Prologue


( The inside of a holding facility; A guard's bloody severed arm is on the ground, still twitching while he and another guard grovel in fear; The wounded guard is then also decapitated by a bound and bandaged figure held inside a steel construct open to the air; an unseen force, controlled by the bound figure, is at work. By that same force, the keys rise from the dead guard's pocket. The remaining guard panics, removes and raises his sidearm, then opens fire ; From a remove, an unknown figure watches all this over monitor screens ; other dead personnel are on the ground behind them )

Guard : NO! NO! NO! ( SUB : STOP IT! )

( Cut to outside this same chamber; the report of his gunfire stops. The chamber is a large one, and the doors are extremely solid; back inside the chamber, the construct holding the bound figure is taken apart and ripped to shreds. As the doors open, we see first the mutilated body of the second guard. The bound figure slips out of constraints and is quickly loose, nude except for a helmet; it is a young woman, and she casually drops the head (which oddly had longish hair until dropped) of the man she just killed; She begins to slowly walk out of the chamber, uncaring of modesty or vulnerability. She begins to hum a tune we will come to realize is 'Lilium'. Its chant also plays throughout this sequnece )

Lucy: La la la...

___

Act One


( The kitchen area ; three secretaries are chatting )

Secretary A: I don't envy you, Kisaragi. Being Chief Kurama's secretary must be murder. ( SUB : It must be tough working as Chief Kurama's secretary, Miss Kisaragi. )

Kisaragi: Yeah? What makes you think that? ( SUB : What? Why do you say that? )

Secretary B: I can tell by the way he looks at me. That guy is scary. ( SUB : The look in his eyes isn't normal, somehow. It's scary, isn't it? )

( Behind Kisaragi are numerous kitchen policy signs, some of these addressing her by name )

(The kitchen policy sings say from the left/top to the right/bottom.
  1. "Don't keep kimchi (Korean pickles) inside the refge." [rem.: Because the strong smell carries and the food stains inside.]
  2. "Conserve water. This is an island."
  3. "garbage for burning."
  4. "garbage not for burning."
  5. "to Ms. Kisaragi, all garbages should be classified and trashed properly."
  6. "to Ms. Kisaragi, you need to unlock the (hotwater) pot, when serving the hot water."
  7. "to Ms. Kisaragi, don't serve a boiled-down coffee, please!" - this one all with red letters)

Kisaragi: No. He's really nice when you get to know him. You know, anybody would look scary if they had to put up with my mistakes. But today, I'm going to get it right. ( SUB : What? He's a kind person. But I can't be of much help making mistakes all the time. But I, Kisaragi, am trying my best! )

Unseen Announcer: This is an emergency alert. The underground research block will be sealed in 60 seconds. All staff evacuate immediately. I repeat. This is an emergency alert. The underground research block will be sealed in 60 seconds. All staff evacuate imme...
( SUB : A state of emergency has been declared ; 'The underground research block will be sealed in 60 seconds. All staff please evacuate immediately. I repeat. A state of emergency has been declared ; 'The underground research block will be sealed in 60 seconds. All staff please evacuate... )

( Guards are arming themselves from an opened weapons locker ; Kisaragi struggles not to drop a single cup of coffee ; She is oblivious to the alert )



( The nude girl, still wearing only the odd helmet, appears ; The guards show they know her to be a threat )

Guard B: Stay calm. The manual says she can't hurt us from more than two meters away. ( SUB : The manual said that we'll be safe if we stay more than two meters away. )

( She immediately decapitates one guard, causing the others to draw their weapons )

Guard C: Yeah, but didn't it say to keep objects away from her too? ( SUB : Oh, didn't it also say 'don't drop things on the floor'? )

( The girl uses a pen from the dead guard's pocket to drive through the head of another ; The third guard has his arm chopped off, and is then split in two at the waist ; The fourth is decapitated )

( Guards standing on stairs fire down continuously ; One is knocked down in the hall, his legs and lower body severed ; Another flees down that same hall, but is neatly bisected at the waist; Blood flows freely, staining the walls )

( Another guard, either a separate one or the one split in two and already dying, tries to crawl away and is decapitated; in a splatter of blood against the girl's helmet ; She fully ascends the stairwell )

( Four Guards fire down the hallway at the slowly approaching girl in loud hails of ammo to no apparent effect; Two go to reload, and the girl cuts these two plus one more to pieces; The fourth is decapitated ; His neck twists until his head simply falls off like it had been unscrewed )

