Last Time. . .
We Now Continue.
CUT TO:
EXT, Hikawa Shrine, DAY
REI walks along one of the shrine's mossy and worn stone paths, in full miko garb. A visitor walks by on the same path, on her way to perform her morning prayers. Rei bows. Aside from that one visitor, Rei is alone. We hear a loud CROW'S CAW as we--
CUT TO:
PHOBOS and DEIMOS, the shrine's resident ravens, each pecking away at a thin, bloody slice of beef.
REI (O.S.)
I hope you're happy, because this. . .
CUT TO:
A shot of Rei, kneeling down, watching the crows as they tear ravenously away at their meat.
REI
This is pollution, right here.
(points to the meat)
I've just brought meat-- raw, bloody, soiled meat-- onto the grounds of a Shinto shrine.
PHOBOS caws at DEIMOS, and drops his meat momentarily.
REI
Aw. Don't like it? Not quite rare enough for you?
Phobos picks up the piece of wet meat, now covered with pebbles and soil.
REI
(more serious)
Why won't you talk to me.
(pause)
It's been eight years. Say something.
Nothing.
REI
No-one else has to hear it. Just me.
DEIMOS caws. Rei lowers her head, and we
CUT TO:
The outer fence. Rei, still in her miko uniform walks along the fenceline. She passes by two women, one elderly, one middle aged. The middle aged woman is holding onto a photograph. The old woman seems on the verge of tears. Something bad happened here. Rei tries to pass the two women by without being noticed, but then. . .
OLD WOMAN("O.W.")
Excuse me? Excuse me, pristess?
Rei turns around.
REI
(humbly)
Oh, no. No, I'm not a priest--
MIDDLE AGED WOMAN ("M.W.")
Mother, please--
O.W.
Please, forgive me, I know I'm imposing myself on you--
M.W.
Mother--!
O.W. takes the photograph out ot M.W.'s hands and shows it to Rei. It's a little boy, five years old. Rei knows what this is about, and really doesn't want to see it.
O.W.
He went missing from here around a year ago. His name is Daichi.
Rei, in spite of herself, looks at the picture.
O.W.
(depserate)
If you could just offer a prayer--
M.W.
(whispering, mildly patronizing)
It's alright, mother. It's alright.
M.W. tried to pull O.W. away.
M.W.
(to Rei)
I'm so sorry.
O.W.
(to Rei)
Just a simple prayer for his safe return--
M.W.
(whispering to O.W., again patronizing)
Mother, please! You're embarrassing her!
O.W. walks away, absent mindledly.
M.W.
(to Rei)
I'm so sorry. My mother's. . . old fashioned. She takes all this. . .
(gestures at the shrine, dismissively)
. . . seriously.
REI
(trying to ignore the implicit insult)
Imagine. . .
M.W.
I used to volunteer at a shrine like this.
(to O.W.)
Her idea.
(glances at the shrine)
Actually. . .
(closes in on Rei, whispering)
Is it true?
REI
What?
M.W.
That Takeshi Hino owns this shrine?
(beat)
You know, that politi--
REI
(cuts in)
Yes, my-- Minister Hino's family does own this shrine.
M.W.
(glances at shrine, sniffing)
No wonder they've never looked into it.
(to Rei)
There have been three child dissappearances from near this shrine. Daichi was the latest, last year. How much investigating do you think police have done, hmm? None. Big shock, huh?
(sniffs with contempt at the shrine)
His mother won't even leave the house. One whole year, hasn't left the house. Still, what do they do? Nothing. All thanks to that assh--
(backs off, just as she's really starting to fume)
I'm sorry. . . I know you aren't connected to all this. Not really.
M.W. bows, and rejoins her mother. Rei just stands there, trying to take all of this in. It's not what M.W. said that really stunned Rei, as much as the fact that she did said it, that shocked Rei the most. After a moment, Rei turns around and continues on her way, striding forth with a new sense of purpose.
Sunday, July 24, 2011
Saturday, July 16, 2011
You know, one of the first films I remember seeing in theatres was Searching for Bobby Fisher. . .
Last Time. . .
We Now Comntinue.
We hold on this shot of black for a few seconds-- just long enough for the pause to be noticable-- before we
CUT TO:
INT, Makoto's Apartment
A close up of USAGI lying on Makoto's couch. She snaps awake just as we cut to her. We think it might be from a nightmare, until we see her close her eyes and groan groggily.
CUT TO:
Usagi, standing at a window. The sun is only just coming up; for Tokyo in early April, this means its only around 5:30. Usagi looks down to the bare street below, and then up to the Tokyo Sky Tree in the distance. Somehow, in the light of day, the scene has lost its lustre. Usagi turns around, and sees that there's light coming from the bottom of the bathroom door.
CUT TO:
Bathroom. MAKOTO stands in front of the mirror, doing something we never thought we'd see her do-- applying eye-liner. She's wearing a white t-shirt and a dark-green skirt; behind her hangs the top part of a dress suit of the same color as her dress. She's puts down the eye-liner and reaches for a packet of lipstick in a metallic case, but hesitates. She closes her eyes, and we
CUT TO:
INT, Juuban High
A flashback from a few months earlier. Makoto, now sitting in class, is applying lipstick and fixing up her her hair-- she's trying to hide what she's doing, given the cultural taboo in Japan of applying make-up in public. She turns around and spots SEMPAI, hanging out with some friends. Her face flushed, she looks down to something in her hand-- a button. She looks back up to Sempai as we cut to a close-up-- we see that one of the buttons on his uniform jacket is missing. We pan up to reveal SEMPAI looking over to Makoto and smiling.
