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Episode 16 Script: "Day of the Advent"

<Same second season intro but with the new digital instrument music>

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 side view, medium shot of a dimly-lit hallway...the walls in the back have small holes and the wooden boards for the floor are old. The camera pans right to follow the movement of a fairly large pink ball that is rolling to the right of the screen. We hear footsteps and suddenly see the feet of a small child running towards the ball as it rolls away. Her arms are reaching out for it...she has jean pants and red and white shoes. The ball rolls on as she suddenly stops following it and stands up forward looking ahead.
After a slight pause the camera pans to the right again and shows the pink ball bounce and slowly stop against the end of the hallway wall, where grime grows in its corners.>
<Cut to front/overhead view of Paradigm city...enter "solitude" track. Camera pans up to view the lit from the inside and thus brighter than the other ones in the distance. Dark buildings crowd around the domes and a layer of mist rests atop the buildings>
TITLE: Act: 16 Day of the Advent
ROGER: This is Paradigm City. A city that lost its memory forty years ago. (camera continues to pan up and beyond the domes we see bridges connecting two lands, separated by a great river. Cut to front view, closeup of the little kid...she has red hair with two pink scrunches tying her hair into a ponytail on each side of her face, with rosy cheeks and light blue, crystal eyes. Her head peeps out of some curtains as she stares in awe with a smile of delight out the window, facing the camera. The reflection of the lit dome is transparent in the window. The camera slowly zooms out) But sometimes memories...(cut to medium shot of the window she is staring out of as the camera zooms out even more...the brick wall of the building on the outside is blue and brown and worn down) they will appear in unexpected forms.
<Snow flakes begin to slowly fall from above in this medium shot of the window. The girl stares upward and looks to her right at the flakes. Cut to closeup of window pane from within the home...we see the curtains at the top and snow falling on the outside. Cut to overhead off side shot of the window...the girl is staring upward toward the sky with a mouth wide open as she gasps Awww. The snow continues to fall. Suddenly a bright red light...the same size of those snow flakes flies down and to the right...seen from the reflection off the glass window. The girl clothes her mouth in surprise and looks down and to the right to follow this movement.>
<Cut to side view of the buildings where we see the dark brick buildings directing a path to this bright orange light that is flying off into the distance away from the camera and down towards the streets. Cut to back shot of the room the girl is within from the inside. The curtains are being held up by several pieces of tap, a dark lamp is on the left, a pink clothed table in front right, a picture on the wall to the upper right, and the girl kneels on the green furnace below the window sill. She turns around to face the camera with a smile still on her face and an excited look. She wears a brown hood and jean suspenders>
GIRL: Hey Grandpa! It's an angel, grandpa! One of the angels you told me about.
<Cut to off side view of the buildings and a tall, pointed building in the back. On the green building on the right we see lit windows and a catwalk on the outside with ladders. A man in a grey jacket and jeans leans over the railing and out into the distance he stares at the orange light as it descends down to the left side. Cut to an overhead shot of the sidewalk...a red car is parked at the side and two women (presumably "hookers" but this is just an assumption) stand in jackets with short dresses underneath, the blonde one is smoking but both crossing their arms in the cold. Some snow is gathered up against the bulding and the orange light is reflected off the top of the car as it zips across from above. The two women look above towards it.>
<Cut to below shot of the light with buildings on either side. The camera follows this light panning through the streets and up above, seeing its red glowing trail and orange inner core as it zips forward. Cut to very distant, wide shot of the outer city...buildings look dull and unlit but the glowing orange light descends downward to the left side. The camera pans slowly left. Cut to closeup of the side mirror of a green car. It reflects a below shot of the buildings and the orange light in between, rapidly approaching the car as seen in the mirror. The light then engulfs the entire mirror.>
<Cut to front view of a street with street lights and a few cars parked at the sides. The orange light flies forward toward the camera but crashes into the pavement in front of us in a huge, bright, explosion of fire and ruin. Cut back to distant, wide shot of the city, a large bright light is seen beyond the buildings to the left as we see the end result of the crash...the light encompases almost half the screen. Cut to front closeup shot of the girl as she stares with open innocent eyes and a wide mouth, gasping and smiling at the bright light as some rays shine down upon her face. Her hands are up against the window pane and her face tilted slightly. Cut to back shot of the streets as the camera pans left. Street lights are lit and some people stand in the street looking toward the bright light in the distance behind a building, with their backs to us. Few cars are parked on the curbs and as the camera pans we see even more people staring at this bright commotion in the distance. The camera slows to a halt and then we hear footsteps as another pedestrian walks forward (we see only the back of his legs) and stands gaping at the light too. Cut to front view of the street where the orange light hit...we see a deep yellow indent in the road, caved in and still radiating as the camera zooms out. Fade to black.>
<Cut to overhead shot of Dorothy staring forward at the end of the dinner table with her hands in her lap.>

<Cut to off side view, distant shot of Roger at the dining table...a candle stand with three candles stands in the middle and plates are set on the side. Roger is on the far end reading a newspaper in his bathrobe, the newspaper blocks his face and he holds onto a coffee cup with his right hand as it rests on a small dish. Norman stands to the left staring forward.>
DOROTHY: You know it's bad manners to read the newspaper during breakfast. (As she talks Roger raises the cup from his dish and sips out of it out loud before resting it back on the table)
ROGER: mm....I know (He flips the newspaper to the backside to read as Norman places the cup he placed on the table back on its proper dish)
<Cut to front overhead closeup view of Dorothy's face as she stares forward. Cut to off side medium shot of Roger, with messy hair, as he stares at the newspaper. He mutters Huh? With a surprised look as he moves the newspaper closer to his face. On the backside of the newspaper it reads:
Sports Sports
The New Paradigm
An arrival area is in the schedule
(shows snapshot of a boxing
match below.
Cut to closeup off side view of the newspaper front. It reads):
The New Paradigm
"Advent/What Fell in Paradigm City"
(shows a shot of the crater
made by the falling light in the street with police cars surrounding it)
<Camera pans to the right slowly to show the newspaper front.>
ROGER: Advent?
(Cut to off side distant view of Roger again at the far end of the table as he grabs for his coffee cup again and drinks from it) Sure.
<Cut to overhead medium shot of Dorothy as she leans forward and raises both hands before they slap down (with a thud and clatter of silverware) on the table top when she lifts up from her chair, pushing it back. She turns left and walks away from the table.>
<Cut to medium front shot of pedestrians wearing jackets and scarfs staring forward, other pass to the left in front of them. We hear talking in the back and a car horn as the guys in front of us quickly turn to each other to say something and then split up. Behind them we see Roger's griffon drive up behind them and slightly to the left of the camera.>
ROGER: What is going to happen? (as the people clear we see people in angel cloaks on the sidewalk standing forward. Cut to sideview of the street as Roger's car moves left and we see Roger driving from the outside. People line the streets and the camera pans left to follow the car. Enter "The Process" track) What is it that came into this city of amnesia shrouded in light?
<Cut to closeup side view of Roger's side car window...the camera pans left and we see Roger look to his right towards the people on the sidewalk.>
ROGER: Is there some kind of change about to transpire?
