there are estimated to be about 100,000. Many of these groups are believed to be fronts for the Yakuza. I've known about these groups for years, and today, I finally saw one of them in action:
Somehow, that terrible song they were playing reminds me of this:
Yesterday, I moved into my new place. It's a guest house, owned by the Sakura House company, located in Tabata neighborhood. Showers, bathrooms, kitchen, and living room are all shared, but I get my own air conditioned bedroom where I can keep all my stuff. Take a look:
As I imagined it would be, it was absolutely horrendous to move my stuff from Asakusabashi to Tabata, esspecially since I had to go to Shinjuku in between in order to sign the lease agreement.
The day started on a weird note. The night before I left, a rather strange man who (I think) could only speak very little Japanese checked in to the hostel. This man decided, on his own, that he and I were friends, and proceeded to pester me all the next morning, from looking over my shoulder to see what I'm doing on my laptop to following me on his bicycle all the way to the damn subway station! At one point, I actually tried to lose him by going into a store (he followed me, of course) and then darting out when he wasn't looking and running into a back alley. He found me, of course, and for the next ten or so minutes he followed me until I reached my station. I was really getting worried that he would try to ride my train, but fortunately he just said goodbye and continued on his way. I'm sure he thought he was trying to be friendly. . . but there was something very strange about him, like he was constanly drunk. I don't know whether he has a mental illness or whether he really was just drunk, but I was glad to be rid of him.
Getting to Shinjuku was alright. . . getting from Shinjuku to Tabata was hell. The station I went to was clearly not designed for people with heavy bags-- or at least, not the part of the station I found myself in. I had to haul my bags down sets of stairs, and then UP sets of stairs, about three separate times. Then, when I finally DID make it to the line I was to take to Tabata, I found that the only escalator I could find took me up to a train that was headed in the complete opposite direction of where I needed to go. By that point, I decided I would take the train anyway-- it was on a loop, so it would take me to Tabata, just in a longer amount of time. I arrived, haulded my stuff though a few blocks to tight streets, and, well, here I am.
Anyway, I've been cooped up here long enough. I need to get out, get something to eat, and see the sights. I have a whole bunch of video of Tokyo Tower and a huge shrine in Asakusa. . . come to think of it, there's a whole bunch of video that I've already uploaded, but haven't put on the blog yet. I'll get right on that!
My trip to Shinjuku (an earlier trip, not the one I took on my way to the guest house):
A trip to the top of the Tokyo Metropolitan Government Building:
For comparison, an excerpt from "The Dream-Quest of Unknown Kadath" by H.P. Lovecraft. I'll let you make up your own mind:
Three times Randolph Carter dreamed of the marvellous city, and three times was he snatched away while still he paused on the high terrace above it. All golden and lovely it blazed in the sunset, with walls, temples, colonnades, and arched bridges of veined marble, silver-basined fountains of prismatic spray in broad squares and perfumed gardens, and wide streets marching between delicate trees and blossom-laden urns and ivory statues in gleaming rows; while on steep northward slopes climbed tiers of red roofs and old peaked gables harbouring little lanes of grassy cobbles. It was a fever of the gods; a fanfare of supernal trumpets and a clash of immortal cymbals. Mystery hung about it as clouds about a fabulous unvisited mountain; and as Carter stood breathless and expectant on that balustraded parapet there swept up to him the poignancy and suspense of almost-vanished memory, the pain of lost things, and the maddening need to place again what once had an awesome and momentous place.
He knew that for him its meaning must once have been supreme; though in what cycle or incarnation he had known it, or whether in dream or in waking, he could not tell. Vaguely it called up glimpses of a far, forgotten first youth, when wonder and pleasure lay in all the mystery of days, and dawn and dusk alike strode forth prophetick to the eager sound of lutes and song; unclosing faery gates toward further and surprising marvels. But each night as he stood on that high marble terrace with the curious urns and carven rail and looked off over that hushed sunset city of beauty and unearthly immanence, he felt the bondage of dream’s tyrannous gods; for in no wise could he leave that lofty spot, or descend the wide marmoreal flights flung endlessly down to where those streets of elder witchery lay outspread and beckoning.
I've now finished my second full day in Tokyo. Unfortunately, I only remembered to bring my camera with me for the first day. . . :(
Fortunately, I didn't really do anything interesting on the second day. Really, the most important thing I did today was to get some food; on my first full day here, I actually forgot to eat. Okay, not really. . . I grabbed a plate of microwave spaghetti and meatsauce from Seven-Eleven, and for what it was, it was pretty damn tasty. But still, most of my sustanance came in the form of strange, undoubtably unhealthy drinks available at vending machines placed on every third block or so. There were green teas, tea colas, Welche's grape juice, coconut colas (I think), orange juice/tea mixes. . . AND THIS!
A 500 ml can of Coke! And you what's really sick? When I went to the Seven-Eleven, I saw 500ml cans of Coke being sold with a "bonus" 125ml, like 500ml cans are somehow insufficient!
Kiss those dreams of me losing weight goodbye!
Anyway, the other good news is that I saw plenty of interesting things on that first day, some of which I'll share with you today. I say "some of which" because, frankly, there are so many pictures that I can't hope to upload all of them to the blog. So instead, I'm gonna try uploading everything to an online photo album, so I can clear off my hard drive without losing anything.
The day's events can be grouped into various highlights. Highlight #1: Tokyo Sky Tree.
Tokyo Sky Tree
I walked out of the hostel not really knwoing what to expect. I went down the road, made a right turn, and headed to the Sumidagawa river. That's when I saw it:
The Tokyo Sky Tree. When it's completed in 2011, it will be the tallest man made structure outside the Middle East, at a height of ~630m. I saw it, briefly, on the train ride into Tokyo, but I had no idea I would be THIS close to it when I arrived. Once I saw it, I knew that one way or another, I would get to it and see it up close. And that's exactly what I did:
It was a gruesome walk of ~3km through some of the muggiest weather I've ever encountered-- imagine summertime Denver with about 700% humidity-- but I made it.
Yokoamicho Park
On the way to Tokyo Sky Tree, I happened to pass by Yokoamicho Park, essentially a very beautiful monument to Tokyo's misery. In addition to a garden, there were monuments and buildings dedicated to both the Great Kanto Earthquake of 1925 and the Tokyo fire bombings of WWII. At the centre of it all was a massive shrine:
There was also a monument dedicated to "children sufferers":
Sadly, the monument dedicated to the victims of the fire bombings was kind of disaster itself:
A much more effective memorial to the fire bombings lay jusy fifty feet away: actual items molten down by the fires:
Here's a video I put together:
Yokoami-cho Garden
After making my way to Tokyo Sky Tree, I started to walk back toward the hostel. Unfortunately, I passed the street that I was supposed to take back to get to Asakusabashi, and after a series of misadventures that took me to an eight story tall shopping mall, I eventually made my way to the so-called "Old Yokoami-cho Garden", not far from the Yokoamicho garden I visited earlier that day. No videos here, just pictures:
It's now 7:30 AM Tokyo time, July 11. . . I wonder if that's what it will say on the "date published"? After all, when I logged in today, all the instructions were suddenly in Japanese, and. . .
Well, anyway. I'm safe and sound at Sumidagawa Youth Hostel in Tokyo. Japan so far has proven to be full of surprises, both good and bad. I'll post up some pictures and video later, but for now I just wanted everyone to know that I'm okay.
