Immediately, two small bulges on the hard suit's rear shoulders begin to
glow a bright blue-white colour ... and a few seconds later, they expand
and explode outwards, forming two long blue-white energy constructs that
look for all the world like large, feathered bird wings. Inside the
helmet, PRISS reacts in shocked astonishment.
PRISS
<whispered> Shit.
RANMA nods with a satisfied smile.
RANMA
Still works after all this time.
That's pretty damn impressive ...
She nods her head towards the slowly ascending Temple.
RANMA
Well? Go get 'em.
PRISS
Uh, newsflash, lady, I've never done
this sort of thing before ...
RANMA
Just give yourself a short running
distance, a couple meters should do
it, and jump. The computer should
handle the rest. Just point your
nose the way that you wanna go.
PRISS pauses, then nods once ... then pauses again.
PRISS
Aren't you coming?
RANMA
How, praytell? Am I supposed to
transform to Great Saotomeman and
fly using my immense chi? <beat>
You're on your own, Asagiri ...
PRISS
Right. <beat> Thanks.
She visibly braces herself, then runs forward a few steps, and takes a
leap ... and then the wings take over, flapping several times a second.
PRISS
WHOAHOAHOAHOAHOAHOAHOAHOAHOAHOA!
After a few seconds of panicked shrieking, PRISS appears to have gotten a
handle on it, and starts flying in the general direction of the rising
temple. RANMA looks up at her with a nonplussed expression.
RANMA
I guess Linna had had a few practice
runs after all ... <beat> Fly with
my chi? Never actually tried that
... maybe some other time. <beat> I
wonder where I could get a kettle of
hot water around here?
Cut to the bridge of the MACC as RAYE, VENUS, MERCURY, JUPITER, LT.
RYOUKO, and SHEILA enter at a run. RAYE immediately takes the captain's
chair, while RYOUKO drops into the sensor control post. MERCURY heads for
another console.
RAYE
Put it onscreen.
The main display shows the temple rising higher into the air. None of
the gravitic vehicles are able to approach it without losing power, and so
are maintaining a safe distance.
RAYE
Shitshitshitshit! <beat> Amy!
Contragrav turbines that powerful
are huge, right?
MERCURY
Extremely. And the engineering
required so that they won't tear
loose from whatever structure you're
trying to lift is also extensive.
RAYE
In other words, this has been a long
time in the planning.
MERCURY
<nods> They must have infiltrated
the Cult some time ago and --
RAYE
No. <beat> I want you to examine
the Archdeacon of the Cult of
Serenity's transaction records for
the last year.
MERCURY blinks, startled, and then bends to her task. A few moments
later, she looks up, now even more startled.
MERCURY
How?
RAYE
Intuition. <beat> He bought the
raw materials to build the turbines
over an extended period, right? If
he'd bought them in a lump, or
preassembled, our agents would have
taken notice ... nobody builds CG
equipment that large without a good
reason. A good reason in their
world view, at least.
JUPITER
But ... but Raye! It doesn't make
any sense! I've *met* the man! He
*literally* worships the ground
Serenity walks on! He's opposed to
the treaty with Jurai on the basis
that we don't need *any* alliances
since we're ruled by a GODDESS! Why
would he *do* something like this?
RAYE
When we catch him, Lita, be sure and
ask him, okay?
JUPITER visibly snaps.
JUPITER
And how the *hell* are we going to
do *that*?! We can't threaten to
shoot the damn thing, or it'll blow
up, or worse crash! We can't get
near it with any kind of contragrav!
If it gets out to orbit, we won't
won't be able to have the fleet move
in for the exact same reasons! And
because of you and your reckless
behavior --
RAYE snaps to look angrily in her direction.
JUPITER
-- we can't even teleport up there
ourselves and go in shooting, 'cause
that'd be a suicidal mission, and
Gods forbid that any of *us* get to
risk *our* lives to save hers, since
you've bloody well cornered the
market on --
RAYE
<furious> Hippolita Kino, get the
hell off this bridge!
JUPITER suddenly seems to realize exactly what she's been saying.
JUPITER
Raye, I --
RAYE
No! Not one more word out of you!
You're on suspension, and the only
reason I've let you be present for
this was out of consideration for
your feelings, but since you've
shown that you don't give a fig for
anyone else's feelings --
JUPITER
NO! That's not --
RAYE
-- you can just go back to your
quarters and watch what happens on
TV like the *rest* of the civilians!
<beat> I said, get off my bridge, or
I'll call security and --
VENUS
SHUT UP! <beat> Both of you, shut
up! <beat> My lack of god, I don't
believe what I'm hearing. <beat>
Serenity's in the worst place that
she's been in since ... since the
final battles of the War, and all
the two of you can do is stand there
and yell at each other for not being
able to do more to help her! <beat>
We're *all* helpless! We're *all*
scared! And everyone is relying on
*us* to make the right decisions,
and we don't know what they are!
<beat; crying> What the hell went
wrong? We were supposed to always
be together, getting on each other's
nerves, and laughing our way through
the hard times -- not turning into
THIS! <beat> We were meant to get
a happy ending! We were supposed to
be happy! I was supposed to be ...
to be ... <whispered> ... what would
Serena say if she saw us like this?
VENUS is holding her face in her hands, shuddering. JUPITER and RAYE gaze
at her for a few seconds, then meet each other's gaze. For a moment, RAYE
tries to hold onto her angry expression ... and then it collapses, and
there's a look of sheer terror in her eyes.
RAYE
I don't *know* what we're going to
do, Lita. I don't know *how* we're
going to save her this time, or what
we're going to do if we *don't*.
<beat> But I do know that I *can't*
find a way to save her *and* deal
with you at the same time, so if you
can't handle it, *please* leave. I
won't think any less of you if you
do.
JUPITER momentarily lets the fear that she's feeling show, but then clamps
it down again.
JUPITER
I'm ... I'm sorry. I'm sc-- I'm
*worried* about the same things that
you are ... and I'm not good with
feelings. <beat> I can handle it.
I have to. I couldn't ... *stand*
not being at the heart of it ...
a second time.
RAYE nods ... and a brief silence descends on the bridge, broken by a beep
from the sensor station, where LT. RYOUKO (like everyone else on the
bridge) has been watching the confrontation. She turns back to her radar
display.
LT. RYOUKO
Lady Mars, we've got an unidentified
airborne object moving towards the
Temple.
RAYE
Let's see it.
A long distance shot of the winged hardsuit is displayed as it flies
towards the Temple.
RAYE
Increase magnification ... no, it
can't be ...
The hardsuit is clearly visible in all its detail now.
RAYE & SHEILA (sim)
<strangled> Priss!
JUPITER
What the hell is she doing?! How'd
she get that thing up and running?
RAYE
If she gets out, I'll ask her that
myself. <beat> Open a channel to
her ...
The communications officer -- a young woman of African heritage and
light-blue-purple hair -- tries for a few seconds.
PENDA
No response on any frequency.
JUPITER
Raye, do something!
RAYE
Like what?
JUPITER
Stop her! If she goes in there,
guns blazing, they're going to kill
Serenity!
RAYE
Then we'll just have to hope that
she's more subtle than that, because
I don't have any idea how to stop
her.
LT. RYOUKO stands up quickly.
LT. RYOUKO
Milady! If I take a small group of
battlesuits up after her, I'm very
confident of our ability to bring
her in.
SHEILA stares at her with mingled terror and outrage.
SHEILA
THE HELL YOU WILL!
RAYE shoots a glare in SHEILA's direction, but speaks as though she were
looking at LT. RYOUKO.
RAYE
No, Ryouko, our strike suits aren't
equal to --
LT. RYOUKO
With all due respect, Lady Mars, I
think that you both underestimate
us and overestimate the Stingray
technology!
SHEILA
Raye, she just wants to go out there
and fight Priss so she can `prove'
herself --
LT. RYOUKO
Keep your delusions to yourself,
dyke.
SHEILA whirls, utterly furious, and directs a punch at RYOUKO's face. She
dodges, but SHEILA's fist slams into the metal wall of her workstation,
leaving a clear impression.
RAYE
ENOUGH! Sheila, you shouldn't even
be on the bridge, so unless you want
to spend the next few days in jail,
get ahold of yourself. Lieutenant,
I warn you that your remarks verge
on conduct unbecoming an officer ...
apologize AT ONCE.
LT. RYOUKO
<stiff> I apologize, *Ms.* Tenkai.
<beat> I was unaware that you took
offense at that particular term used
as self-description by individuals
of your --
MERCURY
<angry> RYOUKO.
RYOUKO glowers at LADY MERCURY, then bows in her direction and is silent.
RAYE
<deep sigh> Request denied. Her
armor can get inside the Temple's
contragrav field, which would
prevent any of our battlesuits
from getting close. <beat> We'll
just have to rely on her discretion.
JUPITER
What discretion?
RAYE
Not now, Lita ...
JUPITER
God's names, Raye, how can you trust
someone like that? She --
RAYE
The *same* way that I trust *you*,
who also quote *wimped* *out*,
unquote. <beat> Don't you realize
just how much you sound like a
hypocrite when you talk like that?
<beat> She lost herself when Nene
was killed, and when she found out
that Sylia had taken Genom tower
with her like that. Just like you
lost yourself when Serena died.
You two are the *same*.
JUPITER
Yes! AND LOOK WHAT *I* DID *AFTER*
THAT!
RAYE is confused ... and then suddenly understanding dawns on her face.
RAYE
You think she's going to crack up,
and ... do the same sort of thing
that you did when you killed Kunou.
<beat> Lita, that's crazy. Just
because you've suffered the same
sort of things --
JUPITER
-- doesn't mean that she'll also go
postal eventually? Maybe. All I
know is that I can't trust her to do
the right thing. <to SHEILA> EVER.
SHEILA stares at her mother for a very long moment, her anger and shock
clear in her eyes ... then turns and storms off the bridge. RAYE and
JUPITER follow her with their eyes.
RAYE
Isn't it fortunate, then, for all
concerned, that you don't *have* to
trust her? <beat> Because I *can*,
and I *do*.
RAYE turns her back on JUPITER, and looks at the screen. PRISS is within
a short distance of the tower, closer than any grav cars have been able to
get.
RAYE
<whispered> Godspeed.
A whistled version of "Flight of the Valkyries" slowly draws RAYE's
attention ... and she turns to stare at VENUS, who is whistling the tune
with a faraway expression on her face.
Cut to the courtyard of the temple, as PRISS moves gracefully towards the
building at its far end. She comes to a stop and lands beside the
glasshouse. SERENITY is sitting in her chair with a blank expression on
her face. PRISS holds up her right hand to blast one of the windows ...
then pauses.