<Cut to medium shot from within the car looking out of the window as we see a group of 12 or so people, young and old, wearing white cloaks and having white wings on their backs. A yellow halo is held by wire above their head and they walk down the sidewalk as we hear talking in the background. Cut to overhead shot of a bunch of people looking forward and bunched up, desperate to get a good look. In front of them is yellow tape with the word "OFF" on it and a police officer stands in front of it, guarding the area and staring forward. The camera quickly pans up to show behind the crowd Roger parks his car. He gets out of the door as the crowd stands still in front, looking at the scene.>
<Cut to off side medium shot of Roger's car door. Roger gets out, holding on the glass window and looks out to the left towards the crowd in his usual black suit and glasses. A pedestrian with a brown jackets stands in our vision to the right and Roger slowly walks around the door before closing it shut. He then proceeds forward toward the crowd. Cut to side view of the crowd and the police tape and officer holding them back. Two guys in trench coats abruptly move to the side and look at Roger as he pushes his way through the crowd. Roger steps over the police tape and begins to adjust his tie. The police officer at guard closest to us turns to look at Roger as he enters the area.>
<Cut to medium shot of Roger from off side view as he walks forward adjusting his tie, the camera follows his movement. He puts his arms at his side again.>
OFFICER: Hey! You there!
<Cut to front view of the crater in the street with ruined buildings in the back. The crater is not lit anymore but empty, filled by only debris. The crack street lifts and zooms forward as the crater zooms forward to give a sense of depth. Cut to below off side shot of Roger as he walks to the edge of the crater with hands behind his back. When he gets to the edge we see the young police officer run up to him and to his right side.>
OFFICER: Sir?..This is a restricted area.
ROGER: What was it that came down here?

<Cut to closeup sideview of Roger's face and a front view of the officer's face as he turns to the camera to face Roger and leans to the right with stern eyes.
OFFICER: Look, who the hell do you think you are? You can't come down here, all right?
DASTUN: We didn't see what it was either.

<Cut to opposite side view of Roger as we see Dastun walk up to Roger's right side, turning his head to face the officer as Roger continues to stare forward.>
OFFICER: Colonel!
<Cut back to below, off side shot of the three from inside the crater as Dastun and the officer face each other and Roger stares forward.>
DASTUN: It's all right can return to your post. I'll vouch for him.
(saluting with his right hand) Yes sir! (He runs away)
ROGER: So you didn't see it either.
<Cut to overhead closeup of the crater floor. Several spots are encircled with white spray paint and black and white striped guard fence posts mark nine spots along its floor. The camera zooms out.>
DASTUN: A Paradigm investigation team showed up almost as if they were waiting for it. They carried it off to the south.
ROGER: the sea.

<Cut back to below, off side shot of Roger and Dastun as they now both stare down at the crater.>
DASTUN: Everyone in town is saying that it was an angel that came down from the sky.
ROGER: An angel?

<We hear beeping and Roger turns his head to the left and looks down while lifting up his wrist watch. Roger pauses and turns back to Dastun.>
ROGER: Excuse me.
<Roger turns around and walks off and away from the crater edge while Dastun continues to look on.>
ROGER: What is it Norman?
<Cut to medium front view of Roger as he walks towards the screen. He is staring down at the watch with the left arm raised and the camera follows his forward movement as we see Dastun, with his back to us, off to the right and becoming distant with each step.>
NORMAN: Master Roger. A client says that he would like to meet with you.
ROGER: Fine. I'll be there at once.
(he lowers his arm until Norman begins to speak again, raising it back up)
NORMAN: And sir might I add (cut to medium off side shot of a blue/green, worn-down building with the white label "HOTEL RI H" on top facing outward. The camera pans down to the front door where we see Roger approaching from the sidewalk and his car at the curb. Enter "Obfuscate" theme.) when I mentioned to the client where you were exactly he said he happened to be near by and would wait for you there.
<Cut to off side shot of two homeless people, a man with a sweater and green cap with a gray jacket and brown pants/shoes and a woman with a yellow cap and a purple dress. They both are huddled against the side of the building looking cold and next to them lies a bag or two and in front of the man two empty cans. Cut to off side medium shot of the front door to the hotel where Roger turns to enter. He looks quickly left and right before reaching for the handle and opening the door.>
<Cut to closeup fornt shot of door as it is opened....revealed inside is a lobby like area, empty and dim with green checkered tiles for flooring and some furniture off to the side and a receptionist desk to the right, next to stairs with railing. Cut to side view from within the lobby as Roger walks right and into the room and the door closes behind him. He raises his right hand to take off his glasses and the camera pans right with his movement. Roger looks towards the camera while placing his glasses in his front suit pocket. He then looks left before glancing forward again.>
<Cut to front view of the stairs (on the left side) and side view of Roger as he steps to the middle of the screen and stops to turn his head to the right and then left, looking around. Meanwhile we see a pink ball passively hit the wall some stair steps up and bounce down. When the ball bounces close to Roger's feet he gasps and looks with surprised eyesdownward. Cut to closeup shot of Roger's feet as the ball rolls right and bounces against Roger's right foot. We see Roger's hand reach down and pick it up.>
<Cut to back view of Roger from atop some stair steps...he is holding the ball in hand and he turns around to face the camera when he hears footsteps on the stairs. We see the kid (from the first scene) walk into the screen (lower body shot from the back) as she stares at Roger. Roger lifts the ball up in the air.>
ROGER: This happen to be yours?
<Cut to front view of the stairs where we see the little kid standing there on the top with one hand holding onto the wall to the right.>
GIRL: Yep that's right. Could you give it back to me?
<Cut to above shot off side of Roger as he stares at the girl with a smile and holds the ball in his hand.>
ROGER: Well of course I will. But if you're going to play with a ball you really should (looks left and turns his head some before looking back at her) do it outside.
<He turns to face her and tosses the ball underhand very gently up toward the screen. Cut back to front view of the stairs as the ball lands in both of the girl's hands. She huffs as she catches it.>
GIRL: Yep you're right. I think I should play outside too. (she turns to the right and walks down the hallway and out of sight.)
<Cut back to off side above view of Roger as he stares at her in wonderment.>
Mr. McGOWEN: Her body is frail...
(when Roger hears his voice his eyes open and he turns to face the speaker to the right. Cut to back view of Roger staring down a dark hallway, with cruddy ceiling panels, as an older man hobbles some towards him. He has two black patches for a beard and black hair with a white stripe down the center. He wears a brown jacket and casual shirt underneath with brown pants and a black belt.)...the poor little thing can't play outside in the daytime. (hobbling closer he turns to face Roger's face more) She was born that way. So then you must be the negotiator.
<Cut to off side view of Roger medium shot as he faces Mr. McGowen, whose back is to us, with a smirk on his face.>
ROGER: That's right...Roger Smith. (he holds out his right hand to shake hands with Mr. McGowen) And you must be Jim McGowen. (However, Jim turns to the left and sighs before hobbling up the stairs and not accepting Roger's handshake...Roger looks a little surprised but pulls his hand back and up and smirks with a "hmmpf")
<Cut to closeup of a table top where we see Roger's hands folded with no gloves on the table. Jim's hand comes down holding a coffee cup as he sets the steaming mug on the table. Cut to front view of Roger sitting at a simple, clothed table...the room is dim, brown and has a mirror and some basic furniture, like a desk and a chair. A white pitcher is on the table and as Jim walks away and around to the other side of the table Roger stares at him.>
MR. McGOWEN: This hotel is mine. Only poor people stay here. (Jim lays his hand on the table as he walks around it and turns to the right to sit down on the opposite chair that faces sideways. Roger watches him as he sit but then turns left to look. Cut to off side medium shot of a white t-shirt and white gown hanging by clips on a clothesline. The camera pans left to reveal a green dress and another white one) can't expect much in the way of earnings. However I will sign it over to you. (The camera continues to pan left until we see Jim sitting in the chair across from Roger staring forward and with his left arm resting on the table. A window curtain hangs in the back by tape) Once you have completed the negotiations that is.
<Cut to front view of Roger sitting and facing forward, holding his hands together...we see Jim's resting hand in the closeup on the left.>
ROGER: (leans forward some when he talks) What do you need me to negotiate that's so important and with whom? (Jim's hand raises some and his finger points up to the ceiling...Roger opens his eyes and gasps some in surprise as he looks up to what Jim is pointing at.)
