You Can Use Music from Sunshine to Make Anything Badass.

Previously. . .

We now continue. . .

CUT TO:

INT, Mizuno Residence

AMI sits in front of a TV, showing news footage of the evacuation of Big Sight. We briefly see SAEKO leave the apartment.

SAEKO

(on her way out)

Make yourself whatever you want. I don't when I'll be back.

(beat)

And don't go out!

AMI

(without turning away from TV)

I won't.

SAEKO leaves. AMI continues to watch the TV, still struggling with what she has seen this day. At this moment, we begin a montage of sorts, with appropriately epid music. . . something like the soundtrack to Sunshine-- hey, it's good enough for Kickass and The Walking Dead:



CUT TO:

AMI printing out about a dozen or so pages off of a computer.

CUT TO:

AMI tacking up those pictures onto her wall, one next to another-- we can't yet see what images these pictures create.

CUT TO:

INT, Mugen Gakuen, Museum Hallway

A FLASHBACK, just after Saeko picked up Ami in the music hall. The two walk down the museum hallway (the one displaying the history of Tomoe). Ami looks at one of the video displays as she walks by.

Cutting to her POV, we see a STILL IMAGE of a young TOMOE standing next to ALBERT EINSTEIN displayed on the screen.

NARRATION

. . . was during his time at Princeton that Tomoe first attracted noteriety, after discovering the cause of. . .

- the IMAGE FADES to a generic eastern U.S. factory town.

NARRATION

. . . the so-called "Walkerton Syndrome", a mysterious new illness contracted by the citizens of Walkerton, New Jersey. Seven years before Minimata, Tomoe revealed that this "syndrome" was actually-

CUT TO:

INT, Mizuno Residence, PRESENT

AMI pulls the NOTEBOOK out of her backpack, turning to the notes she made while in the hosptial.

CUT TO:

AMI'S POV. We see the symptoms that AMI noted from the chart.

AMI'S NOTEBOOK

Extreme Lethargy
Lack of Responsiveness to External Stimuli
Diminished Vital Signs
Diminished Brain Funciton

CUT TO:

INT, Mizuno Residence

ANOTHER FLASHBACK. We see AMI flipping through the DOCUMENTS that accidentally fell into AMI'S hands the evening before.

CUT TO:

AMI'S POV. We see brief flashes of text from the documents, including ADDRESSES and the SAME SYMPTOMS as in Ami's notebook.

CUT TO:

INT, Mizuno Residence, PRESENT

We see AMI making a mark on the wall with a felt marker. We PULL BACK to reveal that AMI has put up a LARGE MAP OF TOKYO, using the pages she printed out. VARIOUS LOCATIONS ARE MARKED OUT on the map. Ami is still marking down locations, but it's clear that the locations she's noted seemed to form a LOOP AROUND CENTRAL TOKYO, with a couple of locations located NEAR THE CENTRE of TOKYO.

JUMP CUT TO:

INT, Tokyo Police Headquarters, Wakagi's Office

A SIMILAR MAP ON A WALL, more detailed and professional looking, with a couple of extra locations marked by tacks. We PAN to reveal Commissioner WAKAGI (from waaay back in Part #1) examining the map, alone in his office.

CUT TO:

INT, Tokyo Police Headquarters

Police HQ, in chaos, trying desperate to figure out just what the hell has happened to Tokyo. Various cops and bureaucrats are huddled at their computers, filing through documents, talking over the phone, watching news footage, arguing with each other. . . basically, nobody knows what the hell is going on.

CUT TO:

INT, Tokyo Police Headquarters, Missing Persons Unit

A DETECTIVE, in his office, talking over the phone.

DETECTIVE

Do you know how many people have gone missing today? 'Cause the people who've been taken to hospital today. . . that's not all there are. At least a dozen people have yet to be found. . . I'm sorry, ma'am, but that's where the department's priorities are right now.

CUT TO:

EXT, Hikawa Shrine, DAY- Continuous

REI, still in her school uniform, talking over a cell phone. Standing next to her is a male shrine attendant, YUUICHIROU.

REI

Yes. . . Yes, I understand. Thank you detective.

REI hangs up.

REI

Dammit.

(hands phone to YUUICHIROU)

Here you go. Thanks.

YUUICHIROU reaches for the phone, but REI pulls back at the last minute.

REI

Actually, I need to make one more call.

GRAMPA HINO(O.S.)

YUUICHIROU!

CUT TO:

GRAMPA HINO, standing in a tree about twenty feet off the ground, holding on to a rope as he wave to Yuuichirou.

GRAMPA HINO

Oy! Come on!

CUT TO:

REI and YUUICHIROU, looking at GRAMPA HINO like he's out of his mind.

GRAMPA HINO(O.S.)

Break's over, Yuuichirou!

YUUICHIROU looks at REI, who gives him a "fucked if I know" look.

REI

I'll give it back.

GRAMPA HINO(O.S.)

OOOOYYY!

YUUICHIROU

(to REI)

Keep it. I'm probably going to die.

YUUICHIROU runs off. REI opens the phone and dials another number.

GRAMPA HINO(O.S.)

(to YUUICHIROU)

Don't you get any funny ideas. Rei is engaged!

REI sighs and rolls her eyes as we-

CUT TO:

INT, Office of Takashi Hino

We see KAIDOU talking on the phone with his wife, whom we hear over the phone.

KAIDOU

I'm sorry, I can't come home. Not yet.

KAIDOU'S WIFE(O.S.)

I knew the hours were going to be long, Kaidou, but you haven't been home since you came back to Japan!

KAIDOU

Well, I've been-

(whispering)

We've all been on damage control. First with North Korea and now with this whole. . . whatever's happened at Big Sight. God, and I thought Ishihara didn't know when to keep his mouth shut.

KAIDOU'S WIFE(O.S.)

(sighs)

Well, at least let me thank you for the gift. The dress is beautiful!

KAIDOU

(confused)

. . . it is?

KAIDOU'S WIFE(O.S.)

And these lilies! They match the dress perfectly!

KAIDOU

Uh. . . yeah! That's. . . great?

CUT TO:

NEWS FOOTAGE: We see archived footage of TAKASHI HINO, giving interviews, waving to supporters, standing at podiums, and all the other stock footage news program use when reporting about a politician. We see some scrolling text at the bottom of the screen.