PRISS
Wait a minute ...
She punches the window instead. It shatters inward, and little bits of
glass streak by SERENITY's face. (Some of them seem to be deflected by an
invisible barrier just before they touch her.) PRISS steps into the hole
in the wall, and approaches SERENITY, lifting her visor.
PRISS
Yo. <beat> Hey. Are you okay?
Seren-- Serena?
SERENITY turns to look at PRISS calmly.
SERENITY
I am no longer that person. Hello,
Ms. Asagiri.
PRISS
Huh? <shakes head> Whatever. I've
come to get you out of here.
SERENITY
Yes, I thought you might.
PRISS
<dubious> *Are* you okay?
SERENITY
Quite all right, thank you. Well,
except for this.
She holds up her right arm, with the negation band firmly clamped around
it.
PRISS
That's the same sort of thing that
that boomer had Raye put on ...
Shit. You've got nothing, do you?
SERENITY
I would not go so far as to say
*that* ...
PRISS
Right, right, faster and stronger
than any mortal, just hold on tight
when we get out of here --
Cut to the hallway just outside the room, as KEI and YURI come tearing up
the stairs, followed closely by SMITHERS.
KEI
I thought you said nobody could get
near us with that field up!
SMITHERS
<terrified> Nobody *ought* to be
able to --
YURI quickly peeks in the door to the glassroom, and lets out a short,
quiet squawk before ducking back to safety.
YURI
We're screwed.
KEI
What?!
YURI
<mortal fear> Knight Sabres.
KEI
Oh yeah, right. Next you'll be
talking about the Sailor Soldiers
...
YURI motions for KEI to take a look for herself. She does so, and gulps
before backing away.
KEI
Okay ... so they dusted off an old
battlesuit. Big deal ... it's not
like its one of the actual Sabres is
running that thing ... and even then
they did get beaten. Couple times.
I think.
YURI
Quit trying to rationalize and panic
like I have!
KEI nods silently to herself.
KEI
Okay, there's only one way to do
this.
YURI
I'm listening.
KEI
Rush in and hope whoever's in there
is as scared of us as we are of her
... suit.
YURI
Sounds like a plan.
KEI silently counts to three, and then the Pair turn and throw open the
doors. KEI has a very large, almost Kirbyesque gun in a shooter's grip,
while YURI is holding a blaster and the Bloody Card in either hand.
KEI & YURI (sim)
FREEZE!
PRISS slams down her visor as she whirls to look at them ... and blinks.
Repeatedly. Close shots of the Pair's battle bikinis.
PRISS
You have *got* to be kidding.
KEI and YURI are mortified.
PRISS
Who the hell are --
SERENITY
They are the most famous team of
Trouble Consultants ever employed by
the Worlds Work Welfare Association
-- the Lovely Angels.
PRISS
The ... <looks again> Come on. Are
you serious? <beat> These are the
ones that everyone was so scared of
back at the meeting?
KEI's eyes close, and her jaw clenches.
PRISS
*These* are the ones they were
calling the twin goddesses of death
and destruction?
KEI shows her teeth.
PRISS
*This* is the Dirty Pair?
KEI's eyes flash open, and she starts firing her BFG at its maximum firing
rate. Bullets, tiny bursts of energy, and little arrows shoot out of it.
YURI stares at her with a startled expression but wisely doesn't try to
stop her.
KEI
<screaming> DIEDIEDIEDIEDIEDIEDIEDIE
DIEDIEDIEDIEDIEDIEDIEDIEDIEDIEDIE!
After a few seconds, she stops both her firing and her screaming, and
takes several long gasps of air. She stares at PRISS ... whose armor is
dented and scorched, and there are arrows sticking out at odd angles. But
she's still standing. SERENITY pops her head out from behind PRISS, and
smiles apologetically.
PRISS
Was that supposed to accomplish
something?
KEI throws the gun away, and runs at PRISS with the clear intention of
engaging her in hand to hand. PRISS raises her right arm, and the doors
of her railgun open up -- and everything goes into slow motion as YURI
sees this, and throws the Bloody Card, and it loops around KEI to smash
into the weapon arm just as the bolt is emerging from the railgun. Sparks
fly, making PRISS yelp in surprise more than pain. The arm's weapons are
disabled. The Card loops back to YURI, who is disturbed to see that it is
dented and slightly melted. Then KEI closes with PRISS.
While somewhat less fundamentally indescribable than RANMA and RYOUGA's
grudge match, this is still a fight which can only be imagined. PRISS'
*slight* advantages of strength and damage resistance are set off by KEI's
greater experience and skill ... and by the fact that she fights EXTREMELY
dirty. (So does PRISS, but KEI knows more dirty tricks.) Put simply,
it's an even match, and its going to come down to who lasts longest.
YURI is watching the fight worriedly, her gun ready. SMITHERS approaches
her, with a very nervous expression.
SMITHERS
Why aren't you --
YURI
I'm trying to find a way to avoid
hitting her.
SMITHERS
For God's sake, don't shoot if you
think that you can't avoid hitting
the Queen!
YURI glares at him.
YURI
I'll try to avoid hitting your cute
hostage. She's a nice person. But
if I can't avoid hitting Kei any
other way --
She turns back to the fight.
SMITHERS
I see. <beat> I understand
completely. Really I do.
He silently lifts a small, holdout weapon of some sort, which he points at
the base of YURI's skull.
Back in the fight, PRISS has maneuvered KEI around so that KEI can't see
what's going on at the doorway, but PRISS can and does. For a moment, she
freezes ...
PRISS
Hey! Look out!
KEI
Oh come on, do you think I'm dumb
enough to fall for --
YURI *is* "dumb" enough to "fall for" it, and turns to see SMITHERS
pointing the weapon at her, and shrieks. The weapon discharges, searing a
bolt of energy across the bottom of YURI's cheek, which makes her shriek a
second time. YURI lashes out, slamming a high kick into SMITHERS' jaw,
knocking him back before he can get a second shot off, and then firing her
own gun at his chest. Repeatedly. He goes flying backward, down the
staircase.
KEI pauses, and turns to see YURI collapse to her knees.
KEI
YURIIII!
PRISS lets out a sigh of relief ... and is thus off guard for KEI's
furious pounding of her chest and visor.
KEI
MESS WITH *MY* MIND, WILL YOU?!
KEI lets up after a few seconds, letting PRISS collapse limply to the
floor, and runs over to YURI.
KEI
Yuri!
YURI is clutching her cheek with her right hand.
YURI
Owowowowowow.
KEI
Let me see it.
YURI shakes her head.
YURI
Ow! Ow!
KEI
Yuri, does it hurt when you talk or
move your head?
YURI
<nods> OW.
KEI
Then shut up and sit still you ditz!
YURI looks at her reproachfully, but obeys. KEI stands, grabs YURI's gun,
and marches back into the room. Unnoticed by either of them, the CHIEF
pokes his head up the staircase.
YURI strides over to where PRISS is lying, slams her heel into PRISS'
stomach (eliciting a grunt of pain) wrenches her visor upward, and points
the gun at PRISS' face.
KEI
Don't call us that. Okay?
PRISS
Huh?
KEI
That name.
PRISS
The Dirty --
KEI shoots just to the side of PRISS' head.
KEI
Darn my itchy trigger finger.
PRISS
O-kay.
KEI turns to look at SERENITY, who is sitting peacefully, smiling and
humming.
KEI
Allright. Enough already. What's
going on here?
SERENITY
Why are you asking me? I am the one
being --
KEI
And we're the ones being led to
believe that you're a megalomaniac.
Are you?
SERENITY gives the question serious thought.
SERENITY
A megalomaniac is an individual who
believes that he or she is a super-
being chosen for a certain task?
KEI
Works for me.
SERENITY
In that case ... yes. <beat>
However, I have certain very good
reasons to believe that I am that
which I believe I am.
KEI
<angry> Dammit could you *please*
give me a straight answer?!
YURI
Kei ...
KEI
No! Dammit, Yuri, I *have* to have
an answer to this! I'm tired of not
finding out things until it's too
late to do anything! I'm tired of
things going wrong because we didn't
realize something important! I'm
*tired* of feeling like a *shit*
every time the Central Computer says
"It's not their fault" and having to
see the faces of people who got hurt
in our mix-ups on the news *every*
*bloody* *night*! <beat> I'm tired.
<to SERENITY> So talk, you! Since
we woke up it's been nothing but
"Serenity rules with an iron fist!
She crushes all opposition! She
forces her will on the populace!"
Now it's your turn! I wanna hear
your side of the story! Talk!
SERENITY is still for a long moment ... and then she shakes her head.
SERENITY
No.
KEI
<blinks> WHAT?
SERENITY
Kei, maturity involves both taking
responsibility for your actions ...
and accepting that you are *not*
responsible for everything in the
world. I understand how you feel, I
have felt the pain of wishing that
there was something that I could
have done to make matters right when
there wasn't. <beat> But consider
... if I persuade you that I am on
the side of good, and lie to you ...
when you realize your error, you
will be able to deny responsibility
for your choice by claiming that you
were tricked. <beat> And you will
have learned nothing.
KEI
I ... I just want ...
SERENITY
<pitying> You just want someone to
take you in her arms, cradle you to
sleep, and whisper softly, "It is
not your fault, Kei-chan." <beat> I
am sorry, Kei. I will not do that.
I could. <beat> If I wanted to, I
could make you love me as a daughter
loves a mother, or as a sister loves
a sister, or as some women love each
other. I could make anyone do that.
Everyone. "All would look on me and
despair". <beat> I will not do
that. I have chosen otherwise.
She stands, and walks calmly and gracefully to where KEI is standing and
staring at her with a confused expression.
SERENITY
Choice is an important thing, Kei.
But it must be a Choice made with
full awareness of what will happen
if the Choice is made. <beat> Down
both paths, you will survive this
day. But if you choose to act in
anger and confusion, an innocent
will die -- and it *will* be your
fault. While if you choose to act
in love and hope, you may always
wonder whether you did the right
thing, for there is no Central
Computer to absolve you, now -- and
I have seen what madness can come
from knowing that something could
have gone another way. <beat> But
the Choice must be made --
SERENITY quickly stomps on PRISS' hand as it reaches up to grab KEI's
ankle.
PRISS
HEY!
SERENITY
-- and made *without* interference.
KEI
I don't understand. What --
CHIEF (O.S.)
EX-cuse me.
KEI whirls around to stare at the CHIEF, who is standing in the doorway,
holding YURI in a headlock with one arm, while the other clutches a
detonator switch of some sort.
CHIEF
You aren't living up to your part of
the deal, Kei. <beat> Kill the one
in the hardsuit. Now. Or I'll be
forced to use *this*.