<Cut to below shot of the ceiling. We see two boards of wood crossing over a pale background (looks like a cross pertaining to religion) and a smoke detector in the middle. Cut to closeup front view of Jim's face smiling as he tips his head to the left some. His eyes open with gray eyes.>
MR. McGOWEN: Last night an angel came down to this city.
<Cut back to front view of Roger sitting at table with Jim's finger pointing upwards.>
ROGER: An angel? (Roger looks back down and Jim's finger lowers back to rest)
<Cut to front view closeup of the green door in the back as it slowly creeks open and behind it we see the little girl peering through the room with a ball in one hand.>
MR. McGOWEN: Yes it's true. (Cut to front view of Jim facing sideways as he stares off to the side. He smiles while talking and in the closeup we see the bottom of the hanging clothes) I've always known it would happen. (He lifts his head to stare up to the ceiling) A small headed angel came down to us last night.
<Cut to closeup side view of Roger as he leans forward to talk>
ROGER: Apparently it's been retrieved by the Paradigm Corporation.
<Cut to front medium view of Mr. McGowen as camera pans left past Roger's shoulders. Mr. McGowen leans back and looks at Roger. Camera stops panning>
MR. McGOWEN: Doubt these old memories of mine have long since rusted over. (Camera stops panning as Mr. McGowen leans forward with hands raised in the air) As I've always have known that there would be a time when eventually this would happen. (He closes his eyes and lapses his hands together. Camera then begins to zoom in on him) That down from the heavens he would come.
ROGER: Who is he?
(Mr. McGowen's eyes pop out in surprise and he smiles)
<Cut to overhead shot of Mr. McGowen as he pushes back from the table turning to his side and looking up with enlarged eyes, a smile and raised hands in praise.>
MR. McGOWEN: He who will save those of us who have been forsaken by these times.
<Cut to front medium shot of Roger as he raises his right hand with his palm up. Enter "Painful Dream" track.>
ROGER: Mr. McGowen, even if you did posses a memory fragment, that would be a memory of the future not a memory of the past. (Roger puts his hands together and rests his chin on them as if pondering) Do you expect (cut to closeup front shot of Mr. McGowen's face as he turns to face the camera) me to believe any of this? (Camera shot is back to Roger's front view)
GIRL: Mister? (Roger "hmms" in surprise and looks to his right. Cut to front view of the girl with one hand on the door and the other holds the red ball as she peers inside from the open door.) Are you here to scare my grandpa?
<Cut to back shot of Roger and Mr. McGowen sitting at the table. Mr. McGowen leans to the side to look at the girl and Roger is slightly turned to face her. Roger waves his right hand to gesture a misconception.>
ROGER: Of course not, I would never do that to him. Just getting a little too enthusiathic, I guess.
<Cut to close medium shot of girl in the doorway looking intimidated.>
GIRL: Honest?
ROGER: Honest.
(The girl closes her eyes and smiles some with a giggle)
<Cut to back shot of Mr. McGowen as we see the girl in the back and Roger still looking behind him.>
MR. McGOWEN: Tami. Go off and play now.
GIRL: Okay.
(She pulls the door back to close it. Mr. McGowen leans back in his chair and stairs down at the side. Roger looks forward again.)
<Cut to below medium shot of Mr. McGowen looking down. Camera begins to pan up>
MR. McGOWEN: The child's entire life, forced to stay in the darkness and play alone. (Fade to worn down hallway with green doors. We hear the bounce of the ball and as the camera pans left we see Tami at the end of the hallway tossing the ball against the wall and catching it by herself.) Actually she has no friends. She'll always be that way. Tell me, is that fair? (Cut to back closeup shot of Mr. McGowen and a lit lamp in front as camera pans left) For the past forty years, we've been living our lives with no future. Things can't possibly go on like this forever. It's no way to live. (Camera stops panning. After a pause, Mr. McGowen suddenly turns his face to look at the camera with a concerned look.) Nooo! (Cut to front view of Mr. McGowen across the table as he stands up with his hands pushing him up and pushing the chair over.) It couldn't have come down from the heavens (He raises his arms in the air) to save only those who live inside the domes. (He throws his hands back down on the table) All of us who live in here should be saved. (Cut to extreme closeup from behind of Mr. McGowen's arm and through the opening we see Roger's intent look, listening to him.) There should be no discrimination.
<Cut to back shot of the Griffon as the camera pans right to show the entrance to the hotel. Roger steps out and closes the door.>
ROGER: There may be people outside the city. (Cut to front medium view as camera follows his walk forward. Roger stares down at his right glove as he adjusts it.) Everyone in this city has a feeling that there are others. (Roger stops and looks up and to the left. Cut to below shot of a big metal sign on a yellow building reading "Metal Drug". The camera slowly pulls back) one could possibly imagine that they would come...(Cut to medium shot of Roger looking up. He faces downward again) from above these thick clouds. (Roger raises his hand to pull back his sleeve to check his watch. He then looks up and to the right at something that caught his eye)
<Cut to blew shot of a window of the hotel as the pink curtain is pushed aside and Tami peers down at Roger waving from inside. Cut to above shot of Roger looking up with a smile and his hand still raised. Roger then looks down in surprise. Cut to extreme closeup of Roger's front coat pocket. We see his fingers slide a pen onto the pocket edge.>
<Cut to wide shot of sunken buildings in water. The sun is low and a purple haze is across the scene. The road at the bottom of the screen is eroded and broken up. The camera pans left to center a shot of the Griffon parked in the middle of the road. Roger stands nearly in front of it peering to the left with binoculars up to his eyes. Cut to binocular view with black rims around the shot. The view pans left over some of the sunken buildings.>
ANGEL: Well, well...(Cut to medium off side shot of Roger looking off to the side through the binoculars. We hear footsteps) Roger Smith...what a coincidence running into you here. (Angel steps forward into the shot as the camera shifts to the right to encompass her. She wears a pink coat with a black, furry scarf. The camera begins to pan up to show her face as she smirks. She wears maroon earmuffs.)
ROGER: What I'm looking for is a real angel, not a fake one. And I know you can't fly.
ANGEL: That's no way to talk to a lady.

<Cut to binocular view again as it pans left and stops at a distant shot of a elevated crater in the distance and even more sunken buildings.>
ROGER: I've heard that before. (Binocular view zooms in. Cut to regular closeup shot of a sunken building as camera pans up. We see the edge of the eroded road as Roger lies down with Angel, both on their stomachs looking outward. Roger still looks through the binoculars.)
<Cut to medium shot of Angel with her legs waving back and forth playfully. She smirks and with her head rested on her right hand she stares at Roger. The camera pans left to show Roger looking through the binoculars>
ANGEL: The two of us have been here before, haven't we?
ROGER: I don't recall the two of us ever having a date.
(Roger gasps in surprise as he leans slightly forward. Cut to slightly overhead shot of the two lying down. We see a black briefcase next to Roger. Roger hands the binoculars to Angel as she accepts them) As I expected some old friends of ours are down there. (Roger stands up as Angel looks through the binoculars.)
<Cut to binocular scopes as they shift down and to the left from a sunken building to show a "creature of the sea" (Paradigm diver with the frog-like suit and a lit mask) climbing up a ladder. Four others swim in the waters in the distance.>
ANGEL: Ah you're right. (Cut to closeup shot of Angel smirking and looking forward with binoculars. Cut to binocular scopes as they follow a line of the divers walking away from us down a catwalk, their backs turned and their masks glowing yellow.) They're looking well.
