Paradigm City Paradigm City - A fan site dedicated to the anime series Big O Paradigm City
 
Main -
Paradigm City > Information > Transcripts > Episode 14
- Poll
 
Episode 14 Script: "Roger the Wanderer"

<Opening cut due to time restraints on adult swim>
<Camera pans left with view of military police vehicles from the docks (scenes right out of the end of "R-D". Cut to sea surface...two foreign megadeuses coming forward with glowing eyes as a third rises in front of the other two.>
<Dastun looks with binoculars as a shadow comes over him and we hear the thumping of Big O. He lowers the binoculars and turns his head around. Cut to shot of Big O and he stands tall above the screen.>
<Cut to inside Big O cockpit...from the side we see Roger holding his bleeding arm as the control/console ring lowers down over him (right out of R-D episode)>
ROGER: We have choices...some people like to stand in the rain without an umbrella.
<Cut to shot of Dorothy in the cockpit as she looks at him. Closeup shot of the console joysticks as we see Roger's gloved-hands grab on each one. Fron view of Roger (upper body half) in his chair.>
ROGER: That's what it mean to live free.
<Dorothy jumps down to the right of Roger's left arm and next to Roger as Roger looks in surprise to her presence. Closeup of joysticks again as Dorothy lays her hand on the top part of the left joystick to help Roger out with his hurt left arm. Enter music>
<Cut to back of console chair where we see the viewing window and the three megadeuses in the distance form inside the cockpit. Camera goes back to front view and camera zooms in on Roger's face.>
ROGER: Big O!
<Cut to Dastun looking at scene with binoculars. Cut to Alex Rosewater standing and watching from balcony. Cut to Gordon Rosewater sitting at front porch chair. Cut to Angel watching the scene holding a balloon. Cut to three megadeuses walking forward among the waves of the sea.>
TITLE: The (Japanese text)...(Big O is at the bottom left corner, 2002 Sunrise INC. appears at bottom right corner)
ROGER: Showtime!!!
<Cut to Big O's eyes as they glow and Big O backs away, lifts up both arms and then lowers them to make both fists make contact horizontally. A bright pink beam is fired from Big O's eyes forward. Flash! Camera follows the beam some as it travels across the screen and into the distance where we see the three megadeuses. It hits the center of them of creates an explosion of smoke clouds and orange fire.>
<Cut to closeup of Angel's hand as she opens it and releases the balloon. Camera pans up, following balloon as it drifts to the cloudy sky above. Cut to Angel's face with hair blowing in the wind. She lifts her left hand to her chin.>
ANGEL: It's too soon now...it will ruin everything if the power's released. Can't you see that?
<Cut to balloon drifting to the sky as it gets smaller and smaller in the distance.>
BIG EAR: (Cut to Big Ear sitting in his chair as he stares toward the camera off from the side holding a newspaper in the Speakeasy bar. A stack of newspapers lie next to him on a table and camera backs away as he speaks) Who was it, may I ask, who came to the conclusion that there is no one outside of paradigm city, Mr. Negotiator?
<Fade to titles>
TITLE: Created by Hajime Yatate
Concept Art Supervisor Keiichi Sate

<Cut to megadeus with drills for hands as he walks to the right of the screen with smoke in the background. As he passes we see another megadeus standing there (the one with the big face and jaw) with a hole in his eye area. Smoke pours out of this wound>
<Cut to handdrill megadeus as his right hand drill turns on and rotates to the sound of a power drill. The megadeus pulls back his right arm slight and tilts his body before thrusting his right arm drill forward and to the right. The camera follows this movement.>
<Cut to view from within the cockpit of Big O...with the seat and Roger's back to us. We see the drill coming towards the viewing window and the megadeus tilted to the right of the window. Cut to Big O as it stands tall and pulls back some. The drill comes forward and hits Big O at its chest level. The contact creates a burst of orange sparks and knocks Big O to rotate to the right as the drill bounces off to the left.>
<Cut to the Big O cockpit and from a diagonal front view we see Roger and Dorothy. Roger shudders, gritting his teeth as the cockpit shakes and blinks some orange. A bolt of electricity darts in front of the screen soon after.>
<Cut to closep of Roger's face. Camera follows Roger's head as it pulls up and back. Roger grits his teeth with wide open eyes.>
ROGER: All right I'll give you my answer! Fine...people are not ruled by their memories! (Roger leans forward and back some)
<Cut to Console right side as we see Roger's arm pull back the right joystick on its track. Cut to the back of the console as we see he pulls the joystick all the way to the back of the ring track. Cut to Dorothy's face, and part of Roger's (we see him gritting angrily), as she looks at him. Cut to top of joystick where Roger flips the lid of the joystick with his thumb and presses the button unveiled.>
<Cut to Big O's upper body as it is leaned forward and its right arm lifted in the air. The piston thrusts out from the back with smoke and orange flash of sparks sprouting from the elbow. At the very bottom of the screen we can see the left arm doing just the same...preparing to use the chromebuster.>
<Cut to three megadeuses as camera pans left over them and toward them some, as they approach the camera..>
SCHWARZWALD: It wasn't just the people of this city that who their memory 40 years ago.(Cut to flooded room where bandages, an apple, papers and a teddy bear head float on the lighted surface. The noise of typing is heard and as the camera zooms out we see Schwarzwald at a desk (from the side) typing on a typewriter with a dish of cigarettes next to him)The foreigners that sleep underground who came here searching for fragments of memories, have lost as well.
(fade to title)
TITLE: Written by Chiski J. Konaka
<Cut to Big O with his right arm lifted (front view) as he throws his fist towards the camera leaning forward. Cut to side view of Big O and two Megadeuses facing him. His right fist hits the horned megadeus (with his arms raised) in the stomach. Next to the horned megadeus is the hand drill megadeus, who gets hit in the stomach with Big o's left fist when it thrust forward. Both megadeuses crouch over when contact is made. Cut to view from behind the two foreign megadeuses and facing Big O. The piston impacts sound as the two Megadeuses are launched backwards in force with smoke arising. Big O's fist remain in their thrown out position. Cut to Dan Dastun sitting at a diner table. His hat is off and he turns his left left to face the camera as camera pulls back.>
DASTUN: (holding a cup of coffee, his hat is on the table) Mind if I ask you something? When you resigned from the military police, was Big O already waiting for you...