SCROLLING TEXT

(in Japanese)

. . . Hino calls events at Tokyo Big Sight "karmic punishment" for what he sees as. . .

CUT TO:

INT, Subway Car- Continuous

We see a shot of a TV playing the news reports seen last scene.

CUT TO:

A shot of USAGI, riding the train, gazing blankly out the window.

CUT TO:

INT, Crown Game Center

USAGI is in the middle of playing a video game-- in the background we see, rather conspicuously, the Sailor V game she played earlier. She plays for a few seconds- almost forcing herself to enjoy it- but then just gives up. After a moment of staring at the machine, she closes her eyes, growing more and more restless and unsettled, until she STORMS OUT of the arcade, glancing at the Sailor V game as she passes it by.

CUT TO:

EXT, Sidewalk, Early Evening

USAGI walks along the sidewalk leading to her house. . . but stops. She can't go back home. Not yet. Not with everything that's waiting for her back there.

CUT TO:

INT, Mundy Residence

VICTORIA, trying to make a phone call.

VICTORIA

Come on Serena, pick up! Pick. . .

VICTORIA trails off, noticing something vibrating in her purse. She opens it up. . . and pulls out USAGI's cell. VICTORIA hangs up the phone just as SAMMY walks in.

SAMMY

Did you reach her?

VICTORIA

No. . .

(raises USAGI'S cell phone)

No I haven't.

SAMMY

Oh great.

CUT TO:

EXT, Mundy Residence, Early Evening

LUNA waits, anxiously, for any sign of USAGI. After a moment, VICTORIA comes out the door. LUNA darts behind a bush.

VICTORIA

(to SAMMY, inside house)

Sammy, the minute you hear from Serena, I want you to call me on my cell. I'm gonna go out and try to find Serena, see if she's at one of her hangouts or something.

VICTORIA closes the door and walks out.

CUT TO:

INT, Mundy Residence

The phone rings. SAMMY runs up and grabs the phone.

SAMMY

(into PHONE)

Hello! . . .

(aphrehensive)

Yes, this is the Mundy residence. . .

(sighs)

No. No, she's not here. . . . wait! Wait, if she calls you, could you phone this number-- or ask her to phone back home! We've been looking for her.

CUT TO:

INT, Mizuno Residence- Continuous

AMI is talking on the phone with SAMMY.

AMI

Of course!

CUT TO:

A brief shot of AMI'S notes. She has much more written down than before. We close in one note in particular, circled in red: Mundy???

SAMMY(O.S.)

Thanks. . .

(worried)

She hasn't come home yet, we tried calling the school, but they said--

AMI writes a note next to "Mundy": Missing.

SAMMY(O.S.)

I-I'm sorry, I shouldn't be holding you up. But we'd really appreciate--

AMI

Actually, I . . . I saw her at St. Lukes Hospital today, about two hours ago.

SAMMY(O.S.)

Wait- where?

CUT TO:

INT, Hospital Lobby

VICTORIA is talking to a RECEPTIONIST

VICTORIA

- she's about a hundred-sixty centimeters, blonde-

The RECEPTIONIST shakes her head.

VICTORIA

Odangos! S-she wears her hair in long pigtails, with odangos on her head!

RECEPTIONIST

I might have seen her walking by- I'm sorry, but we're flooded right now. I can send her description around the hospital-

CUT TO:

INT, Chiba Residence

MAMORU and BANDANA walk in. MAMORU is trying to help BANDANA, but she shoos him away.

BANDANA

I'm fine, Mamoru.

MAMORU

You barely made it to the elevator, Mom.

BANDANA

Well, I'm tired, Mamoru. I've had a long day. Tell you what- you wanna help me, get me some water. I'll be in the living room.

MAMORU

Sure.

MAMORU walks to the kitchen. BANDANA pulls out her cell phone to check her voice mail.

CUT TO:

BANDANA'S POV of the phone. The first message on the list is from JUUBAN HIGH SCHOOL.

CUT TO:

BANDANA. She opens the message. We can see the distress in her face as she listens to the message. MAMORU returns, with a glass of water, waiting for BANDANA to finish on the phone. BANDANA hangs up the phone, almost shaking.

MAMORU

Mom?

BANDANA pulls herself together and turns around to face MAMORU. However, just for a second, she breaks her facade of composure, and just stares at Mamoru.

MAMORU

Mom. . . is everything-?

BANDANA

(forcing a smile)

Yeah! Yeah, I-- was just a little dizzy.

BANDANA takes the water out of MAMORU'S hand. She turns around and walks toward the living room, but then stops.

BANDANA

. . . you should really see what Rei is up to. You've been hanging around with me all afternoon. You need a break.

MAMORU

Uh. . . yeah. Sure. I'll. . . give her a call.

We hear the sound of a ringing phone as we-

CUT TO:

INT, Office of Takashi Hino.

KAIDOU picks up the phone.

KAIDOU

Good afternoon, Takashi Hino's Office.

We cut between KAIDOU and the person on the other end:

REI

(sarcastically upbeat)

Kaidou-kun!

KAIDOU

Rei?

(sighs)

Rei, your father is very busy.

REI

Yeah, no kidding! I mean, Japan's greed ain't gonna blame itself for everything that goes wrong!

KAIDOU

Rei-!

REI

I need the number for commissioner Wakagi's private line. The one that Dad uses whenever he needs to talk with him.

KAIDOU'S freezes.

KAIDOU

Listen. . . Rei, we've all had a. . . very tragic--

REI

Has your wife gotten her gift yet?

KAIDOU is stunned into silence.

REI

Man, a white dress and Casablanca lillies!

(gives Italian fingertip kiss)

Unfortunately, it was accidentally sent to me. . . with my name written on the card. . . along with the words "from your loving father". But, I figured you meant it for your wife, so I sent it over to her-- without the card, of course. I mean, God help you if she ever found out--

KAIDOU

Rei!

(whispering)

Even assuming that this. . . bat phone exists--

REI

Even assuming that you weren't bullshitting in front of the boss' daughter after a long night of sake and karaoke, how would I. . . oh, wait, I guess that's how I'd know about it.

KAIDOU has turned white.

REI

(more sombre)

Kaidou. . . I know that I'm my father's daughter, whether I like it or not. But if it makes you feel any better. . . this is important.

