Opening Shot: A dark cloudy sky that's moving slowly away from the camera at a slightly accelerated rate. Every now and then there's a rumble of thunder or flash in the clouds. A man (ADAM LEIGH) wearing an all black suit walks onscreen from the right. He has short spiky black hair and bushy eyebrows over two brown eyes. He looks sternly at the camera. ADAM LEIGH: In the distant future, many years from today, there will be a terrible apocalypse that will shove the fragile ecosystem of the planet Earth over the edge into Nuclear Winter. But from that terrible event, a wonderful future, guided by the caring hand of Serenity, will emerge and engulf the world in nothing less than utopia. It is a future beyond dreams, which is why so many images of this future differ from one another, but it is one that could only be borne from disaster. But for one moment, consider an alternative. What if things go disastrously wrong, and the future which we've all imaged, and the Senshi have seen, never comes about? [The camera pans closer to show just ADAM'S head and a space to the right of it.] ADAM: What if the apocalypse comes early, too early? What if, sometime in the early twenty-first century, a small asteroid, of mass greater than sixteen million metric tons, of size roughly that of the state of Nebraska, were to crash into the middle of the Pacific Ocean causing a cataclysmic tidal wave to wash across the face of the Earth and billions of tons of ash to be thrown up into the atmosphere? What if it does happen? What if it already happened? [Fade the image of ADAM away to pan upwards through then clouds to a high up picture of the Earth.] ADAM: [Voice Over] Lets say it did happen. [A streak of light flies past and plummets into the atmosphere. A few seconds later a flash of light emanates from that spot blinding the camera. Fade to a aerial shot of Los Angeles as a giant tidal wave looms over it and eventually crashes into it.] ADAM: [V.O.] This is the world that would result. A world where hopeful dreams have been shattered and in it's place, sheer terror of what will come next. [Fade to crowd of people running down a street in terror away from the camera. A woman steps into view [MINAKO AINO] and looks terrified at something above the camera and begins pushing people along and picking up small children who have fallen.] ADAM: [V.O.] A world not without the presence of those ultimate beings who were previously assigned to protect this world, but in hiatus of them. A world where the Senshi have scattered in light of the approaching danger in an attempt to help more people at once. Where they have lost contact with each other and are wondering who survived the cataclysm. [Fade to a darkened room where a woman with long black hair [REI HINO] is helping a man to his feet. She looks out a window as a black cloud moves quickly over a city.] ADAM: [V.O.] This world would not be dead, as many have suspected would happen in such an event. It has changed, and the people have found new ways of surviving. [Fade to a blizzard land where a white blanket of snow covers everything in sight. A group of people are moving through the snow with layers and layers of clothes covering them. One of them looks up and pulls down her mask to show lovely green eyes [MAKOTO KINO] as they gaze at a large white pillar that only slightly stands out from the eternally grey sky. She replaces her mask and continues moving with the others.] ADAM: [V.O.] But survival is a tricky business and even those who were prior confidant in their planet's future are finding themselves without hope. A planet without hope, is a planet without a chance. It's a planet without a future. [Pan over the group towards the pillar fading until it's completely white. Fade back in to a dark city street devoid of cars and people. The shops are closed and it's raining heavily, covering this city in a sheet of water. A pair of headlights appear at the end of the street and flash the camera momentarily. In their wake, the Caption is showed: Meryln Magic Productions Presents [The car pulls up just in front of the camera and shuts off it's lights. It's a black sedan that polished to look new. Movement is seen inside but it's impossible to discern figures. The caption fades out and other fades in: A Leigh Film... [The front door opens and an umbrella comes out and opens shortly before a mid sized man with brown hair, blue eyes, and wire frame glasses wearing a suit steps out. He looks up at the building he is parked in front of. The camera pans upwards with his view as it follows the side of the building. As