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.
Saturday, July 9, 2011
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. . .
Tuesday, June 7, 2011
I'm on a Boat!
Last time. . .
We now continue.
CUT TO:
INT, Usagi's Room
The room is dark, save for the light of the full moon and outside streetlights pouring in through the window. LUNA is lying on the bed, asleep. From downstairs, we hear the door open and close. LUNA wakes up and lifts her head, optimistically.
VICTORIA (O.S., fr. dowstairs)
Any calls?
SAMMY(O.S., fr. downstairs)
No.
LUNA lowers her head, and then lifts her eyes toward to nearly full moon shining through the window-- if this scene reminds the viewer of Luna's room in the Cat Masion, so much more the better. As Luna looks around, the conversation continues.
DARIEN(O.S., fr. downstairs)
Did you try her friend?
VICTORIA(O.S., exasperated)
"Her friend"? You mean Naru Osaka?
DARIEN(O.S.)
Yes, I mean Naru!
VICTORIA(O.S.)
Yes, Darien, of course I tried Naru!
DARIEN(O.S.)
And?
VICTORIA(O.S.)
And. . . I couldn't reach them, so I tried Umino.
DARIEN(O.S.)
Who?
VICTORIA(O.S.)
Umino, he's another . . . look, never mind. It turns out Naru and her mother are both in hospital!
DARIEN(O.S.)
Oh Christ. . .
VICTORIA(O.S.)
Umino was with Naru all day. Turns out Usagi dropped by too.
(beat)
Did you know about this?
DARIEN(O.S.)
I knew something happened at a jewellery store.
(Ed: Let's just pretend that Darien wasn't at the scene that night. . .)
I didn't quite put it together until you mentioned "Osaka".
VICTORIA(O.S.)
What?
(beat)
What happened at the jewellery store?
DARIEN(O.S., frustrated)
I don't know, Victoria.
VICTORIA(O.S.)
Well, do you know anyone at NHK who does--?
DARIEN(O.S.)
Victoria, this isn't getting us anywhere.
VICTORIA(O.S.)
The hell it isn't!
DARIEN(O.S.)
Victoria, you're reaching out and grabbing whatever you can--
VICTORIA(O.S.)
What that does that mean--?
DARIEN(O.S.)
-- and trying to piece it together somehow!
VICTORIA(O.S.)
Do you seriously think--?
DARIEN(O.S.)
You need to calm down!
VICTORIA(O.S.)
-- there's no connection-- Don't tell me to calm down, Darien!
DARIEN(O.S.)
Victoria--
VICTORIA(O.S.)
Do you think I'm an idiot?
DARIEN(O.S.)
I think you're panicking!
This argument continues. SAMMY enters USAGI'S room, clearly upset by the parent's fighting and trying to get away.
SAMMY
(trying to smile)
Hey Luna!
SAMMY sits on USAGI'S bed and PETS LUNA. LUNA purrs sympatheitically.
SAMMY
Hey there kitty. . .
SAMMY reaches into his pocket and pulls out a package of CAT TREATS.
SAMMY
I bought these for you at lunch.
SAMMY pours some treats into his hand and gives them to Luna. The argument grows louder.
SAMMY
(nervous, but trying to hide it)
Here you go!
LUNA eats the treats as the parent's voices grow louder.
SAMMY
Don't worry about them. . . Usagi's not here, so they jnust have to yell at each other to comp--
We hear some stuff fall on to the floor. SAMMY flinches.
DARIEN(O.S., yelling)
Oh, that helps, Victoria!
VICTORIA(O.S., yelling)
How DARE you!
DARIEN(O.S.)
That really helps!
VICTORIA(O.S.)
I can't BELIEVE you would blame this on me!
DARIEN(O.S.)
You locked her out, Victoria! You think that's responsible?
VICTORIA(O.S.)
Oh, go fu--
DARIEN(O.S.)
You think that sets a good exam--
SAMMY rushes over to Usagi's stereo and turns it on, cranking up the volume-- it doesn't matter what music is playing, just that it's loud enough to drown out the parent's fighting. On the brink of tears, SAMMY lies down on USAGI'S bed, face down. LUNA, after a moment, crawls up next to him. We pan up toward the moon, shining through the window. We hold on this shot, and then
FADE TO BLACK.
To be continued.
We now continue.
CUT TO:
INT, Usagi's Room
The room is dark, save for the light of the full moon and outside streetlights pouring in through the window. LUNA is lying on the bed, asleep. From downstairs, we hear the door open and close. LUNA wakes up and lifts her head, optimistically.
VICTORIA (O.S., fr. dowstairs)
Any calls?
SAMMY(O.S., fr. downstairs)
No.
LUNA lowers her head, and then lifts her eyes toward to nearly full moon shining through the window-- if this scene reminds the viewer of Luna's room in the Cat Masion, so much more the better. As Luna looks around, the conversation continues.
DARIEN(O.S., fr. downstairs)
Did you try her friend?
VICTORIA(O.S., exasperated)
"Her friend"? You mean Naru Osaka?
DARIEN(O.S.)
Yes, I mean Naru!
VICTORIA(O.S.)
Yes, Darien, of course I tried Naru!
DARIEN(O.S.)
And?
VICTORIA(O.S.)
And. . . I couldn't reach them, so I tried Umino.
DARIEN(O.S.)
Who?
VICTORIA(O.S.)
Umino, he's another . . . look, never mind. It turns out Naru and her mother are both in hospital!
DARIEN(O.S.)
Oh Christ. . .
VICTORIA(O.S.)
Umino was with Naru all day. Turns out Usagi dropped by too.
(beat)
Did you know about this?
DARIEN(O.S.)
I knew something happened at a jewellery store.
(Ed: Let's just pretend that Darien wasn't at the scene that night. . .)
I didn't quite put it together until you mentioned "Osaka".
VICTORIA(O.S.)
What?
(beat)
What happened at the jewellery store?
DARIEN(O.S., frustrated)
I don't know, Victoria.
VICTORIA(O.S.)
Well, do you know anyone at NHK who does--?
DARIEN(O.S.)
Victoria, this isn't getting us anywhere.
VICTORIA(O.S.)
The hell it isn't!
DARIEN(O.S.)
Victoria, you're reaching out and grabbing whatever you can--
VICTORIA(O.S.)
What that does that mean--?
DARIEN(O.S.)
-- and trying to piece it together somehow!
VICTORIA(O.S.)
Do you seriously think--?
DARIEN(O.S.)
You need to calm down!
VICTORIA(O.S.)
-- there's no connection-- Don't tell me to calm down, Darien!
DARIEN(O.S.)
Victoria--
VICTORIA(O.S.)
Do you think I'm an idiot?
DARIEN(O.S.)
I think you're panicking!
This argument continues. SAMMY enters USAGI'S room, clearly upset by the parent's fighting and trying to get away.
SAMMY
(trying to smile)
Hey Luna!
SAMMY sits on USAGI'S bed and PETS LUNA. LUNA purrs sympatheitically.
SAMMY
Hey there kitty. . .