UPDATE: I figured out how to make Windows Movie Maker work, and have made a new video from the footage I took of Cedric:
Pictured above: 1000 Japanese yen, purchased from a Money Mart on East Hastings street in Vancouver. It's approximately the same size and value as a Canadian ten dollar bill. I had planned on purchasing 50000 yen even, but the Money Mart only had 38000 yen on hand, so I settled for that. Having compared Money Mart's rates with the official Bank of Canada rates for July 7 2010, and done a few calculations, it turns out that I paid about twenty-five dollars in fees. So, crap.
Nonetheless, it feels good to have some hard Japanese currency in my pocket for when I arrive at Narita. It feels even better to have my Visa. I arrived in Vancouver on Monday morning and had my Passport, with visa, by Monday afternoon. The process was so simple and hassle free, it was almost insulting. I hadn't even shown the clerk at the consulate my driver's license when he grabbed my passport from a drawer near the front. When I asked whether it was sufficient to provide an itinerary for my flight (I was required to provide a "return airline ticket"), he seemed almost suprised that I would ask. Here I thought this was gonna be a genuine problem-- and that I might have to go all the way back to the airport to grab a physical ticket-- and the clerk is looking at me almost as if to say "Damn, I hadn't thought about that!" Oh well. I guess it's petty to complain about the Consulate being too nice and helpful. The visa itself is very cool looking: pasted directly on to my passport, it looks like the latest driver's licenses on steroids, filled to the brim with holographic do-diddies and whatnot. I'd show a picture were it not for the sensitive private info contained on the visa.
Anyway. . . since this is now to become a log of travels, I figure I would start uploading some videos and pictures I taken while in Vancouver. I've decided to link to YouTube, rather than embed the videos onto my blog, because I'm lazy.
First, a short video from my Aunt's balcony-- a mixed bag of a view if ever there was one. On the one hand- it's ocean front, with a great view to Stanley Park, the mountains, and part of downtown. On the other hand, docks and trains.
The day after I picked up my visa, I decided to spend the day relaxing. I went on walk around my Aunt's neighborhood, taking random pictures of streets, parks, and flowers as I went along.
After picking up my J-Cheddah, I headed downtown to have some fun. I visited the Pacific Centre mall, mainly so I could visit their food court and get some Taco Time-- there are three things that I always try to eat in Vancouver: Taco Time, Japadog, and Bubble Tea, and now I'm two for three. Anyway, on my way there, I walked on a suspended hallway over a street, and decided to take a couple of videos:
And to top it all off: After ordering a Super Beef Burrito, they gave me a Super Bean Burrito. I've killed men for lesser offences.
Anyway, after my so-called lunch, I made my way up to Granville street, which has been converted into a pedestrian promenade since the Winter Olympics-- actually, it was pretty much a pedestrian promenade for the whole year prior to the Olympics, given that the street itself was being torn apart in order to build the Canada line. I decided to take a stroll down the promenade, and in short order come upon a large crowd of soccer fans watching a FIFA World Cup semi-final game on a large TV. From the looks of it, CBC sponsored for this event. Our tax dollars at work, everyone.
Reasons Why I Should Write the Sailor Moon Movie #17: Mars, Memories, Metafiction, Millennia, and Mishaps!
Happy 4th of July!
Part #5 of the script is done!
I promised myself I would get this finished before I flew off to Japan. As it turns out, I was able to finish it just before I left for Vancouver to stay with my aunt Marge, so that's even better!
First, for your reference, the first four parts of the script:
Next, the seven(!) sub-parts of Part #5. After speaking with my sister about how hard it was to read Part #4 in one go, I decided to break up Part #5 into pieces. Taken together, Part #5 is probably the longest I've written so far, but broken up, each piece is hopefully relatively easy to digest.
A mock-documentary. We open with a piece of ANIME FOOTAGE depicting SAILOR V in heroic pose, posied to give her trademark "you're so fucked now" speech. A musical theme at once heroic and dated swells in the background.
ANIME SAILOR V
For Love and Beauty! . . . The Pretty Soldier in a Sailor Suit! . . . Sailor V! . . . Will Give You Divine Punishment!
We then cut to a montage of STOCK FOOTAGE from the (fictional) SAILOR V ANIME, The theme music to anime, which sounds like that of the real life "Sailor Stars" anime, plays in the background. Said stock footage includes shots of SAILOR V fighting crime, along with her famous tranformation, modelled off of this:
Above all of this, we hear the overly cute voice of an enthusiastic female ANNOUNCER.
ANNOUNCER(V.O.)
With that fierce cry, heard all 'round Japan, Sailor V entered the homes, and hearts, of an entire generation of young girls!
We then cut to STOCK FOOTAGE of Sailor V merchandise, Sailor V Cosplayers (children and adults), live "Sailor V" stage shows, Sailor V video games, Sailor V displays at anime conventions, etc.
ANNOUNCER(V.O.)
Sailor V, soldier of love and beauty, has become a phenomenon, with a hit anime. . . a line of toys. . . CD's. . . games. . . stage musicals. . .
We cut to a montage of footage from a live action Sailor V series. You've read this blog. You knew it was coming.
ANNOUNCER(V.O.)
. . . and even a heroic leap into the third dimension!
We see LIVE ACTION SAILOR V give her version of the "you're fucked" speech.
LIVE ACTION SAILOR V
Soldier of love and beauty, Sailor V! In the name of divine justice, I will punish you!
We cut to more stock footage of the anime.
ANNOUNCER(V.O.)
But Sailor V's accomplishments are not confined to our borders! Sailor V has become a hit worldwide, helping to spread Japanese animation all over the globe!
We see SAILOR V utter her various catch phrases, all dubbed into Korean, Italian, German, and English. Captions announce the language into which each piece of footage was dubbed. Once the dubbing montage is over, the screen cuts to black.
ANNOUNCER(V.O.)
But how did it all begin?
CUT TO:
INT, Marie Baishaku's Home Studio circa 1993.
We cut to video footage of MARIE BAISHAKU in her home studio as she draws a picture of Sailor V. Initially, a LARGE CAPTION is displayed, which vanishes after a few seconds.
CAPTION
The author Marie-sensei talks about the great hit anime "Codename wa Sailor V."
ANNOUNCER(V.O.)
Sailor V got her start in manga back in 1992, as explained by her creator, Marie Baishaku, in this interview from 1993.
We cut to an image of MARIE sitting in front of the camera. The questions she is asked are written in large CAPTIONS on the side of the screen. Throughout the interview, MARIE is extremely shy, and fiddles with a toy tranformation pen throughout the interview. NOTE: I am basing this interview off of an interview given by Sailor Moon creator Naoko Takeuchi, shown here.
Incidentally, this is what MARIE looks like:
That's a picture of Misuishi Kotono, the voice actress for Sailor Moon in the anime. And the references just keep on coming!
CAPTION
How did Sailor V start?
MARIE
In the beginning, I drew Sailor V for RunSpotRun, an extra magazine of Kodayoshi. As the idea developed, I started drawing it and sending it to Kodayoshi.
We cut to later in the interview.
CAPTION
Your thoughts on it becoming an anime?
MARIE
I never thought it would become that deep! The charcter I scratched out gained her own voice and movements. She looked alive! I got really excited!
MARIE keeps speaking, muted.
ANNOUNCER(V.O.)
Excited? That's a strange thing to say! You mean to say you've never seen the ACTUAL Sailor V, alive, in person?
Cut to later in the interview.
CAPTION
Why did you choose high school uniforms?
MARIE
Well, one of my friends, who's also a manga-ka, told me that she thought it would be neat to dress up a soldier of justice in a high school uniform, but couldn't think of a charcter to go with it.
The inverview pauses abruptly, with a cartoonish record-scratching-to-stop sound effect.
ANNOUNCER(V.O.)
Honto desu ka!
(Oh really?)
The interview resumes.