<Cut to medium shot of Angel as she lowers the binoculars from her eyes. She gets startled when a briefcase is placed next to her. The camera shifts left to show the briefcase as four levels eject from the bottom and nails at each of their ends. The nails thrust into the ground. Cut to off side shot of Angel and near closeup of briefcase as she stares at it with concern. The front face of the briefcase opens a small cross passage through which a spear tip comes poking out of. Suddenly smoke blasts out and Angel grunts in shock as the spear/grappling hook shoots out.>
<Cut to wide shot as camera pans up and grappling line with spear at the end shoots out into the distance towards the sunken buildings. It pauses in its track and with a burst of flame thrusts out even faster. Cut to side shot of the grappling line as it zips across. Cut to medium off side shot of building wall as the grappling spear breaks into the wall. We hear a rewinding sound and the line tightens.>
<Cut to front medium shot of Roger and Angel kneeling down and the briefcase at Roger's side. Roger's hand is on the briefcase as the camera pans up and the line tightens. Roger looks to the other side and grabs the handle on the other end of the line. He opens it up and hands it to Angel.>
ROGER: There you go, ladies first. (Angel gasps in surprise)
<Cut to closeup shot of Angel's face as her eyebrows slant down and she gets a stern look. She then stands up as the camera zooms out and follows her movement. She raises her right fist to chest level.>
ANGEL: Dammit, I didn't come prepared for this sort of thing. (She grabs the collar of her coat and with a single swipe removes the coat. The camera zooms out some to reveal her pink, wet body suit with magenta belt. Cut to behind shot of Angel from waist down as she walks forward some and grabs the handle from Roger, who is kneeling down and looking up at her in surprise. Angel walks to the left and Roger continues to stare at her.)
<Cut to off side shot of Angel hanging form the handles and swinging down the zip line as the camera pans left some. Roger then follows behind her hanging onto a handle and swinging down the zip line.Cut to medium shot of sunken buildings as camera pans up and to the right. Cut to wide side shot of Angel swinging down the zip line to a rocky ledge at the left side. She leaps off at the end with Roger following close behind, letting go at the end as well.>
<Cut to below shot at Rocky edge. We see Roger lean over the edge and look down at the camera before leaping down. Angel leaps behind him and the camera shifts down and zooms out to show the two land on a catwalk. Cut to medium open shot as Roger and Angel stand up into view. Roger is holding onto his tie, adjusting it with his right hand.>
<Enter "Weep For" track. Cut to wide shot of the front of a large cave. We see the catwalk at the bottom right leading into the cave, with Angel and Roger staring forward into the darkness.>
ROGER: Is there a factory or something in here? (Camera begins to zoom into the cave)
ANGEL: I don't know anything about this.
<Cut to inside a warehouse room with boxes. The interior is green and we see a door's gray handle turn and the door opened. Roger swiftly peers inside before he and Angel run quickly for cover behind the boxes. The door closes behind them. Cut to off side medium shot of Roger with his back to the boxes and looking to the side. He then turns to stare upward.>
<Cut to metal column and a light panel as the camera pans upward past a balcony and then to a crane. Cut back to shot of Roger against the boxes.>
ROGER: What the...hell is this? (Roger looks forward at Angel)
<Cut to off side shot of Angel gasping while peering upward from against the wall. Roger turns around to look up at that which she gapes at. Roger then gasps in surprise. Cut to below shot of the three foreign megadeuses hanging from the ceiling. The camera zooms out and a shudder of surprise creates a shocking moment. Cut to wide overhead shot of Roger and Angel looking up from beyond the boxes.>
ANGEL: What are they doing here?
<Cut to medium side shot of the foreign megadeuses as the camera pans right. Cut to a medium side shot of Roger staring upward.>
ROGER: Those are the megadeuses I destroyed. (Camera pans right and zooms in some on Angel's concerned face. (Fade to extreme closeup of Angel's face from side) When did they? (Angel looks downward)
<Cut to front wide shot of the three foreign megadeuses as they walked towards the port with glowing eyes and through waves of water. Cut to closeup of Angel's hand as she releases the string of a red balloon.>
ANGEL: (We see the balloon float up toward the sky) I tried to stop them. I said we wouldn't learn anything from sending them into the city now. (Cut to flashbacks of Act 14 when Angel looks forward with hair blowing,) That we couldn't gain (Cut to one of the megadeuses flying backwards in sparks and a cracked face and then to Big O ending its swipe among the three encircling him.) anything from it. (Cut to closeup side shot of Angel's face) But they came anyway.
ROGER: What do they hope to accomplish by retrieving
(Angel's eyes shift toward Roger) destroyed megadeuses?
(She stares forward again) I don't know. (She looks back and is startled. Cut to closeup front shot of Roger staring directly at Angel at the side.)
<Cut to front shoulder shot of Angel as she gets a worried look and backs up. Cut to off side shot of Angel as she steps and turns to face away from Roger.>
ROGER: Just as I though, you're from some place foreign... (As Roger begins to step forward with a raised hand, gun shots are heard and the sparks of the bullets appear in front of Roger. Roger backs away.)
<Cut to wide shot of the warehouse as camera pans up to the balcony where we see two of the divers shooting at them from above. Cut to behind shot of Roger and Angel running away with sparks flying around them and the sounds of gunfire. They turn right farther down behind some boxes. Cut to medium shot of passage between two boxes as Angel turns into this pathway and leaps to creep against the left box side.>
<Cut to medium side shot of Roger as he is sitting and rotating his watch dial, looking downward.>
ROGER: You're not carrying any gun today?
<Cut to medium shot of Angel sitting and looking flustered at Roger.>
ANGEL: Remember! I told you that I didn't come prepared for this sort of thing. Don't make this all my fault. (In the back we can continue to hear the pings of the gunfire and see some of the sparks.Cut to overhead shot of Roger and Angel. Roger is looking upward.) It's totally negligent of me not to carry something to defend yourself with (Cut to below shot of the three hanging foreign megadeuses)when you know you're going to some place dangerous.
<Cut to side closeup shot of Roger looking up and smirking and rotating the watch dial.>
ROGER: Oh dear, I believe I have been scolded. (They both look to the side or at the camera in a startled reaction)
<Enter "The Storm" track. Cut to overhead shot of the balcony where two divers look downward as the second one steps forward. The camera pans left over the boxes to show five divers surrounding the box passage with guns raised. Four more divers are seen running in. Cut to a monorail station as a monorail pulls in and stops to let out several divers. They run with loaded guns, splitting up.>
ANGEL: What are we going to do, Roger Smith?
<Cut to medium side shot of Angel and Roger sitting down as Roger stares upward adjusting his watch.>
ROGER: I wonder if it will reach. (Angel turns to him with a stern look)
ANGEL: What do you mean 'if it will reach'? (Angel gasps towards the camera and camera shifts up quickly to show Diver standing in open path on the other side of Roger Smith.)