SAMMY reaches into his pocket and pulls out a package of CAT TREATS.
SAMMY
I bought these for you at lunch.
SAMMY pours some treats into his hand and gives them to Luna. The argument grows louder.
SAMMY
(nervous, but trying to hide it)
Here you go!
LUNA eats the treats as the parent's voices grow louder.
SAMMY
Don't worry about them. . . Usagi's not here, so they jnust have to yell at each other to comp--
We hear some stuff fall on to the floor. SAMMY flinches.
DARIEN(O.S., yelling)
Oh, that helps, Victoria!
VICTORIA(O.S., yelling)
How DARE you!
DARIEN(O.S.)
That really helps!
VICTORIA(O.S.)
I can't BELIEVE you would blame this on me!
DARIEN(O.S.)
You locked her out, Victoria! You think that's responsible?
VICTORIA(O.S.)
Oh, go fu--
DARIEN(O.S.)
You think that sets a good exam--
SAMMY rushes over to Usagi's stereo and turns it on, cranking up the volume-- it doesn't matter what music is playing, just that it's loud enough to drown out the parent's fighting. On the brink of tears, SAMMY lies down on USAGI'S bed, face down. LUNA, after a moment, crawls up next to him. We pan up toward the moon, shining through the window. We hold on this shot, and then
FADE TO BLACK.
To be continued.
Monday, June 6, 2011
This may be the shortest script snippet yet.
Seriously, I have to be out of here in 30 minutes so here's, like, a thrity second scene:
Last Time. . .
We now continue.
CUT TO:
INT, Mizuno Residence
We pan around AMI'S room, with notes piled upon notes. We pan past AMI, who has fallen asleep with her head on her desk. We continue panning until we see SAEKO, standing in the doorway.
SAEKO
(sad, worried)
Damn it, Ami. . .
CUT TO:
A moment later. SAEKO putting AMI into bed.
SAEKO
(half to herself)
You know what I was into when I was your age? Kiki's Delivery Service. Seriously, I wore out the damn tape I watched it so much.
SAEKO draws the covers over AMI and strokes her hair, somewhat sadly. We hear the doorbell ring as we
CUT TO:
The front door. SAEKO opens it to reveal TOMOE.
SAEKO
Sensei!
SAEKO bows, followed by TOMOE.
SAEKO
What are you doing here?
CUT TO:
To Be Continued.
See? Told you it was short.
Last Time. . .
We now continue.
CUT TO:
INT, Mizuno Residence
We pan around AMI'S room, with notes piled upon notes. We pan past AMI, who has fallen asleep with her head on her desk. We continue panning until we see SAEKO, standing in the doorway.
SAEKO
(sad, worried)
Damn it, Ami. . .
CUT TO:
A moment later. SAEKO putting AMI into bed.
SAEKO
(half to herself)
You know what I was into when I was your age? Kiki's Delivery Service. Seriously, I wore out the damn tape I watched it so much.
SAEKO draws the covers over AMI and strokes her hair, somewhat sadly. We hear the doorbell ring as we
CUT TO:
The front door. SAEKO opens it to reveal TOMOE.
SAEKO
Sensei!
SAEKO bows, followed by TOMOE.
SAEKO
What are you doing here?
CUT TO:
To Be Continued.
See? Told you it was short.
Thursday, June 2, 2011
More Important Foreshadowing. Trust me!
Last Time. . .
We Now Continue.
CUT TO:
INT, Tokyo Sky Tree, Second Observatory
TAKASHI HINO, REI'S father, is pacing back and fourth behind a stage. The sounds of a PARTY can be heard in the background. HINO is reading from a notepad.
HINO
(quietly)
Despite continued hardship-- economic, political, even natural-- Japan remains committed to pushing back the boundaries of scientific and technological achievement. We built the Tokyo Sky Tree as a symbol of that commitment; now, we unveil the first of a--
HINO notices a group of SUITS approach him, lead by an elderly and intimidating looking political official, Hino's SENIOR. Hino stiffens, out of both respect and fear.
SENIOR
Minister Hino.
HINO bows deeply.
HINO
Minister! Good evening.
HINO bows again.
SENIOR
Yes. Good evening.
CUT TO:
An elevator door opening, revealing TOMOE. TOMOE steps out onto the upper observation deck. The place is swarming with the Tokyo political and social elite. Reluctantly, Tomoe advances, readying himself for the schmoozing to follow.
SENIOR(V.O.)
There have been some. . .
CUT TO:
HINO and SENIOR, backstage.
SENIOR
. . . regrettable things that have taken place today.
HINO knows what this coded language really means.
HINO
Sir--
SENIOR
It occured to us that, as a sign of respect, you might reconsider whether to give your speech tonight.
HINO
Sir, those comments. . . they were made two days ago. They've been taken out context--
SENIOR
There would be no shame if you were to decide not to give your speech tonight--
HINO
(interrupting)
How could I possibly know that something like this would--?
SENIOR
Respect, Takashi.
(beat, then slowly)
Show some goddamned respect. Do you understand me?
HINO is silenced.
SENIOR(V.O.)
-- as a symbol of that comittment, we now unveil the first--
CUT TO:
A few minutes later. The crowd is gathered in front of a small stage, where SENIOR is now delivering HINO'S speech.
SENIOR
-- of a series of new upgrades that will increase the transmission power and data hanlding capacity of the Tokyo Sky Tree, transforming it into an information hub unlike any the world has ever seen.
SENIOR goes on. We pan to HINO, who bitterly cradles a glass of liquor. After a moment, WAKAGI approaches.
WAKAGI
Minister?
HINO turns and fakes a smile.
HINO
Commissioner! I didn't realize you were invited!
WAKAGI
Actually, I'm not.
HINO
Then your trespassing!
(looking around)
Where's a cop when you need one?
(pulls in, quieter, tone becomes more serious)
What the hell are you doing here?
WAKAGI
Minist-
HINO
We have a separate line--
WAKAGI
That's what I needed to talk to you about.
HINO
Oh my God. How?
WAKAGI
(beat)
I don't know. But we have to get rid of it.
HINO
Then get rid of it!
(beat)
It's really been my day today, hasn't it?
WAKAGI
(bitterly)
It's been a lot of people's day today.
WAKAGI walks off. As Hino recovers from Wakagi's retort, we hear SENIOR once again.
SENIOR
Now where is he? Professor? Ah! There he is, Professor Souichi Tomoe!
HINO looks over toward TOMOE, standing next to a window, waving politely.
HINO(V.O.)
Professor?
CUT TO:
A few minutes later. The party is now well underway. HINO approaches TOMOE, who is looking out the window of the observation deck.
HINO
Professor?
TOMOE
I can hear you.
HINO is stung by this, yet another insult.
TOMOE
Takashi. Relax. You're one of the few people I can afford not be polite to. Consider it a compliment.
HINO relaxes, and then looks around.
TOMOE
I thought you were giving the speech tonight.
HINO
No. Change of plans.
HINO catches a glimpse of SENIOR.