MARIE
So, with my friends blessing, I decided to do it instead!
MARIE mutes again.
ANNOUNCER(V.O.)
Hmm. . . You seem a little nervous, Marie-sama. Are you just shy . . . or are you hiding something?
We cut to a montage of newspaper reports on "Sailor V," many of which we saw hung up on the wall at the Cat Mansion earlier in the film.
ANNOUNCER(V.O.)
After all, in the months prior to "Codename wa Sailor V's" release, a bizarre crime wave struck Tokyo. These crimes, even more mysteriously, were always put to an end by a mysterious hero dressed in a sailor suit whom the press named the "Sailor Vigilante," and later, simply "Sailor V."
We cut to a news interview of a much younger WAKAGI, in police uniform.
WAKAGI
I would like to assure you that police are investigating this with all the resources available to us. I also want to state, unequivocally, that this charcter Sailor V is nothing more than a regreattable rumor created by an overimaginative press.
The interview pauses.
ANNOUNCER(V.O.)
Gosh! Looks like the police are hiding something too!
Cut back to the interview with MARIE, paused.
ANNOUNCER(V.O.)
Marie-sensei, how do you respond?
The interview resumes.
MARIE
I took this idea of a sailor suited hero to my editor, and it was he who suggested calling her "Sailor V," based on this rumor of a costumed hero that circled the press a few months prior.
We cut to another interview of WAKAGI. He's heading an official press release.
WAKAGI
We have called this meeting of the press to announce that an official investigation into the activities of Kodayoshi incorporated, along with certain newspapers and other press outlets, regarding the recent circulation of rumors concerning the character of Sailor V, is now underway. We have reason to believe that members of Kodayoshi Inc., along with other parties, perpetrated various counts of fraud in an attempt to generate publicity for their upcoming manga "Codename wa Sailor V."
We cut back to MARIE.
MARIE
I wasn't sure whether or not this was a good idea, but he assured me that it would be fine. Of course, the police weren't happy with us, but in the end, they only helped to promote the manga even further.
The interview pauses again.
ANNOUNCER(V.O.)
Well, it seems we can't get a straight answer out of anyone!
CUT TO:
EXT, Marie Baishaku's House, near present, DAY
We pan down onto a large, beautiful house.
ANNOUNCER(V.O)
It looks like we'll have to go straight to the source!
CUT TO:
INT, Marie Baishaku's House
The camera travels foreward down a hallway inside the house. Occasionally, while still moving foreward, the camera will pan left or right, revealing family photos, Sailor V posters, sketches and toys, etc.
ANNOUNCER(V.O)
Marie-sensei is notoriously reclusive, so unfortunately, we weren't able to book an interview--
The camera turns around a corner into a living room. We see MARIE, twenty years older than she was in the interview, gazing worriedly at the camera. Incidentally, it's at this point that the viewer may begin to realize that the ANNOUNCER sounds an awful lot like MIMET.
ANNOUNCER/MIMET(V.O.)
Ah! Marie-sama!
MARIE
What are you doing here?
MIMET(V.O.)
We just had few questions about--
MARIE
Get out!
MIMET(V.O.)
Just a few little questions--
MARIE
Police are already on their--
A hand appears, holding a clump of broken electronics, once part of a security system.
MIMET(V.O.)
'Fraid not.
The hand drops the electronics onto the floor. MARIE runs toward a phone, but the camera, at a speed impossible for a human to match, rushes up toward MARIE. The hand that once held the electronics quickly clasps MARIE'S throat.
MIMET(V.O.)
It's okay! No need to get upset! We'll replace your security system once we're done.
MARIE
(barely audible)
Please. . . !
MIMET lifts MARIE up off the ground. The camera pans upward, holding on MARIE'S face.
MIMET(V.O.)
Actually. . . you've already answered my first question. After all, if YOU were Sailor V you would have acted immediately. So that just leaves one other--
MARIE, in tears, mumbles inaudibly.
MIMET
What's that?
MIMET draws MARIE closer to the camera, still holding her in the air.
MARIE
(barely audible)
I. . . don't. . .
MIMET
Aw. . . that's too bad!
MIMET throws MARIE against a wall, knocking over a shelf containing small, "super-deformed" toy versions of "Sailor V" characters.
MIMET
Guess we'll have to do it the hard way!
MIMET then pulls out the same gun she used at Osa-P and fires an electric arc at MARIE. As the gun flashes, we CUT TO:
USAGI, laying on her bed in her school uniform, wakes up with a start. In the background, the clock radio is playing a more polished, professional version of the song "C'est la Vie" (if you clicked the "Live Action Sailor V" link, that's the song that was playing in the background). USAGI, with great effort, gets up and rubs her eyes.
USAGI
(sighs, frustrated)
God, that was weird.
USAGI looks at her closet.
USAGI
And I didn't do laundry.
(looks down at her dirty uniform)
No, that would be just too damn convinient.
CUT TO:
Living room. USAGI runs down the stairs, carrying her backpack. VICTORIA walks by.
VICTORIA
You're not even off to school yet?
USAGI
(beat)
Doesn't look like it, no.
VICTORIA
Your brother just went out the door.
USAGI
Well, good for him. Would've been nice if he woke ME up, but still--
VICTORIA
Does Sammy LOOK like an alarm. . .?
VICTORIA stops, examines USAGI, and then takes a sniff near USAGI'S armpit. Oh, Moms. . .
USAGI
MOM?!
VICTORIA
You didn't even shower!
USAGI
Of course not! I didn't have time--
VICTORIA
But of course, you had time to do up your hair.
VICTORIA walks away toward an adjacent room. USAGI sticks out her tongue behind VICTORIA'S back.
USAGI
You could've just asked, Mom. "Say, I noticed you look like crap this morning. . ."
USAGI starts putting on her shoes. VICTORIA in now the other room, but is still audible.
VICTORIA(O.S.)
But I thought you said you don't tell me things.
USAGI sticks out her tongue again, this time pulling down on her right eyelid, a gesture known as akanbe.
VICTORIA
You know, just because your father was easy on you doesn't mean I'll be.
USAGI
(under her breath)
God, Mom!
VICTORIA(O.S.)
Can we at least start with getting up on time and work up from there?
USAGI
Mom--! Look, I had a weird dream.
VICTORIA
Really?
USAGI
Yes.
VICTORIA briefly stands in the doorway between rooms.
VICTORIA
Which means you were getting nice, restful sleep.
VICTORIA quikcly disappears.
USAGI
(under her breath)
Christ.
(loudly)
Yeah Mom, I wish it worked like that!
USAGI, her shoes tied up, walks to the door.
VICTORIA
What was so weird about it?
USAGI stands at the door for a moment.
USAGI
I can't really. . . There was this talking cat making me run all over Tokyo.
USAGI opens the door and starts to walk out.
VICTORIA(O.S.)
(laughing)
That's weird. . .
VICTORIA re-enters the room.
VICTORIA
. . .'cause last night there was this--
USAGI exits and closes the door behind her. VICTORIA throws her hands up.
CUT TO:
EXT, USAGI'S front yard, MORNING
The camera follows USAGI as she jogs toward the yard entrance, located in the background. She rubs her eyes, unable to see SAMMY kneeling down just in front of the entrance. As she (and we) approach, we see that SAMMY-- in a sweet mood we've never seen him in until now-- is actually petting LUNA.
SAMMY
Yeah, you're a nice kitty, aren't you? You're a sweety pie!
LUNA rubs herself against SAMMY'S leg, eating up his affection. USAGI stops rubbing her eyes, finally seeing LUNA in front of her. Immediately, she darts forward and to the right, hiding behind the tall fence just beside the exit. SAMMY and LUNA are no longer visible from this angle.