CUT TO:

INT, Mizuno Residence

AMI'S NOTES- printouts, maps, notepaper, ALL covered with handwritten notes- cover most of the surfaces in Ami's room. AMI digests the data she's assembled- we can't possibly take it all in, but we do get some relevant glimpses:

The MAP OF TOKYO- the Location Marks are now divided into three categories (indicated by a legend): Circa 1991 (spread out all over Tokyo), 2014 (forming a loop along the outer edge of The 23 Wards, with a couple of locations running right through the heart of central Tokyo), and Tokyo Big Sight, surrounded by question marks, located conspicuously away from the "2014 loop". Next to the Big Sight marker, we see a LIST OF CAUSES written down, with most of the entries crossed out, for various reasons.

CAUSES

Viral/bacterial? <-- Recovery teams not affected.
Chemical? <-- Ditto, plus no common chemical link.
Radiation? <-- Ditto, plus no form of radiation causes symptoms.
Psychological/Neurological? <-- No common link between victims.

We then HOLD on the last item on the list, as AMI underlines it.

CAUSES

Attack?

CUT TO:

NEXT TIME. . .

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

Previously. . .

We Now Continue. . .

BANDANA

Sometimes a woman just needs to be left alone.

The sound of a BEEPING HEART MONITOR fades in as we-

CUT TO:

INT, Care Room

A CLOSE UP of a hosptial bed. We see what appears to be a nurse walking up and taking the pulse of the person in bed. We PAN UP to reveal that the "nurse" is KAO LING. She's tense, and after a few seconds TEARS begin to stream down her cheeks.

Then, we hear a early-90's era PHONE RINGING.

CUT TO:

INT, Care Room, Continuous

KAO LING standing near a wall, the bulky old phone up against her ear.

CYPRINE(V.O.)

Eudial and Tellu have returned. Tellu's in pretty bad shape. This one's not long for the world. I don't think even a booster shot could help her.

KAO LING

Get Tellu prepped for transmigr-- No. Wait for me. Uh, where are you?

CYPRINE (V.O.)

Entry Bay 3.

KAO LING

Right. I'll be there in a moment.

KAO LING hangs up the phone. . . and notices that her hand is shaking. She tries to open her hand, but it's not moving.

KAO LING

Come on!

KAO LING squeezes her hand and forearm until her hand is able to move again. She turns to look back at the bed.

CUT TO:

KAO LING'S POV. We see the hospital bed, where a SMALL FEMALE FIGURE with black hair is lying, her face covered with an oxygen mask, her arms injected with multiple tubes, connected to about a half-dozen or so medical machines. The bed is surrounded by STUFFED ANIMALS and floating PHOSPHORESCENT ARTWORK in the shape of stars and the moon, hovering in the dark like deep-sea jellyfish, covering the bed in a dreamy glow.

CUT TO:

KAO LING. She stares at the bed for moment, then closes her eyes and VANISHES. All we see now is the open doorway leading into the room. After a couple of second's wait, PTILOL appears in the doorway, staring at the person in bed. . . smiling.

CUT TO:

INT, Entry Bay

CYPRINE waits near the back of the highjacked AMBULANCE. EUDIAL carrys the steaming, hissing ENERGY TANK out of the ambulance and sets it on the ground-- even EUDIAL, for all her strength, seems to have trouble carrying it. Then, out of no-where, KAO LING appears. EUDIAL and CYPRINE turn to her.

KAO LING

(to EUDIAL)

Where is she?

CYRPINE

Tellu's in the-

KAO LING

(sharply, to CYRPINE)

Was I asking you?

CYRPINE shuts up.

KAO LING

Eudial.

EUDIAL

She's in the back. In a stretcher. I've been monitoring her vitals the whole way here.

(beat)

Frankly, it's more than she deserves.

KAO LING

What is that supposed to mean?

EUDIAL

(beat, incredulous)

It means she set us up! Or were you not paying attention--

KAO LING

Watch what you say, Eudial.

EUDIAL

Watch what I say?

KAO LING

This mission was pivotal to our plans-

EUDIAL

And I saved it! While you were sitting here with the twins-

(points to CYPRINE)

- monitoring things, and while Tellu was being fed on by a creature she was too stupid and careless to control, I was ensuring that the energy that creature was harvesting-

(she kicks the tank)

-was being properly stored, and I was capturing our first, genuine new data on Sailor V in over twenty years. . . which would have been right after I was finished fixing the equipment that Tellu sabotaged!

(beat)

She was setting us up, Kao Ling! She's probably the one who messed up my tracking device, and I wouldn't be the least bit surprised if it turned out that Mimete's "disappearance" had something to do with her too!

KAO LING'S taken aback by all this.

EUDIAL

As far as I'm concerned, I was within my rights to just let her die. But that's not my decision, Kao Ling. That's not how we do things.

(beat)

I brought her back here, and kept her alive, so that you could make the call.

KAO LING turns her head back toward the ambulance. . . then toward CYRPINE. She looks at her for a second before turning back to face EUDIAL. . . and in the same movement, she SLAPS EUDIAL with the same hand that was shaking uncontrollably a moment ago. The force is enough to knock EUDIAL to the ground. KAO LING then grabs EUDIAL'S arm with the same hand and pushes to down.

KAO LING

You clearly weren't ready for the responsibilities given to you.

(beat)

Maybe Viluy will do a better job.

KAO LING pulls in closer.

KAO LING

(whispering)

You can thank me later.

KAO LING lets her go. EUDIAL looks first at KAO LING, and then at CYRPINE.

CUT TO:

EUDIAL'S POV. CYRPINE, standing by the ambulance, looks down at EUDIAL.

KAO LING

(to CYRPINE)

Take Tellu to the infirmiry.

CYRPINE flashes a contemptuous smile at the humiliated EUDIAL.

KAO LING

Get a new Tellu ready for transmigration.

CYPRINE walks behind the AMBULANCE as we

CUT TO:

. . . whatever's coming next.

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

Last time. . .

We now continue. . .

CUT TO:

INT, Subway Car

MAKOTO stands in a crowded subway car, dressed in her working clothes. Her cell phone buzzes- she's recieved a text message from SEMPAI'S phone.

SEMPAI'S MESSAGE

(Japanese Equivalent)

i mis u.
im sorry 4 what happened.
we need 2 talk.
u know that store shinjuku MS?
meet me there
plz!