(fade to title)
TITLE: Music Toshihiko Sahashi
DASTUN: (yelling) We're the ones who protect this city! (He is holding another officer in his hands and by the jacket and yelling right into his face. We see the military police vehicles in the back.) Understand?
<Explosion is heard as Dastun releases his grip on the officer and looks to the left of the screen, as do the officer in his grasp and another officer on top of one of the vehicles. Cut to Big O as it pulls away with its right arm caught on something off screen. It stares at whatever it is as its caught arm shakes. Cut to end of Big O's arm in the jaw clutch of the other megadeus with the big face. Its eyes glow blue and it starts to clench down harder. After leering down and then back up a spark fires off and the arm and head start frantically vibrating to a high pitch shuddering noise.>
<Cut back to Big O, we see misty waves pass by as the machine starts to rattle. We hear cracking as some pieces break off of the shoulder joint. Cut to closeup of Big O's arm caught in the jaw. Cut to the console message screen in Big O's cockpit. Big O's front profile is seen and danger messages pop up indicating parts of the right arm taking damage. The screen shutters with static.>
<Cut to a tomato garden with Gordon Rosewater facing the screen with the clear day in the background. The camera pulls back slowly.>
GORDON: The world destroyed by a cataclysm. The power of God wielded by man. Giants robots run amuck. Everything is a lie.
(fade to title)
TITLE: Director Kazuyoshi Katayama
<Cut to Big O with arm shaking again. Shoulder joint suddenly explodes. Cut to Roger inside cockpit. He's grits teeth even more and his eyes are glaring down. The explosion light shines to the left. Cut to the sea surface, we see Big O's right smoking arm fall to the water and plunge in. Cut to Big O's back and on the far left the big faced Megadeus. Big O stands with no right arm and smoke drifts out of the socket. A explosion of water in the background as Big O backs away. Water rains down on the two as we see a closeup of the big faced Megadeus as it closes its jaw. The camera pans upwards and inside the wound in its head we see a faint green light. Cut to Big O, camera pans up as it holds its left hand out in front and its right arm socket fizzes with electricity. Rain drizzles on the robot and smoke comes from the socket.>
<Cut to inside of cockpit of Big O as camera pans upward to Roger's upper body>
ROGER: Who the hell am I? (closeup of Roger's mouth) WHO AM I?
<Cut to Dorothy's face closeup...her eyes stare right at Roger with no emotion. Cut to Norman on catwalk of Big O shop at home. He stands in the middle with his left side to the camera but his face towards it. The camera zooms out slowly.>
NORMAN: I have more than likely been looking after both you and Big O long before we lost our memories, Master Roger Smith.
(Fade to title)
TITLE: Co-Produced by Cartoon Network
Produced by SunRise Inc.
Bandai Visual Co. Ltd.

<Cut to Dan Dastun as he turns to his right and points to the right as he stands there on the dock and the vehicles behind him.>
DASTUN: Fire!!!!! (the vehicles shoot out to the left in an array of orange flashes)
<Cut to Big O and the big head megadeus...the foreign megadeus holds Big O by the head in its left hand and its right arm is lifted. The blasts hit around the foreign megadeus, hitting the water in waves and the robot with small explosions of smoke. The power of it knocks the foreign megadeus backwards and into the water. Released, Big O turns and walks forward to the fallen megadeus with its left arm outstretched, ready to punch.>
<Cut to closeup of foreign megadeuses face as it drifts down underwater among many bubbles. We see Big O's fist fly down and hit the face of the megadeus underwater. Cut to Big O leaning down with its arm pointed down into the water. The foreign megadeus' hands point straight up and its knee submerged as the piston thrusts back to prepare to bust. Cut to closeup to back of the piston as it pushes forward. Cut to Big O again as a huge wave casts up and over Big O.>
<Cut to side view of Roger's face (closeup)...waves pass as we see him with angry, anxious eyes and gritting teeth.>
ROGER: Roger Smith!
<Cut to Big O console message screen..shows profile of foreign megadeus with a blinking ring around the face of it indicating damage just done to it. Cut to front of Big O (leaned forward) as we see the water rises and the other two megadeuses rise up behind Big O. Cut to closer shot of the two megadeuses as camera pans right. Lights blink and make noises as the two stand there facing forward. >
<Cut to Dastun on the dock as he faces slightly off camera. Camera zooms forward as we see some movement in the back.>
DASTUN: Foreign megadeuses....foreign people.
<Cut to flashback from "Winternight Phantom"...we see the lady turn around to face the camera from down the dock. Its snowing. Cut to Dastun who turns and raises his gun..ready to fire. Cut to wide shot of the two from the side...Cut to close shot of the gun as it fires.>
<Cut to Angel's hair blowing in the wind as camera pans left and we see Angel's face staring to the left of the screen.>
ANGEL: Roger Smith...as I thought.
<Cut to wide shot of the docks....we see Big O and the megadeuses in the background. Big O hits the big head megadeus on the left with his remaining arm and turns to his right while firing his eye laser beam and it strikes the other two megadeuses on the right and creates a few explosions. We see two of the megadeuses create electricity from top of their hands as it zaps Big O.>
<Cut to inside of Big O cockpit. We see Roger clenching his teeth and closing his eyes...groaning as Dorothy stands next to him. The room flashes and shakes. Cut to his left hand on the joystick as it shakes along. Suddenly the joystick and Dorothy's hand fade to tomatoes. Roger grasps onto a tomato and tomatoes fill the background.
ALEX: (Cut to Alex on his balcony (close shot), camera pans down from his face to his hand where he holds a tomato up) I guess you don't have what it takes to pilot the Big...Negotiator.