it scales the side, the next caption filters down: Adam Leigh's [The camera pans through a small cloud drift to show the top of the building looking over a semi-large city. The only light comes from the several buildings below that are lit up, there is no stars or moonlight evident. There's a tall spire on the top of the building, next to which the final caption displays itself, fading in as if it were a moving cloud: A WORLD WITHOUT A FUTURE [There's a loud rumble of thunder from above and the image fades into an elegant lounge that's being lit by a small rolling fire and a television not far from it. The camera pans around the room, showing the large collection of books and famous paintings, while sounds from the television are heard in the background.] TELEVISION: [Off Screen] –as a number of official have claimed. In other news, the city's twentieth anniversary is coming up soon, marking the twenty years that the city has survived despite the nuclear winter going on outside. Twenty years ago, on November 24th, 0 PC the space borne asteroid 'Ragnarok' collided with Earth and ushered in the harsh weather conditions currently raging outside NeoMetropolis. The city continues to thrive today thanks to the help of the city's wealthiest industrialist and founder— [There's a brief sound of static as the channel is changed. The camera pans towards the television.] TELEVISION: --of course no more than three weeks ago. As I have said before, nothing can prevent it from happening all over the city. More and more people are being butchered and reassembled by these so called 'Preparatory Doctors' every day. If it isn't stopped soon, we'll have a city of freaking cyborgs running around! It must be stopped! It can't go on! Stop it all! [the voice fades away and is replaced by another] That was the scene earlier today as the anti-enhancement riots continue through the north east sections of the city where the cause of the riots is most concentrated. Statistically, the rise in cyborg enhancements can only be seen marginally in some of the areas of the city where the surgery is least expensive. While police officials have yet to take a stand on this two sided argument, many officers have vouched their opinion by standing by and allowing the riots to continue. Whether this is a trend in police activity or the act of a few rebel officers has yet to be seen. Such events as— [The sound is cut short as the television is shut off. The reflection of a bald man [LEX LUTHOR] sitting in a chair can be seen in the television monitor. Another figure [MERCER] approaches the man from behind.] LUTHOR: Never anything good on television anymore, wouldn't you say? MERCER: Sir? LUTHOR: Each year things get worse and worse and all they want to do is blame me. I saved this wretched city and all the people in it and all they do tell me that I should have done a better job. No one else stepped up to the plate, so I took a swing. You'd think someone would appreciate me. [beat] What was it you wanted, Mercer? MERCER: Mr. Hyashi here to see you sir. [The camera pans to show LUTHOR pushing himself up from the chair he was sitting in. He's wearing a long robe over his frail frame that only seems to get worse with time. His face is slightly wrinkled in a manner that phantoms a plethora of angry faces. Slowly moving to a large oak desk on a slightly raised dais, he waves to MERCER] LUTHOR: Let him in. [MERCER nods and walks to the door. She grips the handle firmly before slowly pulling in open and motioning out the door for someone to enter. Shortly after, a man walks through the doorway wearing a grey suit with a black tie with short, brushed back, grey hair. He is carrying a manila folder and walks confidently over to LUTHOR'S desk.] LUTHOR: What can I do for you Hyashi-san? HYASHI: [tosses folder onto desk and points as various sheets of paper cascade out of it] You can explain this. [LUTHOR rubs his temple with one hand as he pushes through the papers with his other.] LUTHOR: What is this ... [struggling] violation of paper laws? HYASHI: This is the current statistics of the firrious fiber walls surrounding the city. You promised that those would stand up to five hundred years worth of weather conditions! LUTHOR: They will, I've tested them so. HYASHI: Not according to this! [picks up a paper and holds it in his fist] The current degradation shows a rapid decline in wall efficiency, possibly even a collapse in a mere few years! [LUTHOR picks up a few of the papers and reads them.] HYASHI: You have seriously placed this entire city in jeopardy! A collapse in