<Cut to side medium shot of Angel to show a diver with a gun pointed at her at the passage between the two boxes on her side. Cut to closeup of Roger's watch. Roger's finger pushes down on the dial and it turns red with a bleep. Cut to below shot of the foreign megadeuses hanging from the ceiling. A small explosion erupts from the area over the first one. Cut to overhead shot of the divers surrounding the boxes as they look upward in surprise. Meanwhile Roger's watch grappling line shoots upward.>
<Cut back to below shot of foreign megadeuses as we see the line shoot towards the smoke. Cut to closeup of the explosion on the ceiling. A jagged hole was punctured through the ceiling and we see the front end of the Griffon pull forward and stick out over the edge. The grappling line shoots up and wraps around the metal bar/bumper of the Griffon as the smoke clears. Cut back to overhead shot of the divers and the boxes as Roger, holding onto Angel, quickly is lifted by the line upward. The divers look down momentarily to see that the two of them escaped.>
<We hear the rewinding of the grappling line and at a front view of the balcony see Roger and Angel lifted up quickly. Three divers on the balcony follow their movements with guns and begin to shoot up. Cut to closeup below shot of the foreign megadeuses. We see Roger and Angel lifted up towards the ceiling as sparks from the gun shots spray around the bodies of the megadeuses. Cut to side shot of Roger holding onto Angel as they are lifted diagonally and upwards towards the ceiling. The camera follows their movement, as do the gunshots.>
<Cut to overhead shot looking inside the building from hole in the ceiling, as Roger and Angel are lifted up. Cut back to below closeup shot of the hole in the ceiling as Roger and Angel leap off the line at its end and land safely on the roof. We hear two car doors shut and the Griffon backs up and peels away. Suddenly two black canisters, smoking profusely, are shot from the Griffon and down through the hole. Cut to wide shot of the sunken building area as we see smoke plume in the distance. The camera zooms out to show the sunken buildings in the dark.>
<Cut to medium shot from within a red hot oven in the kitchen at Roger's mansion. We see a brown roast sizzling and see Norman through the oven window shifting and peering at the meat. We also hear a knife being sharpened in the back. Norman shifts to the left to show us a view of Dorothy sharpening a knife in the back.>
NORMAN: Dorothy.
DOROTHY: Yes what is it, Norman?

<Cut to medium side shot of Dorothy sharpening a butcher knife. Her eyes shift to the side to look at Norman.>
NORMAN: I'm sorry but I've run out of pickles.
<Cut back to shot within the oven as Dorothy stands up and turns around to face Norman.>
DOROTHY: I understand. I will buy some right away.
NORMAN: There's really no need to hurry.
(Cut to behind medium shot of Norman looking at Oven window from the outside.) Take your time and enjoy yourself. You have until Master Roger returns.
<Cut to side medium shot of Dorothy again as she turns sideways and holding the knife in the air flips it vertically in one hand five times. Cut to closeup of a knife holder as the knife flings down into its correct holder place among the other knives. Cut to closeup medium shot of front desk at Paradigm HQ. There are no lights on and the whole scene is dim. We see a long tab that says "CLOSED", an empty chair behind the desk, and Roger's fist knock twice on the desk surface twice to hear no response.>
<Cut to off side shot of Roger at the front desk looking behind him. The whole room is of a green dark setting. Camera pans right quickly as Roger talks.>
ROGER: Looks like no one's home. (The camera pauses as it encloses Angel in the shot, who is walking forward)
ANGEL: I have a hard time believing that the Paradigm HQ...(Cut to below shot of the ceiling, made up many metal beams and catwalks. The camera zooms out slowly) empty. (Cut to front view of the transit wagons that escalate up to the different levels in a wide shot as the camera pans right) Paradigm's top executives are all on vacation (The camera stops when Angel steps in from the right side with hands on her hips in a side view.) at the resort dome at the eastern edge of town (At the end of her talk Roger steps beside her)
ROGER: (He turns his head to look at her) At this time? (Suddenly a bright light is turned on and we hear the screeching of a transit car. Angel and Roger gasp and look around them.)
<Cut to off side medium view of a level transit monorail. It is green like the interior of the building and as the camera zooms out it front single headlight brightens and a whistle sounds, as we see Roger's back at the bottom of the screen. Cut to closeup of Roger's face at the right side with a puzzled look. We see a blue transit car moving downward in the background.>
ROGER: What in the?
<Enter "Centenary" track. Cut to closeup side view of Dorothy holding a brown, open wicker basket in one hand. She wears a black cloak and the camera follows her movement left, past some tables with lit candles atop them. We hear laughter, talk, and children play in the background. Cut to overhead behind shot of Dorothy walking down the brick sidewalk.. An angel picture in chalk is on the ground and part of a banner reading "Come!" is at the top. Four kids come running past Dorothy in white cloaks and holding little angel wings in the air as they move around her. Dorothy stops at the middle of the screen and looks down at the Angel wing in chalk.>
<Cut to off side shot of a building form the outside. The camera pans up to show another blue banner with a picture of an angel praying and reading "ANGEL". At the top of the pan we see Tami looking through the window from behind the curtains. Tami turns and walks away. Cut to overhead medium shot of Dorothy looking up at Tami. Cut to wide shot of people dancing, playing instruments and just talking in a concentrated mass. The camera pans slowly right to show this jubilation.>
<Cut to closeup of two scruffy guys with snow caps on. One holds a red drink in one hand, which he lowers to gape and smile at the scene, along with the other fellow who smiles with a missing tooth. He raises a glass of a goldish drink with ice cubes afloat. Cut to front view of Mr. McGowen among other people crowded around and talking. We see a dancing girl in the close left side but she moves out of the way. Another uniquel dressed dancer steps partly into view.>
<Cut to overhead shot of a stairway leading to the transit car. Roger and Angel walk towards it some before they stop and look up.>
ROGER: Who is it? Who's there?
ALAN: Kitty, kitty, kitty! Hahaha
(Cut to medium off side shot of Roger as he looks to the right and up. Angel in the back follows his gape up and to the left. As Alan talks Roger turns to the side more.) Guests are guests. Even uninvited ones. (Roger turns and looks around at his side to see where the voice is coming from) Shall I give you a warm welcome? (Roger turns his head to the left and sees the source with open eyes.)
<Cut to front view of a blue transit car and Alan Gabriel sitting staring forward at the top of the stairs leading to it on the right side. The cuts switch to a "swishing" surprise effect. Cut to front medium shot of Alan staring forward.>
ANGEL: Alan Gabriel!
<Cut to front wide shot of Roger and Angel staring forward and up at Alan. The camera pans out to show Roger turn more towards Alan and Alan's back coming into view with the zoomout. This happens as Roger speaks.>
ROGER: I want the memories back that you stole from my client when you destroyed him. (Alan stands up in this view with a hand behind his back)
ALAN: (As Alan talks a off-side body medium shot of Alan pans up from his legs to his head as he stands there in front of the blue rail with his robotic arm extended to his side) What good would that do at this point? Are you ashamed of the fact that you had a run-down android as a client? (Alan then takes a bow) My good negotiator.
<Cut to front view of Roger and Angel looking upward. Roger pulls back some with an angry face before he grunts and runs forward. Angel opens her mouth in shock and the camera zooms in on her as she talks.>
ANGEL: What are you doing? You're unarmed. You know he enjoys killing people. (Cut to front view of the transit car stairs as we see Roger run up them. Alan leaps into the car door at the top.) Roger Smith!
<Cut to off side within the transit car as we see Roger run through the open door and into the dark interior. Roger stops and looks to the right at the front of the car. Cut to front view to the front of the transit car as the camera pans right. We see open seats and no sign of Alan, but we do hear the screeching of a whistle. Cut to front view of the car door as it quickly closes shut in a shot from the outside. Roger turns to see the door close on him. Roger begins to pull hard on the handle to open it but we hear the mechanical lift as the door and the whole transit car moves diagonally up and to the right.>
<Enter "Before Dawn" track. Cut to behind shot of Mr. McGowen on a stage with arms raised in the air. As the camera pans right we see a crowd of people in front of him with hands clasped in prayer and staring up at him.>
MR. McGOWEN: My dear brethren, we unfortunately do not have the memories that tell us why we are bound together as a family outside the domes. (Cut to medium front view of Mr. McGowen) But we know there is certainly a deep bond in the blood that flows between us, and that connection is eternal. (Mr. McGowen claspes his hands together in prayer and closes his eyes.) That is why our salvation will soon visit us from the heavens.
