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Episode 15 Script: "Negotiation with the Dead"

Second New Opening but to the "Big-O" theme instead
TITLES: Planning Sunrise Inc.
Created By Hajime Yatate
Concept Art Supervisor Keiichi Sato
Written By Chiaki J. Konaka
Kazuyoshi Katayama
Character/Mechanical Designs Keiichi Sato
Music Toshihiko Sahashi
Opening Theme Song "Big-O"
-Composed by Rui Nagai
-Arranged by Rui Nagai
-Performed by Rui Nagai
Music Producer Keiichi Nozaki
(Victor Entertainment)
Art Designs Hajime Sato
Art Director Masaru Ota
Color Design Tomoe Nakazato
Director of Photography Susumu Fukushi
Editor Shigeyuki Yamamori
(Jay Film Co., Ltd.)
Sound Director Youta Tsuruta
Director Kazuyoshi Katayama
Producers Kenji Uchida
Chieo Ohashi
Tsutomu Sugita
Co-produced By Cartoon Network
Produced By Sunrise Inc.
Bandai Visual Co., Ltd.


<Cut to shot from below of the clocktower with a cloudy sky above.>
ROGER: This city, Paradigm City, (Cut to front view of the clocktower's top...we see the large hole where the dial should be but instead we see through it and at the buildings in the background. The camera pans right across the screen slowly. You also hear Dorothy playing a fast piano tune in the back)...is a city of Amnesia. One day 40 years ago, every human (cut to closeup of the piano keys and Dorothy's fingers as they scroll across hitting the keys gently but quickly) and every robot here, (cut to front view of the top of Roger's home (or some other building) slightly enlighted by light in the sky) lost all memory of all events, everything that happened prior to that day.
TITLE: Act 15
Negotiation with the Dead

<Cut to balcony at Roger's home...snow lies peacefully on a bush and on the surfaces of a column while underneath an entrance with a stone sun design stands Roger, in his black bathrobe, looking tired and grasping onto a pillow in his left arm>
ROGER: But just like nightmares...(Cut to Roger from side view closeup of his body, camera pans up as he stares blankly to the left outside the window to the outside with droopy eyes and a frustrated look. He holds the yellow pillow in his arms still) memories can appear when you least expect them.
<Cut to closeup of piano keys and Dorothy's fingers as she finishes up the end of her tune slowly. Cut to front view of Dorothy's upper body above the piano. She has a white cleaning cap on, a white blouse and cleaning apron and a broom and a mop dangling out from behind her. Dorothy, with once closed eyes, raises her head after she stops playing and opens her eyes. Roger groans. Cut to wide shot of the living room...we see Roger's back as he stares out the wide window behind the piano and to his left we Dorothy on the black piano in her cleaning outfit. Two yellow sofas and a lamp stand in the foreground.>
ROGER: What on earth are you wearing?
DOROTHY: I was helping Norman with his repair-work on Big-O, that's why I am dressed like this.

<Cut to semi-closeup shot of Dorothy sitting down looking forward, camera pans up and we get a glimpse of her cleaning outfit, apron and all. She has black smudges on her apron and her hands are folded in her lap. As the camera pans to her face we see a stern look and movement slows down as we see her face.>
ROGER: I appreciate that Dorothy but it's not necessary for you to come up dressed like that, start playing the piano, and wake me up.
DOROTHY: It's a tradition, Roger.

<Cut to closeup of Roger's face as he turns his head towards Dorothy with a strict look and raises his right hand to point forward towards Dorothy.>
ROGER: You're right Dorothy...traditions are very important to us. (With eyes closed, he lowers his hand and makes his hand into a chopping motion that slightly waves next to his wave.) But under no circumstances must they dictate a person's actions.
<Cut to closeup shot of Dorothy from the front view as she stares straight forward sternly and as the camera slowly zooms in on her.>
ROGER: Traditions and rules are different. For example, I, myself, like to sleep well into (Cut to closeup shot of clock face as the minute hand moves to the 12 o'clock position. Soon the time reads 9 in the morning and when the hour turns Dorothy interrupts this line) the afternoon from time to time without...
DOROTHY: Roger.
(Clock chimes)
<Cut to the same wide shot of the living room again as Roger lowers his hand and continues to stare at Dorothy from the window>
ROGER: (groaning)What?
DOROTHY:
(She turns towards the off-stage direction)I believe you have a visitor.
ROGER: A visitor?
(Roger turns his head towards the camera)
DOROTHY: Norman can't see to it right now, I'll go check. (she picks up her brush and bucket and stands up beginning to walk)
<Cut to off center, nearly front view of Roger as he stands there staring forward and Dorothy's lower body walks from left to right across the screen with supplies in hand. Roger turns his head towards her as she exits.
ROGER: (quickly turns towards her direction and thrust his right arm up pointing straight at her as she leaves. His robe sways in the action.) Listen Dorothy! I have a rule about letting people into this mansion!
DOROTHY: I know you do.
ROGER: Dah(sorta like a gasp)

<Roger lowers his arm and groans as he puts both arms on his hips. Cut to side view of Norman standing on a lifting platform with both hands on two joysticks on a console in front of him. He looks straight up as the lift raises but slow enough for the camera panning upward to catch up to Norman's face in time. Norman ha a black helmet thing on. Cut to wide shot of Big O leaning back and without a right arm as we see Norman's lift with a blinking reddish light move right to the joint. Cut to back view of the lift as we see Norman's back from a little distance and Big O's new arm attached to the lift. Two lifts are on the lift flashing orange around. Cut to closeup of the hole where Big O's arm is missing. As Norman's head raises to eye level with the hole, the new arm makes contact when these pistons link up with each other and the arm pulls together with the joint while Norman stands behind it in a close shot. Machine noises and lock noises stop as we cut to the same wide shot again of Big O but with the new arm attached and the lift attached to the arm, as the camera very slowly zooms out.
ROGER: (Cut to fornt view of Kelly Fitzgerald sitting on a purple sofa as the camera zooms out to show what she looks like. She is an older woman with curly brown hair, a narrow, long head with a slightly big nose. She has a pair of eye glasses. Her skinny figure wears a white dress with a grey top and she sits with her hands in her lap. As the camera zooms out we get a glimpse of the table before here with two tea cups placed on its surface (all in the color of black)) The rules I have set down, are that only women may be led into this mansion without my permission. (Cut to close shot of Roger's face as he looks to the right of screen, blankly at this woman. He then turns his eyes to the left, towards the entrance of the house. There is a quick shot of the entrance from the inside as we see two guards in black suits with dark glasses guarding the door from the inside and four other suited men at each of the four doors of a black car out at the curb in front of the home, standing around.) Rules are rules. (He turns his eyes back towards the woman at the same close shot) Dorothy followed those rules all right. (As he says this line a cut to closeup of Kelly's face as she stares to the left at Roger with a big golden ring for an earring and a stern look on her face.)
<Cut to Roger, front view, on the sofa, he gasps as the camera zooms out with open arms and then he turns to his right (where the yellow pillow is laying) and pushes the pillow so that it is behind his back.>
ROGER: Now...(as he lifts his right hand up) the name is Mrs. Fitzgerald, correct? (He lowers his hand down) What is it that brought you here today...how may I be of service to you?
<Cut to same close shot of Kelly's face as she looks sternly back at Roger>
KELLY: You can call me Kelly, Mr. Roger Smith.
<Cut to Roger's face closeup from diagonal side as he backs his head away some. His teeth are gritting a little.>
KELLY: Paradigm City's top negotiator.
<Cut to closeup of Kelly's face again as she talks her eyes close and her head bows down some.>
KELLY: Naturally I'd like to hire you to do a negotiation.
<Cut to view from behind Kelly's sofa...we see the left side of the back of her head and we see the upper body of Roger Smith as he stares forward. The couch blocks the rest of the view.>
ROGER: Before you go into any details, might I first ask who I will be negotiating with?
<Cut to closeup of Kelly's mouth and nose as she has a solemn frown.>
KELLY: An assassin.