MAKOTO looks at the message, more confused than anything else.

OLD WOMAN

Excuse me?

MAKOTO looks up to see an old woman smiling patronizingly at her.

OLD WOMAN

(talking down to MAKOTO)

We don't use cell phones.

(points to phone)

No cell phones-

(waves her hands in front of her, as if to say "do not do")

-on the train!

(points down)

MAKOTO

Ah!

MAKOTO sheepishly puts the phone away.

MAKOTO

(smiling and bowing politely)

Pardon me.

The woman's smile fades as she listens and realizes Makoto can speak Japanese. MAKOTO bows once more and tries to break eye contact with the woman. After a moment, cell phones all over the train- including MAKOTO'S, start buzzing. Everyone opens up their phones, despite the cultrual taboo (the fact that they're going off at the same time means there might be an emergency). MAKOTO examines her message- the same message everyone else has now received- as we-

CUT TO:

INT, Hospital Waiting Area

USAGI sits in the midst of a dozens of other visitors, friends and family of the vicitims of that day's attack. We watch her for a few moments, waiting, fidgeting, restless. A TV is playing on the back wall, showing news footage of Big Sight, surrounded by dozens of emergency vehicles, pulling out the scores of unconscious people, many of whom are now at that very hospital. Through the crowds and the chaos, Usagi can occasionally catch a glimpse of one of those people, lying in a hospital bed, left out in the hallway.

As if tired of just sitting around, USAGI stands up and weaves her way through the crowds, to-

INT, Hospital Hallway, Continuous

USAGI walks by more beds, some carrying more victims of the attack, others carrying patients forced out of their rooms to make up for the hordes of new victims coming in. Usagi's reaction to all of this is. . . detached, almost as though she were not sure where she was, or if what she's seeing is even real. A patient on a mobile bed is being pushed through the hallway by a pair of doctors, and USAGI is forced to make way. Shorty afterwards, a nurse gently pulls her aside, back toward the lobby.

CUT TO:

INT, Reception,

USAGI tries to address the NURSE RECEPTIONIST- swamped by requests from others, she only barely concentrate on Usagi.

USAGI

I came in here with someone. From Big Sight?

RECEPTIONIST

Name?

USAGI

Serena Mu-- I-I mean. . . I don't remember. I. . . I found her, she was lying in an-

The RECEPTIONIST doesn't even bother to dismiss USAGI before turning her attention to another visitor.

CUT TO

INT, Hospital Hallway

USAGI, DISGUISED AS A NURSE, files her way through the maze of beds. She passes by a couple of open hospital rooms before finally spotting BANDANA, sitting on her bed, facing away from the hallway. USAGI hesitates, and just when it appears she's finally decided to go inside, SAEKO rushes by her.

INT, Hospital Room, Continuous

USAGI peeks inside as SAEKO takes a seat next to BANDANA. Cutting briefly to USAGI'S POV, we see SAEKO put her arm around BANDANA, trying to comfort her.

SAEKO

Are you alright?

BANDANA

I . . . guess.

SAEKO

I mean-

BANDANA

Yeah, I. . . .

SAEKO

I'm sorry, that was a stupid question. I haven't had a chance to read your chart, or talk to the doctor--

BANDANA

It's alright.

USAGI quietly makes her way inside.

BANDANA

Wouldn't tell us anything we don't already know, would-

BANDANA coughs.

SAEKO

Easy, easy.

BANDANA'S coughing settles down.

SAEKO

My God. I can't even. . .

(sighs)

You don't want to know how bad it is. Hosptials eveywhere are being overwhelmed. I'm pretty sure the only reason they haven't kicked you out yet is--

BANDANA

How bad is it?

SAEKO

You don't want to know.

(beat)

Besides, that's not what you need to worry about. Frankly. . . I don't even know what you were doing out there in the first place, in the condition you're in.

BANDANA

And what good would it do me not to go?

(interrupting Saeko)

No, what good would it do me not to go out, see something like this? Just one more time before I . . . ?

(getting worked up)

You can't expect me to just forget. . .

BANDANA can't finish that sentence.

CUT TO:

INT, Waiting Area

AMI sits in the waiting area, waiting for SAEKO. Like USAGI before, she catches glimpses of the victims through the hallway. At first, she looks away in fear. After a moment, though, she forces herself to look at one of the victims. We hold for a second and then-

CUT TO:

INT, Hospital Room.

USAGI pretends to make herself busy as SAEKO and BANDANA continue to talk- as before, their backs are facing away from from us, so we only see what USAGI sees.

SAEKO

(continuous)

-you've fought this for longer than I believed possible. And you've done it your way. . . that alone is impressive enough. But considering that you've been fighting against --

And then SAEKO says it- the special type of cancer Ami mentioned the night before. USAGI reacts to this like she just got punched in the gut.

CUT TO:

INT, Hospital Hallway

AMI is approaching one of the victims lying in a hospital bed. She's clearly afraid to be this close to one of the victims, but she forces herself toward him anyway. When she's close enough, she reaches out for his chart and scans it. Then-

DOCTOR

Hey!

AMI, startled by the doctor's voice, drops the chart. The DOCTOR approaches and picks it up.

DOCTOR

That's a medical chart. That means private!

AMI bows apologetically.

DOCTOR

Do you know him?

AMI shakes her head.

DOCTOR

Then why are you snooping around? And where are your parents?

AMI

The lobby.

DOCTOR

Get back there, then!

AMI bows and walks off.

DOCTOR

And don't let me catch you back out here!

CUT TO:

INT, Waiting Area

AMI is standing near a wall, writing down all the medical data that she can remember into her notebook.

SAEKO (V.O.)

You can't win.

CUT TO:

INT, Hospital Room, Continuous

SAEKO

Not like this.

BANDANA

How, then?

SAEKO

I've been making progress. I've been recieving consultation from one of my colleagues. My old mentor, actually. The man's a genius--

BANDANA

Yeah, and you were a genius too, Saeko. For all the good that did me.

SAEKO

(stinging a bit from that)

We've. . . been making some breakthroughs. The-

-- and the conversation devolves into oncology-babble which Usagi has no hope of understanding, whether in Japanese or English.

BANDANA

And if all that goes nowhere?

SAEKO

We can't start thinking about that--

BANDANA

Why not?

Pause.

