Last Time. . .
We Now Continue.
CUT TO:
INT, Makoto's Apartment
A close up of a plate of sushi. It looks delicious, and yet USAGI, the person eating it, can only manage to push the sushi around with her chopsticks.
We cut to a close-up of USAGI, alone in the dining room of Makoto's apartment.
MAKOTO(O.S.)
How is it?
USAGI
(turning toward Makoto)
It's great. . .
USAGI turns back to the food, prodding it some more with her chopsticks.
USAGI
Are you sure you're not hungry?
CUT TO:
Continuous-- The next room. We see MAKOTO looking over a stack of bills, more than a few overdue.
MAKOTO
No, I'm good.
From outside, we hear SIRENS. Makoto, nervous, walks over to the window and peeks outside. The sirens grow louder. . . and then quiter again. Makoto, relieved, turns around, only to see USAGI standing at the entrance to the room.
USAGI
I keep thinking it's the last one, but then. . .
MAKOTO
Yeah. . . I know the feeling. It never quite ends.
MAKOTO walks back to the bills.
USAGI
What do you think they're doing? I thought it was all over. That they found everyone.
MAKOTO
Usagi, given how these things go, they're not even close to finished. They're still looking for other bodies. The two hundred or so they found are just--
USAGI starts to cringe.
MAKOTO
Not. . . bodies. They're not dead. It just. . . slipped out.
(beat)
Listen, do yourself a favor. Don't fixate. You're still alive, I'm still--
(catches her self)
Jesus, I mean. . . just don't.
USAGI nods, doubtfully.
MAKOTO
You done eating?
USAGI
Yeah. It was nice, but I thought I'd save it for tomorrow.
MAKOTO
I've got a bit of homework to do. Make yourself at home. There's TV and PS2 in the living room.
(points to living room)
I can set up a bed, should you decide to crash.
CUT TO:
Living Room. Usagi is looking around. The apartment is messy, in the way you'd expect from a college dorm room-- disorganized, but functional. Looking around, Usagi sees PHOTOS of Makoto with her parents (Makoto is never older than ten or eleven years old in the photos) , a few trinkets from Northern Japan. Usagi gives a slight smile, one of the first we've seen from her since Big Sight. There's something about the place. . .
CUT TO:
Makoto, doing financial calculations. She's done the same calculation three times now. The results are the same each time, and they're not good. Makoto sighs and closes her eyes.
CUT TO:
USAGI, looking out the window. In the distance, we see the Tokyo Sky Tree. Usagi is immediately interrupted by MAKOTO.
MAKOTO
Beautiful, huh?
USAGI
(turning briefly to Makoto)
Yeah.
MAKOTO
This place had such a lousy view when we first bought it. Then they built the Sky Tree, right smack between those two buildings.
USAGI
I would love to live here.
MAKOTO
You--
(pause)
Really?
USAGI
No, I just mean. . . I dunno.
(beat)
It's new.
USAGI moves back to the pictures.
MAKOTO
"New."
USAGI
It's. . . Romantic. I guess.
MAKOTO
Ah.
USAGI
I wouldn't mind having a place like this when I move out.
MAKOTO
When you move out? You mean you haven't already?
USAGI turns around, shocked, only now realizing what she's said.
MAKOTO
(raises her hands)
Never mind. Forget I asked.
USAGI sighs, relieved.
USAGI
(trying to change the subject)
So. . . are your parents on vacation or something? I mean, I'd hate to think they're still out--
MAKOTO
My parents died a few years ago in a plane crash.
USAGI
(taken aback)
Oh. . .
MAKOTO
I'm sorry, if that seemed abrupt. It's just that I always felt better if I. . . said it. No tiptoe-ing.
(beats)
Beats worrying, at least.
USAGI
Probably. . .
MAKOTO sits down on the couch and turns on the TV. Every even numbered channel is blocked, while every odd numbered channel up to thirteen is playing news on the attack.
MAKOTO
And nothing's on.
We CUT TO a close up of the TV, seeing it turn off. Immediately, we then
CUT TO:
USAGI choking MAKOTO, much like she was choking BULLY earlier. MAKOTO grabs USAGI'S choking arms and twists it slightly, forcing her to let go.
USAGI
Ow!
MAKOTO lets go.
USAGI
Man, that does work!
MAKOTO
No kidding. It's a good thing you weren't fighting someone who knows what they're doing. Okay, now you try.
MAKOTO comes round behind USAGI and wraps her arm around USAGI'S neck, gently. USAGI waits for a cue from MAKOTO.
MAKOTO
What? Am I not chocking you hard enough?
MAKOTO tightens her grip. USAGI gets the point and tries applying the same move MAKOTO used. It's not working.
MAKOTO
No, no. Little bit further down, twisting up a bit more.
USAGI tries, but she can't quite do it.
MAKOTO
Okay. . . just elbow me.
USAGI elbows MAKOTO.
No, not there.
Usagi tries again. It's still not working. She tries again and again, harder and harder, almost to the point of desperation. MAKOTO lets go.
MAKOTO
Usagi! Usagi! It's okay! We'll try something simpler. Turn around.
USAGI turns around.
MAKOTO
Punch me.
USAGI gives the lamest girl-punch known to man. MAKOTO easily bats it to the side, simultaneously shifting her upper body to the other side.
USAGI
(frustrated)
. . . and?
MAKOTO
Now you.
Just as Usagi processes this, MAKOTO'S fist flies toward USAGI. USAGI instinctively backs off, nearly tripping over herself before MAKOTO pulls her up by her blouse collar.
MAKOTO
Dammit, Usagi! I said "now you"! Bat it outta the way!
MAKOTO jabs again, a little more slowly this time. USAGI does what Makoto asked her to, batting the fist to her left while shifting to the right. It works.
MAKOTO
Neat, huh? My hand instictively follows where-ever you guide it. Up to a point, anyway.
USAGI
No way. You're faking it.
MAKOTO jabs again, deliberately stopping short of USAGI'S nose. USAGI flinches, but doesn't bat it away.
MAKOTO
Come on!
MAKOTO punches, and USAGI bats the fist away. And again. MAKOTO punches with more force, but USAGI still manages to bat and dodge, to her own surprise. The two really start to get into it-- you'd almost think they were really fighting. USAGI'S actually beginning to get freaked out but all of this, but manages to keep batting MAKOTO'S fists away. Then, USAGI actually GRABS MAKOTO'S forearm, using Makoto's own momentum to pull her forward. MAKOTO briefly loses balance, but recovers. USAGI, a little afraid that she's pissed off MAKOTO, lets her go.
MAKOTO
What-? Why did you let go?!
MAKOTO punches again. USAGI bats the first away.
MAKOTO
C'mon, Usagi! Grab it!
MAKOTO punches again, but USAGI just blocks. USAGI'S no longer into it. MAKOTO lowers her fists.
MAKOTO
Usagi. . . You wanna tell me why you're not going home?
USAGI
You said you wouldn't ask.
MAKOTO
(sighs)
You're right. I lied.
USAGI lowers her gaze, not saying a word.
MAKOTO
Alright. Maybe we should go to bed. You can. . . I guess you can sleep in my room.
(beat)
I'll sleep in my parents' old bed.
MAKOTO walks off. We hold for a moment on USAGI, the outside window in the background. USAGI stands for a moment. We CLOSE IN on the window. . . on Tokyo Sky Tree. . . and then
CUT TO:
Next Time.
Saturday, May 21, 2011
Wednesday, May 18, 2011
They Said the F-word in the Manga Too, Y'know.
Last Time. . .
We now continue.
CUT TO:
EXT, Ginza Sidewalk, NIGHT
Close-up on a woman's right hand plam. A slightly wrinkled fingers runs down the lines of the palm.
FORTUNETELLER
Ah! Yes. . . I can see it. This line, here. It indicates wealth.
CUT TO:
A two shot of REI (who, it should be noted, is still wearing her ultra-preppy school uniform) and a rather cheap looking GINZA FORTUNETELLER, maybe in her late fourties. Rei is not impressed.
FORTUNETELLER
Yes. . . Yes. Wealth and good fortune. You're going to be very fortunate in life.
REI
(partonizing)
Ah!
FORTUNETELLER
And romance!
The FORTUNETELLER runs her finger down another one of REI'S lines.
FORTUNETELLER
A single line! That means that true love awaits you!
CUT TO:
The FORTUNETELLER'S POV. We can see MAMORU pretty plainly standing behind REI, near a shop window.
REI
True love. . .
FORTUNETELLER
Yes. This line, here, the one that runs down like this. This line. . .
The sound fades out.
We CUT TO:
INT, Hino Residence
A FLASHBACK. Rei (looking a little bit younger) is standing in front of her father, whose back is turned from the camera. Her father is giving Rei instructions (none of which we can hear), while Rei nods nervously.
CUT TO:
The front door. It opens to reveal a slightly younger looking Mamoru, dressed up for his first date with Rei. He's holding a rose in his hand.
MAMORU
(smiling, enthusiastic)
Good evening!
He bows.
MAMORU
This is for you.
MAMORU hands the rose to REI. We cut to REI'S reaction. She forces a smile, takes the rose, and bows.
CUT TO:
EXT, Park, Day
MAMORU and REI, having their first date in the middle of a park. They both appear to be enjoying themselves, with REI smiling and laughing enthusiastically, to the point of being almost overbearing. Mamoru, however, takes it in stride.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Your heart heart line is long, and curves up, like this, see?
REI nods.
FORTUNETELLER
This means you're a romantic at heart.
CUT TO:
INT, Hino Residence
FLASHBACK. REI is forcefully MAKING OUT with MAMORU. REI'S doing all the work-- MAMORU is just sitting there, trying to enjoy himself. Then, REI pulls away. She takes a deep breath (as if to prepare herself for something unpleasant), and then takes off her shirt (she's still wearing a bra, though). After a moment of hesitation, REI starts kissing MAMORU again. Forcefully. MAMORU is no longer enjoying himself.
CUT TO:
The door to Rei's room. MAMORU walks out of the room, bows, and closes the door. Whatever confidence he may have shown earlier is now gone. As he walks away, REI opens the door (still with no shirt on) and watches, confused, as MAMORU leaves.
CUT TO:
Another date. REI and MAMORU are paddling along a pond. Rei forces a smile, but is gradually fades. The two look a slightly uncomfortable, Mamoru esspecially.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Romance is something special, particularly for someone like you. There's one man who will come along, one man only. You two will have something unique, something that you need to hold on to.
CUT TO:
Continuous- Mamoru, looking inside the store window. He see a bunch of JEWELS on display.
FORTUNETELLER
Something that will never come again.
We hold on the JEWELS.
MAMORU(V.O.)
So. . . how was it?
CUT TO:
REI and MAMORU walking down the sidewalk, the lights of Ginza illuminating the night sky.
REI
You were there, Mamoru. You heard everything.
MAMORU
Yes. And?
REI
(sighs, then sarcastic)
It was amazing. It was like she knew me my whole session.
MAMORU
Ah. . . .Were you really surprised?
REI
What does that mean?
MAMORU
It means you do. . . that for a living.
REI
No, Mamoru. I do not do that for a living. That. . .
(sighs)
Never mind.
Pause.
MAMORU
So what comes next?
REI
I don't know. You wanted to come out tonight.
MAMORU
My mom wanted me to go out tonight.
REI
I am amazed you can say that without even a hint of shame.
MAMORU
I wasn't asking about the date.
(beat)
What I meant was. . . what are you gonna do next?
(beat)
I mean, you already called the commissioner--
REI
Mamoru--
MAMORU
You called the commissioner of the Tokyo Metropolitan Police in the middle of our dinner. It was gonna come up.
(beat)
So what happens next?
REI
Nothing. It was idiotic. I thought I would get some answers.
MAMORU
To what?
REI
You were there, Mamoru. You heard my half of the conversation.
MAMORU
So you didn't learn anything?
REI
(hesitates)
No. Nothing at all.
Pause.
MAMORU
Man, if I knew you had a line to the police commissioner--
REI
You'd what?
MAMORU stops-- he realizes he's said a little too much.
MAMORU
Uh. . . What I mean is, my mom. . . she hates cops. I just find this whole thing. . . ironic.
REI
Ironic?
MAMORU
Never mind.
Pause. In the distance, two men of middle-eastern descent approach along the sidewalk.
REI
Did your mom. . . see anything?
MAMORU
No. Apparently, she just had heat exhaustion. She was a few blocks away from Big Sight.
We can start to hear the rather loud voices of the two Arabic-looking men. They're BRITISH.
BRIT #1
(speaking English English)
Your map is bollocks, mate.
BRIT #2
(likewise)
Piss off, twat. It's this way.
MAMORU
Why do you ask?
REI doesn't answer. She sees the two men approaching, and has tensed up.
BRIT #1
I'm a twat 'cause your map is shite?
BRIT #2
No, you're a twat regardless. It's this way, mate.
BRIT #1
It's been "this way" the last half hour.
The two men brush by REI and MAMORU.
BRIT #2
Tokyo's a big city, mate.
BRIT #1
You sure we got off at the right station?
BRIT #2
You mean the one with GINZA written all over it? Yeah, somehow I do.
The two men go on. REI looks back at them with contempt.
REI
What is wrong with people?
MAMORU
They were lost.
REI
What? How do you know that?
MAMORU
They said so. Of course, the cheap little map they printed off was a big hint too.
REI
(shakes her head)
You don't think there's anything wrong with that? With everything that's happened? I mean, look at this!
We briefly cut to REI'S POV, and see a group of Japanese girls with dyed blonde hair, laughing and shopping. We then pan to reveal more tourists. Then back to Rei and Mamoru.
