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.
Saturday, May 14, 2011
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. . .
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