SAEKO

Have you told your son yet? Have you arranged for him to be cared for?

BANDANA

(beat)

I'm working on it.

SAEKO

I. . . assume your finances are all--

And then BANDANA breaks down, weeping. USAGI, overwhelmed by all she has seen and heard, walks out.

CUT TO:

INT, Hallway, Continuous. USAGI shoves her way through the hall, removing her disguise without any thought of anyone seeing her. After a moment of pushing her way past people, someone shoves into her with more force than the others- it's MAMORU. After giving her a confused look for a moment, he continues on in the direction USAGI came from, while USAGI turns the corner and makes her way to the lobby. For a moment, we watch MAMORU as he makes his down the hall and, then, enters one of the rooms-- BANDANA'S room.

CUT TO:

INT, Lobby

AMI leans against the wall. After a second, she spots USAGI walking by.

AMI

(to herself)

Usagi?

(pause, and then calls out,waving)

Usagi!

USAGI looks briefly toward AMI. . . and then, catching sight of her, breaks eye contact immediately.

AMI

Usagi! Usagi!

USAGI ignores her. AMI'S hand lowers. . . she confused, and a little hurt.

CUT TO:

INT, Hallway

MAMORU exits BANDANA'S hospital room.

MAMORU

(to BANDANA)

You're sure that's the girl?

(SAEKO responds)

Yeah, just a second. I'll be back!

MAMORU forces his way through the crowd, until gets a clear view of the lobby. We PAN toward the lobby to see USAGI standing in the elevator, facing away from us, just as the elevator door closes. We PAN back to MAMORU. . . he remembers this.

CUT TO:

INT, Elevator

Yet another elevator. USAGI and two doctors ride the elevator down. The elevator stops and the two doctors get off. USAGI is alone. After a second, USAGI POUNDS on the side of the elevator and closes her eyes.

Then, silence.

Then, the faint sounds of the elevator grow louder-- her breathing, the elevator motor, the dinging of the floor indicator. Floor three. . . USAGI takes a deep breath. Something's wrong. Someone should have come on to the elevator by now, with the hospital as busy as it is.

Two. . . Usagi opens her eyes. WE CUT TO:

USAGI'S POV. The elevator door, standing before her like a monolith. One. . the final bing. USAGI takes another breath as the door opens. At that moment, we see MARIE'S HAND RUSH IN and FORCE THE ELEVATOR DOOR OPEN. The DOOR OPENS to reveal MARIE'S evil, possessed, twisted smile and warped face.

CUT TO:

Close up of USAGI. USAGI instinctively backs up against the wall.

MAMORU

Hey!

CUT TO:

USAGI'S POV. MAMORU, not MARIE, is standing at the elevator door.

MAMORU

Ah, good! I caught you!

CUT TO:

USAGI and MAMORU, in the elevator. USAGI is still in shock.

MAMORU

(realizing his mistake)

Oh!. . . I'm sorry about that, I just-

Some more people try to make their way past MAMORU onto the elevator.

MAMORU

(to people boarding elevator)

Excuse me. . . pardon me.

(to USAGI, still inside elevator)

This. . . is your floor, isn't it?

CUT TO:

INT, Main Lobby, Continuous.

USAGI shoves her way past MAMORU and head to the exit.

MAMORU

Hey, whoa!

USAGI heads to the exit. MAMORU tries to follow.

MAMORU

Hey, wait a sec-!

MAMORU tries to grab USAGI'S arm, but she pulls away, turning to FACE MAMORU as she does so.

USAGI

(angrily)

Don't touch me!

MAMORU

I'm sorry! I-I was just trying to catch you-

USAGI

Why?

MAMORU

To thank you!

Pause.

USAGI

What?

MAMORU

You. . . found a woman in an alley today, right? Thirty-seven years old?

USAGI waits to see where he's going with this.

MAMORU

She's. . . my mother.

Pause.

USAGI

(incredulous)

Bullshit.

MAMORU

No, I'm serious!

(beat)

And I wanted to thank you. . . . and maybe, uh, get your name?

USAGI

Serena.

MAMORU

Se-ri-na.

(beat)

Great!

(beat)

Oh, I'm Mamoru. Chiba Mamoru.

USAGI

(bowing, just to be polie)

Hajimemashite.

MAMORU

Hajimemashite.

(beat, then smiles)

Well, thanks to you, it looks like Mom's gonna be alright! You got to her just in time.

USAGI'S confused by that last statement.

MAMORU

Yeah. Well, she'll need to rest, but it looks like she'll be ready to come home tonight!

USAGI hesitates. . . does Mamoru even know what's really going on?

USAGI

Wait, wait. . . are you sure-?

At that moment, the elevator bings behind them. A few people (out of focus) get off the elevator, and then USAGI spots the frail figure of BANDANA. MAMORU turns around.

MAMORU

Aw, dammit!

MAMORU walks over to the elevator blocking out view of BANDANA.

MAMORU

Mom, you shouldn't have come down here.

The two begin to argue inaudibly. USAGI waits for a moment, and then decides to leave. We pull toward MAMORU and BANDANA, with MAMORU continuing to block our view of BANDANA. We CLOSE on MAMORU.

MAMORU

Okay? We'l go back upstairs and-- wait, let me just introduce you to-

MAMORU turns around and realizes USAGI is gone.

MAMORU

What the- aw, dammit! Listen just give me a minute and I'll--

BANDANA(O.S.)

Mamo-kun! It's okay.

We PAN toward BANDANA, and we finally get a good look at her. While she may be thirty-seven according to Mamoru, she looks quite a bit older, mainly due to how thin she has become. She's still attractive though, and was likely beautiful when she was younger. Most importantly, despite her age, she still looks very, VERY familiar:


BANDANA

Sometimes a woman just needs to be left alone.

To be continued. . .

Insert Your Own Witty David Lynch Reference!

Will I end up having to do massive rewrites to this piece too? Hopefully not. Enjoy!

Previously. . .

We now return. . .

CUT TO:

INT, Juuban High School, Classroom

MAMORU sits in class, taking some rather crude handwritten notes (a result of his old injuries), while a teacher drones on at the front of the classroom. After a moment, his mobile phone starts buzzing. Confused, Mamoru pulls out the phone and examines it-- REI has left a text message.

REI'S MESSAGE

Meet me at the front door. Now!