any section could cause a chain reaction that topple the whole thing down on top of us. I could have had my backup plan in action years ago, but now I'll never have it up in time. LUTHOR: [angered] Quit whining! Your frivolous complaining won't keep the walls up any longer than if you were to go out there and ask the summer to come back! This, [throws the papers at HYASHI] is my problem and I will deal with it in due time. Now I will appreciate that you get out of my office and go back to your design lab and find a way to get your wall up quicker! HYASHI: This is everyone's problem, Mr. Luthor! I will not let you place this city in any more danger than— LUTHOR: [yelled] THIS IS MY CITY! [beat; HYASHI takes a step back] Longer than you have been alive I have cared for this city and I will continue to protect my investment. Get out of my office and let me do that. Good day, Mr. Hyashi! [The sound of MERCER opening the door is heard in the background. HYASHI looks over his shoulder at the door. He turns on one foot and storms to the doorway before turning around.] HYASHI: This is not the last for us, Luthor. This city will continue on even if its self acclaimed leader considers it doomed. [Before LUTHOR can respond, he has left and MERCER has closed the door behind him. LUTHOR collapses in his chair behind his desk and buries his head in his hands. MERCER approaches slowly.] LUTHOR: [muffled] What's wrong with this data, Mercer? MERCER: I don't know, sir. [LUTHOR looks up at MERCER with a strange, almost tranquil look on his face. He spins in his chair to look out the large window behind him. The black sky is no comfort to him.] LUTHOR: [his voice is weak and he speaks slowly] You know I hated him, everyone knows I did. Every second of every day he was watching me, restraining me, keeping my plans from fruition. Then, one day, he was gone. [beat] I don't know what he would have done, but I sure as hell could have used his help when that space rock came. [beat; turns around] Call development, wake em' up, roust the group. I need to speak to Mizuno. Get this whole thing straightened out. MERCER: Yes, sir. [MERCER spins on her foot and walks out of the office.] [Cut to the outside of a city dojo. A giant window in the front shows two figures in white robes fighting with bokkens. The fighting is very intense and the two figures seem to be moving with lightning quick speed. Pan inwards, fading through the glass before centering on the two figures.] [They are both men, one looks to be in his late twenties while the other looks much older with long grey hair in a ponytail behind him. The younger one takes a swing high that the old man blocks and swings around for another hit. Before the sword can impact, the younger man blocks and slides low to swing up missing the old man's head by millimeters when he dodges. The fighting continues in this style with incredible speed until the younger man makes a swift strike downwards and breaks the bokken of the older man. Using his hands, the old man disarms the younger one swiftly and they begin fighting hand to hand. Eventually, after the same furious combat as before, the younger man (TENCHI MASAKI) pins the older man (KATSUHITO MASAKI) on the floor.] KATSUHITO: [smiles; though breaths] All right, Tenchi, I give up. [TENCHI stands and helps his Grandfather up.] TENCHI: That's the longest we've ever gone. [smirk] You must be getting rusty. KATSUHITO: Perhaps it's time for me to retire... [He taps his finger to his chin in a mock thinking pose while Tenchi creeps up behind him with the bokken. As he takes a swing down at KATSUHITO's thinking pose, he breaks his thought, reaches up to grab TENCHI'S wrist and hurls him into the ground in front of him. TENCHI coughs a few breathes.] TENCHI: If you can still do that, you're far from retirement. HATSUHITO: Hmph. FEMALE VOICE: [Off Screen] Hello? [A woman with short, shoulder length brown-red hair has her head in the doorway and holding the door open with her hand. She (NATSUMI TSUJIMOTO) looks around cautiously.] NATSUMI: Are you, like, open? [TENCHI and KATSUHITO blink simultaneously before TENCHI leaps to his feet and stands with his bokken resting on his shoulder.] TENCHI: Yes, we are. [beat] Oh, come on in out of that rain, you don't have to stand by the doorway. [NATSUMI walks in though the doorway and moves over to TENCHI and KATSUHITO. She is wearing a green sweatshirt with a hood resting in back, and tight black pants.] KATSUHITO: So, what can we do for you young lady? NATSUMI: Umm, well, I was interested in some lessons. TENCHI: Weapon based or