MAMORU
I see Ginza, Rei.
REI
And that's the problem, Mamoru. I'm the only one who seems to acknowledge that something is wrong. I. . .
Pause. REI is on edge, and is trying to get herself back together.
REI
I can't expect you to understand. I don't even know if I understand it. It's like. . . something on the tip of my tongue. I've felt it, for months. I've tried to. . . focus on it. Meditate on it. There are times when it seems so close, and just when I think I finally have it. . .
Pause.
REI
Hundreds of people end up in hospital. And I don't even know about it until I see it on the damn train!
Pause.
REI
You can't understand that. You, my teachers, my grampa-- that palmreader back there, she definitely can't underdstand it. My father--
REI has to stop.
MAMORU
Actually, Rei. I think I can understand--
REI
(dismissive)
Fuck you!
REI starts to walk off. Mamoru waits for a minute, and then runs up and stops REI.
MAMORU
Fuck you, Rei.
With that, MAMORU walks off defiantly. After a moment, once he's safely away from Rei, he gives a bemused look, as if asking himself "where the hell did THAT come from?"
Until Next Time. . .
We now continue.
CUT TO:
EXT, Ginza Sidewalk, NIGHT
Close-up on a woman's right hand plam. A slightly wrinkled fingers runs down the lines of the palm.
FORTUNETELLER
Ah! Yes. . . I can see it. This line, here. It indicates wealth.
CUT TO:
A two shot of REI (who, it should be noted, is still wearing her ultra-preppy school uniform) and a rather cheap looking GINZA FORTUNETELLER, maybe in her late fourties. Rei is not impressed.
FORTUNETELLER
Yes. . . Yes. Wealth and good fortune. You're going to be very fortunate in life.
REI
(partonizing)
Ah!
FORTUNETELLER
And romance!
The FORTUNETELLER runs her finger down another one of REI'S lines.
FORTUNETELLER
A single line! That means that true love awaits you!
CUT TO:
The FORTUNETELLER'S POV. We can see MAMORU pretty plainly standing behind REI, near a shop window.
REI
True love. . .
FORTUNETELLER
Yes. This line, here, the one that runs down like this. This line. . .
The sound fades out.
We CUT TO:
INT, Hino Residence
A FLASHBACK. Rei (looking a little bit younger) is standing in front of her father, whose back is turned from the camera. Her father is giving Rei instructions (none of which we can hear), while Rei nods nervously.
CUT TO:
The front door. It opens to reveal a slightly younger looking Mamoru, dressed up for his first date with Rei. He's holding a rose in his hand.
MAMORU
(smiling, enthusiastic)
Good evening!
He bows.
MAMORU
This is for you.
MAMORU hands the rose to REI. We cut to REI'S reaction. She forces a smile, takes the rose, and bows.
CUT TO:
EXT, Park, Day
MAMORU and REI, having their first date in the middle of a park. They both appear to be enjoying themselves, with REI smiling and laughing enthusiastically, to the point of being almost overbearing. Mamoru, however, takes it in stride.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Your heart heart line is long, and curves up, like this, see?
REI nods.
FORTUNETELLER
This means you're a romantic at heart.
CUT TO:
INT, Hino Residence
FLASHBACK. REI is forcefully MAKING OUT with MAMORU. REI'S doing all the work-- MAMORU is just sitting there, trying to enjoy himself. Then, REI pulls away. She takes a deep breath (as if to prepare herself for something unpleasant), and then takes off her shirt (she's still wearing a bra, though). After a moment of hesitation, REI starts kissing MAMORU again. Forcefully. MAMORU is no longer enjoying himself.
CUT TO:
The door to Rei's room. MAMORU walks out of the room, bows, and closes the door. Whatever confidence he may have shown earlier is now gone. As he walks away, REI opens the door (still with no shirt on) and watches, confused, as MAMORU leaves.
CUT TO:
Another date. REI and MAMORU are paddling along a pond. Rei forces a smile, but is gradually fades. The two look a slightly uncomfortable, Mamoru esspecially.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Romance is something special, particularly for someone like you. There's one man who will come along, one man only. You two will have something unique, something that you need to hold on to.
CUT TO:
Continuous- Mamoru, looking inside the store window. He see a bunch of JEWELS on display.
FORTUNETELLER
Something that will never come again.
We hold on the JEWELS.
MAMORU(V.O.)
So. . . how was it?
CUT TO:
REI and MAMORU walking down the sidewalk, the lights of Ginza illuminating the night sky.
REI
You were there, Mamoru. You heard everything.
MAMORU
Yes. And?
REI
(sighs, then sarcastic)
It was amazing. It was like she knew me my whole session.
MAMORU
Ah. . . .Were you really surprised?
REI
What does that mean?
MAMORU
It means you do. . . that for a living.
REI
No, Mamoru. I do not do that for a living. That. . .
(sighs)
Never mind.
Pause.
MAMORU
So what comes next?
REI
I don't know. You wanted to come out tonight.
MAMORU
My mom wanted me to go out tonight.
REI
I am amazed you can say that without even a hint of shame.
MAMORU
I wasn't asking about the date.
(beat)
What I meant was. . . what are you gonna do next?
(beat)
I mean, you already called the commissioner--
REI
Mamoru--
MAMORU
You called the commissioner of the Tokyo Metropolitan Police in the middle of our dinner. It was gonna come up.
(beat)
So what happens next?
REI
Nothing. It was idiotic. I thought I would get some answers.
MAMORU
To what?
REI
You were there, Mamoru. You heard my half of the conversation.
MAMORU
So you didn't learn anything?
REI
(hesitates)
No. Nothing at all.
Pause.
MAMORU
Man, if I knew you had a line to the police commissioner--
REI
You'd what?
MAMORU stops-- he realizes he's said a little too much.
MAMORU
Uh. . . What I mean is, my mom. . . she hates cops. I just find this whole thing. . . ironic.
REI
Ironic?
MAMORU
Never mind.
Pause. In the distance, two men of middle-eastern descent approach along the sidewalk.
REI
Did your mom. . . see anything?
MAMORU
No. Apparently, she just had heat exhaustion. She was a few blocks away from Big Sight.
We can start to hear the rather loud voices of the two Arabic-looking men. They're BRITISH.
BRIT #1
(speaking English English)
Your map is bollocks, mate.
BRIT #2
(likewise)
Piss off, twat. It's this way.
MAMORU
Why do you ask?
REI doesn't answer. She sees the two men approaching, and has tensed up.
BRIT #1
I'm a twat 'cause your map is shite?
BRIT #2
No, you're a twat regardless. It's this way, mate.
BRIT #1
It's been "this way" the last half hour.
The two men brush by REI and MAMORU.
BRIT #2
Tokyo's a big city, mate.
BRIT #1
You sure we got off at the right station?
BRIT #2
You mean the one with GINZA written all over it? Yeah, somehow I do.
The two men go on. REI looks back at them with contempt.
REI
What is wrong with people?
MAMORU
They were lost.
REI
What? How do you know that?
MAMORU
They said so. Of course, the cheap little map they printed off was a big hint too.
REI
(shakes her head)
You don't think there's anything wrong with that? With everything that's happened? I mean, look at this!
We briefly cut to REI'S POV, and see a group of Japanese girls with dyed blonde hair, laughing and shopping. We then pan to reveal more tourists. Then back to Rei and Mamoru.
MAMORU
I see Ginza, Rei.
REI
And that's the problem, Mamoru. I'm the only one who seems to acknowledge that something is wrong. I. . .
Pause. REI is on edge, and is trying to get herself back together.
REI
I can't expect you to understand. I don't even know if I understand it. It's like. . . something on the tip of my tongue. I've felt it, for months. I've tried to. . . focus on it. Meditate on it. There are times when it seems so close, and just when I think I finally have it. . .
Pause.
REI
Hundreds of people end up in hospital. And I don't even know about it until I see it on the damn train!
Pause.
REI
You can't understand that. You, my teachers, my grampa-- that palmreader back there, she definitely can't underdstand it. My father--
REI has to stop.
MAMORU
Actually, Rei. I think I can understand--
REI
(dismissive)
Fuck you!
REI starts to walk off. Mamoru waits for a minute, and then runs up and stops REI.
MAMORU
Fuck you, Rei.
With that, MAMORU walks off defiantly. After a moment, once he's safely away from Rei, he gives a bemused look, as if asking himself "where the hell did THAT come from?"
Until Next Time. . .
Saturday, May 14, 2011
There's actually a major plot point here! Foreshadowing! Ooooh!
Last Time. . .
CUT TO:
EXT, Sidewalk, Early Evening- Continuous
USAGI follows MAKOTO down the sidewalk. We hear the sound of sirens as police cruisers or ambulances occasionally pass by.
USAGI
Where are we going? Makoto?
Just then, a low flying jet liner appears in the sky. Makoto freezes, her eyes following the jet as it passes behind a building, out of sight.
USAGI
What was that?
(beat)
Makoto?
MAKOTO
(almost monotone)
Flights are being redirected away from Haneda. I saw it the train but. . .
(pause, then sighs)
Whatever.
CUT TO:
EXT, Sempai's House
MAKOTO walks up to the house, checking inside the windows.
USAGI
Mako--
MAKOTO
(whispers)
Shut up!
MAKOTO sneaks up to the house, crouching beneath the first floor windows, motioning to USAGI to stay back. When she comes up to the mailbox, she OPENS IT and DROPS IN THE PHONE. Then, grabbing onto USAGI'S hand, she runs away.
CUT TO:
EXT, Waterway- Continuous
USAGI and MAKOTO run alongside an inner-city waterway, overshadowed by a massive freeway overpass. After a moment, they come to a halt. MAKOTO quickly looks behind her.
USAGI
Okay. . . what was that?
MAKOTO
What do you think? Delivery.
USAGI shrugs, as if to say "WTF?".
MAKOTO
That was my ex-boyfriend's house. I was returning my ex-boyfriend's phone.
USAGI
Oh. . . wait, how did you--?
MAKOTO
Usagi, the story is long enough as it is. I'm just glad it's over.
PAUSE.
USAGI
(abruptly)
Was he cheating on you?
MAKOTO stops.
MAKOTO
Usagi. . . do I give off some air of openess? Like I really, really desperately want to talk about this?
USAGI
It's just that you didn't knock--
MAKOTO
Is it something about my body language--?
USAGI
And that whole "Mimi Hangul"--
MAKOTO
"Hanyuu." Look, Usagi--
USAGI
We had all of his contacts is all.
MAKOTO
What?
USAGI
You know. All the phone numbers of all the girls he's dating.
MAKOTO
. . . so?
USAGI
I dunno. I just thought, maybe you could call 'em up.
MAKOTO
And?
USAGI
Tell 'em to get off your man.
PAUSE.
MAKOTO
How old are you?
USAGI
Fourteen.
MAKOTO
. . . That sounds about right.
MAKOTO starts off again, but then slows to a stop. She's spotted something in the waterway-- a SUITCASE, floating gently down the stream. The sight of it, for some reason, makes Makoto nervous.
MAKOTO
Usagi, this place gives me the creeps. Let's go back out to the street.
MAKOTO walks toward an alleyway leading to the street, not quite able to take her eyes off the suitcase. USAGI follows. We see another low-flying plane in the distant background as we
CUT TO:
NEXT TIME.
CUT TO:
EXT, Sidewalk, Early Evening- Continuous
USAGI follows MAKOTO down the sidewalk. We hear the sound of sirens as police cruisers or ambulances occasionally pass by.
USAGI
Where are we going? Makoto?
Just then, a low flying jet liner appears in the sky. Makoto freezes, her eyes following the jet as it passes behind a building, out of sight.
USAGI
What was that?
(beat)
Makoto?
MAKOTO
(almost monotone)
Flights are being redirected away from Haneda. I saw it the train but. . .
(pause, then sighs)
Whatever.
CUT TO:
EXT, Sempai's House
MAKOTO walks up to the house, checking inside the windows.
USAGI
Mako--
MAKOTO
(whispers)
Shut up!
MAKOTO sneaks up to the house, crouching beneath the first floor windows, motioning to USAGI to stay back. When she comes up to the mailbox, she OPENS IT and DROPS IN THE PHONE. Then, grabbing onto USAGI'S hand, she runs away.
CUT TO:
EXT, Waterway- Continuous
USAGI and MAKOTO run alongside an inner-city waterway, overshadowed by a massive freeway overpass. After a moment, they come to a halt. MAKOTO quickly looks behind her.
USAGI
Okay. . . what was that?
MAKOTO
What do you think? Delivery.
USAGI shrugs, as if to say "WTF?".
MAKOTO
That was my ex-boyfriend's house. I was returning my ex-boyfriend's phone.
USAGI
Oh. . . wait, how did you--?
MAKOTO
Usagi, the story is long enough as it is. I'm just glad it's over.
PAUSE.
USAGI
(abruptly)
Was he cheating on you?
MAKOTO stops.
MAKOTO
Usagi. . . do I give off some air of openess? Like I really, really desperately want to talk about this?
USAGI
It's just that you didn't knock--
MAKOTO
Is it something about my body language--?
USAGI
And that whole "Mimi Hangul"--
MAKOTO
"Hanyuu." Look, Usagi--
USAGI
We had all of his contacts is all.
MAKOTO
What?
USAGI
You know. All the phone numbers of all the girls he's dating.
MAKOTO
. . . so?
USAGI
I dunno. I just thought, maybe you could call 'em up.
MAKOTO
And?
USAGI
Tell 'em to get off your man.
PAUSE.
MAKOTO
How old are you?
USAGI
Fourteen.
MAKOTO
. . . That sounds about right.