<Cut to closeup of crowd, people closing their eyes in prayer and there stands Dorothy looking at Mr. McGowen in the crowd. We see her cloaked get tugged a few times on the left before she looks down to see who it is. Cut to overhead shot of Dorothy looking down at Tami who is holding onto Dorothy's cloak and talking straight to her face from below.>
TAMI: Hello, excuse me. Your face is very white too, just like me. (Cut to closeup off side view of Dorothy's face as she stares in curiosity. Cut to medium off side shot of Tami looking up and still holding onto the black cloak.) But I bet you can walk outside whenever you like, can't you?
<Cut back to off side closeup of Dorothy's face again.>
DOROTHY: You can, can't you? (Cut to behind wide shot of Tami and Dorothy as camera pans left over the crowd and the outside of the room.)
TAMI: Nope, cause I would get really sick if I go out and stay in the sun. (The camera pauses and two kids dressed up in white cloaks with attached yellow halos go running by to the left with a angel figurine to play with on a wire.) They say if I go out in the sun all day, I could die. (Cut to closeup off side shot of Tami's face again as she closes her eyes and smiles with a giggle.)
<Cut to a wide shot of several large, green trees and bushes at the bottom, with two brown columns of stone leading a stone elevated patio. The camera pans right as we hear tropical sounds and see a stone rail along the patio and another pair of columns stacked up. The camera pans to the far right of the vegetation to show some doorway of stone and a blue transit car approaching by a statue in the distance. We see the purple, cloudy sky behind the dome window above.>
<Cut to medium shot of the transit car pulling to a stop at a stone station. A single statue on a dais faces the door on the right side of the platform. On the front end of the platform lies an old clock facing outward. The transit car door opens to show Roger Smith standing there. Cut to off side shot of the open door as Roger steps out and turns to face forward.>
<Cut to front view of Alan on the lawn, with a few columns in the back, wave his hand down and up to take off his hat, revealing his white hair, and to bow. The camera begins to pan right and zooms out some as Alex talks. Alex enters the scene sitting, in a side view, in a mechanical chair attached to a metallic crane that lifts him down to almost ground level.>
ALEX: I'm sorry my employees are out at the moment.
<Cut to front medium shot of Roger as he sternly looks and says.>
ROGER: Alex Rosewater.
(The crane shifts the seat to turn the chair and Alex to the left and face the camera, or Roger.) Please forgive the discourteous welcome. (Alan, bowing with his hat in hand, stands up again and turns sideways to walk backwards until he is behind Alex's chair and out of sight) I see that you are ever the man of action, Roger the negotiator. Or is it...(Cut to closeup front view of Alex's face with a smirk) Dominus of Megadeus?
<Cut to closeup of a model of Paradigm City illuminated and encased by a few single beams. We see Angel walk towards this model from the back. She stops and the camera pans up to show her face of wonder, as one of the beam tracks are lit up light blue. Cut to wide shot of the model as we see Paradigm City on the east coast of some land mass and extending out of the model are curved lines or orbits of light blue. Other metal bars extend down from above. The camera slowly zooms out.>
ANGEL: Alex said that he had obtained memories of the future. (Cut to medium off side shot of Angel staring forward. She turns her head to the right and then to the left, only to open her eyes and gasp. Cut to closeup of one of the tracks with blue light increments moving along the path. A "schink!" shock effect is used and in a blur shift downward and to the left we see the track lead to a location outside of Paradigm City's domes. The camera shifts then loosely to the right as Angel talks.) What is all this? (We see a large body or planet on one of the tracks).
<Cut to wide side shot of Alex in his chair and Roger walking toward him from the right. A stone colum stands in the middle and blocks out view some.>
ROGER: I'd have thought that you would have been the first to leave this dome.
ALEX: It would be rude if I failed to greet our visitor from the sky. Wouldn't it?
ROGER: What exactly is it that's going to come?
ALEX: It's right there! That's the angel that fell first, last night.
(Roger turns to his side and looks up)
ROGER: Hmm? (Camera pans up quickly in a blur with a "ding-gong" in shock effect. It pans to the top of the stone column to show a bubble of glass protecting a small worn fragment of metal with some strange form of writing on it. Enter "Respect - Lower East Side" track. Cut to closeup front view of the object, held together by two prongs. It has four Cyrillic symbols (CYRILLIC small letter "tse", small letter "a", smaller letter "er", small letter soft sign). The camera pans right slowly over it.) What of that? (Cut to off side below shot of Roger looking forward as we see the column with the fragment at the side and another column in the back.) Are you saying that that thing is supposed to be the Angel?
<Cut to off side view of Alex in his chair, staring forward and with the column now on the left side.>
ALEX: Just a tiny part of it to be exact. (Cut to front of Central Paradigm Dome from the outside as camera pans up to the dark purple, cloudy sky.) The bulk of its body will be descending on Paradigm City soon.
<Cut to extreme closeup of Roger's left eye as it widens in shock.>
ROGER: The bulk?...of its body?
<Cut to extreme closeup of Alex's right eye staring without change.>
ALEX: I learned of it thanks to these memories you found that belong to that android. (Alex raises the CD, with its shiny underside facing us, to eye level so that his pupil is still seen through the hole in the middle.) They have memories of this city's future.
<Cut to the face of the other side of the CD and through the hole we see Roger staring forward.>
ROGER: I don't believe one word you are saying.
<Cut to closeup of Roger's head with his hand still holding the CD in front of his eye.>
ALEX: I'm not surprised you think it's strange. (Alex lifts the CD away from his eye to look at Roger again.) But every event has a cause and a distant past and its effects inexorably march into the future. (Cut to front view of Roger with closeup of CD being held out on the right side of the screen towards Roger.) That's only natural, isn't it?
<Cut back to Paradigm City model as the camera shifts up and to the right across the lit tracks leading down, including the one with the large planet body on it.>
ROGER: What are these inexorable effects you're talking about?
<Cut to wide, side shot of Roger looking to the right as the camera pans slowly right from behind a darkened railing. We see through its holes the scene and the camera slowly pans to include Alex.>
ALEX: I don't believe that the men of the distant past are any wiser than we are today. But it does seem that their science and technology were able to accomplish much grander things. For instance, it seems that they were able to construct stars and make them orbit around our world.
<Cut to front medium view of the metal fragment in its glass sphere as the camera slowly zooms out.>
ROGER: Construct stars? What for?
ALEX: I have no idea. But when it's all said and done, those stars are man-made, metallic machines.
(Cut to medium off side shot of Alex's legs as we see the CD slowly fall down.) They eventually decay and... (Cut to closeup of the grass as the CD lands vertically and tilts slightly backwards to push the grass down. Roger is in the back.)
ROGER: ...And fall here, you mean? (Roger turns to look behind him and looks up.)
ANGEL: No they won't. (Camera pans left to show a set of stone stairs as Angel walks forward to the top of them from behind a stone structure.) They're not going to fall here. (Cut to overhead, behind shot of Angel as she steps forward some and Roger and Alex stare at her from below.) Orbital calculations show impact point will be outside the domes. (Angel then leaps forward off the set of stairs as we hear her land.)
<Cut to front medium shot of Alex staring forward in his chair.>
ALEX: Considering you were fired, you're quite well informed.
<Cut to below shot underneath Alex's crane chair and looking forward at Angel walking some next to Roger Smith in the distance.>
ANGEL: Why aren't you informing the people outside the domes?
ALEX: Because it is their destiny. It would be foolish to defy it.

<Cut to side medium shot of Roger and Angel as Roger leans forward to talk, speaking to the left.>
ROGER: Outside the domes is Paradigm City as well.
<Cut to side medium shot of Alex staring to the right side.>
ALEX: Well I believe that to be a matter of opinion.
<Cut back to side medium shot of Roger and Angel as Roger leans back in anger and raises his right wrist to mouth level, pulling back his sleeve and speaking into his watch. Angel turns her head to look at Roger.>
ROGER: Dastun. Dastun, are you there?