HINO
Pompous ass. Thinks he's hot shit 'cause he used to hang with Mishima. "Respect." What the hell does he know about anime--?
TOMOE
(ignoring HINO)
I didn't think it was possible to see this far from a building.
HINO turns to TOMOE.
TOMOE
(excited)
This tower is six hundred thirty-four metres tall. That means it's visible from ninety kilometers away. Ninety kilometers! People can see us from ninety kilometers away! Can you believe that?
HINO
I suppose. . .
TOMOE
(abruptly)
Takashi. . . everyone--
(eyes the partygoers)
-- can see us up here.
TOMOE eyes HINO. He gets the message.
CUT TO:
INT, Bar
An upscale bar, packed with a mix of hip locals and foreigners. After a moment, we see BANDANA sitting at the bar, cradling a drink, much like HINO was a moment ago. She looks around, admiring some of the handsome men that have come out tonight. Eventually she spots one young man who bears a close resemblance to Sempai. BANDANA like. She tentatively prepares herself to approach the young man, but just as she's about to get up, she catches a glimpse of herself in the reflective bartop-- while she may have been beautiful once, age and illness has left their mark. Giving up on the idea of asking the man out, she pulls ou her cell phone. We can hear the sound of Sid Viscious' cover of "My Way" fade in as we
CUT TO:
INT, Tokyo Sky Tree, First Observatory
Another party, this time on the Sky Tree's larger lower deck. This party, consisting of scientists and laborers who actually did all the work that is being celebrated on the upper floor, is louder, rougher. . . in other words, more like a party. Amidsts the pariters, we see working class FREETER wailing into a karaoke machine, singing "My Way" in the most stereotypically Japanese way you could imagine. We pan to reveal HINO and TOMOE leaning against a wall.
HINO
Are you sure this isn't too loud?
TOMOE doesn't respond.
HINO
Tomoe-san?
TOMOE
It's perfect!
TOMOE starts nodding his head with the music.
HINO
I thought we were going somewhere else. Somewhere private.
TOMOE
No. I just wanted to get away from the suits.
A young boyfriend and girlfriend walk by TOMOE and HINO. The girl catches a glimpse of TOMOE'S eyepatch, and nods approvingly.
HINO
(in disbelief)
What the hell was that?
TOMOE
The patch!
HINO
Unbelievable. You could have lazy eye for all she knows.
(shakes head)
Damn kids.
TOMOE
How's yours?
HINO
What?
TOMOE
Rei! I didn't see her tonight.
HINO
Do you really need to ask?
TOMOE
(with music)
-all else to do!
(to HINO)
She's coming Friday night, right?
HINO
Yes, yes. Definitely. Firday is your night. I won't allow her to miss it.
TOMOE
"Won't allow her?"
HINO
Absolutely not.
TOMOE looks a HINO, disappointed in him.
HINO
By the way, congratulations!
From HINO'S pocket, we can see some flashing lights.
HINO
These upgrades are a major acheivement. At least from what I understand.
TOMOE
You understand more than I do. I'm just here to show my face for the Foundation.
HINO
You're far too humble, Tomoe-sensei.
TOMOE looks at HINO, and points to the flashing light in his pocket. HINO reaches in and pulls out a cell phone. Plugging one ear with his finger, TOMOE answers the phone.
TOMOE
Mushi-mushi?
(pause)
What?
(pause, then sharply)
You what?
TOMOE turns to HINO. HINO looks worried.
HINO
Why didn't you tell me?
(pause)
Of course I would want to know! You think I don't care-- look, hold on, I'll be right-- I'll be right there! Give me twenty minutes!
HINO hangs up,
HINO
(apologetically)
I'm. . .
(bows)
I'm sorry. I have to go. Forgive me.
TOMOE
I'll see you Friday.
HINO leaves.
HINO
(as he exits)
Rei too!
TOMOE looks around the room, and eventually spots a impressive looking bit of electronics along the central support beam of the tower. We walks over to take a closer look. He cut between him and his POV of the electronics. It is, supposedly, part of the upgrades to Tokyo Sky Tree. As he examines it, his look is. . . inscrutable. Is he confused by the electronics? Intrigued? We hold on Tomoe and then
CUT TO:
Tomoe, once again looking out over the city, somehow. . . revitalized.
CUT TO:
To Be Continued.
We Now Continue.
CUT TO:
INT, Tokyo Sky Tree, Second Observatory
TAKASHI HINO, REI'S father, is pacing back and fourth behind a stage. The sounds of a PARTY can be heard in the background. HINO is reading from a notepad.
HINO
(quietly)
Despite continued hardship-- economic, political, even natural-- Japan remains committed to pushing back the boundaries of scientific and technological achievement. We built the Tokyo Sky Tree as a symbol of that commitment; now, we unveil the first of a--
HINO notices a group of SUITS approach him, lead by an elderly and intimidating looking political official, Hino's SENIOR. Hino stiffens, out of both respect and fear.
SENIOR
Minister Hino.
HINO bows deeply.
HINO
Minister! Good evening.
HINO bows again.
SENIOR
Yes. Good evening.
CUT TO:
An elevator door opening, revealing TOMOE. TOMOE steps out onto the upper observation deck. The place is swarming with the Tokyo political and social elite. Reluctantly, Tomoe advances, readying himself for the schmoozing to follow.
SENIOR(V.O.)
There have been some. . .
CUT TO:
HINO and SENIOR, backstage.
SENIOR
. . . regrettable things that have taken place today.
HINO knows what this coded language really means.
HINO
Sir--
SENIOR
It occured to us that, as a sign of respect, you might reconsider whether to give your speech tonight.
HINO
Sir, those comments. . . they were made two days ago. They've been taken out context--
SENIOR
There would be no shame if you were to decide not to give your speech tonight--
HINO
(interrupting)
How could I possibly know that something like this would--?
SENIOR
Respect, Takashi.
(beat, then slowly)
Show some goddamned respect. Do you understand me?
HINO is silenced.
SENIOR(V.O.)
-- as a symbol of that comittment, we now unveil the first--
CUT TO:
A few minutes later. The crowd is gathered in front of a small stage, where SENIOR is now delivering HINO'S speech.
SENIOR
-- of a series of new upgrades that will increase the transmission power and data hanlding capacity of the Tokyo Sky Tree, transforming it into an information hub unlike any the world has ever seen.
SENIOR goes on. We pan to HINO, who bitterly cradles a glass of liquor. After a moment, WAKAGI approaches.
WAKAGI
Minister?
HINO turns and fakes a smile.
HINO
Commissioner! I didn't realize you were invited!
WAKAGI
Actually, I'm not.
HINO
Then your trespassing!
(looking around)
Where's a cop when you need one?
(pulls in, quieter, tone becomes more serious)
What the hell are you doing here?
WAKAGI
Minist-
HINO
We have a separate line--
WAKAGI
That's what I needed to talk to you about.
HINO
Oh my God. How?
WAKAGI
(beat)
I don't know. But we have to get rid of it.
HINO
Then get rid of it!