CUT TO:
INT, Makoto's Apartment
The present. This memory has clearly infuriated MAKOTO. She looks down at the lipstick, the music builds, and then, as if focussing all her anger onto it, Makoto reaches out and GRABS THE LIPSTICK. She holds on to the lipstick, gazing at it-- whatever she was expecting to happen, hasn't. After a moment, she pulls herself together and starts applying the lipstick.
CUT TO:
USAGI, lying on the couch, looking at the bathroom, unable, or unwilling, to go back to sleep.
CUT TO:
INT, Mizuno Residence, Bathroom
AMI enters the washroom. As she approaches the sink, she sees something in the garbage container. She looks inside and takes the object out-- it's an empty pill bottle. Ami takes a closer look at the label: "Zotepine". Ami knows what this is, but has no idea what it's doing in her apartment.
CUT TO:
Dining room. Ami brings out a small, homemade breakfast and sets it on the table. She's all dressed up for school -- uniform, backpack full of books, all ready-- so she's shocked to see the message left for her on the dry-erase board by Saeko:
MESSAGE
School's been cancelled today.
It looks like something has been erased next to that message, but we can't tell for sure. Ami's dissappointed by the news. But there's something else written on the board-- a chess move: "Bxa4". Beneath the chess move is a text address-- whoever wrote down that move want Ami to send her next move there. AMI moves to the board and makes the move. She then analyses the board-- this was a surprisingly challenging move, and AMI has to think for a moment about her response. Then, in AMI'S eyes, we can see a flash of inspiration.
CUT TO:
A moment later. AMI sends a text message containing her (unseen) move.
CUT TO:
AMI sitting at the TV. She's jubillant. . . until the ongoing news of the attack at Big Sight snaps her back into reality. After a moment, we
CUT TO:
AMI pulling out papers from her drawer-- these were the same papers that AMI was working on yesterday, which SAEKO took down. As Ami is looking them through, she gets a text message.
MESSAGE
School's out, but we're not.
AMI reads what the message as we--
CUT TO:
. . .
We Now Comntinue.
We hold on this shot of black for a few seconds-- just long enough for the pause to be noticable-- before we
CUT TO:
INT, Makoto's Apartment
A close up of USAGI lying on Makoto's couch. She snaps awake just as we cut to her. We think it might be from a nightmare, until we see her close her eyes and groan groggily.
CUT TO:
Usagi, standing at a window. The sun is only just coming up; for Tokyo in early April, this means its only around 5:30. Usagi looks down to the bare street below, and then up to the Tokyo Sky Tree in the distance. Somehow, in the light of day, the scene has lost its lustre. Usagi turns around, and sees that there's light coming from the bottom of the bathroom door.
CUT TO:
Bathroom. MAKOTO stands in front of the mirror, doing something we never thought we'd see her do-- applying eye-liner. She's wearing a white t-shirt and a dark-green skirt; behind her hangs the top part of a dress suit of the same color as her dress. She's puts down the eye-liner and reaches for a packet of lipstick in a metallic case, but hesitates. She closes her eyes, and we
CUT TO:
INT, Juuban High
A flashback from a few months earlier. Makoto, now sitting in class, is applying lipstick and fixing up her her hair-- she's trying to hide what she's doing, given the cultural taboo in Japan of applying make-up in public. She turns around and spots SEMPAI, hanging out with some friends. Her face flushed, she looks down to something in her hand-- a button. She looks back up to Sempai as we cut to a close-up-- we see that one of the buttons on his uniform jacket is missing. We pan up to reveal SEMPAI looking over to Makoto and smiling.
CUT TO:
INT, Makoto's Apartment
The present. This memory has clearly infuriated MAKOTO. She looks down at the lipstick, the music builds, and then, as if focussing all her anger onto it, Makoto reaches out and GRABS THE LIPSTICK. She holds on to the lipstick, gazing at it-- whatever she was expecting to happen, hasn't. After a moment, she pulls herself together and starts applying the lipstick.
CUT TO:
USAGI, lying on the couch, looking at the bathroom, unable, or unwilling, to go back to sleep.
CUT TO:
INT, Mizuno Residence, Bathroom
AMI enters the washroom. As she approaches the sink, she sees something in the garbage container. She looks inside and takes the object out-- it's an empty pill bottle. Ami takes a closer look at the label: "Zotepine". Ami knows what this is, but has no idea what it's doing in her apartment.
CUT TO:
Dining room. Ami brings out a small, homemade breakfast and sets it on the table. She's all dressed up for school -- uniform, backpack full of books, all ready-- so she's shocked to see the message left for her on the dry-erase board by Saeko:
MESSAGE
School's been cancelled today.
It looks like something has been erased next to that message, but we can't tell for sure. Ami's dissappointed by the news. But there's something else written on the board-- a chess move: "Bxa4". Beneath the chess move is a text address-- whoever wrote down that move want Ami to send her next move there. AMI moves to the board and makes the move. She then analyses the board-- this was a surprisingly challenging move, and AMI has to think for a moment about her response. Then, in AMI'S eyes, we can see a flash of inspiration.
CUT TO:
A moment later. AMI sends a text message containing her (unseen) move.
CUT TO:
AMI sitting at the TV. She's jubillant. . . until the ongoing news of the attack at Big Sight snaps her back into reality. After a moment, we
CUT TO:
AMI pulling out papers from her drawer-- these were the same papers that AMI was working on yesterday, which SAEKO took down. As Ami is looking them through, she gets a text message.
MESSAGE
School's out, but we're not.
AMI reads what the message as we--
CUT TO:
. . .
Saturday, July 9, 2011
Can You Believe I Only Just Now Started Watching Battlestar Galactica?
Last Time. . .
We Now Continue.
CUT TO:
Black. We hold on this until we see some grainy VIDEO FOOTAGE CUT IN.
(Note: We'll be seeing footage cutting in and out quite a bit throughout the next scene. Each cut in of footage, in true magnetic videotape fashion, will be accompanied by wavy lines of white static snow and distorted humming in the soundtrack.)