hand-to-hand? NATSUMI: Hand to hand. TENCHI: Well, alright. When's a good time for you? NATSUMI: It's best for me between 6 and 9 PM during the week. KATSUHITO: Seven O'clock. NATSUMI: [looks between TENCHI and KATSUHITO] Okay, seven o'clock it is. TENCHI: Great! My names Tenchi Masaki, and this is my grandfather Katsuhito. NATSUMI: I'm Natsumi Tsujimoto. [beat] So, see you tomorrow? KATSUHITO: Tomorrow at Seven O'clock. NATSUMI: [nods] Right. [NATSUMI walks to the door and pauses for a second before opening it and rushing out. She walks quickly past the window.] KATSUHITO: Did you see it? TENCHI: Uh-huh. [beat] I wonder where she got it. KATSUHITO: Probably lost it trying to get to the city. [TENCHI bends down and rubs his shin, trying to scare away phantom wounds.] TENCHI: If she's had it for a while it'll be easier to teach her grace, but if she's not used to it yet, we'll have problems. [KATSUHITO moves over to TENCHI and taps his leg with the piece of broken bokken in his hand. A resounding "cling" sounds when the wood hits TENCHI'S leg.] KATSUHITO: You had quite a problem adjusting if I do remember properly. TENCHI: [looks up at nothing in particular] I had a problem adjusting to everything back then. Too much happened on the way to this city, too much for me to take in at once. Of course I floundered a bit in my style. [Partial fade to images of people yelling as they run down streets. Cut to show TENCHI running through a collapsing building with AYEKA in tow. Suddenly a large portion above them begins to collapse. It falls towards the camera and just as it's about to strike, quickly fade back to the dojo.] TENCHI: [soft] Way too much. FEMALE VOICE: [O.S.] Tenchi! TENCHI: [looks up] Just a second, Sasami. [starts to stand] KATSUHITO: I think I'm going to go for a walk. TENCHI: [boggles] It's downpouring, grandpa. You'll get soaked. [KATSUHITO moves to a stand in the corner of the dojo and pulls out an umbrella.] TENCHI: Like that's going to help much. [KATSUHITO continues to move to the door, stick the now open umbrella out and sneak beneath it. He moves off away from the dojo. TENCHI sighs.] TENCHI: [shakes head] So weird. [Cut to a dark room, overhead view. The only light is being emitted by a large, conference sized table that's glowing white and has a grid across it. There are three people at the table and within it's full light. One is a young woman with short, shoulder length bluish hair wearing a long white labcoat [AMI MIZUNO], and the other two are LEX LUTHOR, now in a suit, and MERCER.] AMI: This is what we have. [AMI waves her hand over the table and it turns black for a second before it glows green and a holographic image jumps from it. Pan from overhead to across the table as the image molds to show the Pacific rim, or what it looks now that the Philippines, Australia, the islands of Japan, and most of the Chinese and Russian coastline are covered with water. A red dot appears on the new coastline just above what used to be the northern China boarder.] AMI: As the first asteroid hit, the resultant Tsunami hit the wall roughly, but nothing near what it did to the actual coastal cities. What was left of it when it struck the wall, and the following year as the water receded into the current coast, caused several years of weathering damage to the lower portions of the wall due to the constant water pressure and the high salt content of the water. Erosion began almost immediately. [The hologram zooms towards the red dot until it fills up the entire image showing a diagram of the city. The conic wall that surrounds the city is shown as a thick blue line. Inside about 70 percent of the wall is dense city while the remaining 30 percent is land being farmed. Just outside the city to the east can be seen where the waterline currently resides.] AMI: The erosion occurred simultaneously around the wall and weakened it gradually and uniformly. It knocked about a good hundred years off our expected time. [beat] But that alone isn't bad, the wall should still have stood up to at least another hundred years of treatment. But something else happened we didn't expect. [The diagram fades to look real and the image zooms over to the Western wall and begins playing footage of wind, ice, and debris bashing against the wall in accelerated time.] AMI: For the past three years, a harsh icestorm has settled itself near our position. Gathering strength off the coastal winds, the storm has grown in intensity gradually to incredible proportions. We've been working on reinforcement designs to try to channel the pressure to other areas