(beat)
It's really been my day today, hasn't it?
WAKAGI
(bitterly)
It's been a lot of people's day today.
WAKAGI walks off. As Hino recovers from Wakagi's retort, we hear SENIOR once again.
SENIOR
Now where is he? Professor? Ah! There he is, Professor Souichi Tomoe!
HINO looks over toward TOMOE, standing next to a window, waving politely.
HINO(V.O.)
Professor?
CUT TO:
A few minutes later. The party is now well underway. HINO approaches TOMOE, who is looking out the window of the observation deck.
HINO
Professor?
TOMOE
I can hear you.
HINO is stung by this, yet another insult.
TOMOE
Takashi. Relax. You're one of the few people I can afford not be polite to. Consider it a compliment.
HINO relaxes, and then looks around.
TOMOE
I thought you were giving the speech tonight.
HINO
No. Change of plans.
HINO catches a glimpse of SENIOR.
HINO
Pompous ass. Thinks he's hot shit 'cause he used to hang with Mishima. "Respect." What the hell does he know about anime--?
TOMOE
(ignoring HINO)
I didn't think it was possible to see this far from a building.
HINO turns to TOMOE.
TOMOE
(excited)
This tower is six hundred thirty-four metres tall. That means it's visible from ninety kilometers away. Ninety kilometers! People can see us from ninety kilometers away! Can you believe that?
HINO
I suppose. . .
TOMOE
(abruptly)
Takashi. . . everyone--
(eyes the partygoers)
-- can see us up here.
TOMOE eyes HINO. He gets the message.
CUT TO:
INT, Bar
An upscale bar, packed with a mix of hip locals and foreigners. After a moment, we see BANDANA sitting at the bar, cradling a drink, much like HINO was a moment ago. She looks around, admiring some of the handsome men that have come out tonight. Eventually she spots one young man who bears a close resemblance to Sempai. BANDANA like. She tentatively prepares herself to approach the young man, but just as she's about to get up, she catches a glimpse of herself in the reflective bartop-- while she may have been beautiful once, age and illness has left their mark. Giving up on the idea of asking the man out, she pulls ou her cell phone. We can hear the sound of Sid Viscious' cover of "My Way" fade in as we
CUT TO:
INT, Tokyo Sky Tree, First Observatory
Another party, this time on the Sky Tree's larger lower deck. This party, consisting of scientists and laborers who actually did all the work that is being celebrated on the upper floor, is louder, rougher. . . in other words, more like a party. Amidsts the pariters, we see working class FREETER wailing into a karaoke machine, singing "My Way" in the most stereotypically Japanese way you could imagine. We pan to reveal HINO and TOMOE leaning against a wall.
HINO
Are you sure this isn't too loud?
TOMOE doesn't respond.
HINO
Tomoe-san?
TOMOE
It's perfect!
TOMOE starts nodding his head with the music.
HINO
I thought we were going somewhere else. Somewhere private.
TOMOE
No. I just wanted to get away from the suits.
A young boyfriend and girlfriend walk by TOMOE and HINO. The girl catches a glimpse of TOMOE'S eyepatch, and nods approvingly.
HINO
(in disbelief)
What the hell was that?
TOMOE
The patch!
HINO
Unbelievable. You could have lazy eye for all she knows.
(shakes head)
Damn kids.
TOMOE
How's yours?
HINO
What?
TOMOE
Rei! I didn't see her tonight.
HINO
Do you really need to ask?
TOMOE
(with music)
-all else to do!
(to HINO)
She's coming Friday night, right?
HINO
Yes, yes. Definitely. Firday is your night. I won't allow her to miss it.
TOMOE
"Won't allow her?"
HINO
Absolutely not.
TOMOE looks a HINO, disappointed in him.
HINO
By the way, congratulations!
From HINO'S pocket, we can see some flashing lights.
HINO
These upgrades are a major acheivement. At least from what I understand.
TOMOE
You understand more than I do. I'm just here to show my face for the Foundation.
HINO
You're far too humble, Tomoe-sensei.
TOMOE looks at HINO, and points to the flashing light in his pocket. HINO reaches in and pulls out a cell phone. Plugging one ear with his finger, TOMOE answers the phone.
TOMOE
Mushi-mushi?
(pause)
What?
(pause, then sharply)
You what?
TOMOE turns to HINO. HINO looks worried.
HINO
Why didn't you tell me?
(pause)
Of course I would want to know! You think I don't care-- look, hold on, I'll be right-- I'll be right there! Give me twenty minutes!
HINO hangs up,
HINO
(apologetically)
I'm. . .
(bows)
I'm sorry. I have to go. Forgive me.
TOMOE
I'll see you Friday.
HINO leaves.
HINO
(as he exits)
Rei too!
TOMOE looks around the room, and eventually spots a impressive looking bit of electronics along the central support beam of the tower. We walks over to take a closer look. He cut between him and his POV of the electronics. It is, supposedly, part of the upgrades to Tokyo Sky Tree. As he examines it, his look is. . . inscrutable. Is he confused by the electronics? Intrigued? We hold on Tomoe and then
CUT TO:
Tomoe, once again looking out over the city, somehow. . . revitalized.
CUT TO:
To Be Continued.
Saturday, May 21, 2011
If You Start Hearing "Eye of the Tiger" in Your Head as you Read This, Then You Have Missed The Point
Last Time. . .
We Now Continue.
CUT TO:
INT, Makoto's Apartment
A close up of a plate of sushi. It looks delicious, and yet USAGI, the person eating it, can only manage to push the sushi around with her chopsticks.
We cut to a close-up of USAGI, alone in the dining room of Makoto's apartment.
MAKOTO(O.S.)
How is it?
USAGI
(turning toward Makoto)
It's great. . .
USAGI turns back to the food, prodding it some more with her chopsticks.
USAGI
Are you sure you're not hungry?
CUT TO:
Continuous-- The next room. We see MAKOTO looking over a stack of bills, more than a few overdue.
MAKOTO
No, I'm good.
From outside, we hear SIRENS. Makoto, nervous, walks over to the window and peeks outside. The sirens grow louder. . . and then quiter again. Makoto, relieved, turns around, only to see USAGI standing at the entrance to the room.
USAGI
I keep thinking it's the last one, but then. . .
MAKOTO
Yeah. . . I know the feeling. It never quite ends.
MAKOTO walks back to the bills.
USAGI
What do you think they're doing? I thought it was all over. That they found everyone.
MAKOTO
Usagi, given how these things go, they're not even close to finished. They're still looking for other bodies. The two hundred or so they found are just--
USAGI starts to cringe.
MAKOTO
Not. . . bodies. They're not dead. It just. . . slipped out.
(beat)
Listen, do yourself a favor. Don't fixate. You're still alive, I'm still--
(catches her self)
Jesus, I mean. . . just don't.
USAGI nods, doubtfully.
MAKOTO
You done eating?
USAGI
Yeah. It was nice, but I thought I'd save it for tomorrow.
MAKOTO
I've got a bit of homework to do. Make yourself at home. There's TV and PS2 in the living room.