MAKOTO starts off again, but then slows to a stop. She's spotted something in the waterway-- a SUITCASE, floating gently down the stream. The sight of it, for some reason, makes Makoto nervous.
MAKOTO
Usagi, this place gives me the creeps. Let's go back out to the street.
MAKOTO walks toward an alleyway leading to the street, not quite able to take her eyes off the suitcase. USAGI follows. We see another low-flying plane in the distant background as we
CUT TO:
NEXT TIME.
Friday, May 13, 2011
I'm So Vain. . .
. . . I probably think this link is about me.
Seriously, it's cool to be linked to by other website. I'm pretty sure the person who runs it has commented here before, yet somehow I only just discovered Aren't We Nerdy this past week. The site's premise involves listing- Jeff Foxowrthy style- all the various signs that a given person might, indeed, be nerdy.
Like being able to name all eleven Doctors from Dr. Who in a single breath.
Or being being the proud owner of a shirt that says "I only kiss sueprheroes."
Or splitting your days between preparing notes for an introductory physics course, writing the first draft of a live-action Sailor Moon screenplay, and figuring out ways to try and meet Miyuu Sawai. . . again.
So to get into the spirit of Aren't We Nerdy. . . even moreso. . . I thought I'd share yet another of the many nerdy ideas that bouce incessantly through my head. After all. . .
What is the most resilient parasite?
Bacteria?
A virus?
An intestinal worm?
An idea?
Please. . . I'm talkin' 'bout Disco.
Resilient... highly contagious. Once disco has taken hold of the brain it's almost impossible to eradicate. Disco that is fully boogied - fully gotten-down - that sticks.
Disco hit its peak in the late 1970's-- coincidentally, this was an era that saw a massive resurgence in the popularity of science fiction. Star Wars. Superman. Star Trek: The Motion Picture. Close Encounters of the Third Kind. It was inevitable that unstoppable force of this sci-fi wave would collide with the immovable object that was disco fever.
The results of this collision were sublime.
So much so that I found myself thinking. . . this really needs to come back!
Hence. . . quite possibly the greatest idea I've ever had. . .
DISCO INCEPTION.
That's right. A fully funkified re-imagining of Hans Zimmer's original score to the film Inception. A groove that gets down not one, not two, but three levels of boogie.
Seriously, I have put way more thought and energy into this than anyone should, and I really need to get it out of my system. The whole thing has turned into a swirl of ideas, images and sounds in my head, so forigve me if what follows seems to lack cohesion more than usual:
Whew. . . How did this start again?
Right! Aren't We Nerdy. Go there! Boogie Woogie Oogie, right now!
1) As you can see, I'm not the musician of the family.
Seriously, it's cool to be linked to by other website. I'm pretty sure the person who runs it has commented here before, yet somehow I only just discovered Aren't We Nerdy this past week. The site's premise involves listing- Jeff Foxowrthy style- all the various signs that a given person might, indeed, be nerdy.
Like being able to name all eleven Doctors from Dr. Who in a single breath.
Or being being the proud owner of a shirt that says "I only kiss sueprheroes."
Or splitting your days between preparing notes for an introductory physics course, writing the first draft of a live-action Sailor Moon screenplay, and figuring out ways to try and meet Miyuu Sawai. . . again.
So to get into the spirit of Aren't We Nerdy. . . even moreso. . . I thought I'd share yet another of the many nerdy ideas that bouce incessantly through my head. After all. . .
What is the most resilient parasite?
Bacteria?
A virus?
An intestinal worm?
An idea?
Please. . . I'm talkin' 'bout Disco.
Resilient... highly contagious. Once disco has taken hold of the brain it's almost impossible to eradicate. Disco that is fully boogied - fully gotten-down - that sticks.
Disco hit its peak in the late 1970's-- coincidentally, this was an era that saw a massive resurgence in the popularity of science fiction. Star Wars. Superman. Star Trek: The Motion Picture. Close Encounters of the Third Kind. It was inevitable that unstoppable force of this sci-fi wave would collide with the immovable object that was disco fever.
The results of this collision were sublime.
So much so that I found myself thinking. . . this really needs to come back!
Hence. . . quite possibly the greatest idea I've ever had. . .
DISCO INCEPTION.
That's right. A fully funkified re-imagining of Hans Zimmer's original score to the film Inception. A groove that gets down not one, not two, but three levels of boogie.
Seriously, I have put way more thought and energy into this than anyone should, and I really need to get it out of my system. The whole thing has turned into a swirl of ideas, images and sounds in my head, so forigve me if what follows seems to lack cohesion more than usual:
- We open (yes. . . I even imagined a lame 70's style music video to go with it) with Inception's (in)famous closing shot of the perpetually spinning top. As we close in, the spinning top gradually morphs into a spinning disco ball, by means of effects that would make the chroma-key from William Shatner's Rocketman look sophisticated by comparison.And that's Disco Inception.
- We're on the disco floor. Dancing projections abound. We hear the sound of "Time", the final track of the Inception score, only. . . funkier. It's tempo is more upbeat. It's accompanied by snaring drums and waka-waka guitars1. The legendarily deep sounds of Zimmer's brass section have been replaced by the snazzy, jazzy, high-pitched horns of disco.
- Then, we hear the chorus-- one which I've never been able to get out of my head since it first appeared:
IN-CEP-TION!
I'll dig myself right deep in your heaaaaart!
IN-CEP-TION!
I'll dig right to the deepest paaaaaaart!
There's also a second part to the chorus, but it changes every time it pops into my head. The first part, however, is always consistent.
- After the first verse or two-- I've thought up lyrics, but never bothered to write them down-- we see Cobb, Eames, Arthur, and Saito strut onto the dance floor, their trademark upscale suits unbuttoned near the top. The crowd clears, and the quartet proceed to set the dance floor on fire in ways that John Travolta could only. . . ahem. . . "dream" of.
- Then. . . we go deeper. See, I imagined sturcturing the song the sam way that Nolan structured the film, as a set of nested songs. We'll go to the next "level" of groove, which basically amounts to another song- a discofied version of another one of Zimmer's original tracks. Then we go to the next level, and then. . .
- Limbo. A Deodato-esque surreal-groove rendition of "Waiting for a Train". Then. . .
- The Kick. A disco cover of "Non, Je ne Regrette Rien." (This isn't quite a disco version, but it's approriately campy).
- We go back up the levels, hearing the "kick" during each transition, until we're right back to the first song:
IN-CEP-TION!
I'll dig myself right deep in your heaaaaart!
IN-CEP-TION!
I'll dig right to the deepest paaaaaaart!
- And then we pull out from the disco ball. . . back to the spinning top. Back to reality. . . the dream is over.
OR IS IT?!?!?
Whew. . . How did this start again?
Right! Aren't We Nerdy. Go there! Boogie Woogie Oogie, right now!
1) As you can see, I'm not the musician of the family.
Wednesday, May 11, 2011
Tuesday, May 10, 2011
No, Makoto Don't Want no Scrubs. A Scrub is a Guy Who Can't Get No Love From She.
Last time. . .
CUT TO:
INT, Subway Car
The car has a few passengers, but isn't terribly crowded. USAGI sits in a chair near the door. A SALARYMAN is asleep next to her. MAKOTO stands over her. She holds her hand up, clenching and unclenching it, and then shaking it. She then looks down at Usagi, who's watching the the passing lights of the tunnel through the windows opposite her seat. She seems tense.
MAKOTO
Are you sure you're okay?
USAGI
(distracted)
What?
MAKOTO
Are you alright?
USAGI
(distant)
Yeah.
MAKOTO takes a nervous look around the car, as if expecting someone to come at her.
MAKOTO
So. . . what were you doing down in Shinjuku, anyway?
USAGI
I . . . I guess I just wanted to see that new department store. I don't know.
MAKOTO takes a quick look around again. USAGI reaches out and grabs part of Makoto's coat, admiring it.
MAKOTO
Well. . . you have impeccable timing.
USAGI
What were you doing there?
MAKOTO looks away briefly, embarrassed.
MAKOTO
Just meeting someone.
USAGI is still looking at the coat.
MAKOTO
Usagi?
USAGI lets go of the coat.
MAKOTO
Are you sure you're all right?
USAGI looks down. This makes Makoto more nervous.
MAKOTO
Usagi. . . I don't know what happened back there. I really don't know how I could've. . . Look, I've dealt with police before.
USAGI looks up, confused at where Makoto is going with this.
MAKOTO
And I've learned it's best to just not get involved with them. Besides, it's finished. The fight was finished. They knew, we knew it. If they got hurt, it was their own damn fault for starting it. There was no need to. . .
MAKOTO trails off. Even she realizes that she's trying more to convince herself of something than to convince Usagi. The two are silent for a moment. Makoto takes another look at her hand when-
USAGI
I helped, right?
MAKOTO
What?
(beat)
Yeah. Of course you did.
USAGI smiles a bit. The train turns a corner, and the SLEEPING MAN fall onto USAGI. She slides away, uncomfortable, but the man keeps falling onto her, somehow managing not to wake up.
MAKOTO
Hey!
MAKOTO reaches over and flicks the man's ear. He wakes up and, begrudgingly, sits back up, closing his eyes. Though the man has gotten off of her, USAGI is still tense.
MAKOTO
You didn't want to come down here, did you?
USAGI shakes her head.
USAGI
I haven't been on a subway in years.
MAKOTO
It's planes I can't stand. I don't care if I have to stay in Japan all my life. I'll never get on a plane.
ANNOUNCER
Tsugi wa. . . Roppongi, Roppongi desu.
MAKOTO
Well, next stop is Azabu-Juuban. We'll be out of here soon enough.
USAGI
Where to then?
Makoto is surprised by that question.
MAKOTO
Home.
USAGI's face whitens.
USAGI
What?
MAKOTO
Yeah, I'm taking you home. Where did you think we were going?
The train comes to a stop. USAGI quickly gets out of her seat and walks out the exit.
MAKOTO
(surprised)
Usagi?
CUT TO:
INT, Subway Platform- Continuous
USAGI walks down the platforms, away from the train. MAKOTO follows.
MAKOTO
Usagi!
USAGI ignores her. MAKOTO catches up and grabs her by the sleeve, turning her around.
MAKOTO
Usagi!
MAKOTO then abruptly lets go, remembering what happened in Shinjuku. USAGI just stands there, eyes fixed on the floor. MAKOTO gently puts her hands on Usagi's shoulders.
MAKOTO
Where were you going?
USAGI
(without looking up)
I don't know.
MAKOTO
You don't know? Look out there, Usagi--!
USAGI looks up. Whatever emotions have been stewing inside of her, they've now brought her to the brink.
USAGI
Look out where, Makoto? Big Sight? The whole city comes to a grinding halt because of Big Sight?! What do I care? What do you care?! Why do I have to be--
USAGI has to stop, before she loses it.
MAKOTO
(sympathetic)
Alright.
USAGI calms down a little. MAKOTO appears to finally have some small idea of what Usagi is going through.
MAKOTO
I won't make you go home.
USAGI
Thanks.
Pause.
MAKOTO
Have you eaten yet?
USAGI shakes her head.
USAGI
I'm not hungry.
MAKOTO
Well. . . come over anyway. I owe you one. Fending off those vile brutes and all.
USAGI hesitates.
MAKOTO
I'll make it easy for you. My place, or yours.
It won't take Usagi long to decide.
CUT TO:
EXT, Subway Exit, Early Evening
USAGI and MAKOTO emerge from the exit and on to the street.
MAKOTO
(pointing up the block)
Okay, my building is a few blocks--
The CELL begins to vibrate- there was a missed call. MAKOTO suddenly remembers whose phone it is, and comes to a halt.
MAKOTO
(under her breath)
God dammit.
MAKOTO pulls out the phone and opens it.
MAKOTO
Goddamn idiot. He'll probably think I stole his damn phone just to get--
Makoto sees the name and number of the person who called, and is appalled.
MAKOTO
Who in the-- who the hell is Mimi Hanyuu?
MAKOTO shakes her head in disgust.
MAKOTO
No. No, I cannot-- come on!
MAKOTO walks down the block, opposite of where she was pointing.
USAGI
Wait, I thought--
MAKOTO
Detour!
To Be Continued. . .
CUT TO:
INT, Subway Car
The car has a few passengers, but isn't terribly crowded. USAGI sits in a chair near the door. A SALARYMAN is asleep next to her. MAKOTO stands over her. She holds her hand up, clenching and unclenching it, and then shaking it. She then looks down at Usagi, who's watching the the passing lights of the tunnel through the windows opposite her seat. She seems tense.
MAKOTO
Are you sure you're okay?
USAGI
(distracted)
What?
MAKOTO
Are you alright?
USAGI
(distant)
Yeah.
MAKOTO takes a nervous look around the car, as if expecting someone to come at her.
MAKOTO
So. . . what were you doing down in Shinjuku, anyway?
USAGI
I . . . I guess I just wanted to see that new department store. I don't know.
MAKOTO takes a quick look around again. USAGI reaches out and grabs part of Makoto's coat, admiring it.
MAKOTO
Well. . . you have impeccable timing.
USAGI
What were you doing there?
MAKOTO looks away briefly, embarrassed.
MAKOTO
Just meeting someone.
USAGI is still looking at the coat.
MAKOTO
Usagi?
USAGI lets go of the coat.
MAKOTO
Are you sure you're all right?
USAGI looks down. This makes Makoto more nervous.
MAKOTO
Usagi. . . I don't know what happened back there. I really don't know how I could've. . . Look, I've dealt with police before.
USAGI looks up, confused at where Makoto is going with this.
MAKOTO
And I've learned it's best to just not get involved with them. Besides, it's finished. The fight was finished. They knew, we knew it. If they got hurt, it was their own damn fault for starting it. There was no need to. . .