USAGI
(whispering)
Okay, calm down! Calm down! It could be any cat!
SAMMY(O.S.)
Aw, kitty, how'd you get that scar?
USAGI
(whispering)
It could be any scar! Cats get scars!
SAMMY(O.S.)
What is that, a . . . banana?
USAGI'S tentative-- "banana" could mean anything.
SAMMY(O.S.)
No, a moon! That's it!
USAGI'S face sinks.
USAGI
(whispering)
Oh God, it wasn't a dream!
SAMMY(O.S.)
Well, I gotta go! No, kitty! No, I'd like to play, but I gotta go! I gotta--
LUNA meows.
SAMMY(O.S.)
Sorry, kitty! I gotta get to. . .
SAMMY voice fades as he runs off. USAGI waits for a few seconds, and then peers around the corner. There's no sign of LUNA on the sidewalk. USAGI breaths a sigh of relief, and then looks down on the ground beside her, where she sees LUNA sitting and looking up at her. USAGI is frozen for a moment. Then. . .
LUNA
Usagi?
USAGI
NO!
USAGI quickly points a finger at LUNA, and then startled by the loudness of her own voice, immediately looks toward the house to see if anyone heard her. She then turns back toward LUNA, waving her finger every time she says "no".
USAGI
(whispering)
No! . . . No! . . .
Pause.
LUNA
Usagi--
USAGI
(whispering)
No, no. . . No!
USAGI tip toes around LUNA toward the exit, all the while waving her finger and telling her "no".
USAGI
Nooo. . . No, no, no! No . . . NO!
VICTORIA(O.S.)
Serena!
USAGI, surprised, turns to the front door. VICTORIA is standing in the doorway, holding USAGI'S backpack.
VICTORIA
Serena, you would lose your head if it weren't attached.
USAGI runs up to VICTORIA and grabs the backpack.
VICTORIA
Oh! There she is again!
VICTORIA has spotted LUNA, who walks up to the front door.
USAGI
You. . . know her?
VICTORIA
Yeah! She's the cat I was trying to tell you about, before you slammed the door in my face. The one who somehow made it into our house last night.
LUNA rubs against VICTORIA'S legs.
VICTORIA
Aw. . . You're a sweety pie.
USAGI is aghast at how easily LUNA can charm the rest of her family.
VICTORIA
Okay, kitty. No, No, I gotta go. You don't wanna get locked in here again do you? I didn't think so.
(to USAGI)
I'll see you later Serena.
VICTORIA closes the front door. USAGI and LUNA stare at each other for a moment.
USAGI
I hate you.
USAGI walks away. LUNA, of course, follows. As she does, we hear (perhaps) the first few notes of Lou Reed's "A Walk on the Wild Side."
CUT TO:
INT, Hikawa Shrine Firepit.
The music continues to play in an otherwise silent scene. REI, still in her robes, lies next to the now extinguished fire, only just beginning to wake up. Still sleepy, she takes a long look at the remaining ashes, from which a few faint threads of smoke still eminate.
Right when Lou Reed starts singing, we CUT TO:
EXT, Hikawa Shrine
We see REI, alone at the shrine, sweeping the stone floors in the soft morning light. Looking up, she sees PHOBOS and DEIMOS pirched on a nearby fence, and smiles at them. In the background, we see the main gate of the shrine, where, unnoticed by REI, a group of young girls stand, watching her. REI, catching the girls in the corner of her eye, turns toward them and smiles. The girls, however, run away as soon as they are spotted. REI'S smile fades. We CUT TO:
INT, REI's Room.
We see various close-up shots of REI putting on her catholic school uniform, all close-up, all tasteful: A comb running through her hair; a subtle shade of red lipstick being applied to her lips; a grey jacket, complete with her school's coat of arms, being buttoned up over a white blouse.
CUT TO:
EXT, Sidewalk, MORNING
A tracking shot following REI as she walks down the sidewalk. At first, we only see REI from the back, but even from here, we can see the confidence exuded from her strut. In a moment, she is joined by a crowd of girlfriends. They laugh, and each show off their latest acqusitions-- a new iphone-like device, jewellery, a new hair-cut. As this unfolds, the camera, while still following REI, slowly rotates around her, until her face, and the street in the background, are visible. For a moment, we can see USAGI and LUNA walking down the other end of the street in the opposite direction. After a moment, the girls are joined by group of teenage boys. The boys, in particular, focus their attention on REI. REI smiles and giggles-- you'd almost think she's actually interested in them. During the boys' futile flirtations, the camera rotates to a front shot of REI. The boys eventually break away, shown stopping and bragging to each other in the background. The scene has thusfar given the impression of the sexy, effortless cool that REI is so clearly trying to portray. Once the boys leave, though, REI'S smile vanishes, replaced with a subtle look of both disgust and apprehension. As the shot ends, we see MAKOTO run past REI in the same direction as USAGI and LUNA. The music fades.
USAGI(O.S.)
Cats don't talk.
CUT TO:
EXT, Another Sidewalk, MORNING
USAGI walks along the sidewalk, with LUNA walking alongside. A group of schoolgirls walk a short distance behind the two, gradually catching up to them. LUNA meows in response to USAGI.
USAGI
See? Do you see? A talking cat!
(laughing)
Only that Tsukino Usagi!
The schoolgirls pass by USAGI as she speaks her line. After a moment, when the schoolgirls are out of hearing range, LUNA speaks again.
LUNA
Usagi, you can't keep ignoring this.
USAGI stops abruptly and turns toward LUNA.
USAGI
You. Need. To. Stop. That!
LUNA
Usagi, You know something--
USAGI
Oh God!
USAGI turns away for a moment, as if in disgust.
LUNA
What?
USAGI
Your lips. They're moving, and-- Ugh!
USAGI shudders and starts walking again. LUNA follows.
LUNA
Usagi, you know something happened last night. Something led you to that jewelley store--
USAGI stops again.
USAGI
Luna! I never WENT to that store because--
USAGI looks around, and spots someone across the street, off screen.
USAGI
Aha! See?!
(yelling to person across the street)
Naru-chan!
(pause, no response)
(to Luna)
She just can't hear. . .
(across street)
Naru-chan! Ohayoo!
LUNA
Usagi!
USAGI
(to Luna)
You see! It MUST be a dream, because NARU was at the jewellery store last night, which means NARU would have been one of those unconscious people!
(points across the street)
But there she is, walking to school, like nothing happened!
(yells across street)
Naru-CHAN!
(to Luna)
Check and mate, Luna!
USAGI looks toward the person off screen.
USAGI
Check. . . And. . .
Pause.
USAGI
That's not Naru.
LUNA
Usagi--
USAGI starts laughing.
USAGI
Of course it's not Naru! You know why? 'Cause I'm still dreaming!
USAGI laughs at herself for another moment.
LUNA
Usagi, do you really believe that?
USAGI stops laughing.
LUNA
Usagi. What I told you last night, every word of it, is true. What you saw last night WAS real. I'M real.
USAGI shuts her eyes. She can't deny this any longer.
USAGI
I guess you are.
(sighs)
So what is it I. . .
(points off screen behind Luna)
Oh! Look!
LUNA doesn't budge.
USAGI
Luna! Look! Behind you!
LUNA
Usagi, you're just wasting time.
USAGI
Luna! I'm serious! Look!
USAGI points emphatically, but LUNA isn't falling for it. Realzing that LUNA has somehow seen through her clever ruse, USAGI makes a break for it.
LUNA
Usagi?!