<Cut to underwater we see Big O's knee bend down to the floor. Cut to big O facing forward and on his knees, halfway underwater. On his left and right are two megadeuses shocking him with electricity from their horns and onto Big O's head and shoulders. Another beam of electricity from the front hits Big O.>
ROGER: Who the hell am I?
<Cut to back of Big O's head as we see the third megadeus with the big head approaching Big O with electricity still coming out and Big O still flashing form the hits. Cut to close up big face megadeus' face as it walks forward and electricity pours out of its right eye.>
<Cut to Roger in the cockpit...shaking with fear and scared eyes. Tomatoes are in the background.>
ROGER: Who the hell am I?
<Roger gasps and looks down and to the left. He sees his right hand on a tomato. Cut back to Roger's face as he looks right and then straightforward. The camera zooms out to show the whole cockpit filled with tomatoes. Cut to message console screen in cockpit. A pulse is on the screen with a heartbeat. The pulse goes straight...dead. The screen shuts off. Fade to black.>

<Cut to black...we see train lights (from the back) go into the distance as a train follows a dark path into the distance. Cut to subway loading area...a man stands waiting for the train at the side as the train pulls forward and slows down gradually to that stop.>
TITLE: Act 14
Roger the Wanderer

<Cut to side view of the train as it stops...the door opens and people stand there ready to get out. Cut to top view of the subway station as many people walk out of the train and just as many wait for it near the doorways. Cut to side view of people walking by...we see the top of Roger's head at the bottom of the screen from the back. An old lady in a green blouse stops and stares at Roger with his head down.>
<Cut to Roger...hunched over and on the ground, holding himself and with his head down as the camera pans upward. He lifts his head to see the lady in front of him. Cut back to the front of the lady as she leans down and places a coin in a can near Roger's feet with a clanking noise. She then walks away with the rest of the people. Roger stares at her as she leaves. Cut to Roger's face as he stares off to the side. His hair is now loose and messy and he has facial hear all around his chin and sideburns some. He turns his head forward again. >
<Cut to subway side view as a train passes by going right. Cut to train moving in the darkness again but towards the screen and with bright red lights. Roger gasps with frightened eyes and with his back towards the wall gets up quickly...afraid of this vision. He hears the clanking sound and looks down. Cut to the floor where the can rolls over and a coin rolls out of it. Camera pans to Roger's feet. Cut to front view of Roger...his jacket is unbuttoned and half of his white dress shirt is not tucked in. One homeless bum from the left and right of Roger scramble on the ground to get the coin. In the mean while Roger adjusts his jacket.>
<Cut to bathroom with slow piano/guitar music of wonder and mystery. We see stalls on the right and Roger, behind a glass pane, at the sink washing his hands. His jacket is slumped over the side of the glass pane. He brings the water to his face and washes it. Cut to bathroom mirror as Roger lifts his head and he stares at himself with water drips on his face and he sees a messy, scruffy-looking Roger Smith in front of him. He places his right hand on the side of his face...dazed and in wonder of what he has become. >
<Cut to subway stairs...we see Roger slowly and tiredly walk up the steps with his jacket back on. He brushes his hair back and then uses his right hand to shield his eyes from the bright sun. Cut to side view of Roger with his hand shielding his eyes from the bright sunlight. He lifts his hand to get a better view of the outside world. Cut from flash to view of people walking by on the sidewalk and past the subway rail with buildings in the back. The sky is bright with sun. The sound of police whistles are heard and traffic as it cuts to a clock tower with the time 11:15....the tower is not ruined at all. Cut to Roger at eye level from a side view. Camera pans right across his eyes as he stares in amazement at the sight. Cut to top of subway stairs as people continue to walk by with no care and posters and title banners fill the scene. A yellow car passes by and the camera zooms out as Roger slowly reaches the top of the stairs. A blue car passes by as the camera zooms out enough to give us a glimpse of the peaceful city and buildings in the back. Cut to distant shot (overhead) of the city where we see many buildings and the streets below. The sky is blue and its daytime. Camera zooms out to show how much the gloomy Paradigm city has changed.>
<Cut to overhead shot of pedestrians walking forward and talking. >
ROGER: What is this place? (Cut to flower shop where a girl hands bouquet of flowers to a customer and a guy at the side looks through a pot of flowers) Is this Paradigm City?<Cut to guy talking friendly with a cop while sitting in his car with a girl in a light blue dress suit.>
ROGER: The city I know? (Cut to fruit/vegetable stand where a woman stands at the right talking with a customer, smiling. Cut to a pile of tomatoes as we see Roger's relection on their faces, as he approaches them. The Camera pans right. Roger stares up in the reflection and the camera pans up to see the shopkeeper looking very suspiciously and untrusting towards him as she leans forward. Cut to Roger at front view as he looks down and turns right, moving to the left of the screen. )
<Cut to shot from below, looking up towards the tops of the buildings and towards Roger's face as the city around him tends to spin, like he was in a daze.>
ROGER: Why am I here?
<Cut to quick shots of gargoyles atop some buildings...they are the same Gargoyles from the "Gargoyles" shown on the Disney channel.>
ROGER: I was....I was in the middle of a fight.