CUT IN TO:
A fuzzy, black and white, wall-camera feed of THE COLLIDER-- we see just one part of a massive device resembling a particle accelerator. Two tubes (one labeled with the Greek letter Alpha, the other, Omega) converge from either side onto a smaller vertical TUBE, just large enough to hold a person-- it almost resembles a coffin. There is a small window on the top of the tube; it's too dark to see what's inside. On the top corner of the screen, we can see a twenty-four hour clock, measuring time down to tenths of a second. There is no audio feed coming from the camera, and we only hear the random, almost subliminal hum and buzz of the video. Then, a voice, spoken through a microphone, recorded directly onto the soundtrack:
KAO LING(V.O.)
We're at 80% power. Preparing for intermix cycle.
At this, alarm lights on the ceiling turn on.
KAO LING(V.O.)
Initiate.
Like hoses suddenly filled with fluid, the two massive tubes start to buckle. It's an intimidating sight, given how big the tubes are.
KAO LING(V.O.)
We have interface.
Whatever is happening in the tubes, it's generating just enough light to see inside the window of the vertical coffin: it's a face. White and waxy, with eyes closed, its almost like a death mask.
KAO LING(V.O.)
Bio-support systems. . . stable.
A bit more light, and we see that the face is that of CYPRINE & PTILOL.
KAO LING(V.O.)
Ninety percent. Radiation levels outside chamber increasing, but well within tolerances.
The light is now blinding. A purple blob of magnetic distortion begins to form at the centre of the tape, as if the light is trying to burst through the very screen itself. If the image resembles that which formed after the collision of ORDER and CHAOS in LUNA'S story. . . that's just fine.
KAO LING(V.O.)
Ninety-five percent. Full power in ten seconds. Ninety-six. . . Ninety-seven. . . Ninety-eight--
CUT IN TO:
The blank, tacky blue title screen of a DOCUMENTARY. As we'll see, this film looks like it was edited on 1980's video editing equipment. It has music to match:
Then, a cheap, grey TITLE flies onto the screen, twirling around itself in with a special computer effect you might expect on an 80's corporate training video.
TITLE
Dark Energy
Then, a subtitle fills in at the bottom via an equally cheap de-pixelating effect.
SUTITLE
Progress and Paradigms in Energy Extraction.
The titles fly off the screen, followed by the blue background, transitioning to footage of D-Point. SAILOR V and EUDIAL are battling with a half-dozen or so strange creatures, the Dark Kingdom's lesser minions.
MIMETE(V.O.)
(pretentious)
We stand at a crossroads.
We WIPE to:
A massive field-- a zoo-- holding thousands of similarly exotic creatures. The camera looks down at the field a safe distance away.
MIMETE(V.O.)
At the precipice of a new horizon.
The camera zooms in, panning across the field.
MIMETE(V.O.)
Even now, we are slowly unravelling the secrets of D-Point--
CUT TO:
EUDIAL and TELLU hauling vats containing the creatures from the zoo onto large trucks, specially equipped with tracks to help navigate the snow. EUDIAL glares into the camera, as if to suggest to whomever is holding it to put it down and do some real work.
MIMETE(V.O.)
--and its strange and exotic inhabitants. Once a scientific mystery, the natural endothermic properties of these creatures are now--
CUT IN TO:
Interlaced combination of footage: The D-point Documentary, and the Collector. The light from the Collector footage is near blinding.
KAO LING (V.O.)
Neuron activity increasing, I'm-- hold on. . . Brainwaves!
(laughing joyously)
My God! I'm detecting--!
CUT IN TO:
A sharp cut this time, to a digital hand-held video camera following EUDIAL into MARIE-SENSEI'S house. The remains of MIMETE'S earlier confrontation linger: smashed-in picture frames, broken ceramic figures, potted plants lying on the floor with dirt sprawled everywhere, etc..
EUDIAL
Unbelievable, Mimete. You couldn't even clean up your own mess?
(beat, then sarcastically)
No. . . wait, that's MY job.
EUDIAL bends down and picks up a ceramic ARTEMIS toy and puts it on the shelf from which it appears to have fallen.
EUDIAL
There. No--
EUDIAL rotates the toy.
EUDIAL
There.
EUDIAL turns to the camera.
EUDIAL
Jesus! Mimete, turns that thing--!
CUT TO:
MARIE, sitting on the couch, staring out into space, as EUDIAL tends to her.
MIMETE(O.S.)
-- Just some old videos I pulled off tape. I'm sure the original is somewhere.
EUDIAL
And if "somewhere" is nowhere to be found? Will we miss it?
MARIE
(faintly)
What makes me so special?
MIMETE(O.S.)
(frustrated at Eudial, murmuring)
Jesus.
MARIE
That's what she said. O-sama. "What makes you so special? I've been writing for twenty years straight, and you want--"
EUDIAL
She's getting pretty chatty, Mimete.
MARIE
"-- a break? You think you can take a break after one lucky hit?"
(tearing up)
"You think you're special?"
EUDIAL
(worried)
Mimete?
MARIE'S face suddenly contorts with rage.
MARIE
You think you're SPECIAL?!
EUDIAL
MIMETE!
We hear a hand slam down on a button, and MARIE relaxes. Eudial turns to the camera.
EUDIAL
Jesus, Mimete! Pay attention! Are you trying to get me killed? Again?
EUDIAL turns back to MARIE, putting some finishing touches on her.
EUDIAL
(sighs, trying to calm down)
Okay. . . that should do it. Alright, let's start with--
MIMETE(O.S.)
Actually, could we--
MIMETE stops. EUDIAL turns around.
EUDIAL
What?
MIMETE(O.S.)
Nothing.
EUDIAL
(sharply)
What, Mimete?
MIMETE(O.S.)