( An elevator proceeds up ; Its lights indicate its rise ; As its door opens,once more, a group of guards awaits and opens fire ; The elevator car is riddled with bullet holes, but when the smoke clears, the girl is revealed to have been seated crouching, the bullets well above and around her, her position joining with her strange power to protect her ; Spent bullet casings float, then fall like beads ; She cuts three of the guards to pieces ; A fourth cowers and is killed in a splatter of blood offscreen; The girl's unseen power is now somehow soaked with blood ; this shows up as a red handprint when she pushes the door control lever open )

( Outside the doors, a bespectacled man in a suit, Doctor Kurama, awaits the girl with several armed guards ready to fire at her, some standing, some crouched, and back far enough to avoid her power's supposed limits ; Whether this will be enough to stop her quickly becomes moot as Kisaragi stumbles in, spilling the coffee she avoided spilling before )

Kisaragi: Uh-oh, uh. Uh! Ow...

( On her knees, she is obviously confused ; Kurama's eyes grow wide with concern )

Kurama: Kisaragi!

Kisaragi: Uh, Chief Kurama, I'm really sorry. I messed up again. ( SUB : Chief Kurama! I'm sorry, I did it again... )

Kurama: Kisaragi, run! ( SUB : Run, Kisaragi! )

Kisaragi: Hey, what's going on? ( SUB : What is this? )

Kurama: Run away! Go! ( SUB : Run away now! )

Kisaragi: Huh?

( Kurama seems to know the dangerous girl, called Lucy, well enough to realize that Kisaragi is likely doomed; his attempt to move forward is restrained by the guards )

Kurama: No, Lucy! Don't do it! ( SUB : Lucy, don't! )

( Kisaragi is quickly raised up, but while her whole body rises slightly, we realize that Lucy is only holding her by her head ; the head then twists around backwards and is taken off amidst the sounds of neck tendons snapping ; it is not a cutting, but a tearing ; it happens so quickly Kisaragi's face still holds a mixture of terror, shock and utter confusion even as it falls to the ground; there is shock abundant in the faces of the guards and Kurama, despite apparently being familiar with their attacker )

Kurama: Open fire! ( SUB : Shoot her! )

( The guards open fire in unison, but Lucy raises up Kisaragi's headless body, using it as a shield ; it effectively doubles the protection afforded by her strange power ; Kisaragi's body, the torn neck skin still visible, writhes almost puppet-like under the hail of gunfire as bloody holes are torn in it ; From her pocket, a pink fountain pen is removed and used by Lucy as a missile to poke through the head of one of the guards ; Suddenly, the guards stop firing )

Kurama: Hurry! Shoot her! ( SUB : Shoot! Don't hesitate! )

Guard D: We're out of bullets.

( Kisaragi's body falls, sprawling forward as it often did in life ; Lucy slowly moves forward ; One guard surges forward and confronts her, seemingly meaning to use his empty gun as a bludgeon ; it is unclear whether this is an act of desperation or a complete misunderstanding of his target )

Guard E: I'll take this bitch. ( SUB : You bitch! )

Kurama: Watch out! ( SUB : Stay put! )

( This unmindful guard has his heart popped out, intact and still beating as it falls onto the chest and in the lap of a cowering fellow guard, who is utterly repulsed; Lucy casually bisects the four guards closest to her as she continues her almost La Pew-like movement forward ; she passes Kurama on her way out the next door but does nothing ; However we quickly see a red hand mark on his back, indicating Lucy at least contemplated ending their implied feud then and there; The remaining guards flee in disgust and panic )

Various Guards: Argh,Aaargh! Let's get out of here!