(points to living room)
I can set up a bed, should you decide to crash.
CUT TO:
Living Room. Usagi is looking around. The apartment is messy, in the way you'd expect from a college dorm room-- disorganized, but functional. Looking around, Usagi sees PHOTOS of Makoto with her parents (Makoto is never older than ten or eleven years old in the photos) , a few trinkets from Northern Japan. Usagi gives a slight smile, one of the first we've seen from her since Big Sight. There's something about the place. . .
CUT TO:
Makoto, doing financial calculations. She's done the same calculation three times now. The results are the same each time, and they're not good. Makoto sighs and closes her eyes.
CUT TO:
USAGI, looking out the window. In the distance, we see the Tokyo Sky Tree. Usagi is immediately interrupted by MAKOTO.
MAKOTO
Beautiful, huh?
USAGI
(turning briefly to Makoto)
Yeah.
MAKOTO
This place had such a lousy view when we first bought it. Then they built the Sky Tree, right smack between those two buildings.
USAGI
I would love to live here.
MAKOTO
You--
(pause)
Really?
USAGI
No, I just mean. . . I dunno.
(beat)
It's new.
USAGI moves back to the pictures.
MAKOTO
"New."
USAGI
It's. . . Romantic. I guess.
MAKOTO
Ah.
USAGI
I wouldn't mind having a place like this when I move out.
MAKOTO
When you move out? You mean you haven't already?
USAGI turns around, shocked, only now realizing what she's said.
MAKOTO
(raises her hands)
Never mind. Forget I asked.
USAGI sighs, relieved.
USAGI
(trying to change the subject)
So. . . are your parents on vacation or something? I mean, I'd hate to think they're still out--
MAKOTO
My parents died a few years ago in a plane crash.
USAGI
(taken aback)
Oh. . .
MAKOTO
I'm sorry, if that seemed abrupt. It's just that I always felt better if I. . . said it. No tiptoe-ing.
(beats)
Beats worrying, at least.
USAGI
Probably. . .
MAKOTO sits down on the couch and turns on the TV. Every even numbered channel is blocked, while every odd numbered channel up to thirteen is playing news on the attack.
MAKOTO
And nothing's on.
We CUT TO a close up of the TV, seeing it turn off. Immediately, we then
CUT TO:
USAGI choking MAKOTO, much like she was choking BULLY earlier. MAKOTO grabs USAGI'S choking arms and twists it slightly, forcing her to let go.
USAGI
Ow!
MAKOTO lets go.
USAGI
Man, that does work!
MAKOTO
No kidding. It's a good thing you weren't fighting someone who knows what they're doing. Okay, now you try.
MAKOTO comes round behind USAGI and wraps her arm around USAGI'S neck, gently. USAGI waits for a cue from MAKOTO.
MAKOTO
What? Am I not chocking you hard enough?
MAKOTO tightens her grip. USAGI gets the point and tries applying the same move MAKOTO used. It's not working.
MAKOTO
No, no. Little bit further down, twisting up a bit more.
USAGI tries, but she can't quite do it.
MAKOTO
Okay. . . just elbow me.
USAGI elbows MAKOTO.
No, not there.
Usagi tries again. It's still not working. She tries again and again, harder and harder, almost to the point of desperation. MAKOTO lets go.
MAKOTO
Usagi! Usagi! It's okay! We'll try something simpler. Turn around.
USAGI turns around.
MAKOTO
Punch me.
USAGI gives the lamest girl-punch known to man. MAKOTO easily bats it to the side, simultaneously shifting her upper body to the other side.
USAGI
(frustrated)
. . . and?
MAKOTO
Now you.
Just as Usagi processes this, MAKOTO'S fist flies toward USAGI. USAGI instinctively backs off, nearly tripping over herself before MAKOTO pulls her up by her blouse collar.
MAKOTO
Dammit, Usagi! I said "now you"! Bat it outta the way!
MAKOTO jabs again, a little more slowly this time. USAGI does what Makoto asked her to, batting the fist to her left while shifting to the right. It works.
MAKOTO
Neat, huh? My hand instictively follows where-ever you guide it. Up to a point, anyway.
USAGI
No way. You're faking it.
MAKOTO jabs again, deliberately stopping short of USAGI'S nose. USAGI flinches, but doesn't bat it away.
MAKOTO
Come on!
MAKOTO punches, and USAGI bats the fist away. And again. MAKOTO punches with more force, but USAGI still manages to bat and dodge, to her own surprise. The two really start to get into it-- you'd almost think they were really fighting. USAGI'S actually beginning to get freaked out but all of this, but manages to keep batting MAKOTO'S fists away. Then, USAGI actually GRABS MAKOTO'S forearm, using Makoto's own momentum to pull her forward. MAKOTO briefly loses balance, but recovers. USAGI, a little afraid that she's pissed off MAKOTO, lets her go.
MAKOTO
What-? Why did you let go?!
MAKOTO punches again. USAGI bats the first away.
MAKOTO
C'mon, Usagi! Grab it!
MAKOTO punches again, but USAGI just blocks. USAGI'S no longer into it. MAKOTO lowers her fists.
MAKOTO
Usagi. . . You wanna tell me why you're not going home?
USAGI
You said you wouldn't ask.
MAKOTO
(sighs)
You're right. I lied.
USAGI lowers her gaze, not saying a word.
MAKOTO
Alright. Maybe we should go to bed. You can. . . I guess you can sleep in my room.
(beat)
I'll sleep in my parents' old bed.
MAKOTO walks off. We hold for a moment on USAGI, the outside window in the background. USAGI stands for a moment. We CLOSE IN on the window. . . on Tokyo Sky Tree. . . and then
CUT TO:
Next Time.
We Now Continue.
CUT TO:
INT, Makoto's Apartment
A close up of a plate of sushi. It looks delicious, and yet USAGI, the person eating it, can only manage to push the sushi around with her chopsticks.
We cut to a close-up of USAGI, alone in the dining room of Makoto's apartment.
MAKOTO(O.S.)
How is it?
USAGI
(turning toward Makoto)
It's great. . .
USAGI turns back to the food, prodding it some more with her chopsticks.
USAGI
Are you sure you're not hungry?
CUT TO:
Continuous-- The next room. We see MAKOTO looking over a stack of bills, more than a few overdue.
MAKOTO
No, I'm good.
From outside, we hear SIRENS. Makoto, nervous, walks over to the window and peeks outside. The sirens grow louder. . . and then quiter again. Makoto, relieved, turns around, only to see USAGI standing at the entrance to the room.
USAGI
I keep thinking it's the last one, but then. . .
MAKOTO
Yeah. . . I know the feeling. It never quite ends.
MAKOTO walks back to the bills.
USAGI
What do you think they're doing? I thought it was all over. That they found everyone.
MAKOTO
Usagi, given how these things go, they're not even close to finished. They're still looking for other bodies. The two hundred or so they found are just--
USAGI starts to cringe.
MAKOTO
Not. . . bodies. They're not dead. It just. . . slipped out.