I just thought. . . if we moved her to the side a bit. . .
EUDIAL gives MIMETE a look.
MIMETE(O.S.)
It would just look. . . better. More cinematic.
EUDIAL
Mimete. . . I happened to choose this position for optimal visual--
(she stops herself)
We're scientists, Mimete. Scientists! Do you understand that?!
MIMETE(O.S.)
You asked.
At that moment, the two hear the front door opening. They were not expecting this.
MIMETE(O.S.)
What the hell?! He supposed to be in San Fr--
BAISHAKU(O.S.)
I'm home!
MIMETE(O.S.)
Oh. . . no.
EUDIAL
Oh yes!
MIMETE
What?
EUDIAL
Science, Mimete. Turn that thing off for--
CUT IN TO:
The Documentary. A close-up of the CRYSTAL, from the CRYSTAL CHAMBER. It somehow looks less complete than when we last saw it.
MIMETE(V.O.)
We've already obtained four of the seven shards of the linking crystal.
CUT TO:
D-Point. We see a bright light fly up out of a large structure (at once Gothic and alien) and into the sky, and then split apart into seven multi-colored pieces, flying over the horizon.
MIMETE(V.O.)
Two of the remaining three have been located, and its only a--
CUT IN TO:
Marie, on the couch. She has been moved slightly to the side.
EUDIAL(O.S.)
(calling out)
Mimete!
MIMETE(O.S.)
Perfect.
EUDIAL(O.S.)
Mimete!
MIMETE(O.S.)
What?
EUDIAL(O.S.)
I'm taking him upstairs. Bring her too.
MIMETE(O.S.)
(under her breath, exasperated)
Oh, for fu--!
Cut to:
Bedroom. The camera is fixed on BAISHAKU, laying on the bed, half-conscious, his arms and legs bound by tied up pieces clothing. Eudial stands at his side, gazing down on him with detached curiosity.
MIMETE(O.S.)
Okay.
EUDIAL
(as if reciting notes)
Subject Baishaku, Marie. Date 18 March 2014. Time, thirteen fifty-three. Location, Baishaku residence, Yokohama. This is ahead of schedule, but we're going to attempt a feeding. This will NOT be a standard feeding, however, as we will be feeding an injured party to the subject. It is our hope to examine the creatures endoantentropic properties--
MIMETE(O.S.)
Wait, "endoantentropic"--?
EUDIAL, frustrated, pauses.
MIMETE(O.S.)
I-I just thought. . . it was "endothermic."
EUDIAL holds her tongue, holding back her rage.
MIMETE(O.S.)
(nervous)
D-do want to start ag--
EUDIAL
(sharply)
TO EXAMINE. . . the endoantentropic properties of the subject when presented with injured feed. Previous tests have all assumed healthy and uninjured feed, which is, to put it lightly, a bit optimistic given the nature of our enterprise. Therefore, we will be presenting to the subject one injured human. Namely, the subject's husband, Mr. Baishaku, seen here.
(to Mimete)
Get her ready.
EUDIAL turns back to BAISHAKU.
EUDIAL
And by the way, "endothermic" means "heat absorbing", dumbass.
MIMETE(O.S.)
So. . . what's the injury? The concussion?
BAISHAKU starts to stir, moaning.
EUDIAL
(still examining Baishaku)
No.
BAISHAKU moans louder.
EUDIAL
Absorption is most effective when the feed is focused on something, when its concentrating its energy onto the subject harvester in some way. I wanna see what the limits are to harvesting from unfocused feed.
EUDIAL turns her eye toward Baishaku's leg.
EUDIAL
There we go.
EUDIAL, in one quick movement, removes the pant leg from BAISHAKU'S left leg, exposing his shin.
MIMETE(O.S.)
(scared)
Wait, y-you haven't--?
BAISHAKU
(faintly)
What. . .?
EUDIAL
Feed is regaining consciousness. Okay. We'll test on unconscious feed later on as a control.
EUDIAL places her forearm above BAISHAKU'S shin.
EUDIAL(O.S.)
I am preparing to administer injury.
MIMETE(O.S.)
W-wait--!
EUDIAL
What?
MIMETE(O.S.)
(scared of what Eudial is about to do)
Y-y-you can't do it like that!
EUDIAL
Sure I can.
(looks down to the shin)
Just like chopping wood.
MIMETE(O.S.)
Eudial, uh, t-t-the battery--
EUDIAL raises her arm.
BAISHAKU
(weakly)
Please. . .
MIMETE(O.S.)
(desperate)
Eudial, the battery is dy--
EUDIAL
(coldly)
Administering.
EUDIAL'S forwarm slams down on BAISHAKU'S shin. We see her arm just make contact with the shin before we--
CUT IN TO:
Interlaced footage of THE COLLIDER-- now back to normal lighting-- and the documentary. We hear BAISHAKU'S fuzzy, distorted screams as we--
CUT IN TO:
The documentary. Any relief we might have felt at having cut away when we did is dashed when we see a CONVULSING SCHOOLGIRL on a slab, recorded with a fuzzy wall-mounted camera much like the one used to film the COLLIDER. Juxtaposed is more of the same music that began the documentary.
MIMETE(V.O.)
--ester-human hybrids. . .
MIMETE holds, waiting for the scene to play out. Then after a second,
CUT TO:
Shots of crowded public places: subways; sidewalks in Shinjuku, Shibuya, Ginza; schools; etc.
MIMETE(V.O.)
. . .combined with energy obtained through passive enothermy. . .
We cut to a scene of candy being sold to children. Silence for a moment. Then--
CUT TO:
A MAP of Tokyo, highlighting various locations. . . the same ones seen on AMI'S map. Some of these locations are blinking, while others are not.
MIMETE(V.O.)