<Cut to extreme closeup of Roger's eyes as they squint slightly in surprise. The camera slowly zooms in on his eyes as the slow, mysterious piano tune plays.>
KELLY: (Cut to full screen picture of a man slightly waving in a business suit (black and white photos) and then suddenly photos of other senators (black and wide) appear next to each other (smaller in size) forming a border on top of the main picture going clockwise until the whole screen is filled with different senator pictures.) My Husband, Rosco Fitzgerald, is a member of the Senate. (Cut to old scenes from "Winternight Phantom"...closeup of Rosco Fitzgerald as he lowers his raised hands in awe of something in front of him. Cut to closeup of a toy robot as he tries to lay his hand on the toy robot when suddenly it shudders and grows bright...Rosco's hand backs away. The screen flashes. (All of these flashbacks are in black and white)) His friends were assassinated, one after another. (Cut to stage where we see a guard helping the old senator Fitzgerald up at the podium and another standing by looking alert for danger. They all look up...cut to broken hole in a wall as we see the giant version of the toy robot Eumenides walking forward with glowing eyes, while a plume of smoke passes below it. Cut to explosion in middle of the street with smoke coming out. Firfighters stand at the side spraying water on top of it while police vehicles and cars lay on their sides in the back. The camera zooms out. Cut to closeup of upper body of Eumenides as it strolls forward(actually to the left of the screem) and the camera pans left.)
<Cut to side view of Roger and Kelly staring at each other. A giant hourglass pours grey sand down right in front of us on a table.>
KELLY: Why can't the old men who tried to bring order to Paradigm City forty years ago find any peace? I can't imagine why anybody had any reason to kill him.
ROGER:
(leans forward with hand gesture) I'd say...because the members of the Senate are trying to hide something...probably some memory they had prior to forty years ago.
<Cut to side view, extreme closeup of Kelly's eyes as she squints, kind of displeased with that answer. Cut back to side view wide shot of the two talking.>
ROGER: (Stumbles a little) There are those who think that at any rate.
<Cut to extreme closeup side view of Roger's eyes.>
ROGER: However, the military police have already dealt with the assassin.(shuts his eyes)
<Cuts to scene from "Winternight Phantom" (black and white)...wide shot of assassin on dock and Dastun on far right. Cut to closeup of the woman with a trigger joystick in her right hand, raised up, as the camera zooms in for her ready to push the button. Cut to opposite view for Dastun as he has his gun up and the camera zooms in as he squints some ready to fire at her. Cut to extreme closeup of sideview for the gun as it fires a shot. Cut back to wide shot of Roger and Kelly talking. There's a four second pause there. Cut to extreme closeup of Kelly's hands resting in her lap. She has a golden bracelet on her left hand and a bright, shiny, golden wedding ring on her left index finger. She holds a pink hankerchief in her lap.>
KELLY: My husband was killed after that.
<Cut to front view of Roger with wide eyes as he has a look of shock with an open mouth, his head perks up as the camera zooms out.>
ROGER: *gasps* Just one moment! (Roger leans forward with his left hand gesturing, staring straight into the camera) Unless I'm mistaken, didn't you come here today to ask me to protect your husband from an assassin?
<Cut to extreme closeup of Kelly's eyes. We see Roger in both reflections on her glass lenses as her green eyes stare emotionless straight forward.>
KELLY: That's right...I did.
<Cut to wide shot of Paradigm City and of the domes as the camera slowly pans left across the view with a gloomy sky overhead. Wind is heard picking up. On the dome we see a large golden belt stretching across the top of the dome. Cut to inside this dome...the belt seems to hold an artificial sun above the inside of the dome. We see a shot from below looking straight up towards this bright sun, with tree branches at the sides and the dome plating still visible on the ceiling but with a clear blue sky. We hear birds chirping. Cut to wide shot of a large yellow mansion with a blue roof. Roger's sedan is parked out in front. The camera zooms out to show the green landscape and the entrance fence.>
<Cut to bookcase, where one wall of this bookcase extrudes like a door (front view). The extruding book case backs in and separates vertically in half before retreating at the sides. Behind this secret door Kelly, Roger and Dorothy stand in the doorway.>
KELLY: This way...please. (As she lifts her dress slightly and proceeds forward.)
<Cut to side view of the circular room...it seems bookcases surround the room on all walls. There is some frame-like structure in the back of this shot as we see Kelly walk from the right of the screen to the left. The carpet on the floor has a red sun with purple surrounding it. We hear the door closing as we briefly see Roger walking right behind her. Cut to side view of the ceiling (window like structure) as the camera pans down to waist level. We see Roger and Dorothy walk forward and then stop. Cut to side view of Dorothy's face as she looks forward.>
KELLY: Allow me to introduce you...Roger Smith, this is my husband. (She says as she stands to the left of an old man in a wheel chair. They both are positioned in the shadow of the room and the man's eyes are hidden by shadows as well. He wears a yellow blanket over his legs (front view)).
ROGER: (Cut to view behind Kelly where Roger and Dorothy face forward and we see only the backs of Kelly and this man) Your husband?
<Cut to closeup of Rosco's face. He has blonde, short and wavy hair. His eyes are still blackened by the shadow but we see from his face he is just as old as Kelly and he wears a green coat.>
ROSCO: Please to meet you, Mr. Negotiator. Welcome to the study of the dead.
<Cut to front view of Roger and Dorothy at upper body level>
ROGER: I had heard that you were dead, is that right?
<Cut to closeup of Rosco's face...eyes still blacked.
ROSCO: Yes...or to be more precise...the alter-egos of all the senators.
<Cut to front view of Roger as he opens his mouth in awe and the camera zooms in on his face.>
ROGER: Ah? I beg your pardon?
ROSCO:
(Cut to closeup of the photos Dan Dastun showed Roger of the RD murders. The camera pans right (black and white shot) as we see the man dead leaning against the driving wheel in the first picture.) Those youngsters were killed in cold blood, one by one. (A woman in a towel (on her head as well wearing a nighttime mask) laying in blood in the second picture. Finally the Nightin Gale girl with her head down and her hair covering her face with a smashed mirror in the back in the third picture.)
ROGER: Yes...(as it cuts to closeup of Rosco's face again with shadow covering his eyes as camera pans down) I'm familiar with the incident.
<After a few second pause, Rosco raises his head and his brown, sad eyes gleam throught he shadows>
ROSCO: Why do you suppose they were killed, Mr. Smith?
ROGER:
(Cut to side view of Roger's head as camera pans right slowly over it while he talks) The story that I heard was that each one of them had told people around them that they had recovered memories of forty years ago.
ROSCO:
(Cut to head level view (side view) of Rosco as he talks and we see Kelly next to him at waist level as the camera pans left slowly. Rosco's eyes are covered by shadows again.) Isn't it terrible? Youngsters barely in their twenties couldn't possibly have all those memories form forty years ago. Obviously those memories did not belong to the youngsters.
<Cut to top view of the circular study as it spins around...we get a clear glimpse of the sun pattern on the carpet floor as it rotates with the room.>
ROGER: So what you're telling me is...the memories of those murdered young people...are really the memories that belong to all of you senators?
ROSCO: Do you really suppose there's some value to our rusty
(cut to front view of Roger and Dorothy but to the backs of Kelly and Rosco, the view is behind them) old memories? Who is it that would be so fixated on these memories that we are ourselves are unable to revive?
<Cut to closeup front view of Roger's face staring straight into the camera.>
ROGER: The assassin who had killed all those people back then...is no longer living in Paradigm City.
<Cut to side view of Dorothy's face closeup>
DOROTHY: R...D
<Cut to flashback from "R-D" episode where we see closeup of RD with gun pointed toward camera as with a twisted smile she yelps out.>
R-D: Rooooggger!!!!
<Cut to rubble lifting upwards as we see R-D in the back being lifted quickly underneath the rubble as Roger stands with his back to us looking on. Cut to closeup of RD looking down as the lift sends her farther up. Screaming she shoots down below her twice before the lift makes contact with the ceiling and crushes her.>
<Cut to closeup of Rosco's hand (side view) on wheel chair arm. Kelly places her hand on top of his hand. She then kneels beside him and turns to stare at him in the face with a smile and love in her eyes>
KELLY: However rusty they may be, your memories are real and belong to you, Rosco. It's natural you cherish them.