KEI
Oh yeah? And what's *that*?
CHIEF
Rest assured, that if you don't kill
her, this will do it for you ... but
that it will take you, me, <shoves
YURI> her, and Serenity with her.
<beat> Come now. You wouldn't want
the death of an innocent like Yuri
on your hands, now would you?
He caresses the developing scar on YURI's cheek, causing her face to twist
in pain. KEI's eyes go to slits, and everything goes into slow motion as
she swings the gun around, so that it points at SERENITY, the chair, the
wall, and finally at the CHIEF ... and then we see KEI's eyes widen in
surprise ... and the gun continues its swing, as KEI releases it from her
hand and lets it go flying into the opposite wall.
KEI
Do it yourself, you bastard. <beat>
I don't do wetwork.
The CHIEF seems completely shocked by this development. He stares at KEI
for a few seconds, and then SERENITY steps between them, and looks at him
quizzically.
SERENITY
Well?
The CHIEF lets go of YURI and tries to stumble back out of SERENITY's
view, and accidentally (or perhaps not) stabs down on the trigger
mechanism of the device in his hand.
Below, the turbines pause for an instant ... and then begin to spin at an
almost unbelievable pace, making them glow white hot.
Outside, the mass of the Temple and hill has slowed down to a stop ... and
suddenly it shoots skyward faster than a speeding bullet.
In the MACC, everything is in chaos. The display shows a mass and gravity
distortion field heading upward towards the fleet of spaceships over
Crystal Tokyo at an extreme velocity.
RAYE
<shouting> I don't *care* how they
do it, just get those damn ships
OUT OF THE WAY!
MERCURY
Dear God it's pulling *TEN* GEES!
VENUS
<quizzical> Isn't that her lucky
number?
JUPITER
SHUT UP, MINA!
Inside the Temple, KEI has been crushed to the floor beside PRISS, while
YURI is crumpled to the ground in the corridor, some distance from where
the CHIEF is lying. PRISS struggles, even as she bleeds from her nose, to
look up ...
... and sees that while SERENITY is bent, even bowed, she's still
standing.
And she's pissed.
When she speaks, although she speaks in a normal volume and tone, it is as
though *billions* of other voices are combined with hers, complimenting
her voice and each other, so that her voice becomes a thing of incredible
beauty and power.
SERENITY
*ENOUGH*.
In a view from space, we see several space ships moving out of the way of
the swiftly approaching mass of the Temple ... and we see it slow down,
gradually stopping at about the same orbital "level" that most of the
ships occupy.
Cut to the command center of the MACC. Everything is quiet as all eyes
are on the image of the temple on the display. PENDA is listening to an
earpiece microphone.
PENDA
The Skylark's scanners indicate that
... a magical construct is holding
in atmosphere, and gravity is being
generated by the structure's CG
turbines. <beat> All other scans
are being jammed.
RAYE
<beat> She's loose.
In the temple, SERENITY bends down to check KEI, and assures herself that
she's unconscious but otherwise fine. She turns to PRISS, and is startled
to see that she's somehow holding onto consciousness.
SERENITY
Rest, Priss. <beat> I am going to
make it all right. <beat> I
promised you that, a long time ago,
and you know that I do not lie.
PRISS
<strangled> It ... *was* ...
SERENITY nods, and PRISS relaxes. She looks up at the glass roof of the
building.
PRISS
Stars ...
SERENITY
Yes, Priss. You made it to the
heavens after all.
PRISS
<odd> But ... I thhhhh ... think
I've ... seen ... this ... before.
PRISS' eyes close, and SERENITY looks at her with a confused expression
... then gently passes her hand through the glass of her vizor to caress
her cheek. SERENITY moves slowly to where YURI is unconscious, and she
makes sure that she's no more than that. A tiny glow surrounds her
fingers as she touches the scar on YURI's cheek, and when she pulls her
hand away, it is gone. And finally, she comes to the CHIEF. She looks
down at him with an unreadable expression.
SERENITY
Awaken, Archdeacon of the Cult of
Serenity.
The CHIEF is instantly awake, and stares up at SERENITY with an expression
of rapturous devotion. She meets his look with a stern face.
SERENITY
Why.
CHIEF
To glorify you, Goddess! I knew
that if I were to bring you to the
moon, your true power would be
revealed to all, and that all the
worlds would bow down before you
and --
SERENITY
You did not do this to glorify me,
Archdeacon.
CHIEF
I -- I did not do these things for
my own aggrandizement!
SERENITY
<shakes head> No. Your failing is
far more terrible than that.
CHIEF
How have I --
SERENITY
What you call piety, Archdeacon, and
wish to believe is a chaste and just
love for one you view as a goddess
-- is nothing more than purest lust.
CHIEF
NO! I have mortified myself so that
I no longer feel such physical --
SERENITY
What you feel is not physical. It is
far more abhorrent. <beat> You
desire to possess me ... my body, my
heart, and my soul. And my power.
You would not use it for your own
aggrandizement, true. Instead, you
would make all who live bow down
before me -- make a love gift of the
universe to me. <beat> I do not
want the universe, Archdeacon.
CHIEF
You are a GODDESS! It is yours by
*right*!
SERENITY
<angry> You speak of things that you
do not understand. You --
CHIEF
YOU ARE A GODDESS!
SERENITY
<angry> YES! I AM! AND YOU DO NOT
KNOW WHAT THAT MEANS! <beat> But
I will *show* you.
CHIEF
What?
SERENITY
For a moment -- only a moment -- you
will see through the eyes of a god,
feel what a god would feel, know
what a god can know. <beat> Is
this your desire?
CHIEF
<weeping> Yes oh yes oh yes oh y--
SERENITY
It is done.
The CHIEF's litany is suddenly interrupted. His pupils dilate until there
is no iris left.
And he Sees.
PRISS' eyes jerk open as a hideous and terrible scream erupts near her,
and she looks up as the CHIEF runs past her, screaming and clawing at his
face, smashing through the window, running through the courtyard, and
leaping off the edge of the hill ... and passing through the force field
into the vacuum beyond. Unlike DAL CASSIO, earlier, the CHIEF is
fortunate enough to have a wide open mouth and be in the process of
expelling all the oxygen from his lungs, so that he will not explosively
decompress. Instead, he will probably maintain a stable orbit for as long
as it takes him to die -- a few minutes -- and a little while after that.
PRISS closes her eyes to slits, as SERENITY comes out of the hallway with
a sad but determined expression.
SERENITY
I am sorry. Even to such as you, I
am sorry. <beat> Time to go home.
>From space, we see the mass begin to descend ... then stop abruptly.
We see SERENITY's bowed head jerk up as the sudden stop shakes everything
around. There is an awful, sudden silence.
SERENITY
<dreading whisper> Oh no.
The voice that speaks is the voice from the final moments of the first
act, the voice that spoke in KEI and YURI's vision.
WOMAN'S VOICE
OH YES, SERENITY.
SERENITY draws a deep breath, and we close in on her eye.
SERENITY stands, muted, in blackness.
WOMAN'S VOICE
YOU LEFT THE EARTH BEHIND, LITTLE
QUEEN, OF YOUR OWN FREE WILL AND
VOLITION. NO ONE FORCED YOU, THIS
TIME. <beat> AND THE CRYSTAL IS
NOT WITH YOU. <beat> AND I NEED
NOT LET YOU RETURN.
SERENITY
If I do not return, those with me
will slowly die. They are already
hurt gravely --
WOMAN'S VOICE
WHAT IS THAT TO ME? THEY ARE NOT
*MY* CHILDREN. ALIENS! FREAKS,
AND ALIENS!
KEI's image appears in the darkness.
WOMAN'S VOICE
MISCEGENATION.
YURI's image is beside it.
WOMAN'S VOICE
THE TAINT IS FAINTER HERE, AND
DIFFERENT, BUT STILL PRESENT.
FUJIKO's image is beside it.
WOMAN'S VOICE
THIS ONE ...
It blanks out.
WOMAN'S VOICE
THAT ONE SEEMS TO HAVE BEEN MORE
WILY THAN YOU THOUGHT. SHE HAS MADE
HER *OWN* ESCAPE.
The images of two women in nun-like attire appear.
WOMAN'S VOICE
AND THESE TWO WORSHIP *YOU*, AND
CAME TO WITNESS A MIRACLE INVOLVING
YOU. WHY SHOULD I LET SUCH AS THEY
RETURN?
SERENITY
And what of the other?
WOMAN'S VOICE
UNDOUBTABLY LIKE THE OTHERS --
SERENITY
She is nothing like the others. I
demand that you look closely.
WOMAN'S VOICE
YOU MAY DEMAND NOTHING OF ME --
SERENITY
I DEMAND THIS OF YOU. I, SERENITY,
DAUGHTER OF SERENITY, DEMAND THIS
OF YOU, RHEANNION.
There is a long silence in the Kami Plane.
WOMAN'S VOICE
SHE IS ... SHE IS HUMAN. SHE IS
ALMOST UNTOUCHED BY YOU. <beat>
YOU BROUGHT HER WITH YOU FOR THE
SOLE PURPOSE OF TRAPPING ME INTO
LETTING YOU RETURN. DID YOU NOT?!
SERENITY
Believe what you wish, Rheannion. I
know that I cannot change your will
about me or mine ... now.
WOMAN'S VOICE
EVER!
SERENITY
Perhaps. In any event, stand aside,
and let me return, that I might save
this collection of miscegenations
and humans.
WOMAN'S VOICE
THERE WILL BE A RECKONING.
SERENITY
<bored> Of course.
The blackness slowly fades away, leaving an empty gray void behind.
SERENITY remains standing for a moment, then collapses to her knees. Her
face is exhausted. Then a figure is kneeling on her right side. SERENITY
turns to look, and it is BELLDANDY, who is looking at her with a concerned
expression.
BELLDANDY
Are you able to continue? If not,
we are willing to help.
SERENITY nods.
SERENITY
I have to be able to continue. If
I do not, who will?
Another figure is kneeling on her left side. SERENITY turns to look, and
it is TENDOU KASUMI, with a full moon symbol on her forehead.
KASUMI
Are you sure?
SERENITY nods again.
SERENITY
I am sure ... oneesama.
BELLDANDY and KASUMI smile at each other, bow at the waist, and then
vanish. SERENITY starts to push herself up ... but it seems to be harder
than it ought to be. She tries a few times, and seems very frustrated.
An white-gloved hand attached to a blue-sleeved arm reaches down towards
her. SERENITY looks up, and is clearly shocked by what she sees. The
hand gestures to her as if to say, come on, take my hand, I'll guide you.
SERENITY reaches out and, not without trepidation, takes the hand.
SERENITY's eyes open, and she is standing where she stood before.