. . . will allow us to expand to Phase II: small scale extractions at various points throughout the Greater Tokyo Area. This will serve two purposes. First--
We cut to the video footage of SAILOR V at D-point.
MIMETE(V.O.)
--it is our hope to weed out the so-called "Sailor V". The sites of the extractions have been specifically chosen for this purpose. Second, with the energy obtained from these extractions, we can move on to Phase III: large scale extraction in a densely populated region.
Back to the map. We see a handful of locations highlighted.
MIMETE(V.O.)
We have selected various possible locations and events from which to undertake Phase III. If "Sailor V" is not found during Phase II, we will most likely undertake Phase III at the Tokyo Internation--
CUT IN TO:
The COLLIDER. The "coffin" has opened. The person inside-- Cyprine, Ptilol?-- steps out, gazing at her surroundings. . .
KAO LING(V.O.)
She's stepping out! I don't believe this. We did it! We-- wait. . .
Something is wrong. Cyprine/Ptilol appears to be rapidly shifting between two states, as though two different people are occupying the same space.
KAO LING(V.O.)
It looks like she's. . . I don't know. Wait, what did you-- entangled? What does--?
CUT IN TO:
The Documentary. We see the map of Tokyo, now with many locations highlighted, along with a mix of stock footage.
MIMETE(V.O.)
Phase IV: Multiple, coordinated--
CUT IN TO:
What looks like an interrogation room, seen from a grainy wall-mounted camera feed. Silence, apart from the usual hum, and maybe some background music for mood. We see CYPRINE and PTILOL, now fully separated for one another, sitting at opposite ends of a table, completely still. After a few seconds, we JUMP-CUT to the same camera a few moments later: CYPRINE is looking at the camera, her face just a few inches away from it; PTILOL looks at the camera as well, from the other end of the room-- we see her over CYRPINE'S shoulder.
CUT IN TO:
Handheld, shaky camera footage. We're in a car. Through the window, we MIMETE running through a streetlit alley at night.
CYPRINE(O.S.)
I don't know.
MIMETE is chasing after something. Zooming in, we see that it's a dog.
CYRPINE(O.S.)
I went with her to the auction.
The camera zooms out again. The dog is trapped in a corner, growling at MIMETE as she tries to approach it.
CYPRINE(O.S.)
And I TOLD her, "Mimete, we're here to BUY the crystal,"--
CYPRINE'S hand holds up a SHARD OF CRYSTAL, resembling that from the CRYSTAL CHAMBER.
CYPRINE(O.S.)
Well. . . no, that's not what I told her. That's what I tell YOU I told her. I tried to stop her, I tell you. And then, when she realized what a mess she made of things, AGAIN, she drove off, leaving me behind.
(insincere)
It sure is a good thing I grabbed the crystal, isn't it?
CYPRINE lowers the crystal. We see MIMETE slowly, cautiously, approaching the dog. It barks a couple of times, and MIMETE backs off.
CYPRINE(O.S.)
And that's not even the end of it.
(fake indignance)
Did you know she lost a Daimon?! It's true! Ran off from the blood drive. Of course, Eudial bears some blame for this. That tracking device of hers. . . well, not only that, she-- Mimete, I mean-- actually expected ME to help her make another Daimon, and try to pass THAT one off as the one she lost!
MIMETE approaches the dog again. This time it bites down onto her arm. It doesn't penetrate her skin, or cause her harm of any kind, but she still freaks out.
CYPRINE(O.S.)
I mean, yeah, I TOLD her I would help and, well yeah, I helped sneak out TWO whole Daimon 'cause, let's face it, she wouldn't have the foresight to use the damn DOG to harvest the people at the auction. Oh, by the way, my idea too. It's not just the Daimon you need to replace-- you need the energy too, remember?
The camera pans right, and we see PTILOL standing beside the car. As soon as she comes on camera-- without actually seeing the camera with her own eyes-- she starts fixing her hair and adjusting her clothes, as if trying to improve her appearance.
CYPRINE(O.S.)
No. . . I can't say I know what happened. I was walking home through the tunnels, my better half was manning her post. . .
PTILOL approaches MIMETE from behind as she wrestles with the dog, still latched onto her arm.
CYPRINE(O.S.)
Maybe she wasn't careful enough with her Daimon and it turned on her. Maybe she ran away. Yeah. . . that's it. She ran away. Just like number 2.
PTILOL creeps behind MIMETE.
CYPRINE(O.S.)
In any event, she's gone. You'll be gone too. Soon enough. And you'll never, ever find her, or her car, because she's crafty, that one is. What you WILL find out, soon enough, is how it feels. How it feels. . . when it FEELS.
(excited)
When it actually, really, truly feels. Just like I'm about to find out.
PTILOL reaches her hands out to MIMETE'S neck.
CYPRINE(O.S.)
But no spoilers.
The camera CUTS TO BLACK.
We Now Continue.
CUT TO:
Black. We hold on this until we see some grainy VIDEO FOOTAGE CUT IN.
(Note: We'll be seeing footage cutting in and out quite a bit throughout the next scene. Each cut in of footage, in true magnetic videotape fashion, will be accompanied by wavy lines of white static snow and distorted humming in the soundtrack.)
CUT IN TO:
A fuzzy, black and white, wall-camera feed of THE COLLIDER-- we see just one part of a massive device resembling a particle accelerator. Two tubes (one labeled with the Greek letter Alpha, the other, Omega) converge from either side onto a smaller vertical TUBE, just large enough to hold a person-- it almost resembles a coffin. There is a small window on the top of the tube; it's too dark to see what's inside. On the top corner of the screen, we can see a twenty-four hour clock, measuring time down to tenths of a second. There is no audio feed coming from the camera, and we only hear the random, almost subliminal hum and buzz of the video. Then, a voice, spoken through a microphone, recorded directly onto the soundtrack:
KAO LING(V.O.)