<Cut to off side view of Rosco in his wheel chair (his eyes are hidden) with Kelly's back to us, as she holds onto his hand.
ROSCO: Thank you , Kelly. We both had to endure more than our share over the years haven't we?
<Cut to closeup of Kelly's face as she smirks/smiles and tilts her head, giving out a lovely sort of sigh. Cut to Rosco's face closeup from off side...we see his large, gleaming eyes staring straight forward with little emotion in them.>
ROSCO: One thing I am not mistaken about was that the assassin was an android. But what I still can't figure out is did the android awaken on her own and act on her own? If that's the case then we will never know the truth.
<Fade to closeup of Roger's face looking to the left.>
ROGER: Unless of course there was someone who had deliberately awaken the killer android.
<Cut to front view of Kelly and Rosco and Rosco writes on a check and rips it off before handing it to Kelly, who is now standing and looking down at him. She grabs it. Cut to front view of Roger and Dorothy as Kelly walks with the check in both hands to them. Roger opens his eyes wider for an instance and takes the check in his right hand examining it.>
The check says: Bank of Paradigm 300247
Pay to the order of ________$ $$30.85______
Your Financial Institution Dollars__________
Anytown, USA 21778
Memo ______________ __Rosco Fitzgerald___
146048322 9440689322184

<Cut to closeup of Roger's upper body with check in hand as he slips it inside his jacket and looks up back at the two.>
ROGER: Well then I'll need to find out who I will be negotiating with, won't I?
<Cut to solo shot (front) of Rosco in his wheel chair in the darkness staring forward (not a sount). Cut to extreme closeup of Dorothy's eyes from the side as she stares with wide eyes towards Rosco. The camera zooms in slightly.>
<Cut to front view of Roger's sedan as it slowly takes the curved road forward towards the screen with a dome in the back and streetlights passing by fast. Cut to inside the car form off to the right side of Roger we see an upper body shot of Roger. Looking forward while driving. He then shifts his eyes over to look at Dorothy as the camera pans slowly left.>
ROGER: R-D...(Cut to side view of Dorothy...camera pans up from her legs to her face staring out the window as buildings pass by)...an android that looked just like Dorothy. And one that is able to kill.
<Cut to extreme closeup of Roger's eyes as he continues to stare at Dorothy with squinted eyes. Camera pans very slowly to the left. Cut to low shot of the curb as the Griffon (Roger's car) pulls up (side view) and stops in front of the camera (closeup of bumper and tires). We see the reflection of the opposite building on the car door itself. Cut to inside the SpeakEasy...medium shot of the bar counter where the old bartender, cleaning a mug with a rag, hears the door open and turns toward the camera. Meanwhile the other customers at the counter just mind their own business hunched over. The bartender raises his eyes in a little bit of surprise. (Enter guitar theme).>
<Cut to medium shot (upper body shot of Roger) from inside the SpeakEasy as the door opens and Roger walks in, staring briefly at Dorothy before staring forward again. Dorothy walks in right behind him. She grabs the door and properly closes it. Cut to front view of the bar counter. The bartender looks at Dorothy with surprised eyes still, forgetting that he was cleaning the mug. (Assume that a woman hasn't entered in this bar in a lonnnng while). Roger walks to the left side of the screen as Dorothy follows.
BIG EAR: It's pretty unusual for you (Cut to back of newspaper closeup as it folds down and reveals closeup of Big Ear's face...as he stares down at the bottom of the newspaper. The newspaper conceals his mouth in this closeup) to bring a woman here....Negotiator.
<Cut to front view of Big Ear on the far left sitting down with a newspaper in hand, next to him a table with a drink on it, next to it Roger sitting on his usual chair, next to that on the far right is Dorothy standing in front of a table starign forward. Roger has his legs crosses and arms folded.>
ROGER: (sigh) Ya see? That's why I didn't want to bring you along. (He puts his right elbow on the table and raises his left hand to gesture Dorothy as he stares at her) Dorothy...it would be much better if you would wait in the car.
<Cut to shot from below looking up towards the rotating ceiling fan and Dorothy's upper body as she continues to stare off to the left, towards the bar counter.>
DOROTHY: There are things that I want to learn.
<Cut to side view of Roger and Big Ear...Big Ear still stares down at his newspaper while Roger raises his right hand and nods his head to gesture Big Ear...."hmpf"....he mutters...before he folds his arms in again.>
BIG EAR: So what exactly did you hope to find out, Negotiator? The city has been pretty quiet, recently.
<Roger raises his head some and looks towards the counter again.>
ROGER: (camera zooms in on Roger's face) This isn't about anything recent.
<Cut to old "R-D" scene...body shot of RD as she pulls out a gun from her wicker basket in her left arm, wearing that red cloak. Cut to black and white scene of the Nightin Gale girl murdered...sitting down with her hair over her face and blood dripping down on the wall behind her with the mirror cracked. The camera pans up to see "Cast in the Name of God Ye Not Guilty". We see the owner and two other girls rush in to the room entrance through the mirror's reflection. Cut to scene of another murdered victim stuffed in a locker. Camera pans down to show police officers standing around (tight shot though) and a pair of legs hanging out of the locker with a pool of blood around the area. Cut to still shot of the taxi driver with his head against the wheel (side view) and his window cracked open with the same message imprinted on the window as it rains.>
<Fade back to top view of all three of them...the shot is behind the ceiling fan so the fan rotates and blocks our view continuously.>
ROGER: The question now is...when was that android built? Was it recently? Or maybe...
BIG EAR: It might just be that forty years ago androids that looked just like humans were not unusual at all
(Cut to behind shot of Dorothy from below...we see her whole body from behind) and lived ordinary lives alongside humans. (Cut to side view closeup of Roger's face and Big Ear's face in the back as they both stare forward and down) Actually...there probably isn't anyone in Paradigm City right now who could build something like that. <Pause> Aside from the man who died (Roger gasps) a while ago...(Roger eyes open with his mouth open and he turns toward the camera to look at Dorothy)
<Cut to closeup of Dorothy's head and shoulders from side view as she stares straight forward.>
ROGER: The man who died...(Cut to black and white scenes from "Dorothy Dorothy"...we see Dorothy in her red dress hiding behind Timothy Wayneright as camera pans up to his face as he talks) The one who constructed Dorothy, (Cut to inside the Nightin Gale of medium shot of one of Beck's guys as he shoots his gun from within his pocket while Wayneright opens his arm forward. Cut to closeup of the gunshot hole in the guy's pocket) as well as her megadeus alter-ego. (Cut to behind shot of Wayneright as he falls and smoke comes out of the guy's pocket. Dorothy is seen in the back on stage. Cut to behind shot of a police car and Dastun as he backs away...Dorothy-1's giant feet come crashing down beside the car, walking to the right. Cut to front view of Dorothy-1 with the giant hole in its chest...walking forward down the street. Cut to Dorothy tied up in wires on the surface of Dorothy-1's face as camera pans up to show her constricted state.)
<Cut to closeup front view of a stop light as smoke passes by. The green light facing forward switches to red on the bottom and the two lights on the side switch up from red to green. Cut to front view of Roger's windshield form the outside as we see Roger and Dorothy on the inside as the camera pans left.>
ROGER: I guess no one will ever know how Wayneright had enough memories to construct an android and a megadeus.
<Cut to back view of the Griffon stopped at the stoplight as a long, white truck passes form right to left in front of the sedan. Smoke continues to plume in the back.>
ROGER: That may always be a mystery. (Another truck begins to cross as well in the same direction) Yet...(Cut to side close view of Roger's face as he stares to the right and out at the road) I should have investigated further. It's true (Cut to opposite sideview closeup of Dorothy's face as she stares straight forward as well) I should have questioned why R-D looked just like Dorothy.
<Intercom beeping sounds as Dorothy turns her head to the left and down at the noise. Cut to closeup of the monitor screen while behind the gray background on screen blinks the word CALL. The monitor bleeps again to cut to head and shoulders view of Norman as he stares straight forward in a black and white shot.>
NORMAN: I am terribly sorry Master Roger. While working on Big-O I lost track of time.
<Cut to front view of the Griffon as we see Roger and Dorothy staring down at the screen and a large truck stopped behind Roger's car.>
ROGER: That's all right. How is he, Norman?