of the wall but they are still preliminary. LUTHOR: What about the auxiliary shield? AMI: Insufficient. It wouldn't hold longer than a year, not with out current energy demands. LUTHOR: Then we need to create more energy, just siphon it out of the people! AMI: With all due respect, the city is working more efficiently than any city ever before it. The people get only what they need, we can't possibly take any energy from them without shutting down portions of the city, and even then it won't be enough to keep the shield up longer than six months. The demands on the shield are exponentially large, the longer we keep it up, the higher the demands per hour. LUTHOR: [slams fist on table] Then why the hell did we put it in if we can't use it! AMI: The auxiliary shield is in place so that we can make improvements and repairs on the exterior wall with the greatest possible haste. It only lasts a year, which is barely enough time to make improvements, so when we come up with an effective channeling system, we'll activate the shield so we can implement it. LUTHOR: That's it? A bunch of theories with nothing we can do right now? AMI: The size and scope of the wall make it very hard to work with, Mr. Luthor, if we had more time prior to Ragnarok maybe we could have come up with better backup plans, but we had no time at all! LUTHOR: That wasn't my fault! AMI: Then don't blame us! [beat] We are BOTH victims of this situation Mr. Luthor, not just you! I have no intention of dying here so trust me if we had a solution I'd tell you about it, as for now, let us work so we can come up with something! [AMI and LUTHOR look at each other over the table intensely. The holographic image of the wall between them shatters and the table returns to it's white glow. LUTHOR eventually turns away and walks into the darkness. The sound of heavy footsteps slowly fade with the slamming of a heavy door off screen.] AMI: [Sighs; collapses on the table and buries her head in her hands; soft] This is not what I wanted to happen. I came here to save a few lives, not get beat around by some stuck up executive. [looks up as the table returns to black and a holographic image of old Tokyo appears] Where did you all go? This blasted wall cuts all radio transmissions— [the images fades into the ice storm outside. The camera pans forwards towards the wall then descends to the bottom.] AMI: [V.O.] There could be other cities out there, other methods of surviving, we just can't hear their cries. I hope you're all out there somewhere still, I ... I never got a chance to say goodbye after all. [At the base of the wall a the bunch of heavily clothed individuals reach a snow-covered door with a large submarine like latch. A bunch of the people try to turn the wheel but fail. Eventually someone waves the people out of the way, grips the handle fiercely, and twists it open. The person waves them all in and they duck into the doorway. When they are all in, the door closes and the wheel can be seen locking it shut.] [Cut to the inside of a long dark passageway that all the people are huddled in. Sounds of shivering and quick breaths can be heard. The one who just closed the door pushes ahead of the rest, barely squeezing through the low ceiling, metal path. The person comes to another door with the same wheeled lock on it. A twist later and the door swings open and a dark street that's being rained on can be seen.] LEAD PERSON: What the hell is this? [The people behind see this and start scrambling out of the hole. By the time they all get out they are already soaked to their bones. Someone closes the hatch behind them.] MAN #1: Its warm! WOMAN #1: It's a city! MAN #2: [looks around] FOOD! [Everyone turns to where the man was looking and sprint towards the closed deli except for one person, the same one that opened the door. The person pulls down all of the hoods to let her long brown hair tied back fall behind her [MAKOTO KINO] and become soaked in the rain. She looks around with her green eyes and tastes a bit of the rain by opening her mouth to the sky. As she puts her head down again you can see the glint of her tiara on her forehead.] MAKOTO: [looks around] A city, completely separated from the blizzard going on outside. [looks up] It even manages to capture clouds. I wonder who built this wonder? [She leans back on the closed hatchway and looks around. She pulls off one of her layers of clothes and tosses it aside.] MAKOTO: [Sneezes] I have to find a place to get out of this rain. [She pulls one of her hoods back on and starts running down the street in the opposite