We're at 80% power. Preparing for intermix cycle.
At this, alarm lights on the ceiling turn on.
KAO LING(V.O.)
Initiate.
Like hoses suddenly filled with fluid, the two massive tubes start to buckle. It's an intimidating sight, given how big the tubes are.
KAO LING(V.O.)
We have interface.
Whatever is happening in the tubes, it's generating just enough light to see inside the window of the vertical coffin: it's a face. White and waxy, with eyes closed, its almost like a death mask.
KAO LING(V.O.)
Bio-support systems. . . stable.
A bit more light, and we see that the face is that of CYPRINE & PTILOL.
KAO LING(V.O.)
Ninety percent. Radiation levels outside chamber increasing, but well within tolerances.
The light is now blinding. A purple blob of magnetic distortion begins to form at the centre of the tape, as if the light is trying to burst through the very screen itself. If the image resembles that which formed after the collision of ORDER and CHAOS in LUNA'S story. . . that's just fine.
KAO LING(V.O.)
Ninety-five percent. Full power in ten seconds. Ninety-six. . . Ninety-seven. . . Ninety-eight--
CUT IN TO:
The blank, tacky blue title screen of a DOCUMENTARY. As we'll see, this film looks like it was edited on 1980's video editing equipment. It has music to match:
Then, a cheap, grey TITLE flies onto the screen, twirling around itself in with a special computer effect you might expect on an 80's corporate training video.
TITLE
Dark Energy
Then, a subtitle fills in at the bottom via an equally cheap de-pixelating effect.
SUTITLE
Progress and Paradigms in Energy Extraction.
The titles fly off the screen, followed by the blue background, transitioning to footage of D-Point. SAILOR V and EUDIAL are battling with a half-dozen or so strange creatures, the Dark Kingdom's lesser minions.
MIMETE(V.O.)
(pretentious)
We stand at a crossroads.
We WIPE to:
A massive field-- a zoo-- holding thousands of similarly exotic creatures. The camera looks down at the field a safe distance away.
MIMETE(V.O.)
At the precipice of a new horizon.
The camera zooms in, panning across the field.
MIMETE(V.O.)
Even now, we are slowly unravelling the secrets of D-Point--
CUT TO:
EUDIAL and TELLU hauling vats containing the creatures from the zoo onto large trucks, specially equipped with tracks to help navigate the snow. EUDIAL glares into the camera, as if to suggest to whomever is holding it to put it down and do some real work.
MIMETE(V.O.)
--and its strange and exotic inhabitants. Once a scientific mystery, the natural endothermic properties of these creatures are now--
CUT IN TO:
Interlaced combination of footage: The D-point Documentary, and the Collector. The light from the Collector footage is near blinding.
KAO LING (V.O.)
Neuron activity increasing, I'm-- hold on. . . Brainwaves!
(laughing joyously)
My God! I'm detecting--!
CUT IN TO:
A sharp cut this time, to a digital hand-held video camera following EUDIAL into MARIE-SENSEI'S house. The remains of MIMETE'S earlier confrontation linger: smashed-in picture frames, broken ceramic figures, potted plants lying on the floor with dirt sprawled everywhere, etc..
EUDIAL
Unbelievable, Mimete. You couldn't even clean up your own mess?
(beat, then sarcastically)
No. . . wait, that's MY job.
EUDIAL bends down and picks up a ceramic ARTEMIS toy and puts it on the shelf from which it appears to have fallen.
EUDIAL
There. No--
EUDIAL rotates the toy.
EUDIAL
There.
EUDIAL turns to the camera.
EUDIAL
Jesus! Mimete, turns that thing--!
CUT TO:
MARIE, sitting on the couch, staring out into space, as EUDIAL tends to her.
MIMETE(O.S.)
-- Just some old videos I pulled off tape. I'm sure the original is somewhere.
EUDIAL
And if "somewhere" is nowhere to be found? Will we miss it?
MARIE
(faintly)
What makes me so special?
MIMETE(O.S.)
(frustrated at Eudial, murmuring)
Jesus.
MARIE
That's what she said. O-sama. "What makes you so special? I've been writing for twenty years straight, and you want--"
EUDIAL
She's getting pretty chatty, Mimete.
MARIE
"-- a break? You think you can take a break after one lucky hit?"
(tearing up)
"You think you're special?"
EUDIAL
(worried)
Mimete?
MARIE'S face suddenly contorts with rage.
MARIE
You think you're SPECIAL?!
EUDIAL
MIMETE!
We hear a hand slam down on a button, and MARIE relaxes. Eudial turns to the camera.
EUDIAL
Jesus, Mimete! Pay attention! Are you trying to get me killed? Again?
EUDIAL turns back to MARIE, putting some finishing touches on her.
EUDIAL
(sighs, trying to calm down)
Okay. . . that should do it. Alright, let's start with--
MIMETE(O.S.)
Actually, could we--
MIMETE stops. EUDIAL turns around.
EUDIAL
What?
MIMETE(O.S.)
Nothing.
EUDIAL
(sharply)
What, Mimete?
MIMETE(O.S.)
I just thought. . . if we moved her to the side a bit. . .
EUDIAL gives MIMETE a look.
MIMETE(O.S.)
It would just look. . . better. More cinematic.
EUDIAL
Mimete. . . I happened to choose this position for optimal visual--
(she stops herself)
We're scientists, Mimete. Scientists! Do you understand that?!
MIMETE(O.S.)
You asked.
At that moment, the two hear the front door opening. They were not expecting this.
MIMETE(O.S.)
What the hell?! He supposed to be in San Fr--
BAISHAKU(O.S.)
I'm home!
MIMETE(O.S.)
Oh. . . no.
EUDIAL
Oh yes!
MIMETE
What?