MAKOTO trails off. Even she realizes that she's trying more to convince herself of something than to convince Usagi. The two are silent for a moment. Makoto takes another look at her hand when-
USAGI
I helped, right?
MAKOTO
What?
(beat)
Yeah. Of course you did.
USAGI smiles a bit. The train turns a corner, and the SLEEPING MAN fall onto USAGI. She slides away, uncomfortable, but the man keeps falling onto her, somehow managing not to wake up.
MAKOTO
Hey!
MAKOTO reaches over and flicks the man's ear. He wakes up and, begrudgingly, sits back up, closing his eyes. Though the man has gotten off of her, USAGI is still tense.
MAKOTO
You didn't want to come down here, did you?
USAGI shakes her head.
USAGI
I haven't been on a subway in years.
MAKOTO
It's planes I can't stand. I don't care if I have to stay in Japan all my life. I'll never get on a plane.
ANNOUNCER
Tsugi wa. . . Roppongi, Roppongi desu.
MAKOTO
Well, next stop is Azabu-Juuban. We'll be out of here soon enough.
USAGI
Where to then?
Makoto is surprised by that question.
MAKOTO
Home.
USAGI's face whitens.
USAGI
What?
MAKOTO
Yeah, I'm taking you home. Where did you think we were going?
The train comes to a stop. USAGI quickly gets out of her seat and walks out the exit.
MAKOTO
(surprised)
Usagi?
CUT TO:
INT, Subway Platform- Continuous
USAGI walks down the platforms, away from the train. MAKOTO follows.
MAKOTO
Usagi!
USAGI ignores her. MAKOTO catches up and grabs her by the sleeve, turning her around.
MAKOTO
Usagi!
MAKOTO then abruptly lets go, remembering what happened in Shinjuku. USAGI just stands there, eyes fixed on the floor. MAKOTO gently puts her hands on Usagi's shoulders.
MAKOTO
Where were you going?
USAGI
(without looking up)
I don't know.
MAKOTO
You don't know? Look out there, Usagi--!
USAGI looks up. Whatever emotions have been stewing inside of her, they've now brought her to the brink.
USAGI
Look out where, Makoto? Big Sight? The whole city comes to a grinding halt because of Big Sight?! What do I care? What do you care?! Why do I have to be--
USAGI has to stop, before she loses it.
MAKOTO
(sympathetic)
Alright.
USAGI calms down a little. MAKOTO appears to finally have some small idea of what Usagi is going through.
MAKOTO
I won't make you go home.
USAGI
Thanks.
Pause.
MAKOTO
Have you eaten yet?
USAGI shakes her head.
USAGI
I'm not hungry.
MAKOTO
Well. . . come over anyway. I owe you one. Fending off those vile brutes and all.
USAGI hesitates.
MAKOTO
I'll make it easy for you. My place, or yours.
It won't take Usagi long to decide.
CUT TO:
EXT, Subway Exit, Early Evening
USAGI and MAKOTO emerge from the exit and on to the street.
MAKOTO
(pointing up the block)
Okay, my building is a few blocks--
The CELL begins to vibrate- there was a missed call. MAKOTO suddenly remembers whose phone it is, and comes to a halt.
MAKOTO
(under her breath)
God dammit.
MAKOTO pulls out the phone and opens it.
MAKOTO
Goddamn idiot. He'll probably think I stole his damn phone just to get--
Makoto sees the name and number of the person who called, and is appalled.
MAKOTO
Who in the-- who the hell is Mimi Hanyuu?
MAKOTO shakes her head in disgust.
MAKOTO
No. No, I cannot-- come on!
MAKOTO walks down the block, opposite of where she was pointing.
USAGI
Wait, I thought--
MAKOTO
Detour!
To Be Continued. . .
Monday, May 9, 2011
Yes, I HAVE Injected Backroom City Politics into your Escapist Magical Shoujo Fantasy!
Last time. . .
CUT TO:
INT, Tokyo Police Headquarters
A close-up of a photograph of a crystal which looks suspiciously like one of the SHARDS of the crystal from the last scene. We briefly see the words OSA-P on the documents nexts to the photo.
CUT TO:
A close-up of Commissioner WAKAGI, smoking a cigarrette, looking at the documents. After a moment there's a knock on the door.
WAKAGI
What is it?
The door opens and SECRETARY, carrying a CELL PHONE in his hand, peeks inside.
SECRETARY
Sir, I know you asked not to be disturbed, but. . .
Wakagi sees the cell.
SECRETARY
The out-of-office line.
WAKAGI
(exasperated)
Jesus. . .
Wakagi TAKES the phone. The Secretary bows and leaves, closing the door behind him.
WAKAGI
(into phone)
Commissioner Wakagi here. You'd better have a damn good-
We hear a WOMAN'S voice, very formal and polite, from the other end. There appears to be a lot of background noise from her end.
WOMAN(V.O.)
Good evening, Commissioner. I'm calling on behalf of Minister Hino.
WAKAGI
(pause)
No kidding?
(beat)
Of course you're calling on his behalf! That's exactly what this line is- wait, where Kaidou?
WOMAN(V.O.)
Unofrtunately, Mr. Kaidou--
WAKAGI
I can't hear you. You'll have to speak up!
WOMAN(V.O.)
Mr. Kaidou is on temporary leave. . . a marital concern of some sort.
WAKAGI briefly catches a glimpse of a photograph sitting on his desk, featuring himself, Minister Takashi Hino. . . and REI. Upon spotting her in the photo, WAKAGI MARCHES toward the front door.
WOMAN(V.O.)
I've been assigned his duties for the time being.
WOMAN(V.O.)
I'm contacting you- again, on behalf of Minister Hino--
CUT TO:
INT, Reception- Continuous
WAKAGI BURSTS out the door. The SECRETARY stands at attention immediately.
WOMAN(V.O.)
-- regarding the handling of a recent missing person's investi--
WAKAGI
(pointing to Secretary)
You're Fired!
The Secretary is stunned.
WOMAN(V.O.)
Commissioner?! What is the mean--?!
WAKAGI
(into phone)
I hope you're happy Rei. Someone just lost his job thanks to you.
The SECRETARY bows, deeply ashamed, and starts to leave. However, WAKAGI waves at him to sit down.
CUT TO:
INT, Ramen House
REI, sitting in the middle of a very noisy restaurant. She's talking into YUUICHIROU'S PHONE, plugging her other ear with her finger.
WAKAGI(V.O.)
Do you have any idea how profoundly illegal this is?
REI
Making a phone call to a public official?
CUT TO:
INT, Tokyo Police Headquaters
Back to WAKAGI. We'll be cutting back and fourth now between WAKAGI and REI, as needed.
WAKAGI
How about falsely posing as a representative of a Diet Member?
REI
I am a representative of Minister Wakagi.
(beat)
Kind of.
WAKAGI
All right. How about interfering in a police investigation?
REI
What?
WAKAGI
"Concerns about a missing persons investigation?" What else--
(sighs)
Look, I don't know what you think goes on between--
REI
Commissioner. . . someone I know, Sister Jessica Rousel1, has gone missing. I've been trying all afternoon to to get in touch with the investigator in charge of tracking her down. I gave some information to the detective yesterday, but we haven't heard anything from him since.
WAKAGI
(confused, somehow surprised)
"W-we?"
REI
TA Academy. That's the school where she works. She's a teacher.
WAKAGI
Uh. . . W-well, did you?
REI
I'm sorry?
WAKAGI
Get in contact?
REI
Yes, but he brushed me off. Said the department's prioirty was the attack on Big Sight this--
WAKAGI
It not an attack! Nothing's been confirmed. . . wait. Why were you trying to get in contact, exactly?
REI
I had concerns.
WAKAGI
You mean you were curious.
REI
After the atta- after whatever happened at Big Sight? Yes, I was concerned. I think I have the right to be.
WAKAGI
(sighs)
Alright. Out of sheer morbid curiosity. What are your "concerns"?
REI
Has the investigator had a chance to check the scene?
WAKAGI
I wouldn't know, Rei. You'd have to ask the investigator.
REI
I tried that.
(beat)
Commissioner. . . I was there. Yesterday, and then again today.
WAKAGI
Where?
REI
The mansion, where she was last seen. I was there. . . and I wasn't the only one. Some scientific team was. . . tampering with the scene2.
WAKAGI
You mean the Tomoe group?
REI
(surprised)
Yes. You know about this/ What were they doing?
WAKAGI
They've been given near carte blanche for this sort of thing, all over the city. Surveying, research, engineering consultation. It's all part of a new infrastructure development. Was the mansion unoccupied?
REI
Yeah.
WAKAGI
There you go. Probably condemned.
REI
Yeah, and a crime scene!
WAKAGI
We don't know that, Rei.
REI
You know all about this infrastructure project, but not a criminal investigation?
WAKAGI
Rei, I'm the top cop of Tokyo. These are the things I'm supposed to know.
(sighs)
Honestly I'm a little surprised you don't know about it. It is your father's department-- but I guess he wouldn't have told you.
PAUSE.
WAKAGI
Rei?
REI
. . . we don't talk that often.
PAUSE.
WAKAGI
(sighs)
Rei, I'll talk to the detective about your concerns, and ask him to contact you whenever possible. Just don't expect that to be soon. You're already getting more than anyone else would.
REI
(sighs)
Thank you.
WAKAGI
And Rei. . . I suppose, while you're on the line-- since we both know neither of us is ever going to speak of this-- this isn't the first time that someone "representing Minister Hino" has raised concerns about a missing persons investigation.
(pause)
And that's all I have to say. Good night.
WAKAGI hangs up.
INT, Ramen House
REI hangs up her cell. . . not sure of what to make of that conversation. REI looks to her side.
CUT TO:
REI'S POV. A young couple, sickeningly in love. . . cuddling, kissing.
CUT TO:
Close-up of Rei. Disgusted, she turns back to the camera.
REI
Really, Mamoru?
CUT TO:
REI'S POV. We see MAMORU sitting opposite Rei, examining the snuggly lovers before turning back to face Rei.
MAMORU
Sorry. . . I was just curious. I wanted to know what a date looks like.
To Be Continued.
1) In case the name Jessica Rousel somehow sounds familiar to you. . . I went through a whole process of researching the names of similar character before ultimately deciding that, weirdly enough, it DOES make sense to name this nun after Miyuu Sawai's "French TV" co-star. Don't ask me how, though, it's way too convoluted to explain.
2) Remember that? When REI revisited the mansion and found scientists tampering with the scene? No? I guess it must not be until the second draft that that happens.
CUT TO:
INT, Tokyo Police Headquarters
A close-up of a photograph of a crystal which looks suspiciously like one of the SHARDS of the crystal from the last scene. We briefly see the words OSA-P on the documents nexts to the photo.
CUT TO:
A close-up of Commissioner WAKAGI, smoking a cigarrette, looking at the documents. After a moment there's a knock on the door.
WAKAGI
What is it?
The door opens and SECRETARY, carrying a CELL PHONE in his hand, peeks inside.
SECRETARY
Sir, I know you asked not to be disturbed, but. . .
Wakagi sees the cell.
SECRETARY
The out-of-office line.
WAKAGI
(exasperated)
Jesus. . .
Wakagi TAKES the phone. The Secretary bows and leaves, closing the door behind him.
WAKAGI
(into phone)
Commissioner Wakagi here. You'd better have a damn good-
We hear a WOMAN'S voice, very formal and polite, from the other end. There appears to be a lot of background noise from her end.
WOMAN(V.O.)
Good evening, Commissioner. I'm calling on behalf of Minister Hino.
WAKAGI
(pause)
No kidding?
(beat)
Of course you're calling on his behalf! That's exactly what this line is- wait, where Kaidou?
WOMAN(V.O.)
Unofrtunately, Mr. Kaidou--
WAKAGI
I can't hear you. You'll have to speak up!
WOMAN(V.O.)
Mr. Kaidou is on temporary leave. . . a marital concern of some sort.
WAKAGI briefly catches a glimpse of a photograph sitting on his desk, featuring himself, Minister Takashi Hino. . . and REI. Upon spotting her in the photo, WAKAGI MARCHES toward the front door.
WOMAN(V.O.)
I've been assigned his duties for the time being.
WOMAN(V.O.)
I'm contacting you- again, on behalf of Minister Hino--
CUT TO:
INT, Reception- Continuous
WAKAGI BURSTS out the door. The SECRETARY stands at attention immediately.
WOMAN(V.O.)
-- regarding the handling of a recent missing person's investi--
WAKAGI
(pointing to Secretary)
You're Fired!
The Secretary is stunned.
WOMAN(V.O.)
Commissioner?! What is the mean--?!
WAKAGI
(into phone)
I hope you're happy Rei. Someone just lost his job thanks to you.
The SECRETARY bows, deeply ashamed, and starts to leave. However, WAKAGI waves at him to sit down.
CUT TO:
INT, Ramen House
REI, sitting in the middle of a very noisy restaurant. She's talking into YUUICHIROU'S PHONE, plugging her other ear with her finger.
WAKAGI(V.O.)
Do you have any idea how profoundly illegal this is?
REI
Making a phone call to a public official?
CUT TO:
INT, Tokyo Police Headquaters
Back to WAKAGI. We'll be cutting back and fourth now between WAKAGI and REI, as needed.
WAKAGI
How about falsely posing as a representative of a Diet Member?
REI
I am a representative of Minister Wakagi.
(beat)
Kind of.
WAKAGI
All right. How about interfering in a police investigation?
REI
What?