SERENITY
I learn something new everyday.
>From space, we see the mass of the Temple begin to descend to Earth once
more.
Time elapses, and we see the mass of the temple settle uneasily into the
ground from whence it had been ripped earlier. (This is a noisy affair.)
A few minutes pass, and SERENITY appears at the entrance to the temple,
waving at the MACC. In a pulse of fire, mist, and golden light, the
Sailor Senshi appear around her. RAYE is on the verge of a conniption
fit.
SERENITY
Hello, did you miss me? <beat> Is
something --
RAYE
DON'T YOU EVER DO THAT TO US AGAIN,
DO YOU HEAR ME?! SWEET GODDESS HAVE
MERCY, DO YOU HAVE ANY IDEA WHAT THE
PAST FEW HOURS HAVE BEEN LIKE FOR ME
AND THE REST OF --
SERENITY goes up on tiptoes and kisses RAYE on the mouth, effectively
stopping her rant. After about half-a-minute, she settles down, and
smiles sunnily.
SERENITY
I missed you, too. <beat> Maybe I
*should* do this more often.
RAYE
No. Don't. Do. THAT. Or --
SERENITY
Or you will punish me in the name
of the moon? <beat> How kinky of
you, Raye.
RAYE covers her face with her hands and makes "Gah" noises. SERENITY
smiles at MERCURY, who sighs with mixed embarrassment and relief and
smiles back. SERENITY then turns to look at JUPITER. JUPITER is looking
at her with mixed fear and love ... and SERENITY smiles again.
SERENITY
I changed my mind. Your suspension
is off, effective immediately.
JUPITER
Really?
SERENITY
Yes. <beat> Now you know what it is
to *really* be helpless in a moment
of crisis, Lita. Never forget it.
JUPITER nods humbly, and concentrates. Lightning flares around her, and
she stands revealed in her Senshi uniform.
JUPITER
Now, where's Fujiko?
SERENITY
<shakes head> Escaped. She either
teleported or *was* teleported away
around the time that we began to
descend. <beat> There will be
future chances, Jupiter.
JUPITER
Yeah. But I'd like to get her,
anyway.
SERENITY
You could enlist the assistance of
her old associate --
JUPITER
<glower> Not in *this* life. <beat>
What about --
SERENITY
Ms. Asagiri is unconscious in the
temple, as are the Lovely Angels.
The latter have surrendered and are
to be considered non-belligerent ...
give them full medical treatment, at
my expense, please.
MERCURY
I'll get right on it ...
She activates her visor, and heads into the Temple. SERENITY turns to
speak to VENUS ... and blinks to realize that she's gone.
SERENITY
Where did Mina --
VENUS is standing behind a pillar some distance away, trembling. She bows
her head, and teleports in a shower of golden light. SERENITY notices the
burst of light, and her face falls.
SERENITY
<whispered> Oh Mina ... she would
have forgiven you anything ... why
can't you forgive yourself?
She shakes her head in sorrow, and looks down the hill ... to see ENDYMION
standing at the base, looking up. Letting out a happy shriek, she dashes
down the hill, rushing to throw herself into his arms. Above, RAYE and
JUPITER look down at the reunion. JUPITER looks at RAYE with a strange
expression. RAYE notices, and lifts an eyebrow inquiringly. JUPITER
shakes her head.
JUPITER
I will never understand you as long
as I live, will I?
RAYE
<smile> I hope not.
She starts down the hill to join them. JUPITER watches for a moment, and
shakes her head again.
Fade to black.
CAPTION
SOME HOURS LATER
Fade up on KEI and YURI in a pair of hospital beds in a bleached white
hospital room. In the distance, we can hear the faint sound of
announcements being made over the PA system.
YURI
Nice of them to fix my cheek, wasn't
it?
KEI
Yep. <beat> If you consider making
sure we look our best for a public
execution to be `nice'.
YURI
Oh come on, Kei --
KEI
Conspiracy to commit kidnapping of
the ruler of a planet. And they
can probably make a case for
attempted kathilicide --
YURI
That's "regicide".
KEI
Whatever you want to call it, they
can make it stick! We're *doomed*!
<beat> And the only question left
is, how do they execute people here?
TENCHI (O.S.)
They don't. At least, not in the
way that you think.
KEI and YURI turn to see TENCHI, wearing his robes, standing at the door.
He smiles politely.
YURI (V.O.)
<lovestruck> Mine!
KEI (V.O.)
<ditto> Mine!
YURI
Uh ... good day, sir ... uh, you
seem kinda familiar, but --
TENCHI comes into the room and walks towards the area between their beds.
TENCHI
Well, I wasn't in the news very much
in your era, but it's not impossible
that you learned about me ... in one
way or another. <beat> My name is
Tenchi.
YURI
<boggles> The Imperial Crown Prince
of Jurai?!
TENCHI
Not anymore ... now I'm sort of the
Emperor.
KEI and YURI exchange a quick panicked glance.
KEI
Uh ... about that little incident
with the space elevator on your
homeworld --
TENCHI
<shakes hand> Ancient history.
Besides. It wasn't *your* fault.
KEI
Oh yeah?
TENCHI
<firm> Yes. <beat> The WWWA Central
Computer was charting a path for
galactic humanity that neither I nor
most of those who also discovered it
approved of, but it was not, legends
to the contrary, "insane". <beat>
It kept clearing you of the blame
for those incidents because you
weren't responsible for them, and
that's that.
YURI
But what about now?
TENCHI
Now, you have been absolved of any
improper conduct during this recent
crisis by Serenity, due to your
ignorance of the circumstances.
<beat> But ...
KEI
Here it comes ...
TENCHI
Within a few minutes after the
revelation of your presence here on
Earth ... a petition was started to
ask Serenity to have you deported
at once. <beat> At last count it
had over sixty million signatures.
KEI
Oh.
TENCHI
You sound almost disappointed.
KEI
I'm wondering when the other shoe
is going to drop.
TENCHI rubs the back of his head.
YURI
<flat> Let's hear it.
TENCHI
<deep breath> Every other nation in
the Solar sytem has declared you
persona non grata. <beat> And word
has come from the Centauri that any
attempt to foist you two off on
them -- and since they are the
closest former member of United
Galactica, they *would* be the
logical first choice -- as an act of
war ... and we're expecting similar
statements from other nearby powers,
shortly.
KEI has covered her eyes with her hand, and bent downward. YURI looks
ill.
KEI
Then where are we going to go? What
are we going to do?
TENCHI
We come now to the good news!
YURI
You've decided to shoot us and put
us out of our misery?
TENCHI
No. <beat> I am inviting you to
Jurai.
KEI looks up, startled.
KEI
Whaaat?
TENCHI
I'm fairly sure that I can arrange
your naturalization, since I have
some amount of influence over the
government.
YURI
But ... why?
TENCHI
There are a couple reasons. One:
I'm of the opinion that the Jurain
Intelligence Service needs a new
command staff ... and you two would
be able to do the job nicely. Two:
I think that the two of you have
gotten a harder deal in all of this
than you deserve. <beat> As one
who knows very well what it's like
to have to live down one's own
legend ... I definitely sympathize.
And three ... <beat> Yuri, one of
your grandfathers was named Wataru
Kasuga, a psychic investigator?
YURI
Uh ... yeah, how'd you --
TENCHI
And Kei ... your grandmother was
a Kizarkan native named Aeshka
Kuramitsu, wasn't she?
KEI
<defensive> Yeah? So?
TENCHI
<smiles> Her mother ... was a very,
very dear friend of mine. <beat>
And the line of Kasuga has been
friendly to the house of Jurai for a
long time, as well. <beat> That
was my Great-Grandmother's family
name, you see.
TENCHI turns to go out, but pauses at the door.
TENCHI
We won't be leaving for Jurai for a
few days, so you'll have time to
relax ... and you can stop worrying
about anyone trying to lynch you.
<beat> I think you'll like Jurai ...
it's sometimes a little too calm for
my liking ... but I think you'll
find ways to change that.
He smiles, bows, and exits the room. KEI and YURI follow him with "the
dreamy-eyed look".
KEI & YURI (sim)
What a hunk ...
TENCHI pops his head back into the room with a nervous expression.
TENCHI
I'm married. I'm very, very, very
married. So married ... it's scary
sometimes how married I am ...
TENCHI steps back out of the room, bowing repeatedly. He turns to walk up
the corridor.
YURI (O.S.)
I saw him first!
TENCHI flinches, and continues walking, past a room in which we can see
PRISS laid up in a hospital bed with SHEILA sitting on the far side of the
bed from the door.
PRISS
So this Ryouko really wants to beat
my nose in, huh?
SHEILA
<nod> She's so competitive, she'll
do damn near anything to prove that
she's the best at whatever she
chooses to do -- and as it stands,
you seem like a possible challenger
to her status as "best battlesuit
pilot in the realm." <beat> The
fact that she's also so homophobic
that I think she keeps her eyes
closed when she goes to a public
bath doesn't help, either, or that
you and I are --
PRISS
Great.
SHEILA
<apologetic> We've had a feud going
on for a long while now ...
PRISS
So now I gotta deal with a crazy
archenemy of yours *and* your mom,
too? Cheeeee ...
SHEILA studies her hands intently.
SHEILA
<quiet> I found out why my mom hates
you so --
PRISS
<irritated> She thinks I'm gonna go
postal like she did when you were
kidnapped, right?
SHEILA looks up, startled.
SHEILA
How the hell --
PRISS
Look, I'm not Sylia, I'm not even
Nene, but I'm not a complete idiot
either. When she started talking
about "failing in the crunch", I
thought she meant when I ... <beat>
but that wasn't it. At least, not
completely. Your story last night
was the clincher, though.
SHEILA looks like she doesn't know quite how to deal with that. PRISS
looks around.
PRISS
I hate hospitals. I can't wait to
get out of here --
SHEILA
Oh! Right. Um ... listen, I've
been thinking. I've been living in
an appartment that's just a little
too large for one person for a
while now, and --
PRISS holds up a hand.
PRISS
Look, right now, the only thing I'm
thinking about are a few questions
I wanna ask the Queen as soon as I'm
up. But ... I don't wanna move in
with you yet.
SHEILA
But ... why not?
PRISS
Well for starters, I like my digs
now.
SHEILA
<appalled> You *like* that spirit-
cursed relic?
PRISS
I like having neighbors I can pull a
gun on with impunity, okay? <beat>
And I like my --
SHEILA
But Priss!
PRISS
Listen, has it occured to you that
we might be moving --
JUPITER
Excuse me.
SHEILA and PRISS break off their argument, and look to the door. JUPITER,
in her full regalia, the Space Sword at her side, is standing there,
filling up much of the frame.