EUDIAL
Science, Mimete. Turn that thing off for--
CUT IN TO:
The Documentary. A close-up of the CRYSTAL, from the CRYSTAL CHAMBER. It somehow looks less complete than when we last saw it.
MIMETE(V.O.)
We've already obtained four of the seven shards of the linking crystal.
CUT TO:
D-Point. We see a bright light fly up out of a large structure (at once Gothic and alien) and into the sky, and then split apart into seven multi-colored pieces, flying over the horizon.
MIMETE(V.O.)
Two of the remaining three have been located, and its only a--
CUT IN TO:
Marie, on the couch. She has been moved slightly to the side.
EUDIAL(O.S.)
(calling out)
Mimete!
MIMETE(O.S.)
Perfect.
EUDIAL(O.S.)
Mimete!
MIMETE(O.S.)
What?
EUDIAL(O.S.)
I'm taking him upstairs. Bring her too.
MIMETE(O.S.)
(under her breath, exasperated)
Oh, for fu--!
Cut to:
Bedroom. The camera is fixed on BAISHAKU, laying on the bed, half-conscious, his arms and legs bound by tied up pieces clothing. Eudial stands at his side, gazing down on him with detached curiosity.
MIMETE(O.S.)
Okay.
EUDIAL
(as if reciting notes)
Subject Baishaku, Marie. Date 18 March 2014. Time, thirteen fifty-three. Location, Baishaku residence, Yokohama. This is ahead of schedule, but we're going to attempt a feeding. This will NOT be a standard feeding, however, as we will be feeding an injured party to the subject. It is our hope to examine the creatures endoantentropic properties--
MIMETE(O.S.)
Wait, "endoantentropic"--?
EUDIAL, frustrated, pauses.
MIMETE(O.S.)
I-I just thought. . . it was "endothermic."
EUDIAL holds her tongue, holding back her rage.
MIMETE(O.S.)
(nervous)
D-do want to start ag--
EUDIAL
(sharply)
TO EXAMINE. . . the endoantentropic properties of the subject when presented with injured feed. Previous tests have all assumed healthy and uninjured feed, which is, to put it lightly, a bit optimistic given the nature of our enterprise. Therefore, we will be presenting to the subject one injured human. Namely, the subject's husband, Mr. Baishaku, seen here.
(to Mimete)
Get her ready.
EUDIAL turns back to BAISHAKU.
EUDIAL
And by the way, "endothermic" means "heat absorbing", dumbass.
MIMETE(O.S.)
So. . . what's the injury? The concussion?
BAISHAKU starts to stir, moaning.
EUDIAL
(still examining Baishaku)
No.
BAISHAKU moans louder.
EUDIAL
Absorption is most effective when the feed is focused on something, when its concentrating its energy onto the subject harvester in some way. I wanna see what the limits are to harvesting from unfocused feed.
EUDIAL turns her eye toward Baishaku's leg.
EUDIAL
There we go.
EUDIAL, in one quick movement, removes the pant leg from BAISHAKU'S left leg, exposing his shin.
MIMETE(O.S.)
(scared)
Wait, y-you haven't--?
BAISHAKU
(faintly)
What. . .?
EUDIAL
Feed is regaining consciousness. Okay. We'll test on unconscious feed later on as a control.
EUDIAL places her forearm above BAISHAKU'S shin.
EUDIAL(O.S.)
I am preparing to administer injury.
MIMETE(O.S.)
W-wait--!
EUDIAL
What?
MIMETE(O.S.)
(scared of what Eudial is about to do)
Y-y-you can't do it like that!
EUDIAL
Sure I can.
(looks down to the shin)
Just like chopping wood.
MIMETE(O.S.)
Eudial, uh, t-t-the battery--
EUDIAL raises her arm.
BAISHAKU
(weakly)
Please. . .
MIMETE(O.S.)
(desperate)
Eudial, the battery is dy--
EUDIAL
(coldly)
Administering.
EUDIAL'S forwarm slams down on BAISHAKU'S shin. We see her arm just make contact with the shin before we--
CUT IN TO:
Interlaced footage of THE COLLIDER-- now back to normal lighting-- and the documentary. We hear BAISHAKU'S fuzzy, distorted screams as we--
CUT IN TO:
The documentary. Any relief we might have felt at having cut away when we did is dashed when we see a CONVULSING SCHOOLGIRL on a slab, recorded with a fuzzy wall-mounted camera much like the one used to film the COLLIDER. Juxtaposed is more of the same music that began the documentary.
MIMETE(V.O.)
--ester-human hybrids. . .
MIMETE holds, waiting for the scene to play out. Then after a second,
CUT TO:
Shots of crowded public places: subways; sidewalks in Shinjuku, Shibuya, Ginza; schools; etc.
MIMETE(V.O.)
. . .combined with energy obtained through passive enothermy. . .
We cut to a scene of candy being sold to children. Silence for a moment. Then--
CUT TO:
A MAP of Tokyo, highlighting various locations. . . the same ones seen on AMI'S map. Some of these locations are blinking, while others are not.
MIMETE(V.O.)
. . . will allow us to expand to Phase II: small scale extractions at various points throughout the Greater Tokyo Area. This will serve two purposes. First--
We cut to the video footage of SAILOR V at D-point.
MIMETE(V.O.)
--it is our hope to weed out the so-called "Sailor V". The sites of the extractions have been specifically chosen for this purpose. Second, with the energy obtained from these extractions, we can move on to Phase III: large scale extraction in a densely populated region.
Back to the map. We see a handful of locations highlighted.
MIMETE(V.O.)
We have selected various possible locations and events from which to undertake Phase III. If "Sailor V" is not found during Phase II, we will most likely undertake Phase III at the Tokyo Internation--
CUT IN TO:
The COLLIDER. The "coffin" has opened. The person inside-- Cyprine, Ptilol?-- steps out, gazing at her surroundings. . .