WAKAGI
"Concerns about a missing persons investigation?" What else--
(sighs)
Look, I don't know what you think goes on between--
REI
Commissioner. . . someone I know, Sister Jessica Rousel1, has gone missing. I've been trying all afternoon to to get in touch with the investigator in charge of tracking her down. I gave some information to the detective yesterday, but we haven't heard anything from him since.
WAKAGI
(confused, somehow surprised)
"W-we?"
REI
TA Academy. That's the school where she works. She's a teacher.
WAKAGI
Uh. . . W-well, did you?
REI
I'm sorry?
WAKAGI
Get in contact?
REI
Yes, but he brushed me off. Said the department's prioirty was the attack on Big Sight this--
WAKAGI
It not an attack! Nothing's been confirmed. . . wait. Why were you trying to get in contact, exactly?
REI
I had concerns.
WAKAGI
You mean you were curious.
REI
After the atta- after whatever happened at Big Sight? Yes, I was concerned. I think I have the right to be.
WAKAGI
(sighs)
Alright. Out of sheer morbid curiosity. What are your "concerns"?
REI
Has the investigator had a chance to check the scene?
WAKAGI
I wouldn't know, Rei. You'd have to ask the investigator.
REI
I tried that.
(beat)
Commissioner. . . I was there. Yesterday, and then again today.
WAKAGI
Where?
REI
The mansion, where she was last seen. I was there. . . and I wasn't the only one. Some scientific team was. . . tampering with the scene2.
WAKAGI
You mean the Tomoe group?
REI
(surprised)
Yes. You know about this/ What were they doing?
WAKAGI
They've been given near carte blanche for this sort of thing, all over the city. Surveying, research, engineering consultation. It's all part of a new infrastructure development. Was the mansion unoccupied?
REI
Yeah.
WAKAGI
There you go. Probably condemned.
REI
Yeah, and a crime scene!
WAKAGI
We don't know that, Rei.
REI
You know all about this infrastructure project, but not a criminal investigation?
WAKAGI
Rei, I'm the top cop of Tokyo. These are the things I'm supposed to know.
(sighs)
Honestly I'm a little surprised you don't know about it. It is your father's department-- but I guess he wouldn't have told you.
PAUSE.
WAKAGI
Rei?
REI
. . . we don't talk that often.
PAUSE.
WAKAGI
(sighs)
Rei, I'll talk to the detective about your concerns, and ask him to contact you whenever possible. Just don't expect that to be soon. You're already getting more than anyone else would.
REI
(sighs)
Thank you.
WAKAGI
And Rei. . . I suppose, while you're on the line-- since we both know neither of us is ever going to speak of this-- this isn't the first time that someone "representing Minister Hino" has raised concerns about a missing persons investigation.
(pause)
And that's all I have to say. Good night.
WAKAGI hangs up.
INT, Ramen House
REI hangs up her cell. . . not sure of what to make of that conversation. REI looks to her side.
CUT TO:
REI'S POV. A young couple, sickeningly in love. . . cuddling, kissing.
CUT TO:
Close-up of Rei. Disgusted, she turns back to the camera.
REI
Really, Mamoru?
CUT TO:
REI'S POV. We see MAMORU sitting opposite Rei, examining the snuggly lovers before turning back to face Rei.
MAMORU
Sorry. . . I was just curious. I wanted to know what a date looks like.
To Be Continued.
1) In case the name Jessica Rousel somehow sounds familiar to you. . . I went through a whole process of researching the names of similar character before ultimately deciding that, weirdly enough, it DOES make sense to name this nun after Miyuu Sawai's "French TV" co-star. Don't ask me how, though, it's way too convoluted to explain.
2) Remember that? When REI revisited the mansion and found scientists tampering with the scene? No? I guess it must not be until the second draft that that happens.
Sunday, May 8, 2011
Just in Time for Mother's Day: The Ongoing Soap Opera of People Who Technically Don't Have Mothers
Last Time. . .
CUT TO:
INT, Crystal Chamber
The PROFESSOR, still in the chamber, listening to the hiss of static and other intermittent sounds coming out of the speakers, emanating from whatever is on the other end of that crystal. EUDIAL storms through the massive entryway.
EUDIAL
(angry)
Mimete-2?
The PROFESSOR slowly turns to face EUDIAL, only the glare of his glasses penetrating through the perpetual shadow that surrounds him. Clearly, he knows what she's talking about.
PROFESSOR
I take it you didn't get that from Kao Ling.
EUDIAL
That's twice now. Twice that Mimete has abandoned us! Abandoned you!
Pause. Eudial is fuming.
EUDIAL
And what about Tellu? She's going to be revived-- after what she did today! And Viluy--?
PROFESSOR
Stop.
Pause. The hiss of the speakers fills the room.
PROFESSOR
Listen.
After a moment, the hiss grows slightly deeper, and then rises to its usual pitch.
CUT TO:
INT, Infirmary
TELLU, laying in bed, with an IV connected to her arm, emaciated, barely alive. PTILOL wheels in a vat containing a now fully grown version of Tellu-- call her TELLU-2 for now-- floating in liquid, with a tangled mess of WIRES connected to her head.
CUT TO:
INT, Crystal Chamber
EUDIAL and the PROFESSOR.
PROFESSOR
That's her!
EUDIAL pauses, processing what he's just said.
EUDIAL
You mean. . .
A few CLICKS penetrate through the static.
PROFESSOR
There! There! That's her!
(laughs)
She's talking to us, Eudial! She's actually speaking to us!
EUDIAL
. . . what's "she" saying?
The PROFESSOR, still shrouded in shadow, walks slowly toward EUDIAL, taking in all the ambient noises as he does so.
PROFESSOR
I don't know. That's what I'm trying to find out.
EUDIAL looks up at the CRYSTAL.
PROFESSOR
What I do know, is that whatever she's saying. . . she's saying it louder.
EUDIAL'S eyes lock on the PROFESSOR'S.
PROFESSOR
We are closer, Eudial. Maybe not as close as you wanted-
EUDIAL casts her eyes down.
PROFESSOR
- but closer.
CUT TO:
INT, Infirmary
PTILOL places what looks like an ELECTRODE CAP, but with dozens of NEEDLES, on TELLU'S head. The needles begin to DIG into TELLU'S skull.
CUT TO:
INT, Crystal Chamber
PROFESSOR and EUDIAL.
PROFESSOR
You don't know how to deal with this, do you? Mimete's loss.
EUDIAL doesn't answer.
PROFESSOR
You were still recovering from your revival. We hadn't quite perfected the procedure yet.
CUT TO:
INT, Infirmary
PTILOL throws a switch. TELLU'S body begins to seize.
CUT TO:
INT, Crystal Chamber
PROFESSOR
Kao Ling and I thought Mimete's loss would be too much for you to handle.
CUT TO:
INT, Infirmary
TELLU-2, convulsing inside the vat.
CUT TO:
INT, Crystal Chamber
PROFESSOR reaches up and caresses EUDIAL'S cheek. EUDIAL, surprisingly, is beginning to tear up a little.
PROFESSOR
We created you so that you would never have to experience death. Experience loss. But, as much as we tried. . . Mimete was a loss.
PROFESSOR turns to one of the TANKS of energy that Eudial obtained.
PROFESSOR
This day. . . this was not a loss. This was a good day, Eudial.
The PROFESSOR, his face remaining in perpetual shroud, walks back to the railing to listen some more. After a moment, EUDIAL walks up to the PROFESSOR and slowly embraces him from behind.
CUT TO:
INT, Infirmary
TELLU-2-- who, for all intents and purposes is now just TELLU-- stands over the corpse she once occupied, in a heavy daze. She holds up her arm next to her discarded body, comparing it to her "old arm".
TELLU
(distant)
I worked for weeks on that tan.
We HOLD on a close up of PTILOL, facing the camera, as we-
CUT TO:
INT, Crystal Chamber Entrance
Outside the crystal chamber, CYRPINE (with a similar look to PTILOL'S just a moment ago) watches from a distance as the PROFESSOR and EUDIAL continue their long, strange embrace. We then
CUT TO:
A CLOSE-UP of the CRYSTAL. Seeing it up close for the first time, we realize that this crystal is actually composed of about six SHARDS, all put together-- though it appears as though there is one shard left to be attached.
CUT TO:
INT, Tokyo Police Department
A close up of a photograph a crystal which looks suspiciously like one of the SHARDS of the crystal from last scene. We briefly see the words OSA-P on the documents next to the photo.
TO BE CONTINUED.
CUT TO:
INT, Crystal Chamber
The PROFESSOR, still in the chamber, listening to the hiss of static and other intermittent sounds coming out of the speakers, emanating from whatever is on the other end of that crystal. EUDIAL storms through the massive entryway.
EUDIAL
(angry)
Mimete-2?
The PROFESSOR slowly turns to face EUDIAL, only the glare of his glasses penetrating through the perpetual shadow that surrounds him. Clearly, he knows what she's talking about.
PROFESSOR
I take it you didn't get that from Kao Ling.
EUDIAL
That's twice now. Twice that Mimete has abandoned us! Abandoned you!
Pause. Eudial is fuming.
EUDIAL
And what about Tellu? She's going to be revived-- after what she did today! And Viluy--?
PROFESSOR
Stop.
Pause. The hiss of the speakers fills the room.
PROFESSOR
Listen.
After a moment, the hiss grows slightly deeper, and then rises to its usual pitch.
CUT TO:
INT, Infirmary
TELLU, laying in bed, with an IV connected to her arm, emaciated, barely alive. PTILOL wheels in a vat containing a now fully grown version of Tellu-- call her TELLU-2 for now-- floating in liquid, with a tangled mess of WIRES connected to her head.
CUT TO:
INT, Crystal Chamber
EUDIAL and the PROFESSOR.
PROFESSOR
That's her!
EUDIAL pauses, processing what he's just said.
EUDIAL
You mean. . .
A few CLICKS penetrate through the static.
PROFESSOR
There! There! That's her!
(laughs)
She's talking to us, Eudial! She's actually speaking to us!
EUDIAL
. . . what's "she" saying?
The PROFESSOR, still shrouded in shadow, walks slowly toward EUDIAL, taking in all the ambient noises as he does so.
PROFESSOR
I don't know. That's what I'm trying to find out.
EUDIAL looks up at the CRYSTAL.
PROFESSOR
What I do know, is that whatever she's saying. . . she's saying it louder.
EUDIAL'S eyes lock on the PROFESSOR'S.
PROFESSOR
We are closer, Eudial. Maybe not as close as you wanted-
EUDIAL casts her eyes down.
PROFESSOR
- but closer.
CUT TO:
INT, Infirmary
PTILOL places what looks like an ELECTRODE CAP, but with dozens of NEEDLES, on TELLU'S head. The needles begin to DIG into TELLU'S skull.
CUT TO:
INT, Crystal Chamber
PROFESSOR and EUDIAL.
PROFESSOR
You don't know how to deal with this, do you? Mimete's loss.
EUDIAL doesn't answer.
PROFESSOR
You were still recovering from your revival. We hadn't quite perfected the procedure yet.
CUT TO:
INT, Infirmary
PTILOL throws a switch. TELLU'S body begins to seize.
CUT TO:
INT, Crystal Chamber
PROFESSOR
Kao Ling and I thought Mimete's loss would be too much for you to handle.
CUT TO:
INT, Infirmary
TELLU-2, convulsing inside the vat.
CUT TO:
INT, Crystal Chamber
PROFESSOR reaches up and caresses EUDIAL'S cheek. EUDIAL, surprisingly, is beginning to tear up a little.
PROFESSOR
We created you so that you would never have to experience death. Experience loss. But, as much as we tried. . . Mimete was a loss.
PROFESSOR turns to one of the TANKS of energy that Eudial obtained.
PROFESSOR
This day. . . this was not a loss. This was a good day, Eudial.
The PROFESSOR, his face remaining in perpetual shroud, walks back to the railing to listen some more. After a moment, EUDIAL walks up to the PROFESSOR and slowly embraces him from behind.
CUT TO:
INT, Infirmary
TELLU-2-- who, for all intents and purposes is now just TELLU-- stands over the corpse she once occupied, in a heavy daze. She holds up her arm next to her discarded body, comparing it to her "old arm".
TELLU
(distant)
I worked for weeks on that tan.
We HOLD on a close up of PTILOL, facing the camera, as we-
CUT TO:
INT, Crystal Chamber Entrance
Outside the crystal chamber, CYRPINE (with a similar look to PTILOL'S just a moment ago) watches from a distance as the PROFESSOR and EUDIAL continue their long, strange embrace. We then
CUT TO:
A CLOSE-UP of the CRYSTAL. Seeing it up close for the first time, we realize that this crystal is actually composed of about six SHARDS, all put together-- though it appears as though there is one shard left to be attached.
CUT TO:
INT, Tokyo Police Department
A close up of a photograph a crystal which looks suspiciously like one of the SHARDS of the crystal from last scene. We briefly see the words OSA-P on the documents next to the photo.
TO BE CONTINUED.
Saturday, May 7, 2011
The "Sunshine" Post Went Over Really Well With My Mom So Here's More Music I Like
Why I Should Write the Sailor Moon Movie Part #25: It's Part #23, but Moreso
Previously. . .
CUT TO:
INT, Underground Lair, Meeting Room
A forlorn KAO LING, standing in front of a semi-circle of SIX EMPTY SCHOOL DESKS, each bearing the name of one of the six minions we've met: EUDIAL, MIMETE, TELLU, VILUY, CYPRINE, and PTILOL.
Some music to fit the mood:
CUT TO:
INT, Crystal Chamber
Steaming TANKS OF ENERGY are now connected to tubes leading to the CRYSTAL. THE PROFESSOR, as always shrouded in shadow, leans against the railing separating him from the mass of tubes and wires leading to the crystal, his eyes cast downward.