LUNA runs after USAGI. After a couple of seconds, USAGI reaches a crosswalk. The "do not cross" sign is lit, but USAGI, not seeing it, runs out into the street. LUNA comes to a stop at the edge of the sidewalk. As USAGI is crossing, we hear tires screetching against the pavement. USAGI stops and sees something about to hit her. She's frozen. Cutting back to LUNA for a brief moment, we see a pair of feet dart past her. We cut back to USAGI just before she's about to get hit, when out of no-where MAKOTO appears, grabs onto USAGI, and pulls her out of the way. They both fall onto the sidewalk, on the opposite end of street from LUNA.
MAKOTO
(to USAGI)
Are you blind?!
The screetching sound ends. Past USAGI and MAKOTO, a motorcycle has come to stop, leaving skidmarks on the concrete. The motorcycle's rider wears a large helmet that hides his face. MAKOTO gets up and walks toward the biker.
MAKOTO
And you! What the hell are you doing driving at that speed?! There are children on their--
MAKOTO stops. She recognizes the bike. The biker gets up and takes off his helmet. It's SEMPAI.
SEMPAI
That's lucky, isn't it? Off to school too, huh?
(beat)
Well, go on! I'm irresponsible! I'm reckless! You liked that.
MAKOTO, almost frozen, slowly backs away. She turns around and walks back toward to USAGI.
SEMPAI
No, don't walk away! Hit me again!
MAKOTO tries to hold back all the emotions the sight of SEMPAI brings on-- shame, heartbreak, anger-- as she walks by USAGI.
MAKOTO
(to Usagi)
That's two you owe me.
MAKOTO walks off. In the background, SEMPAI stands his bike up.
SEMPAI
(to Usagi)
And you, watch where you're going, idiot!
USAGI gets up, keeping her eye on MAKOTO. SEMPAI puts on his helmet and drives off. We hear the JUUBAN JUNIOR HIGH morning bell ringing in the distance as we CUT TO:
EXT, Juuban Junior High Courtyard Entrance, MORNING
USAGI approaches the courtyard entrance. She's in no hurry, as she's already well late for her class. LUNA is still following her. As she nears the entrance, USAGI stops and turns to LUNA once more.
USAGI
You CAN-NOT follow me in there. No pets allowed!
LUNA
I figured as such.
USAGI
I'm fifteen minutes late for class, which means I've already pretty much committed hari-kari--
LUNA
Hara-Kiri.
USAGI
Whatever! I would rather be in there,
(points to school)
than out here, with you.
LUNA
Fine, I'll be back at lunch.
LUNA walks away, while USAGI walks toward the school. We CUT TO:
INT, Usagi's Classroom
USAGI gently opens and closes the door as she enters.
USAGI
(bowing)
Shitsuree shimashita.
SAKURADA looks at USAGI silently. USAGI looks toward her desk. NARU is missing. As USAGI walks apprehensively toward her desk, we hear the voice-over of a SCHOOLGIRL.
T.A. ACADEMY STUDENT(O.S.)
"Remember only thy last things and thou shalt not sin for ever."
CUT TO:
INT, T.A. Girl's Academy Classroom
Class is not yet in session, so the students are chatting with one another. REI is sitting in her desk, while another student, bible in hand, chats with her.
REI
And where did they say it was?
T.A. STUDENT
Ecclesiastes, Chapter 7, Verse 40. But look!
(shows REI the bible)
There are only twenty-nine verses in Ecclesiastes!
(beat)
And it was such a beautiful verse.
The STUDENT puts the bible away. REI looks to the front of the class for a moment.
T.A. STUDENT
I hope Sister Jessica is feeling better today. Father Vincent's French just sounds. . . weird, somehow.
CUT TO:
INT, Classroom Entrance
FATHER VINCENT, a fairly young priest, stands outside the entrance to the class. He gives a long sigh, then crosses his chest.
CUT TO:
INT, Rei's Classroom
VINCENT enters. The entire class stands up, and the class president (or equivalent) bows the students in. VINCENT, with a heavy Quebecois French accent, speaks.
VINCENT
Bonjour, classe.
CLASS
Bonjour, Pere Vincent.
VINCENT
In spite of our prayers, Sister Jessica will once again be unable to join us. We were hoping to find a substitute, but unfortunately none were available, so once again I will be teaching class.
VINCENT begins the lesson. We CUT TO:
Close up of REI. From the look on her face, we know that she knows that something strange is going on.
CUT TO:
INT, Hikawa Shrine Fire Pit
Flashback to the night before. We see REI sitting at the fire, meditating. We cut to a shot of the fire. We watch it for a moment, listening to the sound of the wood cracking, the flames blowing. . . The sound gets louder, indicative of REI'S increasing concentration. Amidst the ever growing noise of the fire-- the billowing of flame, the crackling of the wood, the the high whistle of escaping gases-- we begin to hear another sound, something like the growling of and animal. Then, so subtly that it could almost seem to come from the fire itself, the sound of a dog barking. Then, a whistle of escaping gas-- yet not that which one would expect from a fire, something more artificial. The moment we hear the sound, we cut to an extreme close up of REI'S eyes, which dart open in a moment of realization. We CUT TO:
INT, Rei's Classroom
Back to the present. We see REI, as we did before the flashback, with a look of apprehension.
CUT TO:
EXT, Market, MORNING
NOTE: Having re-thought how the script should be structured, I decided that the following scene should take place a day earlier, before Luna introduces herself to Usagi. That's when this scene will appear in subsequent drafts. For now, though, I'll place it here.
Fresh fruit, vegetables, and fish are lined up along displays outside a market. LUNA lies in wait beneath the fish display. Once the coast is clear, she jumps on top of one of the displays and "sucks up" a small fillet of fish. She quickly jumps off of the display just as one of the store owners walks out. LUNA walks some distance away from the market, and then turns back.
LUNA
(quietly)
Thank you.
CUT TO:
EXT, Alley, MORNING
LUNA enters the alley, re-materializes the fish onto the ground, and eagerly gobbles it up.
CUT TO:
EXT, Cat Mansion Front Yard, DAY
LUNA enters the frame, slowly approaching the Cat Mansion.
NOTE: Yes, we are back at the Cat Mansion. You might be thinking that all this travelling to and from the Cat Mansion is getting repetitive, and I agree. That's why I've decided that, in the second draft, Luna won't come back to the Cat Mansion on the day she first encoutners Usagi, and that Luna's visit to the jewellery store owned by Jain Indians will not occur until after this point in the story.
CUT TO:
INT, Cat Mansion Main Hall
LUNA walks down the hallway that only two days ago she called home. The food and water bowls are empty. It is apparent that the cats have not been fed since the day LUNA left; some of the cats have left, while others moan in hunger, waiting for JESSY to return.
CUT TO:
INT, Upstairs Hallway
LUNA climbs the stairs up to the second floor hallway. A few cats are wandering the hallways. RHETT BUTLER, the fat cat from before, is waiting at the foot of LUNA'S bedroom door, reaching his paws underneath the door crack in a futile attempt to enter. After a moment, he spots LUNA and walks over to her, attempting to rub up against her. LUNA, doing her best to avoid him, makes her way to the door. RHETT, getting the hint, flops down on to the floor.
INT, LUNA'S Bedroom, DAY
LUNA, just like before, swings into the room hanging off of the door handle. Landing on the floor and quickly closing the door behind her, she makes her way toward her things-- she's packing up. First things first: on the floor lie a set of three objects that look like heavily adorned pens-- these are the TRANSFORMATIONS PENS, whose function will be explained by LUNA later on. LUNA "sucks up" the PENS. While there, she also sucks up another pen, different from the Transformation Pens-- this is the DISGUISE PEN.