Kurama: She's on her way to the emergency exit. Bring the partition down and keep her locked in. ( SUB : She's heading to the emergency exit! Bring down the partition and lock her up! )

( The partition to the doorway Lucy just passed through lowers ; Lucy, now trapped in the well-reinforced room, begins to pound on the inner-leading door with her power ; Marks show on the partition's frame, but it seems like she might finally be trapped ; A door leading to the outside is now shown to be open and is sighted by Lucy ; The mystery figure from before is shown to have opened it, knowing Lucy would use it to escape. Kurama is informed of this )

Kurama: The outer partition has been opened? That can't be right. Don't give me excuses. Just send a sharpshooter. ( SUB : The outer partition's been opened? That can't be right! I don't need your excuses! Just send me a sniper. )

( Lucy is sighted within a sniper's scope, as the sharpshooter draws a bead on her ; He and Kurama stand within an internal overlook vantage point )
Kurama: Make this bullet count. She isn't gonna give you a second shot. ( SUB : Finish her, with just one bullet. With her, you're not going to get a second shot. )

Sharpshooter: This is a 50-caliber anti-tank rifle. Strong as her vectors are, there's no way she can stop a round from this rifle. ( SUB : This is a 50-caliber anti-tank rifle. Even her vectors won't be able to repel this bullet. )

Kurama: The back of her head. ( SUB : Target the back of her head. )

Sharpshooter: Copy. ( SUB : Roger )

( The gun fires, breaking the glass of the window in the overlook ; the noise of the glass and the report alert Lucy, who turns her head and activates her power, the helmet apparently catching some of the impact as well ; It is no longer a clean certain killshot, but Lucy's temple is obviously struck as the helmet flies off, undoing her hair's bindings ; Her face is at last partially revealed. Kurama immediately assumes from the evidence that they have failed )

Kurama: God damn it! She's still alive. ( SUB : Damn it! It didn't finish her off. )

( As she falls back and towards the water, Lucy's nude body is shown close-up ; As she plunges head-first into the water, several small rocky protrusions are seen ; A nighttime moonlight shot firmly reveals that the facility that once held Lucy is on an island. )

(CUT TO NEXT SCENE)
_

Act Two


( A bright sunny day ; A drainage ditch with a lock is shown ; Soft pink petals fill the air ; A sign on a corrugated metal rooftop says : )

ENOSHIMA ELECTRIC RAILWAY
GOKURAKUJI STATION

( Beautiful blossoming trees are apparent, amidst power and telephone lines )

( A young woman waits opposite the stationhouse entrance, next to a phone booth and a mailbox. Her hair is chestnut brown, and her dress is a darker brown ; she is carrying a tan purse. Checking the time, she seems surprised and begins to walk alongside the drainage ditch, which still manages to look picturesque and quaint. An empty train tunnel, its tracks and some surrounding fencing are viewed, along with what look like houses on the left side of the tracks and fence. The young woman walks toward a long upward-sloping stone stairwell bracketed on the right by a cliffside, and leading up to homes in keeping with the area's style. Excitedly, she sights a young man walking up the stairs some paces ahead of her ; His hair is dark, his clothes casual, and he is wearing a knapsack ; His look is that of someone who is both where he belongs and perhaps somehow, where he's not sure he should be )

Yuka: Oh!

( He turns and they look at each other, not entirely sure of their respective identities )

Yuka: Aah! You're Kouta, aren't you? ( SUB : You're Kouta, right? )

Kouta: Wha? Uhm, well... ( SUB : Um... )

Yuka: I'm Yuka. Your cousin.

Kouta: Oh, you're Yuka? ( SUB : Oh, Yuka? )

Yuka: Wow, I missed you at the station. I've been looking all over! ( SUB : Since I didn't see you at the station, I looked all over for you )

Kouta: Really? Sorry. ( SUB : Sorry. )

Kouta: But how did you figure out that I'd be here? ( SUB : But I'm surprised you figured out that I was here. )

( She walks ahead of him, perhaps a bit exasperated )

Yuka: You used to like to watch the ocean from up here, right? I remembered. ( SUB : You liked watching the ocean from here, right? I remembered. )

( A downward view of another set of stairs is revealed ; The scenery is rich with a prime ocean view, and indeed, an overview of much of the surrounding area. They stare out, a childlike wonder still apparent in their eyes )

Kouta: The view looks the same. It hasn't changed since we were kids. ( SUB : The scenery looks just like it did when I was a kid. )

Yuka: Now we're going to the same college. Who'd have guessed? We've come this far already. Let's go see the ocean! ( SUB : I'd never have thought that we'd be going to the same college. Since we've come this far, let's go see the ocean! )

Kouta: H-Hey! What're you doing? ( SUB : Hey, what're you doing? )

( Yuka excitedly grabs Kouta by the arm, leaving him a bit flustered ; They pass a striking cemetery in the distance )

Yuka: Come on! We used to go there all the time! ( SUB : C'mon, we used to play there a lot! )