CUT TO:
INT, "Nursery"
A huge room filled with arrays of large VATS, split down the middle by a long CONVEYOR BELT with some STRANGE MACHINERY at one end-- apparently, the vats are fed into the machinery, and something comes out along the conveyor belt. We follow PTILOL, walking past an array of vats. Most of the vats are nearly empty, containing what look either like eggs or embryos-- of what, we probably don't want to know. After a few seconds, PTILOL comes upon vats containing HUMAN-LIKE BEINGS, resembling prepubescent children. PTILOL stops at one particular vat-- we hold, to reveal that the vat contains a PREPUBESCENT CLONE of TELLU.
CYPRINE(V.O.)
What are you doing?
CUT TO:
INT, Mimete's Room
We see a startled EUDIAL, turning around to see CYPRINE, standing at the doorway to Mimete's room. EUDIAL is carrying a bag of stuff, apparently cleaning up the once-occupied room. The walls are lined with posters of (mostly male) pop idols, primarily from the mega-group Three Lights. The beds are lined with STUFFED ANIMALS and DOLLS, all of which look like human BABIES or YOUNG CHILDREN.
EUDIAL
(indignant)
You know exactly what I'm doing.
EUDIAL returns to picking up the (many) clothes lying on the ground. CYPRINE walks in.
CYPRINE
Clean-up duty.
EUDIAL.
No. . .
CUT TO:
INT, Meeting Room- Continuous
A close-up on MIMETE'S desk. We see KAO LING, scraping MIMETE'S name tag off the desk.
EUDIAL(V.O.)
"Mourning."
CUT TO:
INT, Mimete's Room- Continuous
CYPRINE
So that's it? She's gone? Not even gonna look for her.
EUDIAL
We already did.
EUDIAL picks up some clothes near MIMETE'S bed, then stops and looks at the DOLLS. She picks up a BABY DOLL and examines it closely.
CYPRINE
Something wrong?
EUDIAL shakes her head.
EUDIAL
I never saw Mimete as the maternal type.
CYPRINE
(surprised)
Really?
(beat)
I thought it fit her pretty well.
CYPRINE picks up another DOLL.
CYPRINE
You're the one always talking about how self-absorbed she was. What could be more gratifying to your vanity than having another little "you" running around?
CYPRINE throws her DOLL back on the bed. EUDIAL throws her DOLL into the bag a second later.
EUDIAL
Speaking of which. . .
CYPRINE
Tellu?
EUDIAL nods.
CUT TO:
INT, Nursery- Continuous
We see PTILOL, examining the younger TELLU, her body beginning to twitch.
CYPRINE(V.O.)
I'm looking at her right now.
CUT TO:
INT, Mimete's Room
CYPRINE
She's coming along quite nicely.
EUDIAL looks away, bitterly, and continues "mourning".
CYPRINE
It's a weird feeling. One of us actually being. . . gone. I mean. . . you've all "died" at some point.
EUDIAL freezes.
CYRPINE
Viluy "died" from an infection. You and Mimete both froze to death at D-point. And now. . . Tellu's going to "die". After tomorrow, Ptilol and I will be the only ones still left on our first life.
EUDIAL
(curt)
Is this going anywhere?
CYRPINE thinks for a second.
CYRPINE
(shaking her head)
No.
EUDIAL returns to her chores. CYPRINE opens up a drawer and spots something.
CYPRINE
Oooh!
CYRPINE pulls out a CELL PHONE from the drawer and activates it.
CYPRINE
Eudial, we have cell phone reception down here, right?
EUDIAL
Why do you keep asking me things you already know?
CYPRINE
My mind is spread across two bodies. It's hard to keep track of things.
CYPRINE searches through the numbers.
CYPRINE
Man! Mimi got around!
CYPRINE dials a number.
EUDIAL
What are you doing?!
CYPRINE hums a tune as she waits for an answer.
CYPRINE
The name "Nichogi" keeps coming up.
(sarcastic)
He just might be connected to all of this!
EUDIAL
Ptilol!
CYPRINE
I'm Cyprine.
(points to her dimple)
Ptilol's the one with the dimple.
EUDIAL
Cyprine!
EUDIAL walks up to take the phone from CYRPINE, but she hangs up.
CYPRINE
My call didn't get through.
EUDIAL
Are you crazy?! What if somebody picked up-?
CYPRINE
How many Mimetes have there been?
EUDIAL'S surprised by this question, and by CYRPINE'S abruptness in asking it.
EUDIAL
What?
CYPRINE waits for EUDIAL'S answer.
EUDIAL
Two.
CYPRINE
Three.
(pause)
Mimete-2 ran away. Wanted to be a pop-idol or some-such. Didn't Kao Ling tell you? Just ran away, out of the blue, taking all of Mimete-1's memories with her. All her knowledge, all her desires. We had to start from scratch with Mimete-3.
EUDIAL is stunned.
CYPRINE
I can understand that, actually. I once ran off to the mountains of Kyoto.
(beat)
I wanted to find myself.
EUDIAL drops her bag and storms out of the room.
CYRPINE
Kao Ling's in the meeting room.
(beat)
Eudial?
To Be Continued. . .
Previously. . .
CUT TO:
INT, Underground Lair, Meeting Room
A forlorn KAO LING, standing in front of a semi-circle of SIX EMPTY SCHOOL DESKS, each bearing the name of one of the six minions we've met: EUDIAL, MIMETE, TELLU, VILUY, CYPRINE, and PTILOL.
Some music to fit the mood:
CUT TO:
INT, Crystal Chamber
Steaming TANKS OF ENERGY are now connected to tubes leading to the CRYSTAL. THE PROFESSOR, as always shrouded in shadow, leans against the railing separating him from the mass of tubes and wires leading to the crystal, his eyes cast downward.
CUT TO:
INT, "Nursery"
A huge room filled with arrays of large VATS, split down the middle by a long CONVEYOR BELT with some STRANGE MACHINERY at one end-- apparently, the vats are fed into the machinery, and something comes out along the conveyor belt. We follow PTILOL, walking past an array of vats. Most of the vats are nearly empty, containing what look either like eggs or embryos-- of what, we probably don't want to know. After a few seconds, PTILOL comes upon vats containing HUMAN-LIKE BEINGS, resembling prepubescent children. PTILOL stops at one particular vat-- we hold, to reveal that the vat contains a PREPUBESCENT CLONE of TELLU.
CYPRINE(V.O.)
What are you doing?
CUT TO:
INT, Mimete's Room
We see a startled EUDIAL, turning around to see CYPRINE, standing at the doorway to Mimete's room. EUDIAL is carrying a bag of stuff, apparently cleaning up the once-occupied room. The walls are lined with posters of (mostly male) pop idols, primarily from the mega-group Three Lights. The beds are lined with STUFFED ANIMALS and DOLLS, all of which look like human BABIES or YOUNG CHILDREN.
EUDIAL
(indignant)
You know exactly what I'm doing.
EUDIAL returns to picking up the (many) clothes lying on the ground. CYPRINE walks in.
CYPRINE
Clean-up duty.
EUDIAL.
No. . .
CUT TO:
INT, Meeting Room- Continuous
A close-up on MIMETE'S desk. We see KAO LING, scraping MIMETE'S name tag off the desk.
EUDIAL(V.O.)
"Mourning."
CUT TO:
INT, Mimete's Room- Continuous
CYPRINE
So that's it? She's gone? Not even gonna look for her.
EUDIAL
We already did.
EUDIAL picks up some clothes near MIMETE'S bed, then stops and looks at the DOLLS. She picks up a BABY DOLL and examines it closely.
CYPRINE
Something wrong?
EUDIAL shakes her head.
EUDIAL
I never saw Mimete as the maternal type.
CYPRINE
(surprised)
Really?
(beat)
I thought it fit her pretty well.
CYPRINE picks up another DOLL.
CYPRINE
You're the one always talking about how self-absorbed she was. What could be more gratifying to your vanity than having another little "you" running around?
CYPRINE throws her DOLL back on the bed. EUDIAL throws her DOLL into the bag a second later.
EUDIAL
Speaking of which. . .
CYPRINE
Tellu?
EUDIAL nods.
CUT TO:
INT, Nursery- Continuous
We see PTILOL, examining the younger TELLU, her body beginning to twitch.
CYPRINE(V.O.)
I'm looking at her right now.
CUT TO:
INT, Mimete's Room
CYPRINE
She's coming along quite nicely.
EUDIAL looks away, bitterly, and continues "mourning".
CYPRINE
It's a weird feeling. One of us actually being. . . gone. I mean. . . you've all "died" at some point.
EUDIAL freezes.
CYRPINE
Viluy "died" from an infection. You and Mimete both froze to death at D-point. And now. . . Tellu's going to "die". After tomorrow, Ptilol and I will be the only ones still left on our first life.
EUDIAL
(curt)
Is this going anywhere?
CYRPINE thinks for a second.
CYRPINE
(shaking her head)
No.
EUDIAL returns to her chores. CYPRINE opens up a drawer and spots something.
CYPRINE
Oooh!
CYRPINE pulls out a CELL PHONE from the drawer and activates it.
CYPRINE
Eudial, we have cell phone reception down here, right?
EUDIAL
Why do you keep asking me things you already know?
CYPRINE
My mind is spread across two bodies. It's hard to keep track of things.
CYPRINE searches through the numbers.
CYPRINE
Man! Mimi got around!
CYPRINE dials a number.
EUDIAL
What are you doing?!
CYPRINE hums a tune as she waits for an answer.
CYPRINE
The name "Nichogi" keeps coming up.
(sarcastic)
He just might be connected to all of this!
EUDIAL
Ptilol!
CYPRINE
I'm Cyprine.
(points to her dimple)
Ptilol's the one with the dimple.
EUDIAL
Cyprine!
EUDIAL walks up to take the phone from CYRPINE, but she hangs up.
CYPRINE
My call didn't get through.
EUDIAL
Are you crazy?! What if somebody picked up-?
CYPRINE
How many Mimetes have there been?
EUDIAL'S surprised by this question, and by CYRPINE'S abruptness in asking it.
EUDIAL
What?
CYPRINE waits for EUDIAL'S answer.
EUDIAL
Two.
CYPRINE
Three.
(pause)
Mimete-2 ran away. Wanted to be a pop-idol or some-such. Didn't Kao Ling tell you? Just ran away, out of the blue, taking all of Mimete-1's memories with her. All her knowledge, all her desires. We had to start from scratch with Mimete-3.
EUDIAL is stunned.
CYPRINE
I can understand that, actually. I once ran off to the mountains of Kyoto.
(beat)
I wanted to find myself.
EUDIAL drops her bag and storms out of the room.
CYRPINE
Kao Ling's in the meeting room.
(beat)
Eudial?
To Be Continued. . .
Monday, May 2, 2011
I Guess I'll Need Actors If I Want a Movie
Reasons I Should Write the Sailor Moon Movie #24: I Like Mad Men
I've been furiously working on the first draft this past week or so, while also working on a draft version of my notes for Physics 115. I decided to take a break from that to write on a topic that I haven't really discussed since back in Part #2: how I would cast the movie. There were quite a few reasons that I've avoided sharing my casting ideas, the two biggest being that writers don't really have a say in casting (or anything, apart from the script) and that my biggest priority in getting this thing written was. . . getting this thing written, somehow, in between school, marking, office work, house work, and (for three months, anyway) living and travelling in Japan.
Still, I do have ideas on who I would cast-- some vague, some definite, some whimsical-- and I thought that it might help readers of this series (old and new alike) if they had some idea of whose faces I'm picturing in my head as they (said readers) make their way through the script.
Thus, my ideal casting call (thus far) for Sailor Moon.
Usagi/Sailor Moon:
I already mentioned that I would have liked to cast a young actress like Abigail Breslin, someone likely to be in their mid-teens by the time I imagine the movie taking place (about 2014). Since then. . . well, I've watched a lot of Mad Men. In particular, I've watched one of the show's actresses gradually step out from the background and into the forefront, earning critical accolades in the process. That actress, and my choice for the roll of Sailor Moon, is. . .
Kiernan Shipka
In addition to being good and blond and American, she was also born in 1999. This means that not only would she be the right age to play Usagi-- if this movie were ever to come into being-- but she was also born in the year of the rabbit! Plus, like I said, she's good.
Usagi's Parents
I also like The Daily Show with Jon Stewart, whose cast of satircal correspondents includes Canadian husband and wife duo-- and my choice for Usagi's Parents--
Jason Jones and Samantha Bee:
Why? Back when the Sailor Moon anime was a YTV staple up in Canada, Bee performed as Sailor Moon in some live action stage show at the CNE in Toronto (thank you, Wikipedia. . .). That, combined with the fact that Jones, like Usagi's dad, is a journalist (. . . or at least plays one on TV), as well as the fact that the two are married in real life, makes them, in my mind, perfect as Usagi's parents.
And if they turn down the role, I could always just settle for Jon Hamm and January Jones.
Makoto Kino:
An Ainu. Obviously.
The problem is that the Ainu are still quite marginalized in Japanese society. There have been people of Ainu ancestry who have made it to positions of prominence in Japan-- including one member of the Diet-- but as it stands, it appears that there are no actresses of Ainu descent working in Japan (feel free to correct me if I'm mistaken-- I'd be happy if I was). In particular, there are no actress who are:
- In their teens (as of 2014)
- Taller than the average Japanese woman (the Ainu, on average, are actually shorter than the Yamato, or "ordinary" Japanese 1)
- Masters, or at least practitioners, of the deadly arts (Karate, Jiu Jitsu, Aikido, etc.)