CUT TO:

INT, Juuban High School, Hallway

MAMORU quietly sneaks out the classroom door and starts walking to the front, keeping an eye out for anyone who might spot him. Then, just as he comes to a junction in the hallway, he sees a school official come out a door further down the hall. Instinctively, he walks down the side hallway. As he walks down the side hall, he peeks over his shoulder to make sure he isn't being followed. He makes his way further down, and then notices something. . . odd, about this hallway. It seems somehow more upscale and modern than the hallway he was walking down earlier, with a massive glass door at its far end, from which Mamoru can just barely make out the outlines of parked cars and motorcycles, seemingly shrouded in darkness. Mamoru slows down apprehensively. After a moment, he hears a binging sound from behind him. Turning around, he sees an elevator in the distance- one that wasn't there before- just as its doors are closing. He's just able to make out a FEMALE FIGURE, whose back is turned to MAMORU. As Mamoru examines the elevator, a CAR suddenly smashes through the glass doorway at the end of the hall, barreling down the hallway at around ninety miles an hour. MAMORU is only just able to turn around before the car SMASHES into him, and we-

CUT TO:

EXT, Cliffside, MOONLIT NIGHT - Continuous

The car- and MAMORU- smash past a barricade and fall a hundred feet down a cliff side, smashing into the rocky seaside below.

CUT TO:

EXT, Seaside Rocks, NIGHT

MAMORU is alive, but pinned underneath a the car. He tries in vain to push the car off. The car then CATCHES FIRE, and Mamoru tries ever more desperately to set himself free. Then, just as it seems he is about to be engulfed in flames, the CAR LIFTS UP just enough for MAMORU to free himself and crawl away from the wreckage. Once MAMORU is far enough away from the heat of the flames, he looks back at the car. The interior is engulfed in flames- he can't make out who was inside, which is probably for the better. Just next to the car, barely illuminated by the flickering flames, he can just make out a vague female figure. The figure walks a bit closer to Mamoru- while we can't make out any of her features, we can tell that she is gigantic- easily twice as tall as six-foot MAMORU. The GIANT WOMAN walks closer to Mamoru- from the shot, the audience will only be able to see her bare legs. MAMORU stares at this GIANT WOMAN for a moment before her hand reaches down and hands him something-- a CORDLESS PHONE.

MAMORU takes the phone and puts it to his ear- the camera slowly tracks until MAMORU is in the foreground and the flaming car and GIANT WOMAN are in the background, out of focus.

MAMORU

Hello. . . Yes, this is he. . . .

(MAMORU reacts to whatever it is he hears on the other end with shock)

But. . . . No, I-I wasn't. . . . She never told me. . . . I mean, I. . . I knew, I had my. . . .

At this point, the unfocuessed image of the GIANT WOMAN appears to catch on fire.

MAMORU

I know she. . . . you think I don't know that?! You think I haven't tried to help?! What do you think I've been doing all this time? You don't have any idea-!

The GIANT WOMAN, still out of focus, is now fully alight, like an effigy. MAMORU then hears something at the other end of the phone that makes him go white.

MAMORU

What did you call me?

MAMORU then turns around to face the WOMAN- but she's gone. The WOMAN, the phone, the car, and the rocks- all gone. MAMORU is surrounded by pitch black. Then, he spots something hovering in front of him- a dully glowing, purple SHARD OF CRYSTAL, what looks like a piece of a much larger jewel. MAMORU admires it, as if he were looking for this his entire life, and has finally found it. MAMORU slowly reaches out for the shard, which grows brighter and brighter as his hand approaches. Brighter and brighter, until-

PRINCIPAL

Chiba-san!

CUT TO:

INT, Juuban High School Hallway

MAMORU snaps awake. He's standing in the middle of the hallway, his hand outstretched. He is surrounded by people, including some teachers, the school PRINCIPAL, and a couple of students, including MOTOKI, who's leaning against a wall, his nose bleeding.

PRINCIPAL

Chiba-san. . . Mamoru. Can you hear me?

MAMORU takes a look around, confused. He spots MOTOKI, cradling his bloody nose.

MAMORU

Motoki?

MOTOKI

(trying to calm Mamoru)

It's alright, Mamoru.

MAMORU

(afraid)

What's happening?

MOTOKI

You just had another fit, but you're alright now.

MAMORU

Another. . .

(looks at MOTOKI'S injury)

Did I-- ?

MOTOKI

It's okay.

MAMORU

Motoki, I'm--

MOTOKI

It's okay. It'll heal. I can show it off to the ladies. You've. . .

(hesitates)

You've done me a favor, buddy.

MAMORU looks on in horror as we-

CUT TO:

INT, Juuban High School, Office

MAMORU and the PRINCIPAL sit in the office. A RECEPTIONIST stands at the door.

RECEPTIONIST

We still haven't reached his guardian. We'll keep trying.

PRINCIPAL

Thank you.

The RECEPTIONIST bows and leaves.

PRINCIPAL

I've been told you had fits like this before.

MAMORU

(distant)

Yeah. . . in junior high. About a year or so after I came out of my coma.

(beat)

What happened? I mean, what was I doing?

PRINCIPAL

I didn't see all of it. From what I've been told, you. . . walked out of class. . . your teacher, and Motoki, spotted you and tried to speak to you, but you wouldn't respond, so Motoki came up and touched your shoulder. . . just to get your attention.

MAMORU

That's when I. . .

The PRINCIPAL nods.

PRINCIPAL

And not just him. You waved your arms around, slammed yourself against a locker, threw yourself against the floor. . . that, I saw. Unfortunately. Then it seemed like you were calming down, but then you started. . . babbling. "You think I don't know. . ." and "What do you think I've been doing. . ." and. . .

(sighs)

Then you stood up, reached out your hand. . . and woke up.

MAMORU is horrified.

PRINCIPAL

Mamoru. . . I can't risk something like this happening again. I'm going to talk to your guardian about suspending you- temporarily. You'll just be on medical leave.

(beat)

I'm also going to recommend that she consider placing you in a special facility--

MAMORU

What?

PRINCIPAL

Chiba-san-!

MAMORU

This happens once, and you're gonna throw me in a psych-!

PRINCIPAL

You've already gotten someone hurt! I can't take the-!

The RECEPTIONIST enters, carrying a CORDLESS PHONE.

RECEPTIONIST

Excuse me?