<Cut to Dan Dastun sitting sideways but facing the camera in the driver's seat of his police car. He has a walkie talkie raised to his left ear and crouched over we see a crowd of people staring inside the vehicle from the other side. We hear a loud rise of talk in the crowd that makes it hard to hear.>
DASTUN: What's that? Roger? What'd ya say? What? (Dastun leans to the side some and puts his other hand over his right ear. Cut to wide shot of the crowd of people on the sidewalk as the camera pans left. We see balloons on the far right and an angel figure being lifted on a platform by several people. We also see other cops in the back as the camera pans to the far left to show Dastun's car in the street.) Hold on a second! I can hardly hear you!
<Cut to wide shot of the garden in the back and Alex in his chair facing forward with his head resting on his left knuckle.>
ALEX: You wanna start evacuating them now? You now you'll never make it.
<Cut to behind shot of Alex and facing Roger and Angel. Alex's head is at the bottom as the camera pans right.>
ROGER: Are you so arrogant you think you can rule this world?
<Cut to behind and below shot of Angel and Roger as we see Alex in the back as the camera pans left. Alex lowers his left hand to the arm rest.>
ALEX: Hehehe. And what about you? Don't you think a little too highly of yourself?(Cut to side closeup of Alex's hand as it raises and points to the side.) You just don't have what it takes to be (Cut to closeup, side shot of Roger's side and wrist watch.) a dominus. Do you? (Roger grunts and grips his fist.)
<Cut to wide side shot of Roger and Angel facing Alex with the stone column in the middle.>
ROGER: All right, Rosewater. I don't know what you plan to do with those three foreign megadeuses, (Cut to medium side shot of Roger and Angel facing to the left side again) but if you're trying to use memories that'll have this world plunge into total darkness (cut to closeup of Roger's face from side view) I'll fight you to the bitter end!
<Cut to side closeup shot of Rosewater as he grins evilly.>
ALEX: Hmmpf. What can you do about it? What power do you have?
<Cut to extreme closeup of Roger's mouth as it forms a smirk. The camera zooms out soom as Roger raises his left arm with the wrist at mouth level and pushes down the sleeve. He pauses and then the camera zooms in on the watch and back out as Roger steps and leans back, raising his wrist up in the air and yelling into his watch.>
ROGER: Big O!!!!
<Cut to extreme closeup of Alex's eye as it squints. Cut to closeup of Angel's face turned at Roger with suspicious, stern eyes. Cut to closeup of Big O's eyes as they light up bright white/blue with a "bleep". Cut to below shot of Tami to off side and we see Dorothy's legs. The pink ball drops to bounce to Tami as she leans over to pick it up. She stares up in wonder.>
<Cut to medium front shot of Dorothy staring forward in a daze with her arms open, showing that she was the one who bounced it to her. >
<Enter "Centenary" track. Cut to overhead shot of the crowd as the people stare upward in amazement. Dastun runs through the crowd.>
DASTUN: Hey! (He grabs the shoulder of a guy up front shaking them.) You have to evacuate! Come on! Hurry! (Cut to front medium shot of the crowd as they stare forward and Dastun looks around. He cups his hands around his mouth and yells while turning his head across.) You must get out of here, people! (Cut to wide shot of the crowd packed in the street, mostly all in white cloaks. There is a pink bunny balloon, the lifted Angel statue, and a several people playing instruments up front. The camera pans down over them.) Dammit! Get out of here! (Cut back to same medium front shot of the crowd as Dastun lowers his hands and grunts. Suddenly a rumble is heard and people begin to stumble around as the ground shakes.)
<Cut to front view of the statue as it sways with the crowd in the shudder, before eventually tipping over. Cut to overhead shot of the crowd as the camera shakes and moves diagonally up and right over the fallen crowd and into the empty street behind them. Cut to the front view of a building as the camera pans up, the buildings trembling. The camera pauses to show an explosion of smoke behind the front building.>
<Cut to overhead off side of Dastun and people looking up and to the right, gasping. Cut to same front view of the buildings again as we now see the back of Big O's head in the smoke.>
DASTUN: The black megadeus!
<Cut to behind shot of the crowd as they stare forward. Big O's massive foot comes crashing down in front of them on the street and the people gasp and back away. Cut to off side below shot of Big O as it slowly walks forward. Cut to side medium shot of Big O walking between a passage of buildings. The camera follows its movement to the right. Cut to wide shot of the sky and part of two Paradigm domes. A large, faint pink glow becomes clearer in the sky as the camera slowly pans down.>
<Cut to off side medium shot of Roger in the cockpit, adjusting his tie with his left hand. He then lowers it to regrip on the joystick. Cut to off side below shot of Big O walking forward and coming to a stop. Cut to an overhead shot of the sidewalk and a building door, where we see Dorothy walk out of and look up. All around we see the angel worshipping crowd looking upward. Cut to head and shoulders shot of Dorothy walking forward at off side and looking up. We hear laughter and gasping in the back. Cut to off side wide shot of the buildings and the sky. We see a brighter light now in the sky just above the buildings in the distance.>
<Cut to behind below shot of Big O as he stands forward and two military poilice armored vehicle drives up from behind and stop. Cut to front wide shot of the vehicle and Dastun on top, yelling at people with a megaphone. A crowd of angel dressed people are in front and look back at him.>
DASTUN: Evacuate! You're in danger here! (Cut to off side closeup of Dastun's head as it moves into the center of the screen from the bottom left.) That thing that's falling from the sky is no angel! (Dastun looks up then in surprise. Cut to front head and shoulders above shot of Big O as the camera slowly zooms in down on it.) Don't tell me it's going to try to...(fade to front medium shot of Roger staring forward as the camera still zooms in. We hear a bleeping noise and Roger looks down.)
NORMAN: Master Roger, (Cut to front closeup view of Norman on the monitor, standing with his black apron on) I'm sorry to inform, dinner is not ready yet. I had Dorothy go out to buy pickles (Cut to off side medium shot of Roger smiling and looking down at the screen) and surprisingly enough she hasn't returned.
ROGER: I guess I'll just have to buy the pickles on my way home.

<Cut back to front view of video monitor.>
NORMAN: So sorry to trouble you, sir. (Norman bows.) Very well then. (The screen cross fades out.)
<Enter "Stand a Chance" track. Cut to extreme closeup of Roger's right eye as it lifts.>
ROGER: Let's see...(Cut to behind wide shot of Roger in his seat and the window. The camera pans up to view the sky from within Big O.) How should we welcome this angel? (Fades to front closeup of the "angel" as it flames slowly toward the screen.)
<Cut to front wide shot of Roger in the cockpit as it zooms in. Cut to closeup of a panel within Big O. It has a large black dial, two switch buttons on the upper right, and a button with two smaller buttons on top at the bottom left. Roger presses that button down with his finger and it bleeps to turn red , ejecting some. Cut to off side medium shot of Big O as it raises its right arm vertically with a flash and then the other arm vertically with another flash. The camera begins to zoom in as pink fragments of light collect at Big O's forehead. Big O lowers his arms to mid level and forms two fist to face each other. It slams the two fists together and shoot a bright pink beam upward and to the right.>
<Cut to wide shot of buildings as we see the pink laser fire upward and to the right. Angel then runs into the scene, with her back to us, on the balcony at the bottom of the screen. Cut to below off side shot of Angel staring at it with the pink flashes reflecting off her. Cut to open sky as the beam shoots into the distance, with the camera panning some upward, and upward toward the flaming projectile. It makes contact with a blinding pink flash. Cut to side closeup view of the projectile where the pink flash pushes against the flaming orange scrap metal column. The projectile pushes down the beam slowly as it descends to the bottom left corner. Cut to off side closeup of the projectile surface as pink rings fly by it and erode the surface.>
<Cut to wide shot of the beam blasting against the flaming object in its descent, as the camera zooms back to within Alex's dome. Alex stares at the scene from his raised chair and his back to us. Cut to overhead off side shot of Alex with a drink in his right hand staring upward. He raises his glass upward as if to give "cheers". Cut to below medium shot of Big O as the large pink beam continues to flow out of the headcase. The camera pans upward. Cut to off side shot of the beam as it blasts against the flaming mass. However, the projectile zips toward and past the camera, still descending. Cut to wide shot of the dome and the blast hitting the projectile in its descent.>
<Cut to side head and shoulder shot of Angel as she stares upward with the beam in the distance.>
ANGEL: He can't stop it. (She turns to the left and the camera shifts left as well to show the source of the pink blast behind the buildings in the distance.)