(beat)
Listen, do yourself a favor. Don't fixate. You're still alive, I'm still--
(catches her self)
Jesus, I mean. . . just don't.
USAGI nods, doubtfully.
MAKOTO
You done eating?
USAGI
Yeah. It was nice, but I thought I'd save it for tomorrow.
MAKOTO
I've got a bit of homework to do. Make yourself at home. There's TV and PS2 in the living room.
(points to living room)
I can set up a bed, should you decide to crash.
CUT TO:
Living Room. Usagi is looking around. The apartment is messy, in the way you'd expect from a college dorm room-- disorganized, but functional. Looking around, Usagi sees PHOTOS of Makoto with her parents (Makoto is never older than ten or eleven years old in the photos) , a few trinkets from Northern Japan. Usagi gives a slight smile, one of the first we've seen from her since Big Sight. There's something about the place. . .
CUT TO:
Makoto, doing financial calculations. She's done the same calculation three times now. The results are the same each time, and they're not good. Makoto sighs and closes her eyes.
CUT TO:
USAGI, looking out the window. In the distance, we see the Tokyo Sky Tree. Usagi is immediately interrupted by MAKOTO.
MAKOTO
Beautiful, huh?
USAGI
(turning briefly to Makoto)
Yeah.
MAKOTO
This place had such a lousy view when we first bought it. Then they built the Sky Tree, right smack between those two buildings.
USAGI
I would love to live here.
MAKOTO
You--
(pause)
Really?
USAGI
No, I just mean. . . I dunno.
(beat)
It's new.
USAGI moves back to the pictures.
MAKOTO
"New."
USAGI
It's. . . Romantic. I guess.
MAKOTO
Ah.
USAGI
I wouldn't mind having a place like this when I move out.
MAKOTO
When you move out? You mean you haven't already?
USAGI turns around, shocked, only now realizing what she's said.
MAKOTO
(raises her hands)
Never mind. Forget I asked.
USAGI sighs, relieved.
USAGI
(trying to change the subject)
So. . . are your parents on vacation or something? I mean, I'd hate to think they're still out--
MAKOTO
My parents died a few years ago in a plane crash.
USAGI
(taken aback)
Oh. . .
MAKOTO
I'm sorry, if that seemed abrupt. It's just that I always felt better if I. . . said it. No tiptoe-ing.
(beats)
Beats worrying, at least.
USAGI
Probably. . .
MAKOTO sits down on the couch and turns on the TV. Every even numbered channel is blocked, while every odd numbered channel up to thirteen is playing news on the attack.
MAKOTO
And nothing's on.
We CUT TO a close up of the TV, seeing it turn off. Immediately, we then
CUT TO:
USAGI choking MAKOTO, much like she was choking BULLY earlier. MAKOTO grabs USAGI'S choking arms and twists it slightly, forcing her to let go.
USAGI
Ow!
MAKOTO lets go.
USAGI
Man, that does work!
MAKOTO
No kidding. It's a good thing you weren't fighting someone who knows what they're doing. Okay, now you try.
MAKOTO comes round behind USAGI and wraps her arm around USAGI'S neck, gently. USAGI waits for a cue from MAKOTO.
MAKOTO
What? Am I not chocking you hard enough?
MAKOTO tightens her grip. USAGI gets the point and tries applying the same move MAKOTO used. It's not working.
MAKOTO
No, no. Little bit further down, twisting up a bit more.
USAGI tries, but she can't quite do it.
MAKOTO
Okay. . . just elbow me.
USAGI elbows MAKOTO.
No, not there.
Usagi tries again. It's still not working. She tries again and again, harder and harder, almost to the point of desperation. MAKOTO lets go.
MAKOTO
Usagi! Usagi! It's okay! We'll try something simpler. Turn around.
USAGI turns around.
MAKOTO
Punch me.
USAGI gives the lamest girl-punch known to man. MAKOTO easily bats it to the side, simultaneously shifting her upper body to the other side.
USAGI
(frustrated)
. . . and?
MAKOTO
Now you.
Just as Usagi processes this, MAKOTO'S fist flies toward USAGI. USAGI instinctively backs off, nearly tripping over herself before MAKOTO pulls her up by her blouse collar.
MAKOTO
Dammit, Usagi! I said "now you"! Bat it outta the way!
MAKOTO jabs again, a little more slowly this time. USAGI does what Makoto asked her to, batting the fist to her left while shifting to the right. It works.
MAKOTO
Neat, huh? My hand instictively follows where-ever you guide it. Up to a point, anyway.
USAGI
No way. You're faking it.
MAKOTO jabs again, deliberately stopping short of USAGI'S nose. USAGI flinches, but doesn't bat it away.
MAKOTO
Come on!
MAKOTO punches, and USAGI bats the fist away. And again. MAKOTO punches with more force, but USAGI still manages to bat and dodge, to her own surprise. The two really start to get into it-- you'd almost think they were really fighting. USAGI'S actually beginning to get freaked out but all of this, but manages to keep batting MAKOTO'S fists away. Then, USAGI actually GRABS MAKOTO'S forearm, using Makoto's own momentum to pull her forward. MAKOTO briefly loses balance, but recovers. USAGI, a little afraid that she's pissed off MAKOTO, lets her go.
MAKOTO
What-? Why did you let go?!
MAKOTO punches again. USAGI bats the first away.
MAKOTO
C'mon, Usagi! Grab it!
MAKOTO punches again, but USAGI just blocks. USAGI'S no longer into it. MAKOTO lowers her fists.
MAKOTO
Usagi. . . You wanna tell me why you're not going home?
USAGI
You said you wouldn't ask.
MAKOTO
(sighs)
You're right. I lied.
USAGI lowers her gaze, not saying a word.
MAKOTO
Alright. Maybe we should go to bed. You can. . . I guess you can sleep in my room.
(beat)
I'll sleep in my parents' old bed.
MAKOTO walks off. We hold for a moment on USAGI, the outside window in the background. USAGI stands for a moment. We CLOSE IN on the window. . . on Tokyo Sky Tree. . . and then
CUT TO:
Next Time.
Wednesday, May 18, 2011
They Said the F-word in the Manga Too, Y'know.
Last Time. . .
We now continue.
CUT TO:
EXT, Ginza Sidewalk, NIGHT
Close-up on a woman's right hand plam. A slightly wrinkled fingers runs down the lines of the palm.
FORTUNETELLER
Ah! Yes. . . I can see it. This line, here. It indicates wealth.
CUT TO:
A two shot of REI (who, it should be noted, is still wearing her ultra-preppy school uniform) and a rather cheap looking GINZA FORTUNETELLER, maybe in her late fourties. Rei is not impressed.
FORTUNETELLER
Yes. . . Yes. Wealth and good fortune. You're going to be very fortunate in life.
REI
(partonizing)
Ah!
FORTUNETELLER
And romance!
The FORTUNETELLER runs her finger down another one of REI'S lines.
FORTUNETELLER
A single line! That means that true love awaits you!