PRINCIPAL

Yes?

MAMORU

I can't believe this!

RECEPTIONIST

Chiba-san, it's for you.

The RECEPTIONIST holds the phone out for MAMORU. MAMORU stares at the phone. . . somehow, he knows what he's going to hear. Rather than pick up the phone, MAMORU stands up and runs out of the office.

PRINCIPAL

Chiba-san!

To be continued. . .

More First Draft Badness!

If I wrote the Sailor Mo- Pretty Girl Aweso- Sailor Moon Movie #23: Yeah, It's Still a Sailor Moon Movie

UPDATE: I've made few changes to this part of the script, mostly to the first dialogue between Ami and Tomoe. The flow of the dialogue wasn't quite right, and the ideas I was trying to develop didn't connect to each other, or to what happened in previous parts of the script, in the way that I had hoped they would. I guess that shows me for trying to get a new piece of the screenplay posted on the same day I start writing it. Which is not to say I'll stop doing that.

All revisions will be marked in bold.

Last Time. . .

We now continue. . .

AMI (V.O.)

I'm gonna lose.

CUT TO:

INT, Tomoe's Office.

TOMOE and AMI are playing a game of chess. It's Ami's move.

AMI

If I move the knight, you have me in three moves. I move the rook, you have me in four.

TOMOE

That sounds about right.

AMI moves to tip her king, but TOMOE stops her.

TOMOE

You're not giving up that easily are you?

(beat)

You could still beat me, you know.

Pause.

TOMOE

. . .but you won't.

AMI tips over the king.

TOMOE

(sighs)

I guess that's one way to guarantee the outcome of things.

AMI

I suppose.

TOMOE

You suppose?

(beat)

Ami, I wasn't asking for you to agree with me.

Pause.

TOMOE

Do you like chess?

(barely a beat)

Of course you don't. You're not very good at it.

AMI looks up.

TOMOE

That's what you'd say, isn't it? If you were asked why you don't like it? Why someone as intelligent-no, as obviously and stereotypically intellectual as you, doesn't enjoy playing the definitive game of the intellectual class?

(beat, then shrugs)

"I'm not very good."

(Pause)

Now, this might be a calculated display of humility, in which case you're a liar.

AMI looks down, shamed by Tomoe's insult, and how casually he delivers it.

TOMOE

But somehow, I don't think that's it. I think you really do believe it. Not because you are bad at the game- you're not- but because you know you're playing at a level far below what you know you're capable of. . . even in no-one else does.

(beat, with slight contempt)

And you're alright with that.

Pause, to let it sink in.

TOMOE

In either event, you are . . . thoroughly Japanese.

AMI keeps her head down. TOMOE stands her king back up.

TOMOE

I wasn't playing with you to see if you could win. I playing to see if you wanted to win. I was playing to see more of the little girl I saw a moment ago, defending her mother when she knew she was being insulted.

(beat)

Look at me, Ami.

AMI doesn't move.

TOMOE

I know you're angry with me, Ami.

Tense pause.

TOMOE

(sighs)

Ami. . . you're a child, so you may not understand this. When you grow old, the world. . . grows old with you. Colors and sounds fade, the edges of things start to blur and blend into each other. Memories are . . . washed away, leaving only this shade of familiarity cast over everything. When you get to be that old, the idea dying, of losing of that world. . . doesn't seem as tragic as it once was.

AMI looks up, unsure of where Tomoe is going with this.

TOMOE

You're right. This isn't my office. My name is on the building, but beyond a few board meetings, I really have nothing to do with this place anymore. And that's how it should be. It's my time to let go.

AMI

(understanding)

The world feels old to me too, sometimes.

TOMOE

She speaks!

(beat)

And unfortunately, that's what she has to say.

Pause.

TOMOE

Ami, it's not the world that feels old. It's your world, the little subterranean bomb shelter you built up around youself. . . that's what feels old. I'm allowed to cast this world aside if I feel like, Ami. You're not. For you. . . for every student here. . . the world is young.

Pause. Those last words seem to resonate for Tomoe, for reasons we aren't quite aware of yet.

TOMOE

You know. . . I've given the odd lecture here and there, but it's ages since anyone has seen me actually walk the halls of my own school.

(beat)

Let's surprise them.

CUT TO:

INT, Reception- Continuous.

AMI and TOMOE leave the office. SAEKO is dozing off in her chair. AMI is about to wake her, but TOMOE stops her, and the two head to the elevator.

TOMOE (V.O.)

You remember the admission requirements for Mugen Gakuen, right?

AMI(V.O.)

140 IQ or higher on the Stanford Binet, or demonstrated prodigious ability in art, music, lierature-

CUT TO:

INT, Elevator.

TOMOE and AMI, on the way down.

TOMOE

Right, right. And?

AMI

(thinks for a second)

Japanese citizenship?

TOMOE

Bingo.

CUT TO:

INT, Lobby, Continuous.

TOMOE and AMI exit the elevator.

TOMOE

We could have admitted students from the U.S., China, Europe. . . but that wouldn't solve anything. Japan is an elite society where no-one is allowed to be elite. This school aims to change that.

TOMOE spots a plant by a wall that looks almost like a mandrake.

TOMOE

Take this, for instance.

(points to the plant)

Recognize it?

AMI

It's a mandrake, isn't-

TOMOE

Mandragora Telunorum. One of our star pupils developed the genome for this plant while she was studying here. She patented it, bred it, sold it to florists the world over, and got rich. She still donates a percentage of the profits to the academy.

AMI and TOMOE walk past the plants.

CUT TO:

INT, Hallway, Continuous.

AMI and TOMOE walk down a hallway. The highly decorated walls serve as sort a museum of Tomoe, with a timeline of Tomoe's life (beginning circa 1920), photos, and videos narrating the life story of Tomoe. Despite his age, TOMOE walks down the at a fairly brisk pace.

TOMOE

It's just down the hall.

AMI looks at some of the pictures. She sees a photograph of TOMOE, his wife, and his four-year old daughter HOTARU, dating from the fourties.

TOMOE

There's someone I want you to see.

AMI walks past a TV screen, playing a biographical documentary of Tomoe on a loop. As she passes, the TV displays a picture of Tomoe in a WWII era field medic uniform. Something about the picture seems. . . off.