SHEILA
<warningly> Mother --
JUPITER
I have not come here to fight.
She steps into the room, and slowly approaches PRISS' bed. PRISS looks up
at her with the expression of a cornered wolf. JUPITER's expression is
hard to understand ... it is as though she wants to be anywhere else, but
at the same time clearly wants to be where she is.
JUPITER
It ... it has been ... <beat> I have
come to the conclusion ... that I
... may ... owe you ... an apology.
PRISS
<blinks> And?
JUPITER
<deep breath> I am sorry that I have
treated you so poorly as I have
since your awakening, Priscilla
Asagiri. You have done nothing to
deserve it.
PRISS
And?
JUPITER
That's all I came to say.
She bows stiffly, then turns to leave.
PRISS
Riiiiight.
JUPITER pauses.
JUPITER
Excuse me?
PRISS
<suddenly very angry> Look, I don't
*want* your friendship and I don't
*need* your apology, okay? What the
hell did you think you were going to
accomplish, coming here all `I'm
*so* sorry' like that?
JUPITER is silent for a long moment.
JUPITER
I was trying to do the right thing.
PRISS
<intense sarcasm> I'm so sure --
JUPITER turns, and there are tears glistening in her eyes.
JUPITER
And I was hoping that you and I ...
would be able to talk to each other
about Nene. <beat> She was a very,
very ... good person. <beat> But
the good tend to die young. <beat>
So it's up to the evil people like
me to protect them, I guess. And I
did a lousy job. With both Nene.
And with Serena. <beat> Such is
life.
She turns and walks swiftly out the door. PRISS watches her go with a
troubled, uncertain expression on her face.
SHEILA
How could you?
PRISS turns to look at SHEILA, who has stood up and is moving slowly
around the bed.
SHEILA
She came here, all but on her hands
and knees to apologize to you -- and
you tossed it in her face like a
piece of garbage. <beat> How could
you *do* that to her?
PRISS
I ... I didn't think she was --
SHEILA is at the door, and she looks nervously out it, before turning back
to look at PRISS with an angry expression.
SHEILA
You know what? You are absolutely
right. We *were* moving too fast.
PRISS
I -- I'm s--
Too late. SHEILA runs out the door.
SHEILA
MOM!
PRISS stares at the door for a few moments.
PRISS
Alone again. <beat> Naturally.
She starts to pull herself out of bed, moving slowly.
We see SHEILA go rushing past a closed door in the hallway.
SHEILA
Mom! Wait up!
Our attention focuses on the closed door. We draw towards it.
Cut to a shot of RYOUGA's peaceful sleeping face.
MERCURY (O.S.)
Ryouga. <beat> Wake up, Ryouga.
RYOUGA's eyes flutter open, and he smiles sleepily up at MERCURY, whose
face is calm.
RYOUGA
Good morning, Amy-chan ...
He trails off, and a confused expression flashes across his face.
RYOUGA
Something ... something is different.
MERCURY
You're not dreaming anymore, Ryouga.
That's one difference.
RYOUGA
That was ... a dream.
MERCURY
Yes. We placed you in cyrogenic
suspension until we could find a way
to deal with your condition. <beat>
And we have.
RYOUGA
<scared> You mean I'm not immortal
any m--
MERCURY
Yes, you are *still* immortal.
<beat> I'm sorry, Ryouga, I should
have thought of this sooner. To
eliminate the supernatural
corruption of the mermaid's liver
formula, all that was needed was
to replace the mermaid liver with
that of another long-lived, magical
being.
RYOUGA
What --
RANMA (F) (O.S.)
Hi dere.
RYOUGA turns with glacial slowness to look at RANMA, leaning on her side
on an operating table, topless and with a large, swiftly healing scar over
her stomach, approximately where the liver is located, and a very naughty
grin.
RANMA
How's it going, old buddy old pal?
RYOUGA
RRRRRAAAAAANNNNNNNNNMMMMMMMAAAAAA!
MERCURY
<sigh> Restraints.
Metal fasteners loop up around RYOUGA before he can leap to start beating
the stuffing out of RANMA.
RYOUGA
AMY! GET ME OUT OF THESE THINGS!
MERCURY
Well, if you're too weak to break
them by yourself, then you're *much*
too weak to be fighting, don't you
think?
RANMA
I certainly like him tied up like
this.
RYOUGA
RANMA! WHEN I AM FREED, I WILL
TAKE A VENGEANCE ON YOU THAT WILL
MAKE SATAN WEEP AT YOUR TORMENT!
RANMA
Vengeance for saving your life?
RYOUGA
VENGEANCE FOR MAKING ME *OWE* YOU OF
ALL BEINGS MY LIFE!
RANMA
You've got a warped sense of values,
P-Chan.
RYOUGA
STOP CALLING ME P-CHAN!!!
MERCURY
<confused> Saotome-san, why *do* you
call Ryouga by the name of a pet pig
I had a long time ago?
RYOUGA stops in mid-rant. RANMA looks confusedly at MERCURY for a moment
... then turns to look at RYOUGA with an expression that hovers between
disgust and amazement.
RANMA
You're incredible.
RYOUGA is audibly grinding his teeth together.
RANMA
It's an old joke, Mizuno-sensei. An
old joke between old friends.
RYOUGA
YOU WERE NEVER MY FRIEND!
RANMA
<ignores him> It'd take too long to
explain.
MERCURY
<sigh> Very well. Now, your liver
should regrow in a few days, and the
artificial substitute will have to
be taken out some time before that.
Are you sure that you don't want to
rest here until --
RANMA
Nope. <beat> I've got ... other
things to do.
MERCURY
Very well. In that case --
She moves very swiftly, picking up RANMA's black silk shirt, dropping it
in her arms, and marching her out the door.
MERCURY
-- be sure to come back in a day or
so, but not for the next few hours,
because I'm going to busy. Very
very busy.
MERCURY gently shoves RANMA out the door, closes it behind her, and there
is the sound of locks being fastened. RANMA looks back, a bit startled,
but then shrugs and pulls on her shirt. She fastens it and turns to go,
walking down the corridor, to a balcony. She pauses at the balcony, and
looks up at the evening sky ... to where Mars is in the heavens.
RANMA
<whispered> I'll try, Shampoo. I'll
try to be his friend. <beat> But
it'll never work.
He shakes his head, and walks away, down the corridor, past another closed
door, which we focus in on.
In TENCHI's quarter's lounge area, SERENITY, ENDYMION, TENCHI, WASHUU, and
TSUNAMI are sitting around the blazing fireplace, drinking hot cocoa.
TENCHI
Well, it's certainly been an
interesting visit.
SERENITY
Yes ... yes it has. <beat> I am
glad that you are going to find a
place for Kei and Yuri.
TENCHI
It's no big deal. I'd do the same
for any of our friend' descendants.
WASHUU
It's true. He has. Often. To an
annoying degree.
Everyone but TENCHI snickers, while TENCHI gives WASHUU a level glare.
WASHUU
But it's a good idea in this case.
I'll finally get a chance to observe
two Agents of Chaos at close range.
ENDYMION
They're Agents of Chaos? Literally?
WASHUU
<considers> Well, once you get away
from the idea of Chaos as an entity,
and more like a concept ... and
understand that they aren't aware of
their own nature in this respect,
any more than Mihoshi was -- yes,
their function in the Universal All
is to act as a disruption in certain
nexi that have grown too rigid or
"dark". <beat> This language isn't
ready for this kind of discussion,
though, so "Agent of Chaos" is as
close as we're going to get. <beat>
And I'm really looking forward to
seeing a little applied chaos in the
pattern of Jurai ...
TSUNAMI lets out a deep sigh, causing everyone else to chuckle. SERENITY
sets down her cup.
SERENITY
Well, your Imperial Majesty, it has
been a pleasure to share this cocoa
with you, but now is the time for
all good freed kidnapping victims to
hie themselves to bed.
She and ENDYMION rise, accompanied by TENCHI, who escorts them to the
door. SERENITY and TENCHI bow to each other just as SERENITY steps out.
SERENITY
It's always nice to see you, Tenchi.
<beat> But perhaps we should hold
the next reunion on your planet ...
in another two hundred years.
TENCHI
Sounds like a plan.
SERENITY and ENDYMION exit, and TENCHI closes the door with a smile on his
face that disintegrates into a fierce frown the minute that he turns to
look at his wives.
TSUNAMI
Now, Tenchi ... We realize that you
are upset with the two of us, but --
WASHUU
-- we were only doing it because we
love you more than you love honor,
and --
TENCHI
In the name of Jurai, I will punish
you.
TSUNAMI & WASHUU (sim)
What?
TENCHI
<hard> In my bedroom. Now.
TSUNAMI and WASHUU stand up and start walking slowly towards the door
leading to TENCHI's bedchamber, with him following close behind.
TSUNAMI (V.O.)
Sister, what is he going to do?
WASHUU (V.O.)
I don't know. I've never seen him
like this. He could do anything.
*Any*thing!
They step through the door, and TENCHI shuts it firmly behind him with the
sound of the closing of a tomb. All is in silence for a few minutes.
And then the giggles and laughter start, followed soon by moans and cries.
TSUNAMI (V.O.)
Oh my! OOOOHHHH MY! SISTER! I
didn't think you meant THIS kind of
anything!
WASHUU (V.O.)
Uh! Huhhuhhuh! I ... I didn't!
TENCHI (V.O)
You should have ...
TSUNAMI & WASHUU (sim) (V.O.)
Oh, TENCHI!
Cut to RAYE's house, late evening. She enters, still dressed in her fuku
and high heels, which she changes to a kimono and slippers the moment that
the door closes. She stretches, and yawns.
RAYE
Any messages?
COMPUTER VOICE
You have recieved a total of sixty
new messages since your last update,
bringing your total to one hundred
and forty-five unanswered messages.
RAYE visibly winces.
RAYE
Five most recent.
COMPUTER VOICE
Message from Ayeka Masaki, 1830;
Message from Admiral Justy Tailor,
1825; Message from Amy Mizuno,
1543; Message from Shan Pu, 12--
RAYE
<alert> Play message from Shan
Pu, immediately.
A wall on the side of the entrance hallway turns into a screen, which
displays SHAMPOO's face as a young woman.
SHAMPOO
Hello, Raye. Don't let my looks
fool you, I still *feel* like I'm
turning into a crone ... but if I'm
right, that should pass when I get
my connection to the Tao back in
order. That should take a few days.