<Cut to off side medium of Big O still shooting its beam until it gets smaller and dies our all together. Big O's fist throw out forward. Cut to off side medium shot of Roger in the cockpit.>
ROGER: I had a feeling it wouldn't be that easy. (Roger grits down some. Cut to closeup front view of the metal pedal in the cockpit as Roger presses down on it. Cut to below shot of Big O's left foot as it steps forward and down hard. Cut to behind closeup of Roger's right hand, pulling the joystick back along the curved track as the camera follows it back.) Come on, Big O!!
<Cut to off side view of Big O as the camera follows its arm being pulled back. Cut to behind shot closeup of the piston in Big O's right arm. The piston is thrusted back in steam and sparks. Cut to side view of Dan Dastun looking behind him and up to the left of the screen, with a megaphone still in hand and on top of a slowly moving vehicle.>
DASTUN: Roger? (Dastun turns back forward and yells into his megaphone.) Hurry! (Cut to behind overhead shot of Dastun as the vehicle creeps forward to a crowd of people ahead. Two blue lights flash on the vechile and Dastun yells into his megaphone.) Get back! We're running out of time!
<Cut to front view of that scene, facing Datsun's armored vehicle and seeing Big O's back in the distance. The camera pans up to show Big O and then off to the left to show the flaming object. Fade to overhead closeup shot of Dorothy as the camera zooms out. We hear commotion all about and see people praying and kneeling. Cut to wide shot of Angel sitting on the balcony and staring off to the side. Fade to off side medium shot of Dastun leaning over and talking into the megaphone. The camera zooms in and the vehicle proceeds slowly to the left.>
DASTUN: I'm telling you! Everybody get back! (Fade to overhead medium front shot of Roger with his body twisted so that his right arm is pulled back with the joystick, awaiting to swing it forward. The camera zooms out slowly.)
<Fade to overhead medium shot of Big O in that same stance as Roger with its arm swung back. The camera zooms out slowly. Cut to off side medium shot of the flaming projectile as it flies toward and past the screen. The camera turns down and to the left to follow its movement from behind. We see the projectile heading towards the lit domes. Cut to a wide shot of the sky as the flaming object approaches and the camera zooms out to show part of Big O's fist. Cut to closeup of Roger's face as the camera zooms out and he prepares to swing his arm.>
ROGER: Big O! It's showtime! (Cut to closeup off side view of Roger's hand as it pushes the joystick forward and the camera follows its movement around to the end. Cut to closeup shot of Big O's fist as it swings around, the camera following it, and it makes contact with the flaming object.)
<Cut to extreme closeup of the fist and the projectile end meeting each other with a flash of electricity. Cut to below off side medium shot of Big O hitting the object once more with bolts of electricity shooting out. Cut to overhead closeup shot of Big O making contact with the object. Cut to off side closeup of Big O's fist as it melts and crumbles when it hits the object. The object's face smashes inward and crumbles as well. Cut to off side slanted view of Roger at the cockpit with both hands on the joysticks. The screen shakes and the camera rotates to regain a straightened image. Cut to overhead closeup of the top of the joystick as the panel is flipped and with his thumb, Roger pushes the black button.>
<Cut to extreme behind closeup of the piston as it thrusts forward in a blurry shudder. Cut to closeup off side shot of the object's front end as a yellow flash cracks the surface and the camera pans along the column as it cracks and breaks right to its end. Cut to wide side shot of Big O punching the capsule-like, firey red projectile. The red flames dissipate and bolts of electricity shoot out. A huge orange explosion then erupts. Cut to off side medium below shot of Big O as the explosion races across the screen. Cut to distant wide shot of the city as a bright yellow sphere grows and expands to cover the screen.>
<Cut to extreme closeup of Alex's eye as his pupil shrinks and opens in shock. Cut to behind wide shot of Alex standing up in his chair, with the bright light illuminating his view and sending flying black pieces toward the screen. Cut to front medium shot of Alex as the camera zooms out. He lifts his glass in the air and tips it to dump the wine out in front of him, smiling with the light illuminating the whole background.>
ALEX: Roger Smith...(Cut to off side shot of Big O as the camera pans down to show the melted, broken arm) you're not the only one with a megadeus.
<Cut to off side medium shot of Roger in the cockpit as he stares upward. He gasps after the camera zooms in on him some. Enter "Prayer - 14th Street " track. Cut to wide shot of the sky, with clouds illuminated in a goldish brown haze. The camera pans down slowly to show millions of golden specks falling to the ground with the buildings in the back. Cut to wide shot of Paradigm city o show the golden specks falling as the camera pans right over the dome and over an empty balcony. We hear the door shut and assume Angel left. Cut to Dastun looking up at side view from atop the vehicle as the specks fall and the camera pans downward.>
<Cut to below shot of Dorothy's head and shoulders, as she stares upward at the golden sky, the camera zooming out. Cut to side view of the hallway as the pink ball rolls to the left. It hits the wall softly and Tami runs right by it in excitement. Cut to behind medium shot of Dorothy, who hears giggling, and looks behind her. In the back we see the heads of other people looking around at the site. The camera pans down to show Tami running toward Dorothy. Cut to off side medium shot of Tami as she stops in her tracks outside the building and looks up at the sky.>
TAMI: (Saying while throwing her arms out and pushing back her hoodie.) It looks just like daytime! (Cut to front medium shot of Dorothy, Tami, whose arms are spread and is gaping with an open jaw and a smile at the sky, and of others in the back looking around at the wonder. Tami giggles as the specks fall. She then turns around and runs to grab Dorothy's right hand, pulling on it.) Come on lady! Lets play! (Cut to head and shoulders front view of Dorothy as she stares at Tami) Come on! (Dorothy turns her head to the side and raises her hand quickly to catch the pink ball thrown to her.)
<Cut to medium shot of Mr. McGowen lowering his right hand from just having thrown the ball from the crowd at the side. Cut back to side shot of Dorothy with the ball in hand. Dorothy then turns back to Tami. Cut to front medium view of Tami as she backs up and waves her hand to ask for the ball, giggling all the while. She quickly lowers her hands to catch the thrown ball. Cut to off side shot of Dorothy and Tami playing catch as Tami lobs it back to Dorothy and Dorothy throws it back to Tami. Fade to closeup of Mr. McGowen's face as he stares off at the side with intent eyes.>
MR. McGOWEN: She's actually playing outside in the light. (Cut back to off side shot of Dorothy and Tami playing catch.) Even if it's only for tonight. (Cut to side medium shot of Tami running to the right as the camera follows her.) Her laugh like a girl... (She looks to the left and catches the ball at the end, smiling all the way. She turns to face Dorothy. Cut to below shot of Tami as she lowers the ball really low and tosses it up high) That light is an angel. (The camera panning to follow the balls movement up towards the golden sky, glittering with the falling specks. We hear her giggle before it cuts out.)

To be Continued...
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