NORMAN: Repairs are complete.
(Cut back to closeup of the screen and of Norman again as he raises a pot up to eye level. It is steaming and he is wearing oven mitts) Incidentally...what shall I do about dinner?
<Cut to off side view of Roger with Dorothy in the back as Roger smirks and raises both arms up in a shrug>
ROGER: I'm sorry. Looks like I won't be back 'til late.
<Cut to closeup of monitor again...Norman shifts his eyes down in sadness as he lowers the pot and his shoulders some.>
NORMAN: Oh dear me that is a shame.
<Cut to front view again of the stoplight as the red light in front shifts back down to a green light. Brief sound of engine starting up. Cut to nighttime setting, low shot from the road and a front view as Roger's sedan slowly pulls toward the camera from a horizon made from the road and streetlights line the curb on the left with dark trees in the back. Roger's lights shine brighter as the car pulls forward. Crickets are heard in the back. Cut to side view of Wayneright mansion behind a brick gate with iron bars on the top. Camera pans left as a tree and streetlights passes in front of us...the mansion has some lights turned on in the windows. Cut to overhead view of windshield as we see Roger looking up and to the right, hunched over...watching the mansion as he drives by. Dorothy is also looking up toward the mansion. Cut to within the yard...back view of the front gate as we see Roger's car pull up in front of it and stop. Cut back to overhead shot of the windshielf.>
ROGER: So then this is the house where you were born.
DOROTHY: Not me, Roger.
(Roger looks down at Dorothy) This is the house where the Dorothy Wayneright that I was modeled after was born.
<Roger turns left to open his door and does so. Dorothy too turns right to open her door. They both get out. Cut to wide shot front view of the car and the front gate as Roger and Dorothy get out and look up at the mansion. The camera zooms out fast to show the large trees in the yard and how tall this mansion is.>
<Enter "Weep For" track. Cut to closeup of lobby wall as camera pans down the dirty edges until it comes upon a broken frame with shattered glass and behind it a portrait of the real Dorothy in her red dress.>
ROGER: Feeling nostalgic, Dorothy?
<Cut to overhead shot of Roger and Dorothy as they stare forward at this portrait. In this lobby a red carpet rolls down the middle of it...the tiled floor is dirty with broken pieces scattered over the ground. Short columns align to the left and right side of the middle carpet. A dark cloth hangs in our view in the top right corner.>
DOROTHY: I am grateful to Doctor Wayneright for designing me so I wouldn't have emotions like that.
<Roger begins to walk down the hallway (going right)...after a few seconds Dorothy begins to follow him. Cut to side view of golden bird cage with a golden bird (object) on a perch in the cage as Dorothy passes behind it from right to left. (We assume that this connects to the story of the Nightin Gale and the mechanical bird). Fade to front view of the mansion as camera pans up to the upper level. Cut to elevator floor dial closeup as we see the arrow slowly rotate to the far right indicating that they reached the top floor. Elevator cling sounds and cut to front view of elevator doors from outside as they open to reveal Dorothy and Roger standing, staring forward. Roger begins to walk forward.>
<Cut to front view of a golden door with a border of bolts and a handle. Camera pans quickly to the right to show a long hallway of purple cabinets (no doors) aligning the entire wall. Camera pans to the left after a pause and shows the exact same cabinet setup on the other hallway to the left. Cut to front view of Roger and Dorothy again as Roger walks forward and Dorothy follows.>
<Cut to sideview (left side) of the two from a wide shot as they both approach the golden door in front of them. Cut to sideview again (right side this time). Cut to closeup (shot from below) of the door handle as Roger reaches for it. Cut to extreme closeup of the handle with Roger's hand on it. We hear him push down. Cut to medium behind shot of Roger as he pushes down the handle with one hand but it doesn't budge. He grunts and he uses his other hand to push down on it. Dorothy sees his trouble and walks forward. Cut to extreme closeup of handle again as Dorothy places a hand on it and with one simple push she pushes the handle down. Cut to inside of the room facing the door as it opens. Roger stumbles inside toward the camera while Dorothy stands at the entrance. Cut to behind shot of Roger but front view of the room as he stumbles in and regains his balance at the edge of the light that shines through the doorway. Everything but this light is pitch black. Roger looks back to the camera at Dorothy and immediately a large spotlight is shined on him and the wall in front of him (Dorothy using her cd-tray light)>
ROGER: Dor...(camera zooms out as Roger looks forward again with the aid of light to see another door in front of him and empty smaller cabinet compartments stacked on top of each other lining the walls. Roger's large shadow is cast over the wall. (Music ends))
<Cut to side view of upper body of Roger and Dorothy as they look up at this wall...Dorothy walks up behind him with light emitting from the cd-tray on her forehead. We see the same cabinets aligning the wall to the side as well. A ladder also appears to be against this wall. >
ROGER: A scientist lived here Dorothy? (Roger looks to the wall facing us. Dorothy turns to the same direction as the spotlight follows)
<Cut to below shot of the room as the camera pans left and the spotlight moves left as well. We see the same small empty compartments (in a golden yellow) aligning these walls.>
DOROTHY: This floor is encased in 1-inch thick copper plating.
<Cut to front view of Roger and Dorothy upper body shot as we see cabinets in the back as well. They turn their heads to the right to look around.>
ROGER: Do you know what for?
DOROTHY: No. He didn't tell me anything. But it's
(Roger turns to his left to face Dorothy) obvious to me now that Doctor Wayneright (cut to closeup at an angel of one of the copper compartments with a ladder to the right of it) must have been afraid of something.
<Cut to closeup of Roger's face with dimmed light on it as he stares straight at Dorothy almost suspiciously. Cut to off side view of Dorothy's face as she stares with no emotion straight forward with the light shining above her face. Cut to shot from within a copper compartment looking outward to side view of Roger and Dorothy. Dorothy's light is shined straight toward the camera.>
ROGER: Well it doesn't look to me like it's been all that long since some (Dorothy stares forward turning right and taking away the lighting on this compartment) kind soul cleaned these rooms spotless. (Both walk forward)
<Cut to closeup of Roger's feet as a small red spotlight flashes on his left foot. Cut to small panel on the wall with a red indicator and an arrow above it. We see a red laser dim in and out (trip line) and a low buzz noise is faintly heard. Cut to off side view of the mansion wide shot with trees blocking some of the view. We hear strong wind and a fiant low buzzing alarm.>
<Cut to within the lobby front view of the front door with symbols and shapes on it. The door creaks open and someone in a red cloak (resembling R-D) enters. (Tense piano keys sound). Cut to side view (waist level) of lobby behind a grate as we see the cloaked figure proceed forward slowly. Cut to behind shot of the red cloaked figure as she heads down the red carpet with small columns and two golden cages on either side on their respected column.>
<Cut to off side view of another bolted door, Roger backs away smirking and opens his hand to gesture the door (offering Dorothy to open it for him since she did it last time). The spotlight shines on the door as Dorothy walks to it. Roger then turns his head to stare as Dorothy pushes on the handle once more and opens it easily. Cut to within the next room as the door opens (front view) and lines begins to shine in.>
<Cut to side upper body view of Dorothy at the entrance...SHE OPENS HER EYES IN SHOCK...maybe fear...and gasps. Roger walks forward with no worry while Dorothy stands there. Camera zooms in on Dorothy's startled look. Cut to a messy desk as camera slowly pans left. There are a few cabinets on this desk and some scrolls of designs with some other papers scattered. Cut to table and two engine like things....they looked wrecked but ONE RESEMBLES THE QUICK SHOT THAT FLASHED IN ACT 1 WHEN ROGER FIRST FOUND OUT THAT DOROTHY WAS AN ANDROID. Camera slowly pans left.>
<Cut to back view of the room as camera pans down to see Roger's back and these tall bars shaped to a column. Roger stands at some sort of console staring forward. A grate is in the middle of the floor and a long cable runs by. Cut to extreme closeup of Dorothy's face as she stares blankly forward. Cut to closeup of table top...we see two mechanical eyeballs on the table along with a pill, a nut, and a screwdriver. Roger's hand reaches for one of the eyeballs. He picks it up as it cuts to off side medium shot of Roger staring at the eyeball. >
ROGER: So if I had to guess (Roger stares to his left) I'd say this is where she was born. (He looks down and opens his mouth in awe).