direction of the looting mob that just broke the window of the deli and are shoving themselves inside to get at the food.] [Cut to a long street. MAKOTO is running down the street towards the camera. As she runs she is amazed as all the things around her, looking up at the buildings not even looking where she's going. She turns the corner right in front of the camera and runs right into a man carrying an umbrella. She hits him and topples backwards onto the street.] MAN [O.S.]: I'm sorry young lady. [As the man bends down to help MAKOTO up, we see the man is KATSUHITO.] MAKOTO: It's okay, it was my fault. KATSUHITO: It's a rough night to be running around without an umbrella. [beat] You're soaking wet. Come with me, I own a dojo around the corner, you can get dried up and I'll lend you my umbrella. [KATSUHITO pulls MAKOTO under his umbrella and holds her arm as he walks her down the street.] MAKOTO: Thank you sir, I wasn't expecting ... rain? KATSUHITO: [slowly nods] Well, it usually rains every Tuesday and Thursday in September, it's good for the crops in the farming district. MAKOTO: Crops? KATSUHITO: Yes. [MAKOTO frowns for a second in confusion.] KATSUHITO: Here we are. [MAKOTO looks up to see a sign over a large window. It says Jurai Dojo. KATSUHITO moves towards the door and opens it for MAKOTO. She reluctantly walks in.] [Cut to the inside of the dojo. MAKOTO walks in the door and looks around slowly. KATSUHITO closes the door after himself and picks up a folding chair that's resting against the wall.] KATSUHITO: [Opens chair] Have a seat, young lady. MAKOTO: [Slowly sits] My names Makoto, Makoto Kino. KATSUHITO: I'm Katsuhito Masaki. MAKOTO: Masaki ... where's the Jurai come in? [KATSUHITO coughs as TENCHI and RYOUKO walk into the room catching their attention.] RYOUKO: Oh. TENCHI: Uh, hi. KATSUHITO: Tenchi! Get a couple of towels and a robe. TENCHI: [nods] Of—of course. [TENCHI looks one more time before turning and quickly moving out of the room. RYOUKO takes a few steps further into the room.] KATSUHITO: Ryouko, I'd like you to meet Makoto Kino. [turns] Makoto, this is Ryouko Hakubi. RYOUKO & MAKOTO: [sim] Hi. [There's a moment of unsettling silence before TENCHI bounds back into the room carrying two towels and a white karate robe.] TENCHI: [Hands MAKOTO the towels] Here. [beat] Oh, how silly of me. My name's Tenchi. MAKOTO: I'm Makoto. [MAKOTO and TENCHI stare at each other strangely for a second.] KATSUHITO: So, Makoto, what were you doing out in the rain like that? MAKOTO: Well, it's sort of a long story. [beat] I've been traveling with a group of people trying to find refuge from the cold for a long time now. We'd heard that there were cities that were trying to protect themselves from the Tsunami and the— TENCHI: [blinks] The, the what? MAKOTO: [hesitant] The Tsunami, the tidal wave after Ragnarok hit. TENCHI: Oh, OH yes, of course. Heh. MAKOTO: Umm, well, we didn't really think that it was possible for a city to survive it, I mean, we all got away through unusual circumstances. But we found this giant pillar and here was this city inside. [beat] I really have no where to go now, it's been a long time since I've been in society. TENCHI: Well, you could stay here for a while if you have no where else to go. We have plenty of room. MAKOTO: Really? That would be great. [beat] Perhaps you could tell me about city as well, I'd like to know how this all happened. TENCHI: We don't much about it, we barely got here ourselves after the asteroid hit. But things work just like in a normal city by now, there are a few major changes but nothing you can't get used to. MAKOTO: Great, thanks. [beat; looks down at the now water drenched floor] TENCHI: Uh, well, here, come with me, I'll take you to a room you can dry off and change in. MAKOTO: [smiles; stands] Thank you. [walks off with TENCHI] [RYOUKO follows the two of them with her eyes then, when they are gone, she turns to KATSUHITO.] RYOUKO: You normally pick up women on the street like that? KATSUHITO: Bothered by her, Ryouko? RYOUKO: What? No way, just unusual that's all. I mean, it's not often people come in from outside of the shield. KATSUHITO: Yes, a very unusual situation indeed. [KATSUHITO walks off into other parts of the building. RYOUKO watches him strangely. Just as he turns a corner he peeks his head back out.] KATSUHITO: Ryouko, get a mop and clean this up. [KATSUHITO moves off before RYOUKO can retort. She shakes her head and kicks the chair over.] [When the chair hits the ground, cut to show a hardwood floor moving past the camera. A pair of feet walk past. Pan