<Cut to bottom view of train tracks as two trains, heading in opposite directions, pass each other. Cut to within the SpeakEasy bar...looking out of the shop through the windows on the front door. On the glass is the word SPEAK EASY and we see Roger walk towards the door. Cut to the outside where we see a front view of the bar where people/cars pass out in front. Roger still stands at the entrance looking in. Cut to the top of the door from the inside, the door opens and Roger peers in. Cut to tv screen, we see two boxers in a fight. Cut to bar but there is a new owner, smoking while watching the match. Some customers sit next to him and the owner takes his eyes off the match to look at Roger who just entered with suspicion. He blows out a puff of smoke.>
<Cut to Roger's face in the doorway as he stares bewildered as to what happened to this place. He walks forward. Cut to side view of the bar as we see Roger walk slowly to the left of the screen with the back of customers to us. The owner turns his head watching Roger pass by and nods to a fellow on the right (who was sitting) as if signaling him. The guy with the white hat and suit gets up. Cut to a lone chair against the wall...right where Roger used to sit. Roger collapses onto the chair as the camera pans up some. Cut to side view of Roger's face as he exhales and closes his eyes. He opens them to his right as the camera zooms out to show who he is sitting next to. A newspaper page folds forward to block his view. Cut to the side view of the guy sitting next to him...its not Big Ear...another guy with rings on his finger holding a newspaper that reads "The Metro Section" "The New Paradigm" as the title. The paper blocks the guys face until he lowers it down. We see an angry man with a cigar in his mouth with slick back gray hair with a ponytail and a beard. He looks at Roger suspiciously and almost angrily. Roger gasps slightly as he leans his head back some.>
WHITE SUIT GUY: Hey! (camera pans right to hands of the guy with the white suit on his waist.) That's my seat you're sitting in, Buddy. (Front view of the guy with the white suit as he snaps at Roger and leans forward. He points his finger (left hand) right towards the camera) Beat it!
<Cut to Roger's face as he stares frustrated and with the guys finger pointing straight at his face. Roger does nothing...the guy is a little surprised and reaches back with his right hand. Cut to a closeup of the guys' right side of waist as we see in his right hand he has a knife. The knife ejects the blade out. We see Roger in front of him with a look of worry. Cut to side view of the two...the guy looking down has a smirk and Roger gets up, with a depressed looked, and stumbles by the guy. The guy in the white suit glares right into his face. As Roger leaves the guy stares at him.
WHITE SUIT GUY: Hmmpf!
<Cut to view of the sky/building windows looking upward toward the sun. red curtains blow in the wind.>
ROGER: A city without domes. Warm sunlight. (Cut to floor as camera follows Roger's footsteps as they pass forward down the sidewalk) People here haven't lost their memory. (fade to overhead view of Roger walking down the sidewalk amongst other people walking.) What is this place? Where should I go?
<Cut to building as camera pans down to its first floor. Cut to street corner as Roger approaches it slowly. He stops to look up. Camera pans up the building front to show title "Acme Bank" above its doorway. Cut to Roger's face as he gasps. He runs forward.>
<Cut to street and front view of building as Roger runs right across the street and two cars, going in opposite directions stop abruptly to avoid hitting him and screech with horn sounding. The doorway is open and two guards sit at the sides of it. Cut to inside of bank looking at doorway as Roger walks in and two guards stand solemnly at both sides. Roger stops to stare forward at the doorway. He then continues to walk forward and then the two guards look at each other, as if to signal, and then both proceed to follow Roger as he walks in the bank. Cut to Roger's upper body as he stares off to the side...the camera follows his movement. Cut to wide shot of the inside of the bank...we see people talking and clean, elegant furniture and design as camera pans left. >
<Cut to deposit counter as we see a man pick up some cash from the desk and behind the counter, behind a glass pane, are two uniformly dressed women each in her separate booth. Cut to closeup of counter as we see a hand place down a wad of money and a slip underneath and another hand behind the counter open to receive it.>
GUARD #1: Excuse me sir...you plan to do business here? (Cut to Roger front view with guard #1 on the left and the second guard approaching him from the right side and from in front. Roger stares at him and then the other guard.)
ROGER: Of course! This is my home!
<Cut to sideview of Roger's chest area as we see guard #1 turn to face him.>
GUARD #1: This is a bank. Now leave!
<Cut to side view of Roger, guard #1 has the back of his head to us and we see guard #2 in the far back facing us. Roger turns his head to face guard #1.>
ROGER: (looking angrily) Didn't you hear me? I said that this is my home! (Guard #1 brings his fingers to his mouth and whistles. Roger turns in surprise.)
<Cut to front view of deposit counter as customers gasp and turn towards Roger and the scene, two officers walk toward the group from the right and a third runs over.>
ROGER: Who gave you permission (cut to front view of Roger as four guards surround him) to turn my home into a bank?
BECK: Before you embarrass yourself any further, sir (Guards turn and face camera and salute the man speaking, Roger turns to face the speaker, who has his back to us and is approaching Roger) You might want to look in the mirror.
<Cut to front view of Beck as camera pans upward...he has a purple suit with an orange undershirt. He has green lens in his glasses and his hair is curly and combed down. He has a blonde moustache and beard and looks sternly towards the camera. Two pedestrians behind him stare forward as well.>
ROGER: Beck!?
<Cut to side view of Beck (upper body) as we see Beck, a guard, and a pedestrian looking off to the left.>
BECK: That's Mr. Beck. Poor manners too. (Beck looks down and to the right with eyes closed) What a troublesome customer. (Roger leans forward, staring right at Beck, and points his finger at his face.)
ROGER: What the hell are you doing here?
<Cut to front view, closeup of Beck's face as he turns to stare forward again. Customers stare in surprise from behind. >
BECK: Please, sir, understand...I have no acquaintances with a low income bracket, such as yourself. (He raises his eyebrows and in shock and places his hand on his chest) And who dares to address me in such a familiar manner? (He closes his eyes and places his fingers on his temples) Oh I have such a headache.
<Cut to Roger's front face as he stares down Beck and points right at him>
ROGER: Get out of my home, Beck! Get OUT!
<Cut back view of Roger as guards run forward to the group as if ready for a fight muttering "hey, hey!" Cut to front view of beck and facing Roger's back (upper body level)...Beck continues to stare at Roger Smith his fingers on his temples. He lowers his hand and looking down with closed eyes Beck sighs and shrugs. He turns around to face the customers behind him.>
BECK: If a customer were to deposit only five cents here at Acme Bank we would still treat that person as valuable. And I must say we are quite proud of that fact. Furthermore, (Cut to overhead view of Beck talking to the crowd at the bottom of the screen as he lifts his right arm to insinuate Roger) at this bank, that which shoulders the burden of social welfare, sincerely consults (waves his finger back and forth in the air) with even this poor pitiable man, (he bows before the crowd) who lives in a fantasy world. (The crowd claps for him in applause as Beck continues to hold that bow).