KAO LING(V.O.)
She's stepping out! I don't believe this. We did it! We-- wait. . .
Something is wrong. Cyprine/Ptilol appears to be rapidly shifting between two states, as though two different people are occupying the same space.
KAO LING(V.O.)
It looks like she's. . . I don't know. Wait, what did you-- entangled? What does--?
CUT IN TO:
The Documentary. We see the map of Tokyo, now with many locations highlighted, along with a mix of stock footage.
MIMETE(V.O.)
Phase IV: Multiple, coordinated--
CUT IN TO:
What looks like an interrogation room, seen from a grainy wall-mounted camera feed. Silence, apart from the usual hum, and maybe some background music for mood. We see CYPRINE and PTILOL, now fully separated for one another, sitting at opposite ends of a table, completely still. After a few seconds, we JUMP-CUT to the same camera a few moments later: CYPRINE is looking at the camera, her face just a few inches away from it; PTILOL looks at the camera as well, from the other end of the room-- we see her over CYRPINE'S shoulder.
CUT IN TO:
Handheld, shaky camera footage. We're in a car. Through the window, we MIMETE running through a streetlit alley at night.
CYPRINE(O.S.)
I don't know.
MIMETE is chasing after something. Zooming in, we see that it's a dog.
CYRPINE(O.S.)
I went with her to the auction.
The camera zooms out again. The dog is trapped in a corner, growling at MIMETE as she tries to approach it.
CYPRINE(O.S.)
And I TOLD her, "Mimete, we're here to BUY the crystal,"--
CYPRINE'S hand holds up a SHARD OF CRYSTAL, resembling that from the CRYSTAL CHAMBER.
CYPRINE(O.S.)
Well. . . no, that's not what I told her. That's what I tell YOU I told her. I tried to stop her, I tell you. And then, when she realized what a mess she made of things, AGAIN, she drove off, leaving me behind.
(insincere)
It sure is a good thing I grabbed the crystal, isn't it?
CYPRINE lowers the crystal. We see MIMETE slowly, cautiously, approaching the dog. It barks a couple of times, and MIMETE backs off.
CYPRINE(O.S.)
And that's not even the end of it.
(fake indignance)
Did you know she lost a Daimon?! It's true! Ran off from the blood drive. Of course, Eudial bears some blame for this. That tracking device of hers. . . well, not only that, she-- Mimete, I mean-- actually expected ME to help her make another Daimon, and try to pass THAT one off as the one she lost!
MIMETE approaches the dog again. This time it bites down onto her arm. It doesn't penetrate her skin, or cause her harm of any kind, but she still freaks out.
CYPRINE(O.S.)
I mean, yeah, I TOLD her I would help and, well yeah, I helped sneak out TWO whole Daimon 'cause, let's face it, she wouldn't have the foresight to use the damn DOG to harvest the people at the auction. Oh, by the way, my idea too. It's not just the Daimon you need to replace-- you need the energy too, remember?
The camera pans right, and we see PTILOL standing beside the car. As soon as she comes on camera-- without actually seeing the camera with her own eyes-- she starts fixing her hair and adjusting her clothes, as if trying to improve her appearance.
CYPRINE(O.S.)
No. . . I can't say I know what happened. I was walking home through the tunnels, my better half was manning her post. . .
PTILOL approaches MIMETE from behind as she wrestles with the dog, still latched onto her arm.
CYPRINE(O.S.)
Maybe she wasn't careful enough with her Daimon and it turned on her. Maybe she ran away. Yeah. . . that's it. She ran away. Just like number 2.
PTILOL creeps behind MIMETE.
CYPRINE(O.S.)
In any event, she's gone. You'll be gone too. Soon enough. And you'll never, ever find her, or her car, because she's crafty, that one is. What you WILL find out, soon enough, is how it feels. How it feels. . . when it FEELS.
(excited)
When it actually, really, truly feels. Just like I'm about to find out.
PTILOL reaches her hands out to MIMETE'S neck.
CYPRINE(O.S.)
But no spoilers.
The camera CUTS TO BLACK.
Tuesday, July 5, 2011
. . . to prove to Daddy I'm Not a Fool. . .
It's been nearly a month since my last post, Sailor Moon related or otherwise, so I felt the need to write something up, brief though it may be. Yesterday was the first day of what is, arguably, my first real grown-up job: physics instructor at UNBC.
Specifically, I'm serving as term instructor for UNBC's Physics 115 summer course. Physics 115 is pretty much the lowest level physics course you can take while still having to do math-- it's intended for "students without grade 12 physics" according to the course calendar. Based on my SI experience, I've chosen to interpret this as "students who might-- MIGHT-- know who Stephen Hawking is, but otherwise-- oh God! That one saw an equation! Call the nurse!"
I've been spending the last couple of months preparing notes for the course; the last month, in particular, was pretty busy. For that reason, I've not been posting new Sailor Moon material. Nonetheless, I have been scribbling notes and drafts of scenes for the script, and once I start to get into the groove of teaching, marking, and writing up new notes, I hope to start posting this new material.
Until then. . .
Specifically, I'm serving as term instructor for UNBC's Physics 115 summer course. Physics 115 is pretty much the lowest level physics course you can take while still having to do math-- it's intended for "students without grade 12 physics" according to the course calendar. Based on my SI experience, I've chosen to interpret this as "students who might-- MIGHT-- know who Stephen Hawking is, but otherwise-- oh God! That one saw an equation! Call the nurse!"
I've been spending the last couple of months preparing notes for the course; the last month, in particular, was pretty busy. For that reason, I've not been posting new Sailor Moon material. Nonetheless, I have been scribbling notes and drafts of scenes for the script, and once I start to get into the groove of teaching, marking, and writing up new notes, I hope to start posting this new material.
Until then. . .
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