<Cut to ground shot from off side of Roger's back in the distance as he kneels to investigate something. Dorothy on the closeup right side walks forward. She gets to the middle of the screen before we hear a ZAP. Electricity briefly shoots up and her light flickers as she sways. Cut to closeup of Dorothy's face with wide open shocked eyes and her mouth open. Her hair begins to drift up as camera pans down.>
<Cut to closeup of the floor as we see a small piece of a broken CD covered by two stones. Roger's hand removes both the stones and picks up the CD fragment. Cut to side view of Roger kneeling as he raises the piece up to eye level and looks at it. He places the CD fragment inside his jacket as the light that once was shining on him fades away. THUMP! Light shines from above and Roger hears this and turns to behind him. Cut to wide shot from behind Roger...Roger stands up and stares toward the camera.>
ROGER: Dorothy?
<Cut to side view of the cabinet hallways (entrance to copper room). We see the red cloaked figure walk to the copper room entrance. (Enter "The Storm" track) Cut to overhead shot of Roger as he runs to center of screen looking up at the light.>
ROGER: Dorothy!
<Cut to below shot of a round magnet with Dorothy pinned up with legs and arms spread and her hair straight up and back against this magnet. Camera zooms out to revela Roger staring up at her. Cut to closeup of Dorothy's face with empty eyes and frizzled hair.>
DOROTHY: (in a static-like robot voice) Ro...ger!
<Cut to closeup of the darkness as a pair of bright green eyes walk forward. The face of a crash dummy like robot walks forward with no expression or top to its head. It makes a robot walking sound. Cut to shot from within the cage and looking at Roger's back as he stares up at Dorothy. Roger turns his head to look at the camera. Cut to full body shot of the female robot dummy. It has no clothes on but walks like a human. Cut to below shot of Roger's face as he smirks and backs off some looking off screen.>
ROGER: Looks like another one's awakened.
<Cut to front view of the robot and the doorway she came out of. The bars of the cage block our view. The robot suddenly runs forward very quickly and jumps up. The camera follows its quick movement and shoots a below shot from within the cage and we see the robot jump over the structure. Cut to side view of Roger and the robot as it tries to slash Roger across the stomach with his left hand but Roger backs off in time. While crouching it slices at his head but Roger ducks quickly before it jumps over him. Roger turns around while moving back. Cut to back view of the robot as the camera pans up. It lands vertically and its head turns 180 degress as the camera pans up. Cut to quick shot of Roger medium shot as he grits his teeth and stares worried some at the robot. Cut to medium shot of robot landing and then bouncing back as it flies toward the camera. It rotates its body so that it is rightfully facing forward again. Cut to Roger front view as he backs off but with an arm raised ready to defend. Cut to closeup of the robot as camera zooms in on its face and with its arm pulling back ready to strike. It thusts its hand forward then suddenly BAM! a hole is blasted through its forehead as the robot stumbles in mid-flight. Cut to wide shot as Roger backs off in the distancer and the robot stumbles to the floor. It slouches over and then quickly stands up. BAM! a spark shoots out as another blast appears in its back. The robot turns around. Cut to front view of the entrance form ground level. We see the robots feet turn around and at the entrance we see the red cloaked figure shooting at the robot. Another shot or two are fired as the feet stumble. Cut back to off side view of Roger and robot as the robot falls backwards. It gets up some and is shot back down with a spark. Cut to side view of the cloaked figure with an arm raised and a gun firing forward. Several shots are taken adnw e see a woman's face underneath the hood as the camera pans right. Cut to front view of the robot with many holes in it as it finally collapses and we see Roger stiffened in the back looking forward.>
<Cut back to side view of the red-cloaked figure as camera pans left to her smoking gun.>
ROGER: Who's there?!?
<Cut to ground as the gun's clip falls to the ground next to a shell. As a pair of boots walk past it.>
ANGEL: Isn't it about time (Cut to front view of cloaked figure as she puts another clip into the gun and arms it walking forward) you reconsidered your no-guns policy (Cut to fornt view of Roger as he pushes back his sleeve as if ready to call Big O)......negotiator? (Two feet walk and stand in front of the screen.)
<Cut to closeup of head and shoulders of the figure as we see she has long blond hair. She puts the gun in her cloak and with one hand pushes back her cloak hood to reveal that it is ANGEL. After brushing her hair back she stares forward with a smirk.>
ROGER: Angel!
<Cut to side view Dorothy's face as she hangs from the ceiling. Cut to overhead shot of Roger and Angel as they stare at each other.>
ROGER: Part of Wayneright's legacy huh? So...(Roger turns and gestures his hand to behind him) did you forget something here and come back for it?
<Cut to behind shot of Roger upper body shot of Roger as he smiles with his hand raised and Angel stares at him sternly.>
ANGEL: Don't get the wrong idea. Wayneright's client was only...
ROGER:
(Cut to behind shot of Angel and front upper view of Roger as he turns to stare at Angel again) Someone like you? Someone who comes from a place other than Paradigm City?
<Cut to closeup side view of Angel as she backs away.>
ROGER: Is that what you were going to say?
<Angel bows her head down with closed eyes.>
ANGEL: I'm like you, a human being. It doesn't really matter where I was born or where I am now. I act entirely of my own free will.
<Cut to side view closeup of Roger's face.>
ROGER: You're free? Right...
<Cut to side view of Angel's face as she raises her head and opens with love in her eyes and a smile and says "hmpf". Cut back to Roger from side view as he smiles too and says "hmpf". Cut to extreme closeup of Dorothy's eyes as camera slowly zooms out.>
DOROTHY: Could you get me down from here anytime soon?
<Cut to below shot of the three as Angel and Roger look up at Dorothy stuck on the magnet.>
ROGER: Oh sorry Dorothy. I forgot all about you.
DOROTHY: You really are such a louse, Roger Smith.

<Cut to low shot of bridge with front view of bench, streetlights and stone wall overlooking river (we assume it's the Hudson River). Cut to overhead shot as camera pans left over the bridge with passing cars over to an open spot on the river surface. Suddenly a whirlpool begins to develop...a large whirlpool. Cut to closeup of the water as it whirls around...out of the whirling water a golden ring atop a megadeus(named Glinda) begins to emerge. The megadeus' head has a feather like crescent on its head. Cut to original front curb scene of bridge and bench...we see the robot rising up with steam. It looks to have the same chest structure as Dorothy-1 but is much leaner and elegant. It has large hips and is of a purple/yellow/grey.>
<Cut to closeup overhead of Dorothy's cd-tray ejected...Roger places the cd fragment on the tray. The tray closes and Roger removes his hand. Cut to side view of Dorothy sitting down and Angel and Roger standing next to her looking at her while Dorothy hunches over with her eyes closed. Next to a lamp>
ROGER: Is that safe Dorothy?
DOROTHY: Perhaps...

<Cut to closeup of Dorothy's head as camera pans down and a yellow/green flash appear from within tray opening. Dorothy raises her head some and with a glistening-like robot sound her eyes open blankly. Cut back to side view where Roger raises his right hand up looking worried.>
ROGER: Dorothy?
<Dorothy sits up right with eyes wide open.>
DOROTHY: (In a plain, flat voice) Generating a corresponding list of senators and young people with identical memories.
<Cut to closeup side view of Angels' and Roger's face...Roger gasps some as he backs off a little with surprised eyes.>
DOROTHY: With the exception of one pair, everyone possessing the same memories as the assassinated senators has been killed. (Roger and Angel gasp some and look at each other before staring back at Dorothy)
ROGER: The person with Rosco Fitzgerald's memories is actually still alive? Is that what you are saying?
<Cut to side view of Dorothy>
DOROTHY: There was no one sharing Rosco Fitzgerald's memories. And there never was.
<Cut back to side view of Roger and Angel's face.>
ANGEL: (leaning forward some as Roger backs away some closing his eyes) Why is Rosco the exception?
ROGER:
(opening his eyes again) Yea...why? (Roger puts his hand to his chin to indicate thinking) Why?