<Cut to front view of Beck and to Roger's back again as Beck turns around to face Roger with a smile/smirk on his face. The customers in the back are smiling.>
BECK: Heh!
<Cut to Roger's face (with applauding still in the back.) as camera zooms out>
ROGER: (with wide angry eyes) If you don't leave now you're going to be crushed... (he rolls back his left sleeve with his left arm in air) under a pile of rubble ( He gasps and the camera zooms in on his face as Roger opens his mouth in shock.)
<Cut to closeup of Roger's wrist where his wrist watch has no clock face but lies empty there with only the band. There is no Big O clock face...its empty. Cut to Roger's face (extreme closeup) his eyes are shaking and he is afraid of what is going on. Cut to overhead view of the scene...all the characters except Roger are in black and white and then the scene around Roger (not including Roger) fades to black as slow piano music starts. Roger lowers his arm.>
ROGER: What am I doing? Where am I suppose to go? (Roger fades to black)
<Cut to Paradigm City at night...there is a red glow on the horizon but the buildings glow in their windows of bright greens and blues. We see the water edge and see and hear a boat, as the camera pans left. Cut to store fronts where we see the backs of pedestrians on the sidewalk, window browsing. Cut to view of restaurant from the outside and through a window. We see a couple and their child being served by a waiter.>
<Cut to the streets...Roger is walking left and everyone else is moving right, some bump into him and Roger is slouched over and looks exhausted from all of the trauma of what he has seen. Camera pans down an orange/brown tower right down to the bright city streets below. Cut to Roger walking slowly towards the camera on the left as a line of cars approach and pass by the camera on the left, all with blinding headlights. A quick shot of a car as it runs over a sewer man-hole. Cut to Roger walking toward camera again (closer shot) as a car with bright headlights passes him on the right. Cut to side view of Roger walking (mid-level) we see cars pass by.>
<Cut to front view of "Nightin Gale" club...three bouncers/doormen stand out front with orange suits. A tan car pulls up to the front and one doorman walks towards it. Cut to back view as we see the young doorman open the right back seat door and we see Dorothy Wayneright step out. She is wearing her red dress (From "Dorothy Dorothy" episode). Cut to Roger's feet as they stop in their tracks.>
DOROTHY: Ready father? (she turns and asks smiling back into the door (front view with Roger staring in the background. Dorothy turns back and heads towards the entrance. We see a young Timothy Wayneright step out of the car.>
<Cut to closeup of Roger's face...a look of shock and wonder.>
ROGER: Wait...that's Dorothy.
<Cut to stairs to entrance as Dorothy almost hops up the stairs and then turns around at the top. Cut to closeup of her face (she looks definitely like the human Dorothy) which is in wonder and with innocent dark eyes. Cut to Roger at the bottom of the stairs who raises his right hand.>
ROGER: Dor...
<Cut to Dorothy at the entrance looking at Roger as camera pans right and up to young man next to her in a blue suit.>
BLUE SUIT GUY: Dorothy? (Dorothy turns to face him and the guy smiles) Hehe.
<Cut to Roger's upper body from overhead...he lowers his hand and a look of sadness comes across his face. Cut to Dorothy and the blue suit guy...they lock arms and proceed to walk in as Dorothy places the other hand near her necklace.>
DOROTHY: Heh
BLUE SUIT GUY: Shall we?
<Cut to side view of car again as we see the young Timothy Wayneright step out with the same black shades and scar on his face. Roger stares at him as he moves left. Cut to stairs as we see Timothy Wayneright walk up the stairs and through the entrance. The doormen close the tall, brown doors after he enters. Cut to within the club looking to the outside entrance through the doors. We see Roger standing alone on the sidewalk and the doors close our vision of him.

<Cut to clock face..we see the reflection of the city lights and traffic going by (many headlights) on the bottom of the clockface. The time reads 9:05.>
ROGER: This is a city I don't know. With my scruffy clothes, I feel like I'm behind the times. Or...maybe...it's the other way around. In any case, this a time I know nothing about. These are memories I'm not familiar with. (Camera pans down between a dark street alley and at the bottom against the wall we see Roger, leaning next to trash and junk) Who am I? What have I become?
<Cut to closeup of Roger's knee and the wire fence behind him...we see a couple police cars pass by with flashing blue lights>
ROGER: I could never develop any sense of pride working for the military police defending law and order in Paradigm City as one of Dan Dastun's men. (Cut to closeup of side of Roger's face as blue light fades away and we see him looking down with closed eyes.)
ROGER: So...I used some incident (Cut to tall building with a glowing blue tower atop it. Camera pans up this building and it looks to be Paradigm HQ) as a pretext to leave the force. (Red lights atop the building blink.)
ROGER: (Cut to extreme closeup of Roger's right eye...with the reflection of the blue tower in his eye) It wasn't much longer after that...when I met him. When I met Big O.
<Cut to front view of Roger leaning on brick wall in alley. Suddenly a bright spotlight beams on Roger and everything else goes dark. Roger adjusts his posture and walks to the right of the screen as the spotlight follows him. Cut to audience seating...Roger Smith..the only one in the audience sits in the front row middle seat in his black suit. His face is blackened as well. (Applause is heard)>
<Cut to the stage...there are red curtains surrounding the stage and this is a directly front view. The spotlight shines on the left side and on the backdrop there is a painting of the city and Acme Bank on the right. Roger walks onto the stage to the spotlight's position. >
ROGER: It was purely on a whim that I had latched onto the idea (another spotlight shines onto the Acme Bank in the backdrop, Roger faces this on stage) of making this broken-down, decaying bank building, just outside of the domes, into my home. Or so I thought.
<While a spotlight remains on Roger, the other is shut off and the city backdrop is raised. Behind it are blue curtains that pull away horizontally from each other revealing another back drop. This one is the living room inside Roger's home with a sofa centered in the middle, four columns in the back, and a small railing on the right. Norman stands there in the dark on the right until the whole scene is illuminated.>
ROGER: But it seems that wasn't the case.