( At the beach, two wood logs are partly covered by seaweed ; The two stare out at the ocean )

Yuka: Remember when we used to play here? ( SUB : We used to play here a lot, didn't we? )

Kouta: Yeah. The three of us. You, me, and Kanae. ( SUB : The three of us, including Kanae, came here on the last day too. )

Yuka: Little Kanae... ( SUB : Kanae... )

( Yuka grows sadly wistful at the mere mention of Kanae ; Kouta seems to be staring, not at the ocean, but out at the past ; He sits down, hunched as though weighted down by these memories ; Yuka's look shifts to one of concern )

Kouta: The last day, she was here, collecting seashells. ( SUB : She...was collecting seashells here. )



( A flashback begins, backlit by muted tones, almost to the level of sepia ; A wide-eyed and delighted looking Kanae presents young Kouta with her find, happy to give him her treasure )

Kanae: Kouta! Look! I found a ton of pretty seashells! Look! Aren't they great?! ( SUB : Big brother! I got a bunch of seashells. Look! Look! )
Child Kouta: They don't look so pretty to me. ( SUB : I don't think they look that pretty )

Kanae: Huh? Wha? Hmph!

( His low opinion shocks and angers Kanae, who balls her hands into fists )

_


( Shift back to the present, prompted by Yuka's voice )

Yuka: Kouta. ( SUB : Kouta? )

Kouta: What? ( SUB : What is it? )

( We see Yuka looking away at something she must find very odd )

Yuka: Take a look over there. ( SUB : Look the other way )

( Bare feet in the water are seen ; Yuka now fully gets Kouta's attention, whether she wanted him to look in that direction or not ; Both are wide-eyed and confused as we see long pinkish-red hair, from behind )

Kouta: Huh? Ugh! Uh, uh, what's going on? ( SUB : What's going on? )

Yuka: ( Somewhat sarcastically ) Your guess is as good as mine. ( SUB : How am I supposed to know? )

( Nude, it is Lucy, who briefly seems set to resume her rampage then and there ; A shift in perspective occurs ; We see blood trickle down the opposite side of her face ; She moves to cover not her nude body but her face ; Her face and hands now spread out plaintively, she says her first word )

Nyu: Nyu? ( SUB : Nyu... )

( Her left cheek is trickled with blood ; her horns are as apparent as her breasts ; Kouta and Yuka are seen from a 3/4 perspective, still very much stunned until Kouta finds it in him to speak )

Kouta: U-uhm... Excuse me? ( SUB : Um... )

( The girl, acting nothing like the Lucy we have seen up till now, shows fear and confusion, sees the others on the beach with her and tries to run ; This fails as she has no coordination ; She falls and trips in the sand ; sprawled, the provocative sight and position of her nude body is in direct opposition to her reaction to the fall ; Her body is that of a young woman, but her tears are those of an infant ; Her modesty is not even a concern, but the minor mishap has her sobbing openly )

Kouta: U-uhm... H-Hey! ( SUB : Hey... )

( Yuka turns Kouta away from the sight of the girl )

Yuka: Kouta, take your clothes off right now. ( SUB : Kouta take your clothes off for now! )

Kouta: What? ( SUB : Huh? )

Yuka: Just take off your clothes. ( SUB : Never mind, just take them off! )

Kouta: Er...

( They are now by the boardwalk border with the sand, the boardwalk some feet above them ; Kouta's back is turned as Yuka secures Kouta's overshirt to cover the nude girl ; the shirt is oversized and falls well over her waist and lower torso up to her thighs ; Despite Yuka's words, this is the only clothing she has had Kouta remove ; Sighting her cover, he turns to look at them )

Kouta: It sure doesn't seem like she understands what we're saying. ( SUB : It seems she doesn't understand what we're saying, huh? )

Yuka: Hey, look at this. I think she's hurt. ( SUB : Hey, look at this. She's injured pretty badly )

( Yuka tries to pull at something on the girl's head, but just as suddenly pulls back in surprise )

Yuka: That headband makes it look like she has horns. No way! They're sticking out of her head. ( SUB : That headdress looks like horns, huh? No way! They're sticking right out from her head! )

Kouta: Huh?