upwards to show TENCHI walking down a hallway. He stops in front of a door and chuckles to himself for a second before sliding it open.] FEMALE VOICE: [O.S.] She seems like a nice girl. [TENCHI turns white and his expression goes blank. He sighs and walks into the room closing the door behind him. Cut to the inside of the bedroom as TENCHI finishes closing the door and moves over to a dresser and opens the drawer, picking out clothes.] FEMALE VOICE: [O.S.] You seemed to take a liking to her. TENCHI: I'm not listening to you, you're not real. FEMALE VOICE: [O.S.] Oh, I'm real... [Pan around TENCHI so that he's facing the camera as if it was the dresser and behind him is a woman with long purplish hair, wearing an assortment of robes.] AYEKA: ... real enough for you that is. TENCHI: [sighs] I don't want to hear you anymore, it's over. I must move on. AYEKA: If you must move on, why am I still here? [TENCHI turns around to face AYEKA.] TENCHI: I don't know! [points at her] It's not my fault, it's Ryouko's, if you're going to haunt someone haunt her. I tried, I really tried my hardest, but I there was no way I could ever have stopped that ceiling from collapsing on us. [beat; lowers hand; softer] There's no way I could have told Ryouko to save you and not me. AYEKA: Somehow I don't think that's good enough! TENCHI: I don't care anymore, I want to get on with my life. I'm saddened, and your death was painful for me, but I don't want to think about it anymore. I have a reason to move on, so you do the same you ghost. AYEKA: I'm no ghost. TENCHI: And you're not real either. Just go away, you're a figment of my imagination. AYEKA: Then tell yourself you don't want to see me anymore and logically, I'll go away. [TENCHI closes his eyes for a second then reopens them.] TENCHI: You're still here, aren't you. AYEKA: So what reason do you have to move on anyway? TENCHI: [sighs and sits on his bed] I just have a reason, that's all. AYEKA: What? That Makoto girl? You've never been impressed by looks or fawning attention. I should know. TENCHI: Yeah, well, maybe that's why you're still around. AYEKA: You're guilty about never having told me how much you cared. How touching. Could have helped more if you did it while I was still alive! TENCHI: Well, maybe I'm trying to fix that. I have a long life ahead of me, I don't need to be haunted by everyone who ever had a fancy thought about me. AYEKA: Would be a nice incentive to get rid of me, but obviously you're not serious since I AM still here. TENCHI: I have a better incentive. [he reaches over and turns off his light and lies down in bed] Good night ... whatever you are. AYEKA: It would be, but I have a feeling that you're in line for a nightmare. TENCHI: Great. [TENCHI shuts his eyes and AYEKA vanishes.] [Cut to a smaller bedroom, MAKOTO is wearing the robe and looking at a large mirror on the wall. Her hair is down and slightly damp at the ends and her tiara is still affixed to her forehead. She bends forwards and looks closer at her face. She's obviously older than she was back when she used to romp around with Sailor Moon and the Senshi. She moves her hand to her face and feels the areas around her eyes, feeling the slight wrinkles. Immediately she banishes her hand from her face and stands up straight.] [She pulls at the collar of her robe and pulls it from her figure, tossing it aside. She looks at herself naked in the mirror once before shutting her eyes. The green gem in her tiara glows for a instant before shattering into a million sparks of light that cascade around her. When they are gone, her hair is tied back again and she's wearing the outfit she used to wear to school when she first became a Senshi.] [When she looks back in the mirror she looks at least five years younger and she smiles for an instant before the frown returns to her.] MAKOTO: [whispered] Where can you be? If I made it to this city, maybe others have. If only there were– [MAKOTO stares down at the mirror with intent, focusing on her sleeve. Her eyes widen as she raises her hand and pulls back her sleeve to show the white communicator watch still on her wrist. She pulls back the lid with the symbol of Jupiter on it and gazes at the blank screen beneath.] [Cut to another bedroom. A large window covering one wall allows a very small amount of light from the city in to show a figure sleeping in a bed by the window. The sheets are silken and mold to the woman's almost perfect shape. She turns in her sleep casting light on her (AMI MIZUNO) face.] [A shrill beeping noise suddenly rings through the room and causes AMI