<beat> I'm planning on spending
those days here, on Mars ... in
meditation, mostly. <beat> I made
a terrible mistake, Raye. Quite
honestly, I don't know how I'm ever
going to make this up to Ranma ...
or even if it's *possible* to do
so. <beat> When I'm back up to
max, I'm probably going to start
tracking Gennosuke. I have things
to make up to her, as well. <beat>
I'm going to send a message like
this to Ayeka, too, so you don't
have to tell her. <smile> Our
game is going to be a little more
irregular than usual, I guess.
<beat; frown> There was something
else ... OH! Yeah ... to mess
with Ranma's head a bit, I sort
of implied that I was going to
crawl off and die somewhere. <evil
grin> Don't let him know that's
not the case ...
She flashes a 'V for victory', and the screen goes blank.
COMPUTER VOICE
Message ends. Delete or save?
RAYE is staring at the screen with irritation, amazement, and laughter on
her face. Finally, she starts to giggle, and moves on to laughter shortly
after that. After a few moments, she regains control of herself.
RAYE
Save. Definitely save. <beat> Play
most recent message from Ayeka.
AYEKA appears on the screen with a greatly put-upon expression. She
silently shakes her head, and looks up at the ceiling.
AYEKA
Typical. Exactly what I'd expect
from her ... <beat> Which means, of
course, that she knows me better
than I think ... hmmmmm.
The screen goes blank again, and RAYE smilingly shakes her head, and walks
into her home.
Cut to a corridor. SERENITY and ENDYMION stroll casually, holding hands.
As they come to a junction, SERENITY pauses, looking down one of the
corridors.
SERENITY
Dear, it seems that my evening's
tasks are not yet finished. Would
you be willing to wait a few minutes
more?
ENDYMION
Of course.
He raises her hand to his lips, and heads down the other corridor. She
smiles as she watches him go, and walks patiently down the opposite
corridor. PRISS steps out of an alcove, wearing her usual leathers and an
angry expression.
SERENITY
Good evening, Ms. --
PRISS
Save it. I just want some answers,
and then I'm outta here.
SERENITY is silent for a moment, then sighs.
SERENITY
Why did you push her away?
PRISS
Stay *out* of my mind.
SERENITY
As you wish.
PRISS
<mocking> I suppose she was my "one
true destined love" ...
SERENITY
No, just a chance at happiness.
PRISS
Yeah, right. <beat> I want to know
... about my dream.
SERENITY
It is based, in part, on events that
occured in your twelfth year ... and
yes, I was there.
SERENITY's eyes are far away.
SERENITY
I told you that I was in Tokyo on
the day of Second Kanto, and in the
wake of its passage as well. I
walked through the devastation, and
I wept for those who had lost their
lives. That is how it came to pass
that I discovered a young girl,
twelve years old, with eyes ... that
reminded me of another scared little
girl. <beat> I destroyed a boomer
that might have maimed you or given
you a serious injury, gathered you
up, and took you to a survivor camp
that was run by competent workers.
<beat> And as I carried you, I told
you that ...
PRISS
"It's going to be all right." A big
fat fucking lie.
SERENITY
<blinks> No. I said "I will make
it all right." <beat> I believed
that taking you to the shelter would
accomplish this. <beat> I was
mistaken. And that is why you are
here, now, Priss. Because I will
keep my promise to you, no matter
what.
PRISS
Why don't I remember any of this?
SERENITY
I placed a mild forgetfulness effect
on you, to make you forget my face
and features. <beat> I did not judge
correctly the depth of your trauma.
An electrical accident a few weeks
later only compounded the damage.
These are the origins of the near-
total amnesia about your childhood
that plagues you --
PRISS
And the later mindmessing only made
it worse, I know all th--
SERENITY
No. <beat> I stated that the later
memory-editing "seemed" to parallel
the damage, causing it to be lost
forever. And indeed, it does appear
that way without closer examination.
And I have had a chance to examine
your mind more completely --
PRISS
Stay OUT.
SERENITY
-- several hours ago. <beat> Priss,
the reason that you do not remember
the years between 2034 and 2041 is
that you do not *want* to remember
them, subconsciously.
PRISS
What? Why?
SERENITY shakes her head, sadly.
SERENITY
I can only guess. <beat> When you
were brought out of coldsleep, you
were given a mild rejuvenation,
shaving perhaps seven or eight years
off your age. You may be unready to
have certain memories that you have
associated with being a certain age.
But I do not know, beyond the fact
that the only one who can set your
mind free is you yourself.
PRISS
<stunned> How?
SERENITY shakes her head, sadly.
PRISS
Okay. <beat> What are you?
SERENITY turns away.
SERENITY
A long time ago ... there was a very
small girl named Serena, who had two
spirits, living in symbiosis. <beat>
One day ... in a horrible battle ...
Serena was killed. <beat> One of
her spirits went on to whatever fate
awaits those who have died. The
other ... became a goddess. <beat>
But perhaps you do not understand.
The gods and goddesses of this cosm
are not its masters. We are only
tools for its maintenance, employed
by ... greater powers.
SERENITY turns back, and her eyes are glowing a gleaming silver.
SERENITY
What am I, Priscilla Serena Asagiri?
I am the moon. I am a reflected
light, guiding mankind through this
dark night ... a night that now, at
last, approaches its end, with the
coming of morning. <beat> And of
morning mist.
PRISS stares ... and then gapes.
PRISS
"Morning mist?" But ... but that's
my --
SERENITY
A coincidence. Perhaps. <beat> If
you wish to go, Priss, you may do
so. If you believe that you will be
happier elsewhere, I urge you to
leave.
PRISS
I don't ... <shakes head> I don't
know what I am or what I want,
anymore ... I was born to be a
fighter, but --
SERENITY
No. <beat> You were not. You
*became* a warrior through unkind
twists of fate ... you were born to
be one of the greatest poets and
musicians of your age. Bear that in
mind when you make your decisions.
<beat> I also urge you to forgive
Lady Jupiter. She is correct in one
respect, at least -- you and she
have a great deal in common. <beat>
And Nene Romanova would not enjoy
seeing two of her friends fight,
even after she was gone, I think.
She turns to go, then pauses.
SERENITY
And thank you for saving the world.
PRISS gapes.
PRISS
WHAT?
SERENITY
"Who saves one life in time saves
all the world." <beat> Had you
decided *not* to warn Yuri of the
danger that she faced, the man who
called himself Smithers would have
killed her to prevent her from
possibly killing me. With her
partner dead, there would have been
nothing for Kei to live for, and
she would quite probably have gone
berserk, and so killed me, you, the
Deacon ... and everyone else in the
temple. It was wired to explode,
but you didn't know that ...
PRISS looks a bit ill.
SERENITY
And then Raye -- in grief and rage
at my death -- would have set loose
the Senshi of Destruction before her
time. <beat> And the world would
have died. And the darkness would
last forever.
SERENITY pauses, and seems to be looking over PRISS' shoulder.
SERENITY
So I would say that she saved the
world, wouldn't you?
PLUTO (O.S.)
So it would seem.
PRISS whirls, and sees PLUTO, a tall, tanned woman with long greenish-
black hair and dark red eyes, in a Sailor Senshi uniform, carrying a long
staff with a heart set atop it.
PRISS
Oh, great. Another one. What are
you, Lady Asteroid Belt?
PLUTO
No. My name is Pluto.
SERENITY
<smiling> I will leave you two to
your discussion ...
SERENITY walks out of sight as PRISS watches her go.
PLUTO
If you would please give me your
hand, we can begin.
PRISS turns to look at her.
PRISS
Begin what?
Unconsciously, she reaches out her left hand towards PLUTO, who takes it
in her own.
PLUTO
The process of giving you your
reward.
Grasping her staff tightly, PLUTO slams its butt into the floor. They
disappear.
Cut to a balcony. AYEKA leans against the railing, looking at the setting
sun. RYOUKO walks up to the railing, and stands beside her. They speak
without looking at each other.
AYEKA
I thought that you were sleeping.
RYOUKO
Who can sleep with *that* going on
next door?
AYEKA nods.
RYOUKO
So ... we're gonna start powering up
the Throneship tomorrow morning ...
so that we can leave the day after.
AYEKA
I see.
RYOUKO
I take it that you won't be coming
back with us?
AYEKA
No ... I still have work to do here.
RYOUKO
Someone else could do it.
AYEKA
Would you trust someone else to
guard Tenchi from harm?
RYOUKO is silent.
AYEKA
Then it would seem that we're at an
impasse.
She turns and begins to walk, slowly, to the exit.
RYOUKO
You want me to say it, don't you?
AYEKA pauses.
RYOUKO
Fine. You dragged it out of me. I.
Miss. You. <beat> It's been over
two hundred years since I've seen
you face to face and I missed you
almost all of that time.
AYEKA
Ryouko ...
RYOUKO
Okay! You win. Here it is -- I l--
AYEKA
<very fast> When I supposed to meet
you I slipped into Tenchi's bed to
sleep with him.
RYOUKO is stunned.
AYEKA
I tricked you. Ho ho! Aren't I
evil? <beat> Well, off I go.
She starts lightly running for the exit. RYOUKO stares after her, her jaw
down as far as it can go. Then understanding dawns in her eyes.
RYOUKO
<growl> AYEKA!!!!
She dashes off after her.
Cut to a misty void, but a different misty void than SERENITY was in
earlier. PRISS and PLUTO appear, and PRISS immediately releases her grip
on PLUTO's hand when she realizes what's happened.
PRISS
Where the hell am I now?
PLUTO
Any answer I could give you to that
question would be meaningless to
y--
PRISS
Try. Please?
PLUTO glares at her, and then begins speaking quickly and fluidly in a
language that sounds like it might be the common ancestor of all human
linguistic families. She comes to a conclusion, and pauses.
PLUTO
Satisfied?
PRISS
What *was* that --
PLUTO
The language which my mother's race
spoke. It was known as Solenoid.
<beat> But that is neither here nor
there. <beat> Some say virtue is
its own reward. I have rarely found
that to be the case ... as often as
not, people who do the right thing
come out of it feeling lousy. <beat>
You have done the right thing quite
a bit of late, Priscilla Asagiri.
Ask anything, and it can be granted
--
PRISS
Even --
PLUTO
-- so long as it does not violate
the integrity of the timeline.
PRISS' face falls.
PRISS
Lemme guess, bringing back the dead
falls under that heading.
PLUTO
Yes. Nene Romanova has met her end,
just as Linna Yamazaki also did,
many years after that.
PRISS
And Sylia blew herself up when she
nuked Genom tower.
PRISS sighs, and looks down at her feet.
PLUTO
Did she?
PRISS looks up with a startled expression on her face, as PLUTO swirls her
staff around in a circle several times, then brings it to a halt, holding
it out along her arm, and then giving it a half twist, as though to turn a
key. A glowing portal appears at the end of the staff.