<Cut to side view of Dorothy again.>
DOROTHY: (she tucks her head in and the cd-tray ejects, Dorothy grabs the cd fragment and as the cd-tray closes she turns to face Roger and looking up some while holding the fragment up eye level in her hand) Because Roscoe Fitzgerald never lost his memories.
<Cut to closeup of cd fragment. We see a reflection of Roger and Angel on the reflective side with beams of colors along the face.>
ROGER: What are you saying? (we hear the beep of Roger's watch intercom)
<Cut to closeup of Roger's wrist watch with Norman on screen>
NORMAN: Master Roger, sorry to bother you. However it seems a megadeus has appeared in the upper eats side dome.
<Cut to below shot of Roger with his arm raised and looking down at his watch as he gasps and looks straight forward while lowering his hand. Camera zooms in slightly.>
ROGER: Rosco Fitzgerald!
<Cut to overhead shot of the dome with a huge plume of smoke drifting from an opening as camera pans over it. A small explosion is seen. Cut to off side view of the road closeup as we see a giant yellow boot smash down. Cut to wide shot of a house and some trees as we see Glinda towering over it walking to the left. It has two bright pink lights on its chest area and smoke trails behind it. As it walks it makes a sound like two scraps of metal scraping together. Cut to off side view of the road as several police tank vehicles with flashing blue lights drive forward.>
RADIO: The megadeus has entered the upper east side dome.
<Cut to inside (side view) of one of the police vehicles. We see Dastun sitting closest to us with his head down and his arms folded as the officer on the other side drives.>
DASTUN: Ah hell....someone tell me where this megadeus came from, will ya?
<Cut to below shot of inside the study of the dead in Rosco's home, staring up at the window ceiling. The building shakes and dust falls down toward the camera. Cut to back view of Rosco in his wheel chair as he stares out a large window in the study witnessing the damage and smoke rising. Cut to closeup front view of Rosco's face (the right half of it)...in the remaining space on the right we see the elevator doors open and Kelly stands in the entrance.
KELLY: Honey?
ROSCO: I was just thinking it looks like the negotiator you found for me has done his job just fine.
(Cut to closeup of Kelly's face as she looks solemnly forward as camera pans slowly right (off side view)) Thank you Kelly.
<Enter "Stand a Chance" track...camera zooms out from side view to see Roger's car racing down the road and wavering. Angel is in the passenger seat. Cut to front view of the windshield as camera pans left. Dorothy sits in the back of the car and Angel, with a black suit on with a pink undershirt (she dresses like Roger would) sits in the passenger seat.>
ROGER: What's the point of bringing out a megadeus now?
<Cut to off side view of the back seat where we see Dorothy staring forward with her hands in her lap.>
DOROTHY: Because you discovered that Roscoe Fitzgerald does not have an alter-ego or perhaps to get more to the point someone else has also encountered that same piece of information.
<Cut to back shot from Dorothy's perspective with Roger's back to us...Angel turns her head to left to talk straight to Dorothy.>
ANGEL: (smirking) Oh you suspect me, do you? That's not very nice.
ROGER:
(When he talks Angel turns to look at Roger on the left) If you have proof to the contrary I'd like to see it.
<Cut to side view of Angel as she looks at Roger with a disappointed look "hmmpf", she turns to stare straight forward again and folds her arms in her lap.>
ANGEL: Who do you think values Wayneright's legacy more than anyone else would, Roger Smith?
<Cut to side view of Roger as he turns his head to face Angel with a stern look of anger.>
ROGER: What did you say? (He hears an explosion and gasps with an open mouth and looks forward again)
<Cut to shot behind the car as a plume of smoke rises in the distance. Cut to a row of tank police vehicles with officers lined up with guns armed and aimed in front of them (side view of the scene). The missile launchers atop the vehicles launch a rocket each to the upper right corner with blinding orange flashes. The officers shoot their weapons as well. Cut to wide shot of trees as Glinda slows walks behind them to the left...the camera follows her movement. The missiles hit around and on her directly but seem to bounce off or have no effect. Cut to far side view of Glinda walking by as we see the lights of projectiles firing at Glinda and bouncing off. At the bottom of the screen we see a police car with two officers watching the scene.>
<Cut to closeup of the top of the police car as Dastun is hunched over looking at the scene with binoculars in his right hand raised up to eye level. He slams down his left fist on the surface and "argghs!" with gritting teeth. Cut to side upper view of Roger and Angel as camera pans right over the windshield and their faces. Cut to extreme closeup of Angel's eyes from side view.>
ANGEL: Aren't you going to call that Big (she shifts her eyes towards Roger) alter-ego of yours, Roger?
<Cut to side view of Roger as he turns and sternly and surprised a little looks at Angel. Cut to closeup of Roger's face at the right side and we see Dorothy in the back (front view) staring at him in this paused moment. Roger returns his eyes to the road when it cuts back to the side view of Roger and camera zooms in on his face. He raises his left wrist to his mouth.>
<Cut to closeup front view of Big O's face as its eyes glow suddenly and power up. Norman's head raises in front of the screen in surprise "Hmm?"...Norman turns his head around to Big O. Cut to off side overhead view of Norman on the chest plate of Big O stumbling as Big O begins to move backwards. Norman then jumps to the catwalk on his right. Cut to closeup of the catwalk as Norman lands the jump crouching and holding his hat and then turns around to face the screen. Cut to front overhead view of Big O as it lowers deep into the darkness down the escalator type device.>
<Cut to off side view of Dastun at the police car again but with a radio walkie talkie in his left hand and near his mouth. His clenched right fist is on the surface.>
DASTUN: Michaelson, fire! Force it back into the river!
<Cut to off side view of Glinda walking again as firing bounces off its armor again. Camera pans left to follow its movement. The ring atop Glinda's head glows and makes a beam sound as green rings emerge and a thick green laser beam shoots down and to the left. Cut back to off side view of the lined up tank police vehicles. The officers run away as the green beam zaps the furthest vehicles and its aim moves right across the line of vehicles to the left. Each of the vehicles turns bright red as the laser touches it. They then blow up one by one. >
DASTUN: (Cut to front closeup of Dastun's face as screams into the walkie talking in a sweat and with scared eyes) Michaelson!!!!
<Cut to behind shot of Dastun as camera pans down to show the rising smoke plume and Glinda walking away in the distance, illuminated by the fire. Dastun stares into the distance. Cut to closeup of police car surface as Dastun's right fist slams down.>
DASTUN: Damn!!! (suddenly the car and his fist begin to shake from a rumble)
<Cut to shot from below as Dastun stumbles and looks around.>
DASTUN: What the?
<Cut to road surface with fallen branches and a smashed car lay...a giant hole begins to form and crack up the surface. Suddenly a big explosion and Big O's head pops up. Cut to view of the ceiling as Big O rises in debris to stand in this space (the shot is from below). Cut to behind shot of Big O as we see on the right Glinda approaching him. Cut to behind shot of Glinda as we see Big O rising still and rumbling in smoke. Cut to side view of the two facing each other in wide shot as a small tower monument stands in the center of the scene. (Stand a Chance ends)>
<Cut to off side view of Dastun and top of police car as he stares off screen. His mouth is wide open and so are his eyes, filled with surprise. He smiles and inhales a sign of relief...suddenly he realizes something and his smile goes back down to a frown as he lowers his head and grits his teeth with angry eyes.>
DASTUN: (angrily) ohh...You got to be kidding me. Not again!!! We can never (cut to closeup of Dastun's face with his head lowered and as camera pans left we see the frustration in his eyes) do this ourselves!!!
<Cut to front view of inside Big O cockpit with Roger sitting down facing forward. He opens his arms briefly and then quickly grasps onto both joysticks.>
ROGER: Big O! (camera zooms in on Roger as he leans to the right of the screen and the camera follows this movement) Action! (Roger lifts his head and sits up leaning to the left now more as the camera pans in this rotation to the right side of Roger. Camera zooms out and pans up as through the semi-transparent colors of the cockpit entrance we see the entrance plate close up and Big O's head zoom into view.)