Nonetheless, there is one Ainu celebrity I have been picturing in the role since I started writing the script: Mina Sakai, a half-Ainu, half Yamato (and ALL "Japanese") musician.
Usagi's Schoolyard Associates:
As Naru Osaka, Usagi's best friend: Rina Koike, the actress who played "Sailor Luna" in PGSM.
As Umino Gurio, the swirly glasses nerd: Naoki Takeshi, the actor who played Usagi's little brother on PGSM.2
And finally, as Usagi's teacher Haruna Sakurada: PGSM's Queen Beryl herself, Aya Sugimoto.
Speaking of PGSM. . .
The Witches 5:
If you've been following the script, you already know this one:
The Cast of PGSM
The Witches 5 (some of them anyway) were designed as counterparts to the Sailor Senshi, so it makes sense to cast the actresses who played PGSM's Sailor Senshi in the roles. I'll leave it up to you to figure out which actress plays which Witch.
Mamoru Chiba/Tuxedo Mask:
Yuya Yagira, who won the Best Actor Award at the 2004 Cannes film festival for his debut role in the film Nobody Knows.
Dr. Tomoe:
If you've been following the series, you probably know this too:
Geroge Takei.
It's not a ridiculous as it sounds. The man does speak Japanese (that's what got him his recurring role on Heroes) and he has played villains before (including an accused Japanese war criminal in the film Blood Oath). Plus, he is so associated with being both benevolent and fabulous and that his eventual face-heel turn will be all the more shocking. . . except for anyone who reads this blog. . . or knows who Tomoe is.
Minako Aino/Sailor V:
Finally, I have a very specific idea of who should play Minako Aino. Very specific. . . and very secret.
Thoughts?
1. The quotes are sarcastic- if anything, the Ainu are more "Japanese" than the Yamato. On an unrelated topic, FOOTNOTES!!
2. And no, I don't care that both of these performers will be too old for these roles by 2014.
I've been furiously working on the first draft this past week or so, while also working on a draft version of my notes for Physics 115. I decided to take a break from that to write on a topic that I haven't really discussed since back in Part #2: how I would cast the movie. There were quite a few reasons that I've avoided sharing my casting ideas, the two biggest being that writers don't really have a say in casting (or anything, apart from the script) and that my biggest priority in getting this thing written was. . . getting this thing written, somehow, in between school, marking, office work, house work, and (for three months, anyway) living and travelling in Japan.
Still, I do have ideas on who I would cast-- some vague, some definite, some whimsical-- and I thought that it might help readers of this series (old and new alike) if they had some idea of whose faces I'm picturing in my head as they (said readers) make their way through the script.
Thus, my ideal casting call (thus far) for Sailor Moon.
Usagi/Sailor Moon:
I already mentioned that I would have liked to cast a young actress like Abigail Breslin, someone likely to be in their mid-teens by the time I imagine the movie taking place (about 2014). Since then. . . well, I've watched a lot of Mad Men. In particular, I've watched one of the show's actresses gradually step out from the background and into the forefront, earning critical accolades in the process. That actress, and my choice for the roll of Sailor Moon, is. . .
Kiernan Shipka
In addition to being good and blond and American, she was also born in 1999. This means that not only would she be the right age to play Usagi-- if this movie were ever to come into being-- but she was also born in the year of the rabbit! Plus, like I said, she's good.
Usagi's Parents
I also like The Daily Show with Jon Stewart, whose cast of satircal correspondents includes Canadian husband and wife duo-- and my choice for Usagi's Parents--
Jason Jones and Samantha Bee:
Why? Back when the Sailor Moon anime was a YTV staple up in Canada, Bee performed as Sailor Moon in some live action stage show at the CNE in Toronto (thank you, Wikipedia. . .). That, combined with the fact that Jones, like Usagi's dad, is a journalist (. . . or at least plays one on TV), as well as the fact that the two are married in real life, makes them, in my mind, perfect as Usagi's parents.
And if they turn down the role, I could always just settle for Jon Hamm and January Jones.
Makoto Kino:
An Ainu. Obviously.
The problem is that the Ainu are still quite marginalized in Japanese society. There have been people of Ainu ancestry who have made it to positions of prominence in Japan-- including one member of the Diet-- but as it stands, it appears that there are no actresses of Ainu descent working in Japan (feel free to correct me if I'm mistaken-- I'd be happy if I was). In particular, there are no actress who are:
- In their teens (as of 2014)
- Taller than the average Japanese woman (the Ainu, on average, are actually shorter than the Yamato, or "ordinary" Japanese 1)
- Masters, or at least practitioners, of the deadly arts (Karate, Jiu Jitsu, Aikido, etc.)
Nonetheless, there is one Ainu celebrity I have been picturing in the role since I started writing the script: Mina Sakai, a half-Ainu, half Yamato (and ALL "Japanese") musician.
Usagi's Schoolyard Associates:
As Naru Osaka, Usagi's best friend: Rina Koike, the actress who played "Sailor Luna" in PGSM.
As Umino Gurio, the swirly glasses nerd: Naoki Takeshi, the actor who played Usagi's little brother on PGSM.2
And finally, as Usagi's teacher Haruna Sakurada: PGSM's Queen Beryl herself, Aya Sugimoto.
Speaking of PGSM. . .
The Witches 5:
If you've been following the script, you already know this one:
The Cast of PGSM
The Witches 5 (some of them anyway) were designed as counterparts to the Sailor Senshi, so it makes sense to cast the actresses who played PGSM's Sailor Senshi in the roles. I'll leave it up to you to figure out which actress plays which Witch.
Mamoru Chiba/Tuxedo Mask:
Yuya Yagira, who won the Best Actor Award at the 2004 Cannes film festival for his debut role in the film Nobody Knows.
Dr. Tomoe:
If you've been following the series, you probably know this too:
Geroge Takei.
It's not a ridiculous as it sounds. The man does speak Japanese (that's what got him his recurring role on Heroes) and he has played villains before (including an accused Japanese war criminal in the film Blood Oath). Plus, he is so associated with being both benevolent and fabulous and that his eventual face-heel turn will be all the more shocking. . . except for anyone who reads this blog. . . or knows who Tomoe is.
Minako Aino/Sailor V:
Finally, I have a very specific idea of who should play Minako Aino. Very specific. . . and very secret.
Thoughts?
Sunday, May 1, 2011
You Can Also Use Music from Inception to Make Anything Badass. . . But I Won't This Time.
LAST TIME. . .
WE NOW CONTINUE.
CUT TO:
EXT, Shinjuku MS Department Store, Day
There is a subdued air to Shinjuku right now. Nonetheless, there are at least some of the usual crowds flooding the streets in front of the massive, brand new Shinjuku MS Department Store. Amidst the crowds, we see MAKOTO, impatiently scanning the area for Sempai, her cell phone in hand. After a moment, she gets a text message. Based on Makoto's expression, this message is even more confusing than the last, but she just rolls her eyes and heads off.
CUT TO:
INT, Train Car
USAGI, once again, rides the train, the outside buildings passing on by in a blur. This time, she doesn't seem to know where she's going. She glances up at one of the TV's that lie above the train doors. The TV's have resumed playing their usual mix of commercials and public service announcements, rather than news about the Big Sight attack. We see one commercial come to an end, followed by an ad for the "Brand New Shinjuku MS Department Store."
We CUT TO:
The commercial. It's the usual glossy, gaudy, FX-filled, J-pop blasting commercial one would expect for a Japanese department store. The only thing that matters is that we see TWO WOMEN, one JAPANESE, the other fashionably CAUCASIAN, running excitedly through the store, gleefully scrutinizing the wares.
We CUT TO:
USAGI, watching the TV. Something about this commercial has caught her eye.
CUT TO:
INT, Connecting Hallway
A nearly bare hallway, one of many branches of the larger complex that connects the underground mall levels of the department store to the nearby Shinjuku subway station. MAKOTO walks down the hall. A couple of people pass her on by, while one young man leans against a wall. After a few moments of looking for Semapi, she gives up and pulls out her cell phone. We hear a faint RING- Makoto makes nothing of it at first.
MAKOTO
(to herself, but audible)
Goddamit Sempai, where are you?
The young man against the wall turns to face MAKOTO. The RINGING gets slightly louder, so that MAKOTO begins to notice it. Then, the young man speaks.
BULLY
Sempai?
Makoto recognizes the voice-- it's the bully she dealt with two days ago-- and turns to face him.
BULLY
That. Is. Adorable! Did he have a pet name for you, too?
MAKOTO
How the hell did you get that phone?
BULLY
You know, that is a good question. I'll get back to it- it actually relates somewhat to the topic at hand. You see, me? I'd go with Nariko.
(beat)
I had a dog named Nariko once.
MAKOTO'S eyes flare with rage.
BULLY
There we go! That's the psychopathic bitch I remember! I picked a good spot, you gotta give me that. Don't have to worry about police down here. You can cry, "Help me!", all you want, as loud as you want. No-one can hear you.
(beat)
Whaddaya say? Shall we finish this?
MAKOTO
(contemptuously)
Fuck you.
With that MAKOTO starts walks away. About fifty feet away, we see two young men, leaning inconspicuously against the walls, much like BULLY was a moment ago.
BULLY
I was surprised a handsome fellow like "Se-m-pa-i" would waste his time with you. Now, the girl he was making out with when I snatched his phone? She was a cute one! God-damn!
MAKOTO stops.
BULLY
You know, I'm honestly a little disappointed, going to all this trouble. Stealing that asshole's phone, luring you all the way here. I mean. . .
(shrugs)
You actually thought that he. . . would come back to you. How hard could it really have been to outsmart you?
JUMP CUT TO:
BULLY SLAMMING INTO A WALL, his NOSE BLEEDING, his ARMS WRAPPED AROUND HIS ABDOMEN. No longer able to stand, he slides down on to the floor. MAKOTO, SEMPAI'S phone in hand and nearly in tears, walks up to him.
MAKOTO
You know nothing.
We then hear the two young men in the hall laughing at BULLY.
BULLY
(coughing)
Shut up!
MAKOTO begins to walk away. The young men, who we now realize are fairly large and athletic, continue laughing.
BULLY
(coughing)
I said shut up!
Makoto then realizes that BULLY was talking to the two young men, not her. These men, a couple of THUGS, were with him the whole time. Makoto, now getting really worried, tries to avoid the thugs as they approaches.
THUG #1
(sleazy)
Hey, you got some for me?
MAKOTO tries to ignore him.
THUG #1
C'mon, where's mine?
The THUG reaches out to grope MAKOTO, but she slides away.
MAKOTO
Get out of my way!
THUG #2 runs behind and grabs MAKOTO'S buttocks. MAKOTO swings around. The THUGS are now CIRCLING MAKOTO, as she tries to keep her eye on the both of them. THUG #1 assumes a loose, bouncy fighting stance, DANCING AROUND MAKOTO. Distracted for a split second by this, Makoto turns to THUG #2 barely in time to see him SWING AT HER. She DUCKS, avoiding his blow. But with perfect timing, THUG #1 KICKS AT MAKOTO as she rises back up. MAKOTO BLOCKS THE KICK, but it KNOCKS HER ON HER SIDE. MAKOTO ROLLS OVER and quickly recovers, but THUG #2, already nearly on top of MAKOTO, takes a swing at her. MAKOTO GRABS THUG #2'S FIST and, using his own momentum, FLIPS HIM OVER, Aikido style. THUG #1 rushes toward MAKOTO, with BULLY walking toward them from a distance, still cradling his belly. MAKOTO, still barely holding THUG #2 in a wrist lock, sidekicks THUG #1 in the gut- he recoils, but is only barely phazed. Makoto releases THUG #2 and makes a run for it, with BULLY and the THUGS in hot pursuit.
CUT TO:
EXT, Street, Day
We see an IMMENSE ELECTRONIC SCREEN on the wall of the SHINJUKU MS DEPARTMENT STORE, with USAGI silhouetted in the foreground by the sign. After a moment of admiring the sign, USAGI looks down at some of the people passing by. She spots one particularly well dressed lady across the street and smiles, cocking her head and admiring her outfit. Curious to see how it would look on her, USAGI carelessly pulls out the DISGUISE PEN and clicks. . . but nothing happens. USAGI looks are the pen and tries again. Nothing. Usagi lowers the pen and is about to turn away when she sees MAKOTO run into the woman and knock her down. Usagi's gaze follows MAKOTO as runs down the sidewalk, stops, looks around for someone of something help her, and then darts down a small side street, pursued by BULLY and one of the THUGS.
CUT TO:
EXT, Side Street, Day
MAKOTO runs down the street, forcing herself past a couple of pedestrians, when she is TACKLED by THUG #2 and shoved into a wall. The bystanders clear out- some calling the police, others running to get help, others still just trying to get the hell outta there. THUG #2 wraps his arms around MAKOTO, but she manages to slip out. She crawls up against the wall just as BULLY and THUG #1 show up. THUG #2 stands up- the three now surround MAKOTO., ready to beat her down. MAKOTO stands up, back against the wall, and sees an elderly bystander slowly approach, trying to shoo the men away. THUG #1 turns and points at him.
THUG #1
Get lost.
MAKOTO runs up and tries to shove past THUG #1, but he PUSHES HER back against the wall. Another bystander, a middle aged salaryman, tries to pull THUG #2 away, but he easily pushes him aside. MAKOTO'S EYES fix on BULLY'S, HIS EYES on HER. THUG #1 rushes up and grabs MAKOTO- as she struggles, BULLY walks up to her. But just when it looks like there's no way out of a hurtful beating, USAGI jumps onto BULLY and starts hitting him over the head.