NOTE: In subsequent drafts I will establish the transformation and disguise pens earlier.
She then makes her way toward a set of DOCUMENTS, including the REPORT she picked up at the beginning of the film, and sucks them all up too. She buckles under their weight-- the combined mass of the papers is pretty large, esspecially for a cat (recall from the first part of the script that the mass of any object she carries is transferred to the collar). LUNA then approaches some of the old posters, newspaper, and Sailor V comics. She tries to suck them up, and succeeds in getting a few items, but she's reaching the limit of what she can carry. Bearing a much heavier collar, she slowly works her way to the bedroom door. We hear the ringing of a schoolbell in the background as we
CUT TO:
INT, Juuban Junior High Cafeteria
USAGI takes a seat at a table. While there are other girls at the table, they ignore USAGI-- without NARU and UMINO, she's alone. As she reaches for her backpack, an awful realization hits her.
USAGI
(to herself)
And I forgot my lunch.
Her moment of self-pity quickly vanishes as she takes a look around the cafeteria. Not only is NARU gone, but UMINO is no-where to be found either. As USAGI turns to the window, we cut to her POV. We see LUNA standing on the ledge outside of a window. She points her head upwards, as if to indicate something. USAGI, impatiently, walks over to the window and kneels down.
USAGI
(irritated)
What?
LUNA, astonished and almost embarrassed that USAGI would be so conspicuous, shakes her head and then points more emphatically upwards.
USAGI
(a bit louder and more irritated)
What do you want, Luna?
A couple of students look over their shoulders at USAGI. LUNA covers her head with her front paws for a moment, and then tries to speak quietly enough not to be heard. It works too well.
USAGI
I can't hear you, Luna!
LUNA'S wincing at this point.
LUNA
(almost inaudible)
Roof! Roof!
USAGI
I still can't-- ugh!
USAGI walks alongside the windows. LUNA follows. After a moment, USAGI reaches an emergency exit.
CUT TO:
EXT, Juuban Junior High Courtyard, DAY
USAGI comes out the emergency exit door. LUNA runs up to her as the door closes.
LUNA
(whispering)
The roof, Usagi! The roof!
USAGI
What about the roof?
LUNA
(whispering)
Meet. Me. On. THE. ROOF!
USAGI
Why the roof? There's no--
LUNA
(whispering)
There's a door, and stone seats, and there's nobody there and it's the perfect meeting place so GETUPTHERE!
LUNA runs off. USAGI tries to go back in through the emergency exit door, but it locked behind her. She tries pulling on it couple of more times, to no avail.
CUT TO:
INT, Cafeteria
A group of girls a chatting away at one of the tables. One of the girls proudly displays a picture of herself in a beautiful wedding dress.
GIRLS
Wow! You look wonderful! It's so becoming of you! . . . My cousin's getting married. In the shopping district there's a bridal shop where you can get wedding dresses fitted. They let me try one one! . . . Oh, Wow! When's the wedding? . . . I've never even been to a wedding before! I wanna--
MAKOTO
(smiling)
Hi!
Pause.
GIRLS
(meekly)
Hello.
MAKOTO
This spot isn't taken, is it?
The girls shake their heads. MAKOTO brings out her lunchbag and sets it on the table.
MAKOTO
You're sure it's okay?
GIRLS
(meekly)
Sure.
Pause.
MAKOTO
That really is a beautiful dress!
MAKOTO waits for a moment, but the GIRLS ignore her. Taking the hint, packs up her lunch again and leaves. As soon as she's gone, the GIRLS breath a sigh of relief, and then start chatting again.
GIRLS
(simultaneously)
I WANNA HAVE A WEDDING SO BAD!
CUT TO:
INT, Classroom
While the other students are having their lunch, AMI sits at a desk, studying as always. Having finished her homework for one of her classes, she closes her textbook and bends down to her backpack to grab another one. Unfortunately, since her backpack is too small to contain all of the textbooks she needs for her classes (one of the unexpected downsides of being a child prodigy) her zipper splits open while she's zipping it back up. She tries to re-close the zipper, but it's too difficult. AMI gives up and returns to her studying when MAKOTO enters, startling AMI.
MAKOTO
Hi!
AMI
Oh! Hello.
MAKOTO takes a seat near AMI.
MAKOTO
I'm not disturbing you, am I?
AMI
No! No.
MAKOTO takes out her lunch container, again. Just as she's about to open it. . .
AMI
But. . . Sakurada-sensei may not want you in here. She doesn't let any students into the classroom except for me.
MAKOTO
. . . Oh.
(pause)
Then I'll have to finish this up fast!
MAKOTO opens her lunch container.
MAKOTO
It's too bad. I REALLY looking forward to--
SAKURADA
What are you doing in here?
SAKURADA stands at the front of the class, having noiselessly entered the room. MAKOTO stands up and bows.
MAKOTO
Sensei!
SAKURADA
Ami!
AMI then stands up and bows.
AMI
Hai, Sensei!
SAKURADA
I told you that you could stay in the classroom if you were here to study.
(beat)
I ALSO told you that there was no food allowed.
AMI
Shi-shitsuree Shim--!
SAKURADA
What is with you, Ami? First, you lose one of your textbooks, and now you're disregarding the rules of--?
MAKOTO
Sensei?
SAKURADA
Did you just INTERRUPT me?
MAKOTO
Yes I did, and I apologize. But I entered class without permission. Ami told I wasn't allowed here, but I stayed anyway. The fault is mine.
MAKOTO bows.
SAKURADA
I would have thought you'd learned your lesson yesterday.
MAKOTO'S left hand, still at her side, clenches into a fist.
MAKOTO
I suppose I didn't. Shitsuree shimashita!
MAKOTO bows yet again, and then picks up her backpack from the floor. As she does so, her hand glances against AMI'S pack, which causes a static shock. MAKOTO winces, and then looks down at the pack, noticing the broken zipper. MAKOTO, after setting own backpack down on the desk, reaches down to AMI'S backpack and, in a single exertion, pulls the zipperhead across the split open region of zipper, effectively fixing it-- speaking from personal experience, this is not an easy thing to do, and requires a great deal of physical strength. AMI is amazed.
MAKOTO
This is just a temporary--
SAKURADA
Ahem!
MAKOTO gives AMI a look, and then looks back down at the backpack. She notices that the name "AMI" has been written on the pack. MAKOTO grabs her lunch container, and turns back around so that the container is visible to AMI. She then repeatedly taps her finger on the the container. AMI looks at the container, and notices the words "KINO MAKOTO" written on it. MAKOTO puts the container in her pack and exits the class.
CUT TO:
EXT, The Roof, DAY
LUNA sits on the roof, alone. She's clearly been waiting a bit for USAGI, and contniues to wait for another few seconds until USAGI bursts through the door leading up to the roof.
USAGI
It would have helped if you said WHICH door!
The door closes behind her. USAGI sets her backpack on the ground.
LUNA
Usagi, you need to be more careful! Someone might have spotted us down there.
USAGI
You mean spotted YOU.
USAGI walks up to LUNA.
LUNA
Yes, Usagi, I mean spotted ME. You don't seem to appreciate how much of chance I've taken in even talking to you!
USAGI
Well, you DID talk to me, Luna, and you've completely messed up my life in the process. So I hope you can forgive me if I think you sound just a little selfish right now.
LUNA
ME Selfish?!
USAGI
Yes! You!
A tense pause. USAGI takes a seat on one of the stone benches.
USAGI
Naru didn't show up today.
LUNA
(beat)
She was at that jewellery store last night, wasn't she? She was attacked along with--
USAGI
Luna!
Another long pause.