PLUTO
Beyond this gate of time lies the
city of Megatokyo, in the year
2041. <beat> Two days have passed
since the final mission of the
Knight Sabres, and Sylia Stingray
has made her suicidal choice. You
shall have a single chance to save
her life, and shall face grave risks
without --
Before PLUTO can say another word, PRISS *flings* herself through the
portal, disappearing. PLUTO blinks.
PLUTO
Why do they *never* listen to the
complete explanation?
PLUTO sighs, and turns away ...
And PRISS' hand streaks out of the portal to blindly grab the end of her
staff. Startled, PLUTO watches as PRISS drags herself, and SYLIA STINGRAY
-- who is unconscious and dressed in the tattered remnants of a business
suit -- through the portal, pausing only long enough to let out a short
scream.
PRISS
CLOSE IT!!!!!
PRISS lands, cradling SYLIA's body against her, a few feet away from the
gate. PLUTO stares at her, oddly. An unbelievably bright light flashes
from the portal, and PLUTO dispels it.
PLUTO
Ah. That. <beat> The portal was
sealed against dangerous radiation.
You needn't have worried.
PRISS
<breathing heavily> Oh. <beat>
That's good ...
PLUTO stares at them, shakes her head.
PLUTO
<heavy> Heroes.
But then, unexpectedly, she smiles at them with a surprisingly soft
expression, and says a few words in that language again. This time,
subtitles are provided.
SUBTITLE
AND SO THE ETERNAL STORY ENDS. WELL
DONE ... SOLENOIDS.
She taps the butt of her staff against the surface beneath her feet, and
it dissolves, leaving PRISS holding SYLIA, lying on the ground before the
Knight Sabres memorial.
PRISS looks around for a moment, then finally gets a good look at SYLIA.
Her face has a few more worry lines around the eyes and mouth. SYLIA's
eyes slowly open. Her expression is initially one of bleak acceptance,
changing swiftly to shock as she sees PRISS looking down at her.
SYLIA
Priss? <beat> What are you doing
in hell?
PRISS
<shakes head> This ain't hell,
Sylia.
SYLIA looks around, with confusion on her face.
SYLIA
Has some momentous mistake happened,
to let me into heaven?
PRISS is right on the verge of tears as she shakes her head again.
PRISS
This isn't heaven *or* hell ...
SYLIA
Then where are we?
And then PRISS can't hold back anymore, and grabs SYLIA, pulling her into
a tight hug, as the tears begin to flow freely.
PRISS
We're at the end Sylia. This is our
happy ending.
SYLIA
We are? It is? <beat> Are you
sure?
PRISS leans back, still holding onto SYLIA, to look into her eyes.
PRISS
Yeah. <beat> It's going to be all
right. I promise ...
And then PRISS realizes where she's heard those words before, and whose
voice she was hearing in her dream.
Her own.
PRISS
It's got to be okay, right? <beat>
We're together again.
And then she gently, firmly, and passionately kisses SYLIA full on the
lips. SYLIA's eyes widen ... then slowly close.
We start to pull back from them, leaving them together in the full
moonlight.
WASHUU (V.O.)
Admit it, you're a softy.
PLUTO (V.O.)
In certain cases, yes.
WASHUU (V.O.)
Just certain cases, huh?
NENE (V.O.)
Oh, give it a rest! Does it matter
why she brought them together? They
are, and they make a cute couple, so
that's what counts.
PLUTO & WASHUU (sim) (V.O.)
Bug off, youth.
There is the clear and unmistakable noise of a raspberry being blown.
KASUMI & BELLDANDY (sim) (V.O.)
Oh dear ...
Cut to a shot of SERENITY walking to her bedroom. She opens the door,
turns to look directly at the camera ... and winks. Then she goes in and
closes the door.
THE END
OP Theme: "Sugao no Spytachi"
(Spies Uncovered)
Lyrics: Okada Fumiko * Music and Arrangement: Seo Ichizoo
Performed by: Priss Asagiri, 2937
Monochrome no hitomi Monochrome eyes...
Ai no deai wa deja vu. love's first meeting is deja vu.
Umareru mae no kioku Memories from before birth
high-speed de playback. play back at high speed.
Yozora ni klaxon no In the night sky, the klaxon
hanabi ga chitta. fireworks have broken up.
Fushigi tomaru toiki It's strange... my sigh stops...
heart no bell ga naru yo my heart's bell rings.
Spy no yoo ni cool ni Like a spy, cooly,
hold me tight. Hold me tight
Karadagoto yume o rock shite. Rock my dreams together with my body
Futari dake no gravia. A photo of just us two
Sugao no roman. A romance with no lies.
Tricolor no egao A tricolor smile...
mirror ni utsuru deja vu. deja vu reflected in the mirror.
Tokimeku senaka awase Quivering backs together
jumon no yoo ni I need you. Like a spell I need you
Accel fumitsuzukete Standing on the accelerator,
doko made iku no. where are you going?
Yokan mawaru binetsu A premonition... a swirling fever...
suhada ga natsu o yobu yo. my bare skin calls to Summer.
Spy no yoo ni hot ni Like a spy, hotly
hold me tight. hold me tight
Tsuyogatteita wa kinoo made. I'd been pretending until yesterday.
Odoridashita scenario. A scenario that danced out.
Sugao no roman. A romance with no lies.
I know a place we can go to get love.
I know a place we can go to get love.
Spy no yoo ni cool ni Like a spy, cooly,
hold me tight. Hold me tight
Karadagoto yume o rock shite. Rock my dreams together with my body
Futari dake no gravia. A photo of just us two
Sugao no roman. A romance with no lies.
Spy no yoo ni hot ni Like a spy, hotly
hold me tight. hold me tight
Tsuyogatteita wa kinoo made. I'd been pretending until yesterday.
Odoridashita scenario. A scenario that danced out.
Sugao no roman. A romance with no lies.
The Vocal Cast of Together Again: 2937 Chapter
Neo-Queen Serenity .......... Terri Hawkes
Lady Mars / Raye ............ Katie Griffin
Lady Jupiter / Lita ......... Susan Roman
Lady Mercury / Amy .......... Karen Bernstein
Lady Venus / Mina ........... Stephanie Morgenstern
Ranma Saotome(male) ......... Sarah Strange
Ranma Saotome(female) ....... Venus Terzo
Akane Tendou ................ Myriam Sirois
Shampoo ..................... Cathy Weseluck
Ukyou Kuonji ................ Kelly Sheridan
Gennosuke Kuonji ............ Kelly Sheridan
Ryouga Hibiki ............... Mike Donovan
Prince Endymion ............. Toby Proctor
Luna ........................ Jill Frappier
Artemis ..................... Ron Ruben
Sailor Pluto ................ Sabrina Grdevich
Priss Asagiri ............... Alannah Myles
Sylia Stingray .............. Sean Young
Nene Romanova ............... Renee O'Connor
Tenchi Masaki ............... M. "Kermit" Miller
Ryouko Masaki ............... Petrea Burchard
Ayeka Masaki ................ Jennifer Darling
Washuu Masaki ............... K.T. Vogt
Tsunami Masaki .............. Sherry Lynn
Mihoshi Kuramitsu ........... Ellen Gerstell
Kei ......................... Lara Cody
Yuri ........................ Wendee Lee
Noa Izumi ................... [Miina Tominaga]
Shinji ...................... [Megumi Ogata]
Kiichi Goto ................. [Ryunosuke Ohbayashi]
Asuma Shinohara ............. [Toshio Furukawa]
Sheila Tenkai ............... Nikki Purvis
Trakal ...................... Ed Wasser
Matisse dal Cassio .......... Marco de la Cruz
Dean Bairessey .............. Ben Cantrick
Chief / Archdeacon .......... Harry Shearer
Smithers .................... Harry Shearer
Michael Ordene .............. Harry Shearer
Catty ....................... [Naoko Watanabe]
Nuriko ...................... Rachel Herndon
Dzartenkin .................. William Forward
Megumi Morisato ............. Amanda Spivey
Johnny Raiden ............... Mel Gibson
Ryouko Mizuno ............... Venus Terzo
Ritsuko Urawa ............... Karen Bernstein
Belldandy ................... Juliet Cesario
Kasumi Tendou ............... Willow Johnson
Aethan DeGales .............. Michael Crawford
Author's Notes
(or "It's Done! AHAHHAHAHA!")
If it is a mistake to put the cart before the horse, it is an even
bigger one to write the author's notes before the story is done. While I
can, at this point (0830, 10 June 1997) see the light at the end of the
tunnel, it remains to be seen whether it is the exit or an oncoming train.
However, if I am tired now, how will I feel when the story *is*
done, and it would be time to do the author's notes?
Hell with it.
As the credits for each of the five acts have indicated, this
story is dedicated to Ben "Gryphon" Hutchins, Megazone, and Rob "ReRob"
Mandeville, the initial creators of the Ur-Megacrossover, "Undocumented
Features". Astute readers will have noted a handful of tongue-in-cheek
references to this ultimate Megacrossover/Self-Insertion fic ... it was an
effort to avoid naming one of the RSF Supercarriers "Wandering Son" (and
yes, by the way, we *will* see more of the Crystal Kingdom Royal Space
Force ... there's a sidestory planned to illustrate its workings, which
will also be my Gainax tribute story.) I'd also like to thank Kris
"Redneck" Overstreet, Eyrie Productions' major representative on the FFML,
for not lambasting me for writing a work of this magnitude in script
format, and Martin "PCHammer" Rose, for *almost* bringing a certain odango
atama into the Undocumented Features universe ... and for writing *damn*
fine stories in the process.
Inspirations Divided By Section:
Sailor Moon: Credit for giving me the idea of writing about what Crystal
Tokyo will be like goes to Alexander "Andy" Combs, who is also "my" RAAC
moderator ... I think I may have that backwards, and I'm one of "his"
writers. Ah well. He wrote one of the first *really* good SM fanfics I
read, "Rabbit Test", which was probably the first story to try and deal
with the Crystal Tokyo setting from a less than "Everything is idyllic"
standpoint.
Ranma 1/2: It's not obvious here, probably, but I have drawn on all of my
favorite "Ranma and Akane's future life together" stories to create my
vision of the future of the cast. In particular, "Thy Inward Love" by
Richard Lawson, "Bitter End" by James Bateman aka Zen, and "Ranma 2096" by
Chris Willmore and co. Read 'em. They're good.
Bubble Gum Crisis: Priss and Sylia's relationship troubles come out of a
misinterpretation I made of a comment by Jeanne Hedge, so it's all her
fault. (Joke! Joke!)
Dirty Pair: I became fascinated with Kei and Yuri not through animation
or "Amerimanga", but through Ryan Mathews' and Larry Mann's fanfic,
especially "Reunions" and "The Ballad of Lord Robin". As with Mr.