( Kouta's eyes grow wide once more in a close-up ; Pain and fear are readily apparent on his face )



( In flashback, a figure, almost wholly obscured by shadows created by sunlight ; Kouta cannot or will not see them clearly ; The scene warps and retreats ever further into shadow as the mystery figure, perhaps another child from that past time in Kamakura, half-whispers a single word )

Child Lucy: Liar...



( Kouta is roused from this by Yuka's prompting )

Yuka: Kouta... Kouta? Hey, Kouta! I'm talking to you. ( SUB : Kouta!...Kouta I'm talking to you, Kouta! )

Kouta: What? What is it? ( SUB : What is it? )

( The scene shifts to Kouta and Yuka's faces )

Yuka: I've been trying to tell you that I think we should take her to your place. ( SUB : I've been saying that we should take her to your place for now. )

Kouta: What do you mean, my place? ( SUB : My place? )

Yuka: The place you're moving into. Because we can't leave her like this. ( SUB : The place where you'll be living from now on. Because we can't leave her like this. )

Kouta: Er, yeah.

( Yuka tries to reassure the girl with a smile )

Yuka: It's all right. You're safe now, huh? ( SUB : It's all right. Don't worry. Okay? )

Nyu: Nyu?

( Kouta stares at the girl's face as though trying to place it ; As they walk, shrine markers line the path ; at times, it seems as though the entire area has been carved from one single giant stone ; Everything is picturesque )

Kouta: You guys are going to rent me a house? Is this it? ( SUB : The house that your family's going to rent out to me. Is this it? )

( It is now apparent that the girl we have come to know as Lucy simply isn't present or awake in this girl ; She stares about her in apparent wonder ; A sign says Kaede-Sou, or in English, Maple House, just above a sliding bamboo door. The place is huge, and dominates the nearby landscape. It is overgrown somewhat, but not at all decrepit )

Yuka: It was a traditional Japanese restaurant, but they went out of business a while ago. My Mom says as long as you clean the house every day, you don't have to pay rent. ( SUB : It was a Japanese-style restaurant, although they aren't in business any more. Mom says that as long as you clean the house every day, she doesn't need any rent. )

( The girl is plaintly entranced by her surroundings ; Kouta seems to be thrown by what he has ended up agreeing to )

Kouta: But, er... ( SUB : So, um... )

Yuka: What's up? ( SUB : What is it? )

Kouta: How many rooms does this house have? ( SUB : How many rooms are in this house? )

Yuka: Let's see...ten, if I remember correctly. ( SUB : If I remember correctly, there are ten rooms. )

Kouta: And I'm supposed to clean them all? Without any help? ( SUB : Am I supposed to clean all of them by myself? )

Yuka: And the garden. ( SUB : And the garden, too. )

Kouta: Wait. So basically I'm supposed to be a free caretaker? ( SUB : In other words, she put me in charge of a vacant house? )

( Yuka's face shifts somewhat ; She seems both cute and awkward ; there is an element in her smile of having 'gotten' Kouta for something )

Yuka: Hmm. Well, people always say that there's nothing worse for a building than being neglected. ( SUB : Well, they say that if no one lives in a building, it falls into disrepair quickly, so... )

Nyu: Nyu?

Kouta: ( Dejectedly ) Home, Sweet Home. ( SUB : I'm coming in. )

( Inside, the place is empty but stately ; Kouta looks in wonder at a grandfather clock ; the girl begins to hop around in seeming discomfort )

Kouta: Wow. This thing has to be an antique. ( SUB : This already looks like an antique. )

Yuka: It doesn't work even when you wind it. I'm pretty sure it's broken. ( SUB : It doesn't work even when its wound up, so it must be broken. )

Kouta: Too bad. ( SUB : Oh, darn. )

Yuka: Kouta, you should sleep in here until you're all set up. ( SUB : Use this room for the time being. )

( We do not quite see the room ; the girl is becoming ever more agitated )

Kouta: Okay.

Nyu: Nyu ( Alarmed ) .

Yuka: What's wrong? ( SUB : What is it? )

Nyu: Nyu, Nyu!

( The girl's hops are becoming more frenzied, and her face shows pain )

Yuka: What? Well, um, I don't know what to do. And I don't even know what her name is. ( SUB : Hey. Well...I don't know what to do. I don't even know her name. )

Kouta: All she says is "Nyu, nyu." Nyu seems like a good name? ( SUB : Since she keeps saying 'Nyu, Nyu'. Why don't we just call her Nyu? )

Yuka: What?!