USAGI
Probably. . . Just don't talk to me about that!
LUNA materializes the MOON PRISM in front of USAGI.
LUNA
You dropped this.
USAGI sighs, and then picks up the PRISM.
USAGI
Gee, thanks. . . What the--?
LUNA then materializes the TRANSFORMATION PENS, DOCUMENTS, and SAILOR V STUFF she picked up earlier. She's visibly relieved to have all that weight off her collar.
USAGI
What is all this?
LUNA
Stuff I took from my old place.
USAGI
Your "old place?"
LUNA
I used to live in a. . .
(stretches out her neck)
. . . derelict mansion. Oh, that feels good!
USAGI
What do you mean your "old" place?
(beat)
What do you mean "used to live?"
LUNA
Well. . . now that I've found you. . . we're gonna need to be in close contact.
USAGI
What KIND of close contact?
LUNA
Well. . . I was hoping that. . . Now that we've met--
USAGI
That I would adopt you?
LUNA
It's not SO unreasonable--
USAGI
Oh my God!
USAGI stands up and paces around the bench.
USAGI
Not so unreasonable?! Not so un. . . This is unreal! This. Is. Un-real! I'm . . . I'm standing on the roof of my school, arguing with a talking cat who thinks I'm the reincarnated spirit of an ancient warrior about why I'm uncomfortable with her just ANNOUNCING that she's moving in to my house! That. . . is far gone this has become!
LUNA
Usagi--. . . Serena. I know that what I'm telling you is hard to believe. But if you knew what I know, if you knew what I saw when you pulled off that bandage. . . It was this. . . light, and warmth, the likes of which I had never--
USAGI
And what do you see now?
LUNA
Well. . . I. . .
USAGI
You what?
LUNA
I hit my head, and, well. . . it's not as clear anymore.
USAGI
You hit your head.
LUNA
Yes, and I haven't--
USAGI
So you don't see anything? No light?
LUNA
No. . . not yet, anyway. I'm hoping that it'll come back soon.
USAGI
(sighs)
So. . . there was a light. And what else?
LUNA doesn't answer.
USAGI
Nothing?
(beat)
Nothing at all?
USAGI walks over to the pile of LUNA'S things.
USAGI
What about all this stuff?
USAGI kneels down for a closer look.
USAGI
Let's see. We got. . . Wow! Pens!
USAGI throws the TRANSFORMATION and DISGUISE PENS to the side.
LUNA
Usagi, be careful!
USAGI
A bunch of boring crap!
USAGI flips through the documents, throwing them aside one at a time.
LUNA
Those are official documents! Police and medical reports! I went through a lot of trouble to get those!
USAGI then comes across a SAILOR V poster.
USAGI
What's this?
LUNA
That's. . .
LUNA hesitates, as though she knows what's coming.
LUNA
That's another one of the reincarnated warriors. . . If you're going to ask me how I know. . .
Long pause.
USAGI
Luna. . . That's Sailor V.
After a beat, USAGI bursts into laughter.
USAGI
That's SAILOR V, Luna! SAILOR V!
USAGI throws the poster on the ground and paces around for a moment, laughing all the while. LUNA is absolutely silent. USAGI, after a moment, comes back around.
USAGI
Sailor V, Luna? Really?!
LUNA growls.
USAGI
Oh, what's wrong? You forgot how to talk? It is a harder skill than most relaize, you know.
LUNA growls more loudly, and repeatedly points her gaze behind USAGI.
USAGI
Or maybe it's just English you forgot? Let's see. Hanasu koto ga dekiru ka? ("Can you still talk?" lit. "Are you able to speak?")
MAKOTO(O.S.)
Yeah, can you still talk, right?
USAGI jumps back and even yelps a bit in shock. MAKOTO, who was standing just behind and to the side of USAGI, kneels down and pets LUNA. LUNA, though upset, plays along.
MAKOTO
Sure you can! You're a verbose little kitty, aren't you?
MAKOTO scratches underneath LUNA'S chin.
MAKOTO
(to USAGI)
So, I know she likes Sailor V, but I didn't get her name.
USAGI
(still shocked)
Oh, um. . .
(look at LUNA)
Lu-Luna?
LUNA meows.
USAGI
(looks back to MAKOTO)
THAT, ah, is to say the CAT is named Luna, not that I was talking to. . . uh. . . What. . . else. . . did you hear?
(regaining a little of her composure)
I mean, it's a little, (ahem), emabarrassing, that's all.
MAKOTO stands up.
MAKOTO
You mean, there was more to it?
USAGI
Oh! Uh. . . Well, I-I mean. . . yes?
MAKOTO
I'm sure whatever she said must have been pretty embarrassing, given how red you are in the face.
USAGI
Well. . . Um. . . Y-Yeah! I mean. . . look, I don't do this all the time!
MAKOTO
You mean you DON'T come up to the roof to yell at your cat on a daily basis?
USAGI
Uh. . . well. . . I used to yell at her down in the halls but I got all these weird. . . looks. . .
USAGI laughs sheepishly at her own joke. MAKOTO, after a tense moment, giggles. USAGI is noticably relieved.
USAGI
I'm Usagi, by the way! Usagi Tsukino!
MAKOTO
I'm Makoto Kino. Well, I'm . . . just gonna eat my lunch. Don't mind me, you two lovebirds!
MAKOTO walks toward the far end of the roof and takes a seat on a stone bench. USAGI looks on, curiously drawn to this strange new girl.
LUNA
(whispering)
Usagi!
USAGI
(whispering)
Hold on.
LUNA
What are you doing? Usagi?
USAGI
That girl has saved me two times now. I should at least say thanks.
LUNA
We have more important things to--
USAGI
Luna! Just. . . stay!
USAGI starts to walk toward MAKOTO.
LUNA
(whispering)
USAGI!
USAGI
(turns back to LUNA)
Stay!
USAGI, after giving a look that seems to ask "did I really just say that?", makes her way toward MAKOTO. MAKOTO is facing outward, toward a tall tree, her back to USAGI. USAGI slows as she approaches MAKOTO, trying to peak over her shoulder to see what she's doing. She sneaks ever closer, and eventually manages to catch a glimpse of MAKOTO'S lunch-- a very elegant and delicious-looking bento made up of sushi, rice balls, fried shrimp, and other foods. USAGI is susprised by, and envious of, this exquisite meal. Just as she's about to start to drooling, MAKOTO's hand quickly rushes up and grabs USAGI'S uniform-- this action doesn't hurt USAGI, it merely surprises her.
MAKOTO
A-ha!
USAGI shrieks. MAKOTO lets go.
MAKOTO
I could hear you from five steps away!
(beat)
I guess cats make for boring conversation.
USAGI
(still recovering from the surprise)
Yeah. I guess.
MAKOTO
Here, have a seat.
MAKOTO shoves over, and USAGI, a bit warily, takes a seat.
MAKOTO
So what's on your mind?
USAGI
I . . . don't exactly remember.
MAKOTO
How'd you know about this place?
USAGI doesn't understand.
MAKOTO
The roof, I mean. Obviously, you're one of the only people who knows about it.
USAGI
Oh! Yeah, the, uh, cat led me up here, actually.
MAKOTO
I only found it by pure luck, myself. It's a great view.
MAKOTO looks back out toward the tree, which sways in the gentle wind. USAGI looks back down at MAKOTO'S lunch.
USAGI
I-uh, I never thanked you for yesterday. Or today.
MAKOTO
Don't worry about it.
MAKOTO turns back to USAGI, and see her eyeing her food. USAGI then catches MAKOTO looking at her.
USAGI
Your lunch, it looks really nice!