<Big O stands tall and backs away as the camera follows this movement. The camera continues to zoom out as Big O raises his right arm and motion waves (faint, yellow rings) swivel from this movement. Cut to off side view of Glinda as the camera zooms out of a tight shot of the megadeus she stands up and raises her left arm up to waist level and then straight up vertically in the air while raising her right arm soon after and lowering it to rotate so that her hand is now set on her right hip. When she is done backing up the raised left arm lowers to chest level and she points his hand straight at Big O. A warping sound is heard and the ring atop her head glows with a green ring before it fires a yellow blast to the right of the screen.>
<Cut to upper body shot (off side view) of Big O running towards Glinda while raising both arms before its face (he runs right to left). The arm shields on the back of its arms block his face from the incoming blast as the laser explodes on the armpads. Big O continues forward beginning to raise its left arm. Cut to medium shot of Glinda as it backs off with a shrieking like sound again. Cut to medium front shot of Big O as it leans forward and pulls its right arm back behind its back, ready to punch. Big O lifts his left arm some to in the motion.>
<Cut to close shot of ground level, we see Glindas feet as they jump up and smash the car and house in the process at ground level. Cut to side view of the two as Big O, on the right, swings a punch at Glinda with its right arm. Glinda, just in that moment jumps staright up and out of the scene. Big O turns to his right to look around. Cut to overhead view of Big O's shoulders...as Glinda's claws grasp onto each shoulder in sparks and pushes Big O forward in this somersault. Glinda is still in mid-air. Cut to wide shot of the two as Big O stumbles forward but regains footing as Glinda flips rightside up again but still in midair. Big O quickly turns around while Glinda contracts her feet in while still up in mid-air. Cut to below shot (off side) of Glinda with her feet tucked in and knees bent. She then thrusts her feet quickly right toward the camera (toward big O). Cut to off side shot of Big O with his shield armpads raised once again facing the other direction...and he slowly closes them together just as Glinda's two feet crash down on them from the right of the screen in a sparky flash. The impact shifts Big O back some.>
<Cut to wide shot of the action...we see Rosco and Kelly (she is standing next to Rosco in his wheelchair) with their backs to us...watching the action from the very bottom of the screen. In the far back we see Glinda still in midair with her feet connecting with Big O's armpads before she falls down and lands on her feet, crouching. Big O quickly lowers his arms and runs forward (to the right) toward Glinda (this is a side view of the action but a back view of Rosco). Cut to medium shot of Glinda (off side) as she stands up, suddenly Big O's right fist comes pummeling in and smashes Glinda in the face head on. Small pieces are knocked off as Glinda's face is hit to face her right side, backing off. Cut back to the same wide shot as Big O retracts its right arm and Glinda continues to back off in a stumble.>
<Cut to off side view of Kelly and Rosco medium shot as they stare off to the left and towards the action. They hear footsteps and Kelly's eyes shift to look right before she then turns her head to look. Cut to side view (waist level of Kelly) where we see Rosco continuing to look forward and see Dorothy and Angel walk to the middle of the screen in the far back, facing Rosco. During this dialogue we still hear the robot and smashing hits in the background from Big O's fight.>
DOROTHY: Rosco Fitzgerald you have always hidden your memories but wanted to let someone know you had them. Until now you have suppressed that desire. (Cut to closeup of Rosco's face from off side view as he turns his head to the right to look at Dorothy)
ROSCO: Well good evening ladies. (with a smile)
<Cut to medium front shot of Dorothy and Angel as they stare forward.>
DOROTHY: Why now...why would you want to do something like that? There is no sense in it.
<Cut back to closeup off side view of Rosco's face as he turns his head more toward them and his mouth closes.>
ROSCO: Hmmm?
<Cut back to medium front shot of Dorothy and Angel>
DOROTHY: I'm the same as you yet I don't understand. (Angel turns her head right to look at Dorothy)
ANGEL: Huh?
<Cut to previous wide shot if the action shot again (side view of Big O and Glinda). Enter "The Stoning" track. Big O faces right still with its armpad shields raised to block its face....while Glinda jabs with both hands at these shields like daggers....sparks erupt from these strikes. She stops her attack and immediately Big O drops its arm and swings its right arm back before quickly swinging it forward. Glinda jumps away (off screen to the right) just as Big O's fist flies in. Cut to front view of Glinda as she lands with her hands arm and her feet together (almost like a ballerina). She then widens her stance.>
<Cut to her left hip plate and it ejects some and moves to the right some...revealing a hidden compartment. Suddenly a sword handle (with a golden ring on its end with the handle facing up) thrusts up from the plate. Cut to front view again of Glinda as she twists her body and moves her left arm behind her back while grabbing the sword handle with her right hand. (the noises resemble those of Gundam movement from Gundam Wing). She quickly takes it out as it makes a sword scraping sound and she swings her right arm back again. She swings her arm and the handle counterclockwise down and around until she raises her whole right arm vertically in the air the handle opening facing the ceiling. Cut to closeup of the blade handle top front view...golden blades eject form the handle, one out of the next blade, and another blade piece out of the next blade, and so on...The camera pans up as each blade piece extends out. The sword has a wide blade in the middle of the blade before it narrows back down to a sharp point. The tip of the blade flashes with light when the extension is complete.>
<Camera pans from top front view of the sword down to front view of Glinda. She then lowers the sword to out in front of her and with her left hand grabs the bottom of the handle, holding the sword with two hands. She swings the handle to her right side as the blade gleams with light. Cut to inside Big O cockpit off side view as Roger grits his teeth, possibly worried. Cut to medium shot of Glinda front view running towards the screen, holding the sword at should height vertically up. Camera follows her movement forward until she swings her arm and the sword back and strikes forward (zooms in on Finda's upper body when she strikes).>
<Cut to upper body closeup shot of Big O (off side) as it stands up some and lifts its arms back to block this attack as well with its shield arm pads. The blade slices across the screen with an array of sparks and a deep cut is seen across the shield arm pads as Big O falters some and the arms shudder away from each other from the impact. Cut to off side medium shot of Roger with his mouth open *gasp* as he looks down at the Big O screen monitor in surprise leaning forward. Cut to closeup of Big O monitor screen front view as it shows a front profile of Big O and shows too message boxes indicating Damage level 3 to the sides of Big O's arms.>
<Cut to front medium shot of Dorothy and Angel again...Angel turns her head from staring at Dorothy back to looking at Rosco.>
ANGEL: The same as you. What does she mean by that?
<Cut to off side view of the group with Dorothy's back to us as we see Kelly standing behind Rosco's wheel chair and Rosco begins to steadily stand up. His yellow lap blanket falls to the floor and we see a bunch of red and green cables attached to his back form the seat of the wheel chair. Rosco falters some when he stands up and Kelly reaches out briefly in case he was about to fall. Cut to medium front shot of Dorothy and Angel again as the camera zooms in on Angel's face as she opens her mouth and gasps in shock. Cut to ground shot of Rosco's feet as they shake with weakness.>
ROSCO: Our bodies last longer than those (Cut to waist level side view of wheel chair as camera pans left to show the cables attached to the seat and to Rosco's back as he continues to shudder) of humans but we do get our share of aches (Cut to closeup of Rosco's head and shoulders as he looks off to the side toward Angel with the red cord attached to his neck hanging out) and pains as we begin to grow older.
<Cut to closeup of Angel's face front view as camera begins to zoom in.>
ANGEL: You're not a human being?
<Cut to side view closeup of Glinda's blade with the point directed left and the sword held horizontally as it is thrusts forward...Glinda runs to the left and soon replaces the blade in the center of the screen as the camera stays with her movement. Cut to off side medium shot of Roger in the cockpit (originally a closeup of his upper body until the camera zooms out).>
ROGER: So you're another one of Wayneright's creations?
<Cut to front view within cockpit facing toward the outside...through the semitransparent pink neck plate we see Glinda running straight towards the camera with the blade's point aimed straight forward. She continues to run forward.>
ROGER: I feel sorry for you. (blade thrusts towards the screen quickly at the end).
<Cut to off side view medium shot of Big O as he lowers his left arm and swing his right arm forward. It hits the blade point directly and crushes the whole blade of the sword. The punch also knocks out Glinda as she runs into it. Cut to front view of Glinda as she flies back with arms wailing onto the ground in an explosion of smoke. Cut to front view of Big O with its right fist pointing directly and very close to the camera. Camera zooms in slowly.>
ROGER: Not to mention, those who were using you for their tool will pay for it!