CUT TO:
The FORTUNETELLER'S POV. We can see MAMORU pretty plainly standing behind REI, near a shop window.
REI
True love. . .
FORTUNETELLER
Yes. This line, here, the one that runs down like this. This line. . .
The sound fades out.
We CUT TO:
INT, Hino Residence
A FLASHBACK. Rei (looking a little bit younger) is standing in front of her father, whose back is turned from the camera. Her father is giving Rei instructions (none of which we can hear), while Rei nods nervously.
CUT TO:
The front door. It opens to reveal a slightly younger looking Mamoru, dressed up for his first date with Rei. He's holding a rose in his hand.
MAMORU
(smiling, enthusiastic)
Good evening!
He bows.
MAMORU
This is for you.
MAMORU hands the rose to REI. We cut to REI'S reaction. She forces a smile, takes the rose, and bows.
CUT TO:
EXT, Park, Day
MAMORU and REI, having their first date in the middle of a park. They both appear to be enjoying themselves, with REI smiling and laughing enthusiastically, to the point of being almost overbearing. Mamoru, however, takes it in stride.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Your heart heart line is long, and curves up, like this, see?
REI nods.
FORTUNETELLER
This means you're a romantic at heart.
CUT TO:
INT, Hino Residence
FLASHBACK. REI is forcefully MAKING OUT with MAMORU. REI'S doing all the work-- MAMORU is just sitting there, trying to enjoy himself. Then, REI pulls away. She takes a deep breath (as if to prepare herself for something unpleasant), and then takes off her shirt (she's still wearing a bra, though). After a moment of hesitation, REI starts kissing MAMORU again. Forcefully. MAMORU is no longer enjoying himself.
CUT TO:
The door to Rei's room. MAMORU walks out of the room, bows, and closes the door. Whatever confidence he may have shown earlier is now gone. As he walks away, REI opens the door (still with no shirt on) and watches, confused, as MAMORU leaves.
CUT TO:
Another date. REI and MAMORU are paddling along a pond. Rei forces a smile, but is gradually fades. The two look a slightly uncomfortable, Mamoru esspecially.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Romance is something special, particularly for someone like you. There's one man who will come along, one man only. You two will have something unique, something that you need to hold on to.
CUT TO:
Continuous- Mamoru, looking inside the store window. He see a bunch of JEWELS on display.
FORTUNETELLER
Something that will never come again.
We hold on the JEWELS.
MAMORU(V.O.)
So. . . how was it?
CUT TO:
REI and MAMORU walking down the sidewalk, the lights of Ginza illuminating the night sky.
REI
You were there, Mamoru. You heard everything.
MAMORU
Yes. And?
REI
(sighs, then sarcastic)
It was amazing. It was like she knew me my whole session.
MAMORU
Ah. . . .Were you really surprised?
REI
What does that mean?
MAMORU
It means you do. . . that for a living.
REI
No, Mamoru. I do not do that for a living. That. . .
(sighs)
Never mind.
Pause.
MAMORU
So what comes next?
REI
I don't know. You wanted to come out tonight.
MAMORU
My mom wanted me to go out tonight.
REI
I am amazed you can say that without even a hint of shame.
MAMORU
I wasn't asking about the date.
(beat)
What I meant was. . . what are you gonna do next?
(beat)
I mean, you already called the commissioner--
REI
Mamoru--
MAMORU
You called the commissioner of the Tokyo Metropolitan Police in the middle of our dinner. It was gonna come up.
(beat)
So what happens next?
REI
Nothing. It was idiotic. I thought I would get some answers.
MAMORU
To what?
REI
You were there, Mamoru. You heard my half of the conversation.
MAMORU
So you didn't learn anything?
REI
(hesitates)
No. Nothing at all.
Pause.
MAMORU
Man, if I knew you had a line to the police commissioner--
REI
You'd what?
MAMORU stops-- he realizes he's said a little too much.
MAMORU
Uh. . . What I mean is, my mom. . . she hates cops. I just find this whole thing. . . ironic.
REI
Ironic?
MAMORU
Never mind.
Pause. In the distance, two men of middle-eastern descent approach along the sidewalk.
REI
Did your mom. . . see anything?
MAMORU
No. Apparently, she just had heat exhaustion. She was a few blocks away from Big Sight.
We can start to hear the rather loud voices of the two Arabic-looking men. They're BRITISH.
BRIT #1
(speaking English English)
Your map is bollocks, mate.
BRIT #2
(likewise)
Piss off, twat. It's this way.
MAMORU
Why do you ask?
REI doesn't answer. She sees the two men approaching, and has tensed up.
BRIT #1
I'm a twat 'cause your map is shite?
BRIT #2
No, you're a twat regardless. It's this way, mate.
BRIT #1
It's been "this way" the last half hour.
The two men brush by REI and MAMORU.
BRIT #2
Tokyo's a big city, mate.
BRIT #1
You sure we got off at the right station?
BRIT #2
You mean the one with GINZA written all over it? Yeah, somehow I do.
The two men go on. REI looks back at them with contempt.
REI
What is wrong with people?
MAMORU
They were lost.
REI
What? How do you know that?
MAMORU
They said so. Of course, the cheap little map they printed off was a big hint too.
REI
(shakes her head)
You don't think there's anything wrong with that? With everything that's happened? I mean, look at this!
We briefly cut to REI'S POV, and see a group of Japanese girls with dyed blonde hair, laughing and shopping. We then pan to reveal more tourists. Then back to Rei and Mamoru.
MAMORU
I see Ginza, Rei.
REI
And that's the problem, Mamoru. I'm the only one who seems to acknowledge that something is wrong. I. . .
Pause. REI is on edge, and is trying to get herself back together.
REI
I can't expect you to understand. I don't even know if I understand it. It's like. . . something on the tip of my tongue. I've felt it, for months. I've tried to. . . focus on it. Meditate on it. There are times when it seems so close, and just when I think I finally have it. . .
Pause.
REI
Hundreds of people end up in hospital. And I don't even know about it until I see it on the damn train!
Pause.
REI
You can't understand that. You, my teachers, my grampa-- that palmreader back there, she definitely can't underdstand it. My father--
REI has to stop.
MAMORU
Actually, Rei. I think I can understand--
REI
(dismissive)
Fuck you!
REI starts to walk off. Mamoru waits for a minute, and then runs up and stops REI.
MAMORU
Fuck you, Rei.
With that, MAMORU walks off defiantly. After a moment, once he's safely away from Rei, he gives a bemused look, as if asking himself "where the hell did THAT come from?"
Until Next Time. . .
We now continue.
CUT TO:
EXT, Ginza Sidewalk, NIGHT
Close-up on a woman's right hand plam. A slightly wrinkled fingers runs down the lines of the palm.
FORTUNETELLER
Ah! Yes. . . I can see it. This line, here. It indicates wealth.
CUT TO:
A two shot of REI (who, it should be noted, is still wearing her ultra-preppy school uniform) and a rather cheap looking GINZA FORTUNETELLER, maybe in her late fourties. Rei is not impressed.