NORMAN: Oh welcome home to you, Master.
ROGER: Master? What are you talking about? This is the first time we've met.
NORMAN: Yes I understand. My own memories tell me that as well. Nevertheless it is clear that you are the master I serve.
ROGER: You really shouldn't go around deciding...
NORMAN: Might I ask your name, sir? You see...it is terribly rude to serve a man and yet not have any knowledge of his name
ROGER: My name is...Roger Smith.
NORMAN: Master Roger Smith, then. Allow me, Norman Burg, as my responsibility warrants, to see to both your care and its maintenance.
ROGER: It? What do you mean it? Ha! You must be crazy! Maintenance of what?
NORMAN: Master Roger Smith. That which I speak of by working with you I understand can be an instrument of God, rather than a mere lump of steel. 40 years ago my memory was completely lost. Regardless, I have spent each and every day since diligently working on it, so that it would not rust up and become inoperative. My only fear, as the years passed, has been my growing old and feeble before the man I am to serve would appear. But today, that fear is dissipating as we speak.
ROGER: What do you mean, it?
NORMAN: I have simply called it, the Great, Big O!
ROGER: Big....O? *gasp* Why do you assume that I'm the one who's supposed to team up with it?
NORMAN: Master speak its name into your watch and then you will understand. That's all you have to do.

<Scene fades to black but two spotlights remain, one on Norman and on Roger. Norman's spotlight shrinks as Norman bows. The whole screen then fades to black.>
<Cut to comic book page in black and white. Camera pans down as we see a comic strip of Roger calling out "Big-Oh!" and we see the robot in another box.>
ROGER: Big O...was waiting for me.
<Cut to closeup of Roger's eyes as he stares at the page with surprised eyes. Cut to back of Roger holding the newspaper with the comic as the camera zooms out. Cut to front view of Roger looking down at paper on a park bench and with bushes behind him. He lifts his wrist and looks down at his watch. Cut to sloeup of the watch on his wrist. The Big O dial face is back but then vanishes to the empty space again.
ROGER: (Camera zooms out slowly) But I've lost any proof that that's what really happened. (Cut to Roger's eyes closeup) Had my memories been mistaken from the very beginning? Who was that I was portraying? Portraying someone in illusory memories. (Wind picks up suddenly as Roger closes his eyes and the paper flaps in front of his face.)
<Cut to Roger (front view) on the bench. The wind flutters his newspaper around and his suit as well as the dirt on the ground. We see a forest in the background. Roger manages to grab onto the paper. Cut to closeup of newspaper articles...one reads PARADIGM SHIFT BY MICHAEL SEEBACH "The giant discovered in the subway construction spot"...as the camera pans left we see a picture of the Archetype at the expo from "Underground Terror" episode. Cut to closeup of Roger's eyes and hands blocked by the fluttering paper...the newspaper flies out of his hands. Cut to view of the city where we see the separated pages of the newspaper fly out into the distance.>
ROGER: In a world I used to be in, all memories and all records of events prior to forty years ago had vanished.
<Cut to closeup of Roger's eyes and his hand clutching his face.>
ROGER: From that point on, maybe, (cut to back of Roger sitting on bench as camera pans upwards to view Roger's shadow on the floor) we had been portraying people other than ourselves. (Cut to side view of Roger's head (closeup and his hand clutching his face and eyes mainly) My history...the history of a man named Roger Smith. Was (cut to opposite side) nothing but boring. Raised in an orphanage but gained an education (cut to scenes from R-D...pan upward of doctor with blood stains on his white coat) due to an affluent (cut to basket of tomatoes with Roger's reflection on their faces (from R-D)) foster family. (Cut to another familiar scene of memory children looking toward camera, cut to extreme closeup of eye as it blinks with red barcode in its reflection) Memories....
<Cut to wide shot of stream and Roger sitting on the bench on the other side. A streetlight reflects off the water's surface.>
ROGER: Those lonesome, false shackles! I wish they just (Roger lies down on bench clenching his head and coruching over)....go away! (Cut to newspaper underneath water surface as the water rocks back and forth gently. Fade to black.)
<Cut to front shot of the street and a theatre, cars drive by. Cut to inside theatre...we see Roger sitting, looking sad, in a theatre seat in the back and a guy, looking bored, out in front of him. The projector lights bounce off the room. Cut to scene from "Winternight Phantom" we see the woman in the trench coat fall on the dock from a gunshot and its snowing. We see an officer lift up the limp body with his face darkened.>
<Cut to closeup of Roger's face as he then notices something down in front. Cut to view from back of theatre to front row seats. In the front row sits a woman with a black hat, holding a red balloon. Cut to Roger's face staring forward with no emotion. Cut to hanging decoration of a chime with a cross on it. Cut to wet street floor where we see Roger's feet splashing through the puddles as it rains.>
ROGER: Just as I don't know this city...(side view of Roger walking with his head down and eyes closed, dripping wet form the rain.)...it in return doesn't know me. (Cut to overhead view of Roger walking through the rain with a brown trenchcoat and the camera follows his movement down) I'm nothing but a man whose existence has no value and menaing in this place. (Two guys pass by holding a black umbrella. The one on the far left bumps into Roger. Roger stumbles and falls).
<Cut to street floor where we see Roger fall into a puddle and he then looks up at the people who collided with him. Cut to street where we see the back of the two guys running off, the guy who bumped into Roger turns around.>
STRANGER: Watch it! Buddy. (He then runs off into the distance and we hear laughter)
<Cut to front shot of Roger on the ground. He starts to get up but looks up at the sky. Cut to upward shot of the rain as it falls right toward the camera.