Nyu: Nyu~.

Kouta: Look. I think she likes it. ( SUB : Look. She likes it too. )

Yuka: Yeah? You think so? Huh? What's the matter? ( SUB : You think so? What's the matter? )

( 'Nyu' sinks to her knees in pain, then smiles in relief ; Kouta and Yuka see that she has urinated on the floor ; The scene at first switches to Kouta cleaning the mess up with a scrub-brush and bucket of water ; Inside the modern yet also traditional-seeming onsen, or onsen-like bath area, Yuka and Nyu are nude, and Yuka bathes her ; Even though both young women are nearly fully mature, Yuka's posture is that of a young woman, while Nyu, for all her curves, sits like a baby being cared for )

Yuka: You really should know better than to pee in places like that. ( SUB : You shouldn't go to the bathroom in a place like this. )

Nyu: Nyu.

Yuka: Sorry to leave you with the mess. ( SUB : Sorry to make you clean it up by yourself. )

( Kouta gets up from scrubbing ; Nyu is wearing some of Kouta's clothes, but doesn't quite know how to wear them ; By this point, Yuka and Kouta seem to take her modesty lapses in stride )

Kouta: It's alright, but you didn't have to give her my underwear. ( SUB : You didn't have to make her wear my underwear. )

Yuka: What else was she supposed to wear? I'll buy her some new clothes later. Are you hungry? I bought rice balls. And I have got plenty to share. ( SUB : But there was nothing else for her to wear. I'll go and buy some later. By the way, shall we eat? I brought rice balls. )

( Yuka looks at Nyu, smiles )

Yuka: Would you like some too?

( Again, Nyu simply doesn't follow the words )

Nyu: Nyu?

( An empty shot of cushioned porch chairs and a small table is cut away from as we see Nyu staring at Yuka's rice balls like they were diamonds or other treasures ; The three are seen seated ; Nyu is hunched over while regarding the food )

Yuka: Hey, where do you think she came from? What was she doing there? ( SUB : Hey, I wonder where she came from and what she was doing. )

Kouta: Er... Hrmm, no. ( SUB : I don't know. )

Nyu: Om nom nom.

Kouta: You've never had rice balls? You hold them like this, and... ( SUB : Haven't you ever had rice balls? You hold it like this, and... )

( Kouta makes an effort to show Nyu how to eat )

Nyu: Huh? Ahh.

Kouta: You're hopeless.

Nyu: Om nom. Nom nom.

(The effort ends with a mess across her mouth and hands )

Kouta: Look. You got it all over your face. ( SUB : Look, that's what you get for stuffing it into your mouth all at once. )

Nyu: Aha!

( Kouta begins to feed Nyu himself, to his growing joy and her delight ; Yuka for her part taps her fingers and shows impatience with this )

_

Act Three


( Back at the facility, we see close-up, and then in wide view, the twisted metal that is all that remains of Lucy's innermost confinement chamber ; it is being inspected in light of her escape )

Shirakawa: The cage, the partitions, five locks, and a security system. Everything was perfect. The cause of the shutter system anomaly has not yet been determined. ( SUB : The cage, the partition with five locks and the security system. Everything was perfect. The reason that the shutter system opened on its own is still unknown. )

( Shirakawa is a sober, serious-looking woman, professional and quite pretty as well ; Her brown hair is worn in a bun ; She is Kurama's second in running the place, and she obviously takes what has happened very seriously, perhaps even feeling like she has failed by not solving this mystery ; Kurama still shows the strain of witnessing Lucy's slaughter, and physically, he still has the red hand print she placed on his back )

Kurama: In time we'll sort it out. Right now the priority is finding Lucy and killing her. ( SUB : Right now killing Lucy is a higher priority than figuring that out. )

( A close-up of the two shows Shirakawa's surprise at these orders )

Shirakawa: You said, 'kill,' not 'capture'? ( SUB : Killing her? Not capturing her? )

( A pull-back to a wider view of the room shows blood still dripping from the twisted metal into larger puddles of blood on the floor )

Kurama: The Special Assault Team has been assembled. If we don't stop Lucy, the blood of mankind is on our hands. ( SUB : We'll use the SAT, Special Assault Team. If we release Lucy into the world, mankind will perish. )

_

( In a computer-enhanced simulation arena, four armed and desperate-looking targets are taken out with startling ease ; In the control room above this chamber, men are at the controls observing this )

SAT Officer: That's incredible. He locked onto all four targets simultaneously. ( SUB : That's incredible. He locked onto and shot all the targets at the same time. )
Simulation Operator: It would take a monster to beat Bando one-on-one. ( SUB : Anyone who could defeat Bando one-on-one would be a monster. )

Officer: A monster, huh?