MAKOTO
Thanks!
USAGI
I wish MY mom could make lunch like that. Usually I just get a sandwich.
MAKOTO, for a moment, is silent. USAGI has hit a nerve.
MAKOTO
Actually, I made this myself.
USAGI
What?!
MAKOTO
If you have everything prepared, it's actually pretty easy.
USAGI eyes MAKOTO'S lunch again.
MAKOTO
You know, I think I made a bit too much. You want some?
USAGI
Oh, no I. . .
USAGI'S not fooling anyone.
USAGI
I guess that's THREE I owe you now.
MAKOTO
Here, just led me get the lid to my bento box and I'll put some food on it.
MAKOTO picks up the lid the box. USAGI quickly catches a glimpse of the lid-- it has a picture of SAILOR V on it. MAKOTO hands the lid to USAGI.
USAGI
Oh!
(holds up the lid)
You like Sailor V too, huh.
MAKOTO
I guess.
MAKOTO starts putting food onto the inverted lid. We hold on USAGI, from whose experession we can tell has reminded of LUNA by the picture of SAILOR V, as we CUT TO:
EXT, T+A Academy Courtyard, DAY
REI walks the courtyard, alone, mulling over Sister Jessica's absence. A distance away, the same group of girls REI chatted with in the morning are, again, chatting and giggling amongst themselves. REI examines them for a moment, but then notices, behind the girls, VICTOR and a POLICE OFFICER talking to one another. REI then looks toward the academy convent. Holding on the convent for a moment, we then CUT TO:
INT, T+A Academy Convent, Hallway
REI enters the frame, walking toward Sister Jessica's room. She approaches the door and knocks.
REI
Sister Jessica? Sister Jessica? It's Rei Hino.
No response. REI knocks on the door again.
REI
Sister Jessica? Sister Jessica, are you in there?
REI tries to open the door, but it's locked. REI knocks even louder, to no avail.
VICTOR
Hino-san.
VICTOR, who appeared as if out of no-where, walks toward REI. He is followed by the POLICE OFFICER.
VICTOR
What are you doing here?
REI
I was just seeing if there was anyting I could do for Sister Jessica.
VICTOR
And why did you presume that you NEEDED to do anything?
Silence. After a moment, VICTOR glances at the OFFICER, and them back to REI.
VICTOR
(sighs)
Hino-san. . . The police officer is here to search Sister Jessica's room.
VICTOR opens the door to SISTER JESSICA'S room.
VICTOR
(to OFFICER)
Go ahead.
The OFFICER enters.
VICTOR
Rei. . . I would appreciate if you didn't repeat what you've seen here. We don't want to cause any undue alarm.
REI
How long has she been gone?
VICTOR
Two days.
CUT TO:
EXT, Juuban Junior High Rooftop, NOON
LUNA is lying on the ground, staring at the SAILOR V poster that USAGI mocked. We can hear MAKOTO and USAGI in the background. LUNA has been waiting for around ten minutes.
MAKOTO(O.S.)
Hold out your hand like this. Now, say I grab on to it like so. Alright, now pull your arm to your chest.
LUNA turns toward MAKOTO and USAGI. MAKOTO and USAGI are standing in front of each other. MAKOTO is holding on to USAGI'S wrist. USAGI tries to pull her arm toward her chest, just like MAKOTO said, but is having trouble.
MAKOTO
No, no, bring your chest in and step forward, like this.
MAKOTO demonstrates. USAGI gives it another try, following MAKOTO'S instructions.
MAKOTO
Yeah, that's it! Now--
MAKOTO lets go of USAGI'S wrist, and demonstrates the next move.
MAKOTO
You have your arm close to your chest, so it's easier for you to move, and also harder for the other guy. What you want to do now is twist your body back, and at the same time throw your arm out, like this, directly away from him. All in one motion. Once you've done that, bring the arm back, bend it--
MAKOTO snaps her elbow back toward USAGI'S nose, careful not to make contact.
MAKOTO
-- and strike! Okay, now you try!
LUNA'S getting fed up with waiting, and walks toward the two. USAGI gives the move another try. Though her technique is still lacking in grace, it's improved noticably.
MAKOTO
That's better! Now give another try!
LUNA comes up just as USAGI is finishing her second attempt at the move. She growls loudly.
USAGI
Luna?
MAKOTO
Someone got lonely.
USAGI
Luna, not now.
LUNA, not to be shooed away again, gives a horrific shriek.
USAGI
Luna! Er, bad cat!
LUNA hisses.
USAGI
No, Luna!
LUNA hisses again, and growls.
USAGI
Uh, er, don't worry about her, she's just looking for attention.
MAKOTO
It's okay. We need to get back to class anyway.
USAGI
No, Luna's pushy, you can't give her any leeway.
LUNA growls again. MAKOTO looks at LUNA, surprised that LUNA seemed to understand that.
MAKOTO
No, we actually do have to go.
USAGI
Oh. . . Well, it was nice finally talking to you, er. . .
MAKOTO
Makoto.
USAGI
Ah! Usagi!
USAGI extends her hand. MAKOTO, not used to handshakes, extends her hand tentatively.
MAKOTO
I know. You told me yesterday. And just now.
USAGI
(sheepishly)
Oh!
USAGI laughs. MAKOTO lets go of USAGI'S hand, bows, and exits, leaving USAGI and LUNA in a tense silence.
USAGI
Please tell me you really did forget how to talk.
LUNA
(bitterly)
Okay, I really did forget how to talk.
(beat)
I cannot believe you!
USAGI
What was I supposed to do?
LUNA
Get rid of her! That, or we find somewhere else to talk!
USAGI
And what exactly ARE we talking about?!
LUNA
"What are we--"?! Where do we begin, Usagi? How about why you didn't transform last night?
USAGI
Transform into WHAT, Luna--?
LUNA
How about your missing friend? Have you even TRIED to find out what happened--?
USAGI
I TOLD you not to talk about her--!
LUNA
Fine, I won't!
(beat)
We'll start with all this stuff,
(points to the pile of papers)
which, incidentally, I hauled half way across the city for you to see!
USAGI
I already looked at it.
LUNA
No, you didn't, Usagi!
The school bell starts ringing.
USAGI
I have to get back to class.
LUNA
I'll be back after school. Until then, you hold on to all this.
USAGI
Why?
LUNA
Because it's YOURS now, Usagi! Besides, I'm not carrying it around all day!
USAGI sulks over toward the piles of stuff. She opens one of the compartments of her backpack, revealing an appalling clutter of worn books and crumpled notepaper.
LUNA
(to herself)
I'm gonna regret this, aren't I?
USAGI grabs the documents and tries to shove them in.
LUNA
USAGI!
USAGI
What?
LUNA
Be careful with those!
USAGI sighs. She pulls the cluttered notes forward, and slides in the documents behind them.
LUNA
Those are very important, Usagi. You mustn't lose them in there.
USAGI tries to wiggle the documents into the bag, ignoring LUNA.
LUNA
Usagi?
(beat)
Usagi!
USAGI
(drawn out)
Whaaaat?
Pause.
LUNA
(bitterly)
Usagi. . . Do you know what I was doing before I found you?
(pause)
I was imagining what you were like. What you looked and sounded like, where you lived, whether you were a schoolgirl or college student, whether you had a job, or a husband and children. All in preparation for our first meeting. (beat) And then I found you.
LUNA pauses to let her words sink in.
LUNA
I'll see you after school.
LUNA walks off. USAGI reaches over for the pens. She takes one of the pens in her hand and examines it. We cut to a close-up of the pen, which bears the classical symbol of Mars upon it. Holding on the pen, and then CUT TO:
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.