ROGER: (Cut to Roger Smith medium shot as camera pans across. His coat is drenched and he looks down) Paradigm city negotiator...the man named Roger Smith. (Camera begins to pan up) The man who would team up with Big O. I was only an actor who played those parts. If those roles were taken away...I would have no reason to exist. (Bright headlights shine behind Roger)
<Cut to fornt view of Roger as we see the car in full shining its headlights on Roger. Cut to closep of car door side view as the black door opens (Roger is in the back staring) and the legs of woman step out. Cut to Roger who stands up and shields his eyes with his right hand. Cut to the side of the car with a bright background. We see a woman in uniform approaching from the light...it is Angel in a military police uniform. Cut to Roger as the figure arrives to the right of the screen and he lowers his hand to see this figure. Cut to closeup of Angel's head...she wears a police cap and her hair is tied into a ponytail. The light decreases and we see that it is her.>
<Cut to Roger Smith who smirks some.>
ROGER: Well...what do you know. There's an angel I hear too.
<Cut to front view of Angel's face with Roger's head off to the side.>
ANGEL: I'd rather you not call me strange names, Major.
<Cut to closeup of Roger's face with a look of great surprise and wide eyes.>
ROGER: What did you just...call me?
<Cut to Angel as camera pans up to her face, she is smiling>
ANGEL: Have you forgotten me as well?
<Cut to closeup of Roger's face, still surprised. But he then begins to smirk.>
ROGER: What role are you playing now? And what's the name you've come up with this time, Angel?
<Cut to front view of Angel with Roger's head at the side, Angel looks frustrated.>
ANGEL: I really don't appreciate you calling me that, Major.
ROGER: So I'm playing a soldier this time, am I?
(Angel groans)
<Cut to front view of Roger as he bows his head and laughs hysterically with his head on his face. Cut to closeup of Angel's face...she looks at him sternly. Cut to side view of car's tires...spinning in the dirt and water. Cut to inside of car and view from back seat. The windshield wiper move back and forth and we see Roger in the backseat and Angel driving. Cut to front view of back seat with Roger layin back.>
ROGER: So what kind of drama are creating here? I'm to play a soldier, right? And don't tell me I turn my gun on innocent children on the battlefield. (his right hand forms a gun).
<Cut to back of Angel's head but we see her eye in the mirror looking back at Roger.>
ANGEL: My, what a pleasant imagination you have. Tell me, were you really that afraid of reawakening...it? (Roger gasps in the back and leans forward some)
<Cut to closeup of Roger's face as he leans forward.>
ROGER: What do you mean afraid?
<Back shot of the two as they enter the orange-lighted tunnel, gradually heading in a downward direction. Front view of the car as it makes a turn in the tunnel. Cuts to a closeup of the back of the car where you can see Roger turn around and look out the back windshield as the lights reflect off the car.>
<Slow creepy piano tune starts as it cuts to the back seat, side view of Roger's face. He has a look of concern...as it cuts to a shot of the side windows and you seat the walls of the tunnel passing by. Cut to his hands in his lap...they are clenched and shaking against his legs. Cut to a closeup, side view of Roger's face again.>
ROGER: Not all memories are pleasant ones...(as the camera slowly zooms in on his face, which has sweat drops and his teeth are gritting.) Among my memories which I myself already know to be uncertain, the most unpleasant of all is starting to reawaken. This emotion that i'm feeling right now...its so primal...so logical...an emotion i never wanted to feel again. A feeling of terror...a feeling i don't want to admit to having.
<Cut to a closeup of Angel's right eye as its shifted>
ANGEL: Are you all right?
<Cut to closeup of roger's side face again>
ROGER: Tell me where it is you are taking me?
<Cut to closeup of Angel's mouth (lower half of face)>
ANGEL: To where you used to come from.
<Closeup of Roger's chin/throat...as he gulps>
<Cut to shaft from "Underground Terror" episode...it looks downward into the darkness with a flashlight beam on the ladder as debris falls down the shaft. Cut to when Roger was stepping down those ladders...closeup of his feet as they step on each bar down the shaft. Creepy violin tune increases in speed as he continues down the shaft.>
<Black and white view of Roger when he fell off the ladder in "Underground Terror" on his side. He shivers and it cuts to his eye pupil as it shrinks in size shaking.>
<Cut to black and white shot of a comic book page...shows a scene just out of Underground Terror..with the Big O Archetype hovering over Roger. Speech bubble out of Roger saying "Goodness..." and two spotlights next to Roger illuminate the Megadeus in the scene.>
<Cut to car scene again...closeup of Roger's mouth as he gasps and leans forward some.>
ROGER: Please....Stop.
<Roger leans forward against back of driver seat with head down and arms on the head rest. Cut to Angels mouth area again.>
ANGEL: Do you want to run away again?
<Shot of Roger's head looking down at the floor.>
ROGER: Me? Run away? <He raises his head to look at Angel from the back seat> I ran away? <He gasps! Loud beat dramatic noise>
<Cuts to where Angel was driving but instead there is now Roger Smith in his black suit...straing angrily toward the back seat. The camera zooms out as we see he is driving now.>
<Cut to tunnel again as we see the back of the car turning and going down the orange tunnel again...with the bright orange lights passing by and reflecting off of the car.>
ROGER: <Creepy music going to a promising, light-hearted theme> I understand now...The thing i should be fighting is the terror inside of me. Something i have always been afraid of. And yet I have never admitted to myself to have existed.
<Cut to Roger's face from the side again but with a black background.>
ROGER: Pretending not to see.
<Cut to the opposite side view of Roger with same black background.>
ROGER: What I should...(cut to front view of his face...with determined eyes and a stern look)...fight against.
<Cut to Dorothy's face closeup (the human Dorthy i believe)>
DOROTHY: Roger Smith.
<Cut to Roger in the trench coat again but out on the sidewalk, standing, in the daylight of the city, peering forward. Full view of body. Cut to same view but opposite side...with Dorothy standing across from him in her red dress (from the Nightin Gale date). Cut to upper body shot of Roger from the diagonal side....>
ROGER: And you are R. Dorothy Wayneright.
<Cut to opposite view with Dorothy at diagonal side as she looks..with no emotion towards Roger. Cut to side view (long view) of both of them as they stand like somewhat far apart on the sidewalk>
ROGER: You called me Roger Smith just now...didnt you Dorothy.