Mathews', I have shamelessly stolen from both of the sources of Dirty Pair
lore -- the anime and Adam Warrens -- to create their part of the story.
Mobile Police Patlabor: This is awkward to admit. After I wrote Noa's
flashback, I realized what I was doing ... in at least two stories that
I've seen, "Angel of Light" and "Dance of Shiva", the 2nd Unit comes out
of retirement in the BGC period to save the day (or help, at least). My
problem with this is one of realism ... they'll be pushing *60* in the
2030s, and unless sneaky and underhanded ways are developed to give them
an additional edge (which is sort of in genre) that's no good for people
going into combat. I realized that I was responding to this and to a
comic book trend, very popular in the seventies and early eighties, and
beginning to come back into use now, of bringing back "Golden Age"
characters (characters that were around, either in their respective
"universes" or in reality, during the 1930s and 40s) and ignoring or
downplaying the effects of aging on them. Sure, Noa will always be young
at heart ... but her reflexes aren't going to be as sharp as they were
when she was 21! Unless, of course, the rumors are true and she really is
a proto-NewType ...
Tenchi Muyou: My ideas about who Tenchi'll marry eventually are more or
less unique ... (no, Sean, you didn't inspire me to do it when you implied
that having him marry Washuu if Ryouko and Ayeka went skipping off
together hand in hand would be a bad idea ...) Ryan Mathews has kindly
given me permission to use the name he invented for Mihoshi's species, the
Kizarkans, in "Tenchi Muyou: Star of Jurai". (And making Mihoshi related
to Kei is something of a nod in Mr. Mathews' direction as well ...)
Gall Force: I liked Rhea Gall Force. It was a very pretty film. It
didn't have any continuity with the events of the third OAV, aside from
the line about "the cycle of prosperity and destruction". So, while I
have combined the Gorm uprising with Adam Warren's "Nanoclysm" with David
Pulver's "Reign of Steel" game world, I have basically ignored Rhea Gall
Force and everything that followed it. So yes, Sheila *is* Rabby and
Priss *is* Lufy. Sylia *is* Shildy. Mackie *was* Patty. :)
Hmm ... what else to talk about. I know! Let's discuss --
Ten Ways to Tell
that
You've Spent
Too Much Time Writing A Fanfic
and
Not Enough Time Sleeping
1. You write a list like this one.
2. You realize that you are unable to resist the temptation to wander
around with an insane grin on your face, and that you don't really *want*
to resist the temptation ...
3. Someone makes a joke about having done so much research for your story
that you must be having lots of dreams about the characters ... and you
wonder what a dream is.
4. When taking a break, you accidentally discover a web page about a
series that you haven't incorporated into the megacrossover that you're
writing, and spend the next several hours looking up everything there is
on the series.
5. You start to view people as characters in a story ... and are strongly
tempted to reveal yourself as an otaku avatar and start solving their
problems with your omnipotent might.
6. Who is Number 1? 2. You are Number 6.
7. You make really obscure jokes in the story that nobody gets. And if
you're really making sleep into a foreign country, you make really obscure
jokes in the List afterwards.
8. You realize that you look like a composite of the main characters of
"Otaku no Video" ... and remembering what happens to them at the end, the
thought is strangely pleasing.
9. You start going through Usenet looking for sigs you don't like.
10. On learning that a distant associate of yours is a very capable
anime-style artist, your first impulse is to ask if she's interested in
doing a dojinshi based on your story.
Something else ...
Oh yes ... one of my readers commented that it was "strange to
think of all this mecha in Crystal Tokyo". Well there's a pair of simple
reasons for the mecha in this time period.
One: I really like mecha.
Two: I really hate spacefighters.
So, since the dominant naval combat paradigm right now, which
will probably also be the dominant spacial combat paradigm, seems to be
carrier-based operations -- fighters launching from ships that don't
have a lot of heavy arnament of their own, although some *fictional*
carriers have a Really Big Gun (the Superdimensional Fortress Macross, for
instance) -- instead of battleship-based ones (think of the Enterprise ...
it's got a lot of VERY powerful weaponry for an exploration vessel), I
needed fighter craft.
And I hate spacefighters. Well, ones that look like any kind of
*aircraft*, anyway. So instead, fighter combat in the Crystal Tokyo era,
and most of this part of the galaxy at this time, is based on combat
between humanoid robotic war machines. (Patiently ignores complaints by
his rational brain that mecha are *less* realistic than aerospace
fighters.)
Take a deep breath, ladies and gents ... here comes the
disclaimer.
"Sailor Moon" was created by Naoko Takeuchi and brought to North
America by DiC. "Ranma 1/2" was created by Rumiko Takahashi and brought
to North America by Viz Entertainment. "Tenchi Muyou" was created by
Hiroki Hayashi and Masaki Kajishima and brought to North America by
Pioneer LDC. "The Dirty Pair" was created by Haruka Takachiro and brought
to North America by Streamline Entertainment. "Mobile Police Patlabor"
was created by Yuuki Masami and brought to North America by U.S. Manga
Corps and Manga Entertainment. "Bubblegum Crisis" was created by Suzuki
Toshimichi and brought to North America by AnimEigo. "Gall Force" was
created by Hideki Kakinuma and brought to North America by U.S. Manga
Corps. "Oh My Goddess" was created by Kosuke Fujishima and brought to
North America by AnimEigo. "Fushigi Yuugi" was created by Yuu Watase.
"Mobile Suit Gundam" was created by Tomino Yoshiyuki. This story, while
incorporating elements from the aforementioned films and magazines and
probably others as well, which are held under copyright by others, is
copyright 1997 by Chris Davies.
Nobody Sue Me Okay?
Chris Davies, Advocate for Darkness, Part-Time Champion of Light.
"Damn it all, how am I supposed to sit here and wallow in self-pity and
disgust with all this racket going on?" -- Yuusaku Godai, Maison Ikkoku.
http://www.ualberta.ca/~cdavies/hmpage.html
[BET YOU THOUGHT I'D FORGOT THE ANNOTATIONS, DIDN'T YOU?]
ANNOTATIONS FOR ACT V
AETHAN DEGALES: An original character, whose history of interaction with
the Sailor Senshi has been partially told in "The Road We Walk" and
"Apotheosis". These scenes are mostly from "Together Again: 1996
Chapter".
"Minovski field": This ultimate form of Electronic Countermeasure was
created by Tomino Yoshiyuki, as a rationale for the close combat employed
by Mobile Suits. Essentially, it is a perfect cloaking device. The
version used by Tsunami also causes the sensor disruption to appear to be
a natural phenomena.
"a single stationary Mobile Suit ... noteworthy not for its arnament ...
but for its exclusively gray color and for a large red gem mounted in the
center of the torso.": This MS is meant to be both an homage to E.E.
Smith's "Lensman" stories and to the Japanese "sentai robot" tradition,
especially Ultraman.
NAGISA: This is yet another incarnation of the Nagisa of the ICZER stories
... whose title character, I'm convinced, was one of the sources for
Ryouko's design.
Du Sho: In accordance with the traditions of giving Joketsuzoku names that
sound like bathroom products, she can also be known as Douche.
"When I can no longer stand by myself will be my time to fall.": This is
the "hillman's code" of Robert E. Howard's Conan stories ...
"'I miss you. <beat; singsong> I wish you were he-ere.": A quote from
the song "It Can't Rain All the Time" by Jane Sibbery.
"a red-haired woman in a slinky red dress": Kisaragi Ayaka, from "Yuugen
Kaisya", or a reasonable facsimile therof.
"a rather androgynous younger dark-haired woman in a bizarre description-
defying outfit": Sumeragi Hokuto, from "Tokyo Babylon", or a reasonable
facsimile therof.
"a pair of swordsmen ... one with flowing blonde hair and cleanshaven,
the other with dark black hair and a full beard and moustache": Alen
Schezerl, from "Tenkuu no Escaflowne", and Inigo Montoya, from "The
Princess Bride", or reasonable facsimiles therof, respectively.
JOHNNY RAIDEN: From The Gundam Project FAQ: "Though he's never appeared
on-screen, Johnny Raiden is nonetheless one of the most famous Zeon ace
pilots. He was created from whole cloth for the Mobile Suit Variation
(MSV) line of model kits, and you'll find kits of the MS-06R-2 High
Mobility Zaku and the MS-14B Gelgoog in Raiden's red-and-black color
scheme. Raiden and his fellow mystery aces serve to add some spice to the
MSV line, providing some back story and a variety of personalized
markings. Raiden himself is said to have been an affable young man, and
one of Zeon's top test pilots. Though often spelled as "Ridden", his name
is most likely an homage to the thunder god Raiden, and indeed this Zeon
ace bears the nickname "Red Lightning". His whereabouts after the end of
the One Year War are unknown, and a favorite subject for speculation by
fans."
RITSUKO URAWA: Original character, daughter of Amy Mizuno and Greg
Urawa. A visionary scientist, though of a more mechanical bent than her
mother, and responsible for many of the Crystal Realm's advances in mecha
technology. She is patient, kind, and generally rather shy. Visually,
she is a combination of her mother, Akagi Ritsuko of Neon Genesis
Evangelion, Dr. Maria von Braun of Kishin Heidan, and Fuu of Magical
Knights Rayearth.
"psychcommu": Term used for thought control systems in Mobile Suit Gundam.
Venus: Venus was colonized in the 2060s, and terraforming began almost
immediately after planetfall. The planet is effectively a corporate
confederacy, with several megacorporations -- many of them formerly part
of Genom -- sharing power in an uneasy truce. For most of its history,
Venus has pursued an antagonistic course against Mercury's corporate
state, which flared up into war in the 29th century. The Crystal Realm
has been requested to act as a peacekeeping agent since the end of the
war.
USHIO: From "Ushio To Tora". He is speaking to Tora, his demonic ally /
best friend / nemesis, who is perched on his shoulders, invisible.
"Admiral Tailor": The commanding officer of the First Fleet of the Royal
Space Force of the Crystal Realm of Earth, Justy Ueki Tailor.
SAKI: Saki Asamiya, from Sukeban Deka, or a reasonable facsimile therof.
HONEY: Honey Kisaragi, from Cutey Honey, or a reasonable facsimile
therof.
"'That's what your wings were made for.'": A quote from "Cruel Angel's
Thesis", opening music of Neon Genesis Evangelion.
"'Am I supposed to transform to Great Saotomeman and fly using my immense
chi?'": A Dragonball GT reference.
"little arrows": A Fifth Element reference.
RHEANNION: Serenity's opposite number.
"'kathilicide'": That should be pronounced, "kath-ee-lee-side". Feel
free to kill me for that pun.