BULLY
Ow!- Ow-! What the-!
THUG #2, once again, laughs as BULLY is overcome by yet another teenage girl. MAKOTO, meanwhile, continues to struggle with THUG #1, who now has his hands clasped around her forearms. After a moment, USAGI and BULLY finally tip over, with USAGI landing on the concrete. USAGI lies on the ground, hurt from her hard landing. BULLY stands up over USAGI, readying to kick her while she's down. MAKOTO glimpses this, and her eyes widen. Then, for some reason, THUG #1 LETS GO of MAKOTO- she hardly notices, so focused is she on USAGI.
BULLY
(to USAGI)
You bitch!
BULLY raises his leg to kick USAGI, but then MAKOTO appears and SHOVES BULLY AWAY, with more force than anything we've seen even from her- it's an explosion of rage, one that causes the very air to burst with sound. BULLY FLIES INTO A WALL so hard, we might be forgiven for not noticing a nearby STREETLIGHT EXPLODING, as if from the sheer force of Makoto's impact. MAKOTO stands over BULLY, her eyes filled with rage. . . it takes her a moment to realize that BULLY is SHAKING UNCONTROLLABLY, his SKIN PALE. MAKOTO comes back to her senses and looks around-- THUG #1 is crouched on the ground, gazing at his hands, which are frozen into a warped, painful, half-open clasping position. THUG #2 stands in shock, not sure exactly what Makoto has done. Makoto then turns to USAGI, still lying on the ground, as the sound of POLICE WHISTLES can be heard in the distance. Instictively, MAKOTO crouches down and reaches out to USAGI, but abrptly hesitates. She slowly moves her hands to USAGI, TAPS her tentatively, and then checks her for injuries.
MAKOTO
Are you alirght?!
(feels her for injuries)
Usagi!
USAGI
Yeah-! Yeah, I'm fin- uh, m-my back's hurt.
MAKOTO turns to the sound of the whistles, and then to BULLY and THUG #1-- THUG #2 has already run off. Her rage has been replaced with a look of fear.
MAKOTO
Come on.
MAKOTO drags USAGI up and away.
USAGI
Wait, what?
MAKOTO
Come on! We have to go!
MAKOTO and USAGI RUN OFF just before a pair of POLICE OFFICERS arrive.
CUT TO:
EXT, Street, Day- Continuous
MAKOTO, holding USAGI by the hand, runs down the sidewalk. After about fifty feet, MAKOTO turns and darts down into a SUBWAY ENTRANCE. USAGI resists.
USAGI
Wait! Wait, no!
MAKOTO
Come on!!
MAKOTO pulls USAGI down the entrance way.
CUT TO:
INT, Subway Station
MAKOTO inserts coins into a automated vending machine and produces two TICKETS, handing one to USAGI. The two pass through the turnstile, and USAGI follows a very nervous MAKOTO through the crowds.
INT, Bathroom- Continuous
MAKOTO enters the women's restroom, followed by USAGI. MAKOTO paces back and fourth, running her hands through her hair, mostly just trying to work off her adrenaline. Then, she stops and stands near a wall. After a moment of stillness, MAKOTO then SLAMS the side of her forearm INTO THE WALL two of three times. She then looks down and covers her face, inhaling and exhaling deeply. We hold on this shot for a second or two.
WE NOW CONTINUE.
CUT TO:
EXT, Shinjuku MS Department Store, Day
There is a subdued air to Shinjuku right now. Nonetheless, there are at least some of the usual crowds flooding the streets in front of the massive, brand new Shinjuku MS Department Store. Amidst the crowds, we see MAKOTO, impatiently scanning the area for Sempai, her cell phone in hand. After a moment, she gets a text message. Based on Makoto's expression, this message is even more confusing than the last, but she just rolls her eyes and heads off.
CUT TO:
INT, Train Car
USAGI, once again, rides the train, the outside buildings passing on by in a blur. This time, she doesn't seem to know where she's going. She glances up at one of the TV's that lie above the train doors. The TV's have resumed playing their usual mix of commercials and public service announcements, rather than news about the Big Sight attack. We see one commercial come to an end, followed by an ad for the "Brand New Shinjuku MS Department Store."
We CUT TO:
The commercial. It's the usual glossy, gaudy, FX-filled, J-pop blasting commercial one would expect for a Japanese department store. The only thing that matters is that we see TWO WOMEN, one JAPANESE, the other fashionably CAUCASIAN, running excitedly through the store, gleefully scrutinizing the wares.
We CUT TO:
USAGI, watching the TV. Something about this commercial has caught her eye.
CUT TO:
INT, Connecting Hallway
A nearly bare hallway, one of many branches of the larger complex that connects the underground mall levels of the department store to the nearby Shinjuku subway station. MAKOTO walks down the hall. A couple of people pass her on by, while one young man leans against a wall. After a few moments of looking for Semapi, she gives up and pulls out her cell phone. We hear a faint RING- Makoto makes nothing of it at first.
MAKOTO
(to herself, but audible)
Goddamit Sempai, where are you?
The young man against the wall turns to face MAKOTO. The RINGING gets slightly louder, so that MAKOTO begins to notice it. Then, the young man speaks.
BULLY
Sempai?
Makoto recognizes the voice-- it's the bully she dealt with two days ago-- and turns to face him.
BULLY
That. Is. Adorable! Did he have a pet name for you, too?
MAKOTO
How the hell did you get that phone?
BULLY
You know, that is a good question. I'll get back to it- it actually relates somewhat to the topic at hand. You see, me? I'd go with Nariko.
(beat)
I had a dog named Nariko once.
MAKOTO'S eyes flare with rage.
BULLY
There we go! That's the psychopathic bitch I remember! I picked a good spot, you gotta give me that. Don't have to worry about police down here. You can cry, "Help me!", all you want, as loud as you want. No-one can hear you.
(beat)
Whaddaya say? Shall we finish this?
MAKOTO
(contemptuously)
Fuck you.
With that MAKOTO starts walks away. About fifty feet away, we see two young men, leaning inconspicuously against the walls, much like BULLY was a moment ago.
BULLY
I was surprised a handsome fellow like "Se-m-pa-i" would waste his time with you. Now, the girl he was making out with when I snatched his phone? She was a cute one! God-damn!
MAKOTO stops.
BULLY
You know, I'm honestly a little disappointed, going to all this trouble. Stealing that asshole's phone, luring you all the way here. I mean. . .
(shrugs)
You actually thought that he. . . would come back to you. How hard could it really have been to outsmart you?
JUMP CUT TO:
BULLY SLAMMING INTO A WALL, his NOSE BLEEDING, his ARMS WRAPPED AROUND HIS ABDOMEN. No longer able to stand, he slides down on to the floor. MAKOTO, SEMPAI'S phone in hand and nearly in tears, walks up to him.
MAKOTO
You know nothing.
We then hear the two young men in the hall laughing at BULLY.
BULLY
(coughing)
Shut up!
MAKOTO begins to walk away. The young men, who we now realize are fairly large and athletic, continue laughing.
BULLY
(coughing)
I said shut up!
Makoto then realizes that BULLY was talking to the two young men, not her. These men, a couple of THUGS, were with him the whole time. Makoto, now getting really worried, tries to avoid the thugs as they approaches.
THUG #1
(sleazy)
Hey, you got some for me?
MAKOTO tries to ignore him.
THUG #1
C'mon, where's mine?
The THUG reaches out to grope MAKOTO, but she slides away.
MAKOTO
Get out of my way!
THUG #2 runs behind and grabs MAKOTO'S buttocks. MAKOTO swings around. The THUGS are now CIRCLING MAKOTO, as she tries to keep her eye on the both of them. THUG #1 assumes a loose, bouncy fighting stance, DANCING AROUND MAKOTO. Distracted for a split second by this, Makoto turns to THUG #2 barely in time to see him SWING AT HER. She DUCKS, avoiding his blow. But with perfect timing, THUG #1 KICKS AT MAKOTO as she rises back up. MAKOTO BLOCKS THE KICK, but it KNOCKS HER ON HER SIDE. MAKOTO ROLLS OVER and quickly recovers, but THUG #2, already nearly on top of MAKOTO, takes a swing at her. MAKOTO GRABS THUG #2'S FIST and, using his own momentum, FLIPS HIM OVER, Aikido style. THUG #1 rushes toward MAKOTO, with BULLY walking toward them from a distance, still cradling his belly. MAKOTO, still barely holding THUG #2 in a wrist lock, sidekicks THUG #1 in the gut- he recoils, but is only barely phazed. Makoto releases THUG #2 and makes a run for it, with BULLY and the THUGS in hot pursuit.
CUT TO:
EXT, Street, Day
We see an IMMENSE ELECTRONIC SCREEN on the wall of the SHINJUKU MS DEPARTMENT STORE, with USAGI silhouetted in the foreground by the sign. After a moment of admiring the sign, USAGI looks down at some of the people passing by. She spots one particularly well dressed lady across the street and smiles, cocking her head and admiring her outfit. Curious to see how it would look on her, USAGI carelessly pulls out the DISGUISE PEN and clicks. . . but nothing happens. USAGI looks are the pen and tries again. Nothing. Usagi lowers the pen and is about to turn away when she sees MAKOTO run into the woman and knock her down. Usagi's gaze follows MAKOTO as runs down the sidewalk, stops, looks around for someone of something help her, and then darts down a small side street, pursued by BULLY and one of the THUGS.
CUT TO:
EXT, Side Street, Day
MAKOTO runs down the street, forcing herself past a couple of pedestrians, when she is TACKLED by THUG #2 and shoved into a wall. The bystanders clear out- some calling the police, others running to get help, others still just trying to get the hell outta there. THUG #2 wraps his arms around MAKOTO, but she manages to slip out. She crawls up against the wall just as BULLY and THUG #1 show up. THUG #2 stands up- the three now surround MAKOTO., ready to beat her down. MAKOTO stands up, back against the wall, and sees an elderly bystander slowly approach, trying to shoo the men away. THUG #1 turns and points at him.
THUG #1
Get lost.
MAKOTO runs up and tries to shove past THUG #1, but he PUSHES HER back against the wall. Another bystander, a middle aged salaryman, tries to pull THUG #2 away, but he easily pushes him aside. MAKOTO'S EYES fix on BULLY'S, HIS EYES on HER. THUG #1 rushes up and grabs MAKOTO- as she struggles, BULLY walks up to her. But just when it looks like there's no way out of a hurtful beating, USAGI jumps onto BULLY and starts hitting him over the head.
BULLY
Ow!- Ow-! What the-!
THUG #2, once again, laughs as BULLY is overcome by yet another teenage girl. MAKOTO, meanwhile, continues to struggle with THUG #1, who now has his hands clasped around her forearms. After a moment, USAGI and BULLY finally tip over, with USAGI landing on the concrete. USAGI lies on the ground, hurt from her hard landing. BULLY stands up over USAGI, readying to kick her while she's down. MAKOTO glimpses this, and her eyes widen. Then, for some reason, THUG #1 LETS GO of MAKOTO- she hardly notices, so focused is she on USAGI.
BULLY
(to USAGI)
You bitch!
BULLY raises his leg to kick USAGI, but then MAKOTO appears and SHOVES BULLY AWAY, with more force than anything we've seen even from her- it's an explosion of rage, one that causes the very air to burst with sound. BULLY FLIES INTO A WALL so hard, we might be forgiven for not noticing a nearby STREETLIGHT EXPLODING, as if from the sheer force of Makoto's impact. MAKOTO stands over BULLY, her eyes filled with rage. . . it takes her a moment to realize that BULLY is SHAKING UNCONTROLLABLY, his SKIN PALE. MAKOTO comes back to her senses and looks around-- THUG #1 is crouched on the ground, gazing at his hands, which are frozen into a warped, painful, half-open clasping position. THUG #2 stands in shock, not sure exactly what Makoto has done. Makoto then turns to USAGI, still lying on the ground, as the sound of POLICE WHISTLES can be heard in the distance. Instictively, MAKOTO crouches down and reaches out to USAGI, but abrptly hesitates. She slowly moves her hands to USAGI, TAPS her tentatively, and then checks her for injuries.
MAKOTO
Are you alirght?!
(feels her for injuries)
Usagi!
USAGI
Yeah-! Yeah, I'm fin- uh, m-my back's hurt.
MAKOTO turns to the sound of the whistles, and then to BULLY and THUG #1-- THUG #2 has already run off. Her rage has been replaced with a look of fear.
MAKOTO
Come on.
MAKOTO drags USAGI up and away.
USAGI
Wait, what?
MAKOTO
Come on! We have to go!
MAKOTO and USAGI RUN OFF just before a pair of POLICE OFFICERS arrive.
CUT TO:
EXT, Street, Day- Continuous
MAKOTO, holding USAGI by the hand, runs down the sidewalk. After about fifty feet, MAKOTO turns and darts down into a SUBWAY ENTRANCE. USAGI resists.
USAGI
Wait! Wait, no!
MAKOTO
Come on!!
MAKOTO pulls USAGI down the entrance way.
CUT TO:
INT, Subway Station
MAKOTO inserts coins into a automated vending machine and produces two TICKETS, handing one to USAGI. The two pass through the turnstile, and USAGI follows a very nervous MAKOTO through the crowds.
INT, Bathroom- Continuous
MAKOTO enters the women's restroom, followed by USAGI. MAKOTO paces back and fourth, running her hands through her hair, mostly just trying to work off her adrenaline. Then, she stops and stands near a wall. After a moment of stillness, MAKOTO then SLAMS the side of her forearm INTO THE WALL two of three times. She then looks down and covers her face, inhaling and exhaling deeply. We hold on this shot for a second or two.
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