<Cut to lower body shot of Roger in trench coat from the side...but we see his reflection in the store browsing window. This reflection however is that of Roger in the black suit, as a negotiator and not as a bum..with a shot of his head.>
ROGER: And is it appropriate for me to play Roger Smith?
<Cut to opposite shot with Dorothy..same setup. Dorothy in red dress on the side...with Dorothy in her black dress in the store window relfection.
DOROTHY: You said play...but thats ridiculous. You are not an actor, Roger Smith.
<Cut to closeup of upper body shot of Roger(bum form) as camera zooms in. He is smirking/smiling.>
ROGER: Yes...that is right. R. Dorothy Wayneright
<Cut to closeup of real Dorothy's face...still no emotion..as camera zooms in>
<Cut to Roger as camera zooms in and then out.>
ROGER: As long as you keep calling me that name....(Roger grabs trench coat and throws it off...revealing he was wearing the black suit underneath) I'll be Roger Smith!
<Cut to closeup of Dorothy's face..no emotion...her hair blowing in the wind>
<Roger outstretches arm and rolls up sleeve and brings wrist to his mouth.>
ROGER: Big O!!!
<Cut to the audience (like theatre seats)...Alex Rosewater, Angel, Schwarzwald, Big Ear, Norman, Dastun, Beck, Tim Wayneright, and some extras sit int he theatre seats as if watching a play. Their faces are blackened.>
<Cut to the watch dial that Roger has...the blue rings shrink to signal Big O.>
ROGER: Showwwtime!
<Cut to back of Roger as we see Big O in the light between two buildings..facing the screen.>
<Rendition of "Sure Promise" starts. Camera pans up Big O's body. Cut to closeup of Roger's eyes. Cut to closeup of Big O's eyes. >
<Cut to closeup of Roger's mouth>
ROGER: Action!
<Cut to closeup of Big O's eyes as they light up blue.>
<Cut back to the fight scene as was in the beginning. We see Roger's arm on the joystick with the tomatoes all around...but the tomatoes disappear and instead Dorothy's hand fades back in..still holding on to Roger's hand and the joystick.>
<Explosion of sparks as we see one of the foreign Megadeuses...with the big Jaw....stumble backwards. Cut to Big O with one arm as in slow-mo we see the end of him swinging his arm and the other two megadeuses fallin back as well. Distant shot of Big O and the megadeuses from the docks as we still see the megadeuses falling back.>
<Cut to a shot of the sky...its cloudy and snowing...but suddenly the snow disappears and beams of sunlight come through the clouds. Cut to forn shot of Big O as camera zooms in. Cut to shot of the pilot chamber on Big O as camera zooms in. and the chamber opens up. Zooms in on Roger and Dorothy in the cockpit. Quickly zooms in on Roger's face.>
<Cut to shots of the megadeuses rising from the water again as we see a glimpse of Big O's lower body from the water surface. Camera pans left as the megadeuses stand there..surrounding Big O...and as the sunlight continues to shine down. Big O crouches some into some kind of stance.>
<Several spikes extrude out of the waste of Big O>
DASTUN: (Back of his head...he turns and faces the camera) All personel fall back!
<Cut to closeup of tire peeling out with smoke.>
DASTUN: You heard me...fall back! (Dastun waves them to go as the police vehicles drive quickly past him. Dastun jumps on the side of one as it passes by)
<Cut to a dial on the console in the cockpit..a button lower and another pops up with little arrows arranged in a circle...representing the spikes on the waist...light up red.>
<Cut to Roger's face with gritting teeth. Camera zooms out and he slams his right fist down on the button. Wide shot of Big O with the surrounding Megadeuses...the spikes fly out (they are the grappling hooks that Big O used in "Enemy is Another Big to escape the blast and hook onto the celing and onto Big Duo) with chains attach and they blow right through the megadeuses on all sides. Closeup of one of the grappling hooks as it jets with two thrusters on the back, hooked by a chain and flying over the water. It skims the water and crashes into a dock side. Another grapple hits the side of a boat. Another hits a tower. and another hits a bunch of barrels.>
<Wide shot of the ring of Megadeuses and other the damage the grapples caused all around with rising smoke. A ring of smoke. The smoke clears and there is a sem-close shot of the pilot chamber of Big O. Roger stands on the edge with his arms folded and Dorothy standing behind him. >
ROGER: My name is Roger Smith. In this city that has lost its memory. I am a negotiator. (cut to side of Roger's face as he turns to the camera and off to the side and smirks, staring at Dorothy. Cut to Dorothy as she stands there...no evident emotion.>
<Cut to Alex Rosewater's hand holding a tomato...>
ALEX: Hmm...let us have the military police retrieve our three gifts from abroad (we see the back of Alex and the window he is staring out of with the scene of the action and then he turns and throws the tomato at the camera. Skinny man in striped tuxedo with black hat (with red ribbon) cacthes the tomato quickly. His eyes are blackend and his face is white and his lips red like the Joker.>
GUY: Your wish is my command. (closeup of his face...he holds tomato in front of it with Alex's reflection on tomato face.) (He snickers)
<Cut to scene of the megadeuses as they sit there smoking...broken...in the distance we see Big O levaing the scene. Camera pans right over the destroyed megadeuses. CUT TO CLOSEUP OF THE MEGADEUS WITH THE BIG MOUTH...THERE IS AN OPENING IN THE FACE THAT ALLOWS THE VIEWER TO SEE INTO THE INSIDE OF THE MEGADEUS..WE SEE BIG FAU'S FACE..INSIDE OF THE MEGADEUS..AS IF HIDDEN INSIDE. Big Fau's eyes blink green. Fade to Alex Rosewater's face grinning. He smirks even more. Cut to Big O's head as it bounces up and down while walking. >
<Cut to side shot of Angel on a pedestal from a ways back as Big O passes to her right...moving to the right of the screen as she stands there facing forward. She turns her head to behind her and WE SEE TEARS COME FROM HER EYES. >

to be continued

Same ending as first season...
Same telephone ring at the end with "Negotiation with the Dead" title
 
-   -   -