FORTUNETELLER
Yes. . . Yes. Wealth and good fortune. You're going to be very fortunate in life.
REI
(partonizing)
Ah!
FORTUNETELLER
And romance!
The FORTUNETELLER runs her finger down another one of REI'S lines.
FORTUNETELLER
A single line! That means that true love awaits you!
CUT TO:
The FORTUNETELLER'S POV. We can see MAMORU pretty plainly standing behind REI, near a shop window.
REI
True love. . .
FORTUNETELLER
Yes. This line, here, the one that runs down like this. This line. . .
The sound fades out.
We CUT TO:
INT, Hino Residence
A FLASHBACK. Rei (looking a little bit younger) is standing in front of her father, whose back is turned from the camera. Her father is giving Rei instructions (none of which we can hear), while Rei nods nervously.
CUT TO:
The front door. It opens to reveal a slightly younger looking Mamoru, dressed up for his first date with Rei. He's holding a rose in his hand.
MAMORU
(smiling, enthusiastic)
Good evening!
He bows.
MAMORU
This is for you.
MAMORU hands the rose to REI. We cut to REI'S reaction. She forces a smile, takes the rose, and bows.
CUT TO:
EXT, Park, Day
MAMORU and REI, having their first date in the middle of a park. They both appear to be enjoying themselves, with REI smiling and laughing enthusiastically, to the point of being almost overbearing. Mamoru, however, takes it in stride.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Your heart heart line is long, and curves up, like this, see?
REI nods.
FORTUNETELLER
This means you're a romantic at heart.
CUT TO:
INT, Hino Residence
FLASHBACK. REI is forcefully MAKING OUT with MAMORU. REI'S doing all the work-- MAMORU is just sitting there, trying to enjoy himself. Then, REI pulls away. She takes a deep breath (as if to prepare herself for something unpleasant), and then takes off her shirt (she's still wearing a bra, though). After a moment of hesitation, REI starts kissing MAMORU again. Forcefully. MAMORU is no longer enjoying himself.
CUT TO:
The door to Rei's room. MAMORU walks out of the room, bows, and closes the door. Whatever confidence he may have shown earlier is now gone. As he walks away, REI opens the door (still with no shirt on) and watches, confused, as MAMORU leaves.
CUT TO:
Another date. REI and MAMORU are paddling along a pond. Rei forces a smile, but is gradually fades. The two look a slightly uncomfortable, Mamoru esspecially.
CUT TO:
EXT, Ginza, Night
REI and the FORTUNETELLER.
FORTUNETELLER
Romance is something special, particularly for someone like you. There's one man who will come along, one man only. You two will have something unique, something that you need to hold on to.
CUT TO:
Continuous- Mamoru, looking inside the store window. He see a bunch of JEWELS on display.
FORTUNETELLER
Something that will never come again.
We hold on the JEWELS.
MAMORU(V.O.)
So. . . how was it?
CUT TO:
REI and MAMORU walking down the sidewalk, the lights of Ginza illuminating the night sky.
REI
You were there, Mamoru. You heard everything.
MAMORU
Yes. And?
REI
(sighs, then sarcastic)
It was amazing. It was like she knew me my whole session.
MAMORU
Ah. . . .Were you really surprised?
REI
What does that mean?
MAMORU
It means you do. . . that for a living.
REI
No, Mamoru. I do not do that for a living. That. . .
(sighs)
Never mind.
Pause.
MAMORU
So what comes next?
REI
I don't know. You wanted to come out tonight.
MAMORU
My mom wanted me to go out tonight.
REI
I am amazed you can say that without even a hint of shame.
MAMORU
I wasn't asking about the date.
(beat)
What I meant was. . . what are you gonna do next?
(beat)
I mean, you already called the commissioner--
REI
Mamoru--
MAMORU
You called the commissioner of the Tokyo Metropolitan Police in the middle of our dinner. It was gonna come up.
(beat)
So what happens next?
REI
Nothing. It was idiotic. I thought I would get some answers.
MAMORU
To what?
REI
You were there, Mamoru. You heard my half of the conversation.
MAMORU
So you didn't learn anything?
REI
(hesitates)
No. Nothing at all.
Pause.
MAMORU
Man, if I knew you had a line to the police commissioner--
REI
You'd what?
MAMORU stops-- he realizes he's said a little too much.
MAMORU
Uh. . . What I mean is, my mom. . . she hates cops. I just find this whole thing. . . ironic.
REI
Ironic?
MAMORU
Never mind.
Pause. In the distance, two men of middle-eastern descent approach along the sidewalk.
REI
Did your mom. . . see anything?
MAMORU
No. Apparently, she just had heat exhaustion. She was a few blocks away from Big Sight.
We can start to hear the rather loud voices of the two Arabic-looking men. They're BRITISH.
BRIT #1
(speaking English English)
Your map is bollocks, mate.
BRIT #2
(likewise)
Piss off, twat. It's this way.
MAMORU
Why do you ask?
REI doesn't answer. She sees the two men approaching, and has tensed up.
BRIT #1
I'm a twat 'cause your map is shite?
BRIT #2
No, you're a twat regardless. It's this way, mate.
BRIT #1
It's been "this way" the last half hour.
The two men brush by REI and MAMORU.
BRIT #2
Tokyo's a big city, mate.
BRIT #1
You sure we got off at the right station?
BRIT #2
You mean the one with GINZA written all over it? Yeah, somehow I do.
The two men go on. REI looks back at them with contempt.
REI
What is wrong with people?
MAMORU
They were lost.
REI
What? How do you know that?
MAMORU
They said so. Of course, the cheap little map they printed off was a big hint too.
REI
(shakes her head)
You don't think there's anything wrong with that? With everything that's happened? I mean, look at this!
We briefly cut to REI'S POV, and see a group of Japanese girls with dyed blonde hair, laughing and shopping. We then pan to reveal more tourists. Then back to Rei and Mamoru.
MAMORU
I see Ginza, Rei.
REI
And that's the problem, Mamoru. I'm the only one who seems to acknowledge that something is wrong. I. . .
Pause. REI is on edge, and is trying to get herself back together.
REI
I can't expect you to understand. I don't even know if I understand it. It's like. . . something on the tip of my tongue. I've felt it, for months. I've tried to. . . focus on it. Meditate on it. There are times when it seems so close, and just when I think I finally have it. . .
Pause.
REI
Hundreds of people end up in hospital. And I don't even know about it until I see it on the damn train!
Pause.
REI
You can't understand that. You, my teachers, my grampa-- that palmreader back there, she definitely can't underdstand it. My father--
REI has to stop.
MAMORU
Actually, Rei. I think I can understand--
REI
(dismissive)
Fuck you!
REI starts to walk off. Mamoru waits for a minute, and then runs up and stops REI.
MAMORU
Fuck you, Rei.
With that, MAMORU walks off defiantly. After a moment, once he's safely away from Rei, he gives a bemused look, as if asking himself "where the hell did THAT come from?"
Until Next Time. . .
Subscribe to:
Posts (Atom)