CUT TO:

INT, Reception in front of TOMOE's Office

SAEKO wakes up to the sound of her pager. Groggily, she reads the pager. . . and her eyes widen.

CUT TO:

INT, Performance Hall

A full orchestra is in the midst of a rehearsal for The Lark Ascending. TOMOE and AMI sit at the back of the hall as the orchestra blares away. A violinist, MICHIRU, takes to the front of the stage.

TOMOE

That's Michiru Kaiou.

MICHIRU begins to play an incredible rendition of the composition's violin piece, with the orchestra accompanying her. AMI'S impressed.

TOMOE

We were only just able to snatch her away from Julliard.

A young woman, YUI, approaches the two.

AMI

It's beautiful.

YUI

Sensei.

AMI and TOMOE turn to YUI, and we see her for the first time. . . and boy, does she not look familiar?


TOMOE

Ah! Yui! I was going to come looking for you!

YUI

I've been trying to reach you for the last ten minutes.

(glances at AMI, trying to hide a sense of urgency)

There's something that we need to dis-

TOMOE

Yui! Let me introduce you to Ami Mizuno.

YUI looks AMI over. She really wants to talk about something else, but she'll oblige the good doctor.

YUI

Nice to meet you Ami.

TOMOE

Ami, this is Yui Bidou, the best and birghtest in an academy of the best and brightest.

AMI

Nice to meet you.

(beat)

Are you. . . the one who pantented Mandragora Telunorum?

YUI

(pause- almost insulted)

No. . . I'm not.

(to TOMOE)

Sensei, we really need-

TOMOE

(to AMI)

Yui is the head instructor of the academy's science department. She's done groundbreaking work in nanotech, ultracold physics-

(absent-mindedly)

Say, maybe you should show Ami the collider while we're here!

YUI'S normally cold, calm eyes widen at the word "collider".

YUI

(unsure how to respond)

Uh, Sensei. . .

TOMOE

(catching himself)

Ah! Of course, of course. . . but sometime Yui really should show you some of the facilities we have at this academy. I think you'll be amaz-

At that moment, SAEKO walks in.

SAEKO

Ami!

TOMOE

Saeko!

(shh-es, and points to orchestra)

Rehearsal!

SAEKO gives a quick bow of apology.

TOMOE

I'm sorry, Saeko. I wanted to give Ami a tour. I was hoping we'd be back before-

SAEKO

That's alright, Sensei.

(to AMI)

Ami, we have to go.

(urgently)

Now.

TOMOE looks between SAEKO and YUI. YUI gestures impatiently at TOMOE.

TOMOE

Saeko, you're timing couldn't be better!

AMI gets up to leave, but TOMOE stops her.

TOMOE

Before you go, Ami, I want you to think about something.

(draws her closer)

I'm sure that ever since you've been first identified as a prodigy, you've had people telling you that you that you must put your intellect to use for the better of society, or the nation, or whatever.

AMI unconsciously glances at SAEKO.

TOMOE

I believe that. You do have an obligation to society.

(beat)

I also believe that no-one could better know how to best put your gifts to use. . . than you.

AMI walks toward SAEKO.

TOMOE

Ami?

AMI turns around.

TOMOE

We can't register you until the fall, Ami. But you can visit anytime you like. I'm sure Yui would be happy to show you around.

YUI forces a smile.

YUI

Of course.

AMI and SAEKO walk off.

To be continued soon.

What a way to spend a birthday. . .

Well. . . I'm 28 now. I know that by any objective standard, I'm still a young man, but. . . I guess I'm starting to feel old. For one thing, I don't like modern pop music, and only know about its various more popular figures (Lady Gaga, Kanye West, Taylor Swift) from other people talking about them. . . hell, the only reason I know about the latter two is because of that thing they were involved in that all the influential media people wanted us to believe was a big deal.

(Hey, at least I still hate The Man. . . that makes me young, right? Right? No no, I don't wanna hear about decrepit hippies. My hatred of institutions stems from the fires of youth and nothing else!)

Another thing that makes me feel old? As of this coming July, I'm a college instructor. I've been hired to teach Physics 115, which is basically Physics 12, but more. . . University-y. This means that I'll be serving as the wizened mentor to a bunch of 18-year olds who will end up hating me because I'm now The Man and every young person hates The Man!

I'm. . . The Man?

Oh God.

Seriously, though, teaching Physics 115 is a great opportunity. I've already started writing down a draft version of my notes. In a lot of ways, teaching physics properly is a lot like writing a story. Okay, it's a little like writing a story. Still, I'm treating the notes to Phys 115 like my first novel.

And speaking of stories. . .

I'm at an impasse as far as Sailor Moon is concerned. When I started this whole screenplay idea, I like the idea of taking a revisionist approach to Sailor Moon. Since then, my "revisionism" has taken on a life of its own, to the point that. . .well, maybe I really should just stop calling it Sailor Moon. Maybe I should just start approaching this not as an adaptation but as an original creation that pays obvious tribute to old-school shojo, particularly Sailor Moon.

Maybe I should start calling it Pretty Girl Awesome.

I like it. Catchy, dumb, and reminiscent of shojo titles like Cutey Honey, Pretty Cure and, of course, Pretty Guardian/Pretty Girl Soldier Sailor Moon.

But if I do start treating this more like an original creation (like I should have been anyway. . .) that means I may not be able to keep posting, lest I give too much away. I'll have to think more about that. In any event, it's out there, for anyone who cares.

But wait, you're wondering, what does the title of this blog post have to do with anything you've just written?

Yesterday I invigilated the final exam for Physics 150, the course I've been marking this past semester. University regulations require that I get the exam marked within 72 hours of the invigilation, which means that I have to spend my birthday, and weekend, marking exams.

So, yeah. . . see title.

But, hey, Katsudon! And Source Code! And maybe new socks!

Things are suddenly looking up!

Talk about bad timing

The Japan Times reports that Keiko Kitagawa, PGSM's former Sailor Mars actress, is taking part in the anti-government protests in the middle east.

Okay, she's not. That was the April Fool's Day prank idea that crossed my mind this morning.

I think it could have worked, if I had more time to properly write it up. However, as it's already 11 o'clock and something like this would take a great deal of research and editing to get right, I decided to just leave you with the pitch. Maybe next year I'll plan something on the same scale as last year's DC Comics to Release Sailor Moon Comic post.