<Cut to below off side shot of Roger in cockpit as he pulls the right joystick all the way back. Cut to back shot of the console and with Roger's back to us as his hand bring the joystick all the way back toward the camera. Cut to closeup of the joystick as Roger lets ago with an open hand as the joystick lowers back down its hole, rotates, and its base rotates to reveal a newm pop-up. The ball ejects another joystick (blue) with two yellow bases (top and bottom) as a stand. Roger regrips onto this new joystick.>
<Cut to closeup of Roger's face with gritting teeth and determined eyes.>
ROGER: Count on it! (Camera zooms out as Roger's hand pushes the joystick to the screen (very close to it) and then with his pointer finger pushes a button on the front of the joystick.)
<Cut to front view of Big O's raised fist again. Steam rings expand as the plating around the fist ejects, revealing four guns aligned in a circle around the fist. Cut to off side view of Big O's raised fist/new gun. The inner gun shaft begins to rotate really fast and suddenly in a flash a pink glow shoots out of the guns. Quickly cut to side view of Big O (the other side) as bright pink photon like bullets shoot out of these rotating guns. Cut to close front view of the fist again as the actual hand spins around and the bright pink shots fire toward the camera. A pink wave begins to expand from the center.>
<Cut to front view of Glinda on the ground...the pink blasts make contact and throw many explosions all around her. Cut to wide side view of Big O with new gun raised. While shooting the pink photon shots a giant pink ring (still continually growing) slowly expands and moves down the path of firing. Cut back to front view of Glinda on the ground as the photon firing stops and the big pink ring slowly moves forward and hits Glinda. A huge flash as a large round explosion erupts from Glinda. A second explosion erupts from inside this large ball of flame.>
<Fade to below shot of the Study of the Dead...looking at the window ceiling with a bright blue sky overhead. (Slow at peace piano tune starts). Cut to wide shot from within the study facing the outside courtyard. Through the window we can see Roger, Dastun, Angel, and Dorothy facing Rosco and Kelly on the opposite side (side view). Cut to closeup of Rosco's head as he places two fingers to both temples while closing his eyes and a cd-tray ejects form his forehead revealing a whole cd intact. Cut to medium front shot of Kelly and Rosco as Kelly turns and removes the cd from the tray with both hands. She then turns to face forward again.>
KELLY: Whether it is (Rosco's cd-tray pushes back in and he opens his eyes and raises his head to face forward again) human or robot, everyone wants to protect their memories. (She lowers her hands) Even if your body eventually dies.
<Cut to front view of the Roger and the others facing towards Rosco and Kelly (the camera) and we see Kelly holding the cd out in front of her at the bottom of the screen.>
ROGER: Do you actually believe that's something a robot itself would hope for?
<Cut to closeup side view of Dorothy's face as she stares forward. Cut to wide shot of courtyard from the outside (side view of the facing groups)...we see beautiful, blooming gardens of pinks and green in front and a railing behind that.>
ROSCO: Memories are eternal....or is that a fantasy that robots shouldn't indulge in, (cut to off side closeup of Roger's face) Roger Smith? (Roger gasps a little, cut to off side view medium shot of Rosco and Kelly) This payment is the most valuable, Mr. Negotiator...I can offer.
<Cut to closeup of the cd in Kelly's hands. Cut to extreme closeup of Roger's eyes from side view as his breathing shudders with fear...or anticipation. Cut to closeup of a spot above the mansion as a long golden barrel of a gun is aimed down toward the group. Cut to front view of Roger and the other three as camera quickly zooms out with a whish sound. Roger gasps in surprise as he swings his left arm to Dastun and Angel before turning to them.>
ROGER: Get down! (Dorothy begins to sprint forward as camera pans some left)
<Cut to closeup of gun barrel again as a shot is fired with a bang! Cut to front view of Rosco and Kelly as Dorothy runs in and grabs Kelly and drags her down and out of harms way. The shot hits Rosco in the head and explodes it into many parts and pieces as the cd flies out of Kelly's hand. Rosco falls down in his wheel chair from the impact of the shot. Cut to side view ground level where Dorothy lands with Kelly in her arms. Cut to overhead ground shot as we see Rosco's body land with no head but a few wires sticking out the opening. His arms fling over as the chair falls down with him.>
<Cut to front view of Roger as he holds out his hand in front of him and gasps in surprise. Angel opens her mouth in shock as Dastun turns his head and takes out his run and holds it ready to fire. Cut to ground shot where the cd lies...a green mechanical hand attached to a long cable flings down and grabs the cd before the cable retracts and brings the hand back in. Cut to mansion roof top (below shot) where we see a tall skinny figure with a gun lifted in his left hand and the cable retracting to its right arm with the cd in hand. Cut to over head shot of Roger, Angel, and Dastun with their backs turned...they all turn around and stare up as Dastun points his gun upwards. >
<Cut to medium front view of Alan Gabriel(the tall skinny clown-like man with a long golden gun in his left hand (human hand) and a black and white striped jacket with a black top hat and a red ribbon. His eyes are concealed by shadow. Cut to overhead shot of the three again as the camera zooms in on Angel's face as she gasps in shock.>
ROGER: Bastard!!
<Cut to below shot of upward view of the roof where Alan stands...we see Dastun, with his back to us, aiming his gun at the man. We also see Angel and Roger at the far left side. Camera initially zooms out really fast and then barely moves out.>
ALAN: Hahahaha...you're nothing but a joke. Does Paradigm City's negotiator (cut to ground level side view of Rosco fallen on the ground and Dorothy and Kelly laying down staring in horror at the damage done to Rosco, Kelly's eyes shake with sadness) have only android clients? Hmmmhmhm (Cut to closeup of front upper body shot of Alan as he places the cd inside his jacket with a smile).
<Cut to closeup of Angel's and Roger's face from off side view.>
ANGEL: Alan Gabriel! (Roger turns to face Angel)
ROGER: What is he? (Angel gasps and turns to Dastun)
<Cut to side view medium shot of Dastun with his gun pointed up.>
ANGEL: Shoot! (Dastun turns to face Angel briefly)
DASTUN: Shoot him?
ANGEL: That's what I said, colonel!
(Dastun turns his head back to Alan)
<Cut to front closeup of Alan.>
ALAN: Now I see you for what you really are, sneaky kitty. (as camera pans up Alan raises his hand up and closes it as if grabbing onto a wire)
<Cut to closeup of Roger's face as he gasps with open mouth. Cut to wide shot of Alan as a wire flashes vertically (the one Alan is hanging onto with his right hand) and it suddenly pulls him straight up and out of sight. Small explosions hit on the roof top where Alan was (Dastun finally decides to shoot). Cut to overhead shot, closeup of rooftop where we see the three below looking up and small impacts on the roof where Dastun is still firing. Popping noises of Dastun's gun still heard as Alan is pulled up on this wire straight up towards the dome ceiling and out of sight, the camera pans up with him. >
<Cut to side view of Dastun, Roger, and Angel as Roger and Dastun looks on with gritting teeth, Angel with open mouth, and Dastun then lowers his weapon. Cut to closeup side view of Roger's face as camera pans slowly left. He gasps and turns toward Kelly and the fallen Rosco. Cut to front view of the three as they turn to face Kelly and Rosco and as the camera zooms out to encompass what is going on. (Enter rendition of "Sleep My Dear" track). Cut to ground shot of Kelly lying on ground over Rosco's body while Dorothy stands over her watching. She picks up pieces of Rosco's broken head and sobs. Cut to closeup of the ground as we see broken chips and bolts and Kelly's hand brushes over them and grabs a handle full of the pieces. Cut to low shot (side view) of Kelly with tears streaming down her face as she places these pieces into a clump of chips and other pieces already piled in her left hand. Cut to closeup front view of Dorothy as she looks on. Cut to front view of Roger, Angel, and Dastun...Dastun lowers his hat over his eyes and the camera zooms in on Roger's face.>
<Cut to closeup side view of Roger's fist as it is clenched and shaking with anger. It then twists up slightly to clench harder.>
TITLE: To be Continued

<Same original end theme.....phone picks up with the next episode title: "Day of the Advent".>
 
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