Operator: I could do without his personality quirks. ( SUB : If only his personality were a little more normal. )

( Another hostage-taking scenario is again resolved quickly and successfully ; In the next one, both targets and hostages are taken out with abandon )

Operator: Bando! Stop screwing around. ( SUB : Bando! Do it seriously! )

( Bando, the man inside the simulation, throws off his VR helmet with contempt ; Ranting, he faces his controllers, or perhaps his leash-holders )

Bando: Shit. What the hell's the point of shooting at targets that don't scream or bleed. It's getting old. I'm ready for real people. ( SUB : Shit! What the hell's the point of shooting at stuff that doesn't scream or bleed? This is stupid! Let me shoot people! Real people! )

( One is quite furious ; likely he has seen this behavior before )

Operator: You bastard.

( Another seems to regard the situation detachedly )

Officer: I understand. ( SUB : I see. )

( In the sim-chamber, Bando shrugs dismissively and broadly as he leans against a railing )

Bando: This is ridiculous. I'm done with this shit. ( SUB : This is stupid. I'm done with this shit. )

( His objective found, the officer calmly approaches Bando )

Operator: A murderer escaped from the detainment facility this morning.

Bando: Huh?

Officer: I want you to find her immediately and shoot her on sight. ( SUB : I want you to find her immediately and shoot her dead. )

Bando: Kill her. And I don't have to give her any warning? ( SUB : Shoot her dead. You mean I can shoot without warning? )

( Bando is stunned and delighted at the offer to hunt Lucy and begins to laugh what for him must be uncontrollably )

Bando: Huh? Muahahaha. Just go out and cap her, huh? Muahaha. ( SUB : So shoot her dead, huh? )

( A young woman working at the SAT facility begins to approach Bando from behind, likely with the results of his latest exercise )

Woman : Mr. Bando?

( By reflex and yet perhaps with no small amount of malice, Bando brutally backhands the young woman, who then lies stunned and bloody, uncomprehending of why she is now hurt and in pain ; Bando looks over at her ; He seems just slightly apologetic but otherwise unremorseful )

Bando: Never sneak up behind me, stupid bitch. ( SUB : Don't stand behind me, you stupid bitch! )

Officer: He's perfect. ( SUB : Excellent. )

( The looks of shock and sympathy for the young woman on the faces of the other staff members indicate that they do not share this opinion )


Act Four


( Back at Maple House, it is raining ; The three are around the dining room table, with Yuka just outside it, holding a broom while kneeling )

Yuka: I gave the place a quick once over. ( SUB : I did a quick cleanup of the house for you. )

Kouta: Oh, thank you. ( SUB : Thanks. )

Yuka: It was a one-time only special favor. From now on you're gonna have to... ( SUB : This was a one-time only special service. From tomorrow, you'll definitely have to... )

Kouta: Yeah, yeah. I know. ( SUB : I know. )

( Kouta begins searching his knapsack for something ; inevitably, both have their attention returned to Nyu, who also looks through the knapsack, after staring at Kouta in a prone position that again seems less sexual and more indicative of her frame of mind ; That said, she is clearly not a baby )

Nyu: Nyu.

Kouta: And her? She really can't stay here... ( SUB : What shall we do with her? We can't let her stay here. )

( Yuka kneels holding broom )

Yuka: Maybe we should've called the police in the first place. ( SUB : I wonder if we should contact the police after all. )

Kouta: Maybe so. ( SUB : Yeah. )

( Nyu's poking around reveals a keepsake of Kouta's, a seashell the color of pink quartz ; Kouta takes it from her and stares )

Kouta: Oops.

Yuka: Is that from the last time we went to the beach? ( SUB : That. Could it be from that time? )

Kouta: Uh-hun. ( SUB : )

( Quickly, Kouta's hold on the present-day gives way to another flashback )

_


Kanae: Look, Kouta. ( SUB : Big brother! )

( Kanae proudly presents that same seashell to Kouta ; Young Kouta and Yuka lean forward, smiling and struck by the shell's beauty )

Child Yuka: It's pretty.

Child Kouta: It really is. Can't believe you found something nice. ( SUB : It really is. I'm surprised you found something like this. )
Kanae: And?

( A triumphant Kanae awaits her reward ; Kouta praises her and lovingly pats her on the head, mussing her hair just a bit ; she could not be happier )
Child Kouta: Fine. You did a good job. ( SUB : Okay, you did a good job )

( Kanae excitedly turns to him )

Kanae: That settles it. It's going to be your present. ( SUB : Okay, then. I'll give this to you, big brother. )



Kouta: Wasn't long after that she got sick and died. ( SUB : Right after that...she died of a disease, so... )

( Yuka immediately gains a concerned look )

Yuka: She was sick? Is that what you said? ( SUB : A disease? You said disease? )

Kouta: This is like a memento of my sister. And since I've come back here again, it just made sense to bring it. ( SUB : This is like a memento. And since I came back here, I thought I'd take it with me. )

( Yuka attempts to broach what she already seems to realize is a tender subject, but can't find the words )

Yuka: Kouta...

Kouta: Huh? What is it? ( SUB : What is it? )

( Nyu grabs the shell and studies it, as though seeing something she doesn't like or can't figure out )

Kouta: What're you...

( Nyu takes the shell between her two hands, and then snaps it in two, a broad grin on her face as she does ; Kouta is enraged; Yuka is shocked ; Kouta grabs Nyu, shaking her by the shirt while shouting )

Yuka: Kouta!

( Yuka moves in and tries to restrain him ; he is past listening to her )

Kouta: What're you doing?! I said it was a memento of my sister, you know?! ( SUB : What are you doing? I said it was my sister's memento, didn't I?! )

Yuka: Kouta, No!

Kouta: What were you thinking?! ( SUB : What are you thinking?! )

Yuka: Kouta, stop it! ( SUB : Kouta, I said no! )

Kouta: Was that supposed to be some kind of joke, huh? ( SUB : You can't just say that you were kidding! )

Yuka: Stop it, Kouta! Calm down! Nyu must have thought the shell... ( SUB : Kouta, stop it! Calm down! Nyu must have thought... )

Kouta: You know, you know, you know what? Just get out of here! ( SUB : You! Get out! )

Yuka: Kouta! Wait a minute! ( SUB : Hey, Kouta! )

Kouta: You heard me! Go! ( SUB : Get out! )

Yuka: What're you saying? ( SUB : What are you saying? )

Kouta: I'm saying, Get out! ( SUB : I said get out! )

Yuka: You have to calm down! ( SUB : Knock it off! )

Kouta: This isn't funny!

( SUB ONLY : Yuka : I said calm down, Kouta! )

( Badly confused, Nyu hops the table and runs out while Yuka again attempts to restrain Kouta ; As the scene shifts, a calmer but still badly flustered Kouta looks at the broken shell and fumes ; A look at the house has it already seeming emptier without Nyu )

Kouta: What the hell was she thinking?

( Yuka's shadow, and then Yuka herself, is seen in the doorway of the dining room as Kouta sulks )

Yuka: I think she understood. She knew the seashell made you sad. ( SUB : Maybe...since you looked sad...I think she might have thought that the seashell was bad. )

Kouta: Huh?

Yuka: Wherever Kanae is, I don't think she'd be happy to see you like this. Her memory ought to be worth more to you than just bitterness. There was nothing bitter about how she
lived. ( SUB : If you're sad every time you remember Kanae, I think Kanae will be sad too. )

( It is apparent that Yuka's words hit Kouta hard, and that he is already considering them )

Yuka: I'm going to go look for Nyu. We can't leave her alone. It's miserable out. ( SUB : I'm gonna go and look for her since it's already dark and it's pouring outside. )

( Yuka leaves ; Kouta is left with his thoughts )


Epilogue


( A military transport helicopter navigates the rainy skies ; Inside it are members of Japan's legendary Special Assault Team )

Transport Pilot: We'll be above Kamakura soon. ( SUB : We'll soon be above Kamakura. )

( Bando seems calm and yet nearly giddy with anticipation )

Bando: Never thought I'd see the day when this country would let me terminate a minor. Hey, things are looking up in the world. ( SUB : I didn't expect to receive an order to shoot
a