to sit up suddenly in bed. The sheets fall from her to show she's wearing a white nightgown. She reaches for her lamp and turns it on, filling the room with light. Jumping out of bed, she looks around for the noise, ending with opening her dresser drawer and seeing the white wristwatch slide from the back of the drawer to the front. She looks at it intently with a sort of wonder and a sort of fear. She lifts it from the drawer.] AMI: [opening the lid] Hello? [The small screen on the watch shows static for a few seconds then an image begins to form.] MAKOTO: [broken] Heh ... lie ... eh ... Hel ... oo Ami? [The image clears, blurs for a second the reestablishes itself firmly.] MAKOTO: [V.O.; excited] Ami?! AMI: Makoto! MAKOTO: [V.O.] Is that really you? Oh, tell me it's really you! AMI: I can't believe it! Thank god you're still alive! MAKOTO: [V.O.] Oh, Ami, I'm so glad to see you. Where are you, are you in this city? AMI: Yes! Yes I am! I'm in the Lexcorp building. Where have you been? Have you been in the city this entire time? MAKOTO: [V.O.] No, I was on the outside, I just found this place trying to find another refuge from this blizzard. AMI: Outside? [her face lightens] Have you been to any other cities?! MAKOTO: [V.O.] There are other cities? Like this one? AMI: [her face falls visibly] No, I ... I, well I don't know for sure and I was kind of hoping there was. MAKOTO: [V.O.; silent for a while] The ... others, aren't here, are they? AMI: [closes her eyes and shakes her head] No, they're not. I don't know where they are, or ... [she trails off] MAKOTO: [V.O.] Or if they survived. [AMI nods and there is another uneasy silence.] MAKOTO: [V.O.] Anyway, we HAVE to meet. Where did you say you were again? AMI: I'm in the Lexcorp building. [beat] Let me think, it's the tallest building in the city, one of the lower support pylons even attaches to it for foundation. MAKOTO: [V.O.] I'm coming right away, it's been to long to wait anymore. AMI: [smiles] All right, I'll tell one of the lobby personnel to let you through. MAKOTO: [V.O.] See you in a bit. AMI: Okay. [The screen shows a bit of static before shutting off. AMI closes her hand around her wrist, shutting the lid of the watch. She sits on her bed and sighs.] AMI: [to herself] They must be alive. Now that Makoto is here, we can try and find the others. We can do it together, we'll reunite the Sailor Senshi. [Pan backwards out of the room through the window to outside the city. As the camera scales the building the rain dies down until it stops. When the top of the Lexcorp building is in view, pan backwards over the city, increasing in speed, through the exterior wall and into the blizzard raging outside. Grey clouds block out the view for a few seconds and when it returns, it's panning into a small metal bunker.] MAN: [V.O.; fade in] ...we've isolated it's location, just go out and get it! VOICE: [V.O.] I'll work things on my own time, it's hard enough equipping my machines to get through the ice blizzard without you rushing me to get it done. [Cut to the inside of an office. A large collection of monitors is showing the face of a bald man with a brown hared goatee.] MAN: [V.O.] I know him! It won't be long before he discovers it himself, if you don't hurry he'll get to it first! VOICE: [O.S.] I told you before, I always deliver. I'll do things my way, thank you. Good day. [The screens all cut off and display diagnostics on strange looking vehicles. The camera pans backwards to show the back of a chair sitting at a desk in front of the monitors. The chair swivels around to show a woman with silvery brown hair holding a tool in one hand while adjusting a large mechanized glove she is wearing on her other hand.] SYLIA: So much work to do... [she pulls the tool away and looks at it. The fingers flex a few times and the sound of metal hitting metal is heard.] ...so little time. [SYLIA smiles evilly. Cut to black. Across the bottom, display the following captions, one at a time: Day One: The First Spark Of Hope Created by Adam Leigh Executive Producer Adam Leigh [Fade to black] [Roll Credits] "Superman" is owned and distributed by DC Comics. "Tenchi Muyou" is owned and distributed by Pioneer Entertainment. "Bubblegum Crisis" is currently being distributed by AnimEigo. And of course: "Sailor Moon" was created by Naoko Takeuchi and brought to North America by DiC and Mixx Entertainment. While this script contains elements from each of these copyrighted sources, this script as a whole is copyright 1998 by Adam Leigh. All rights reserved. Adam Christopher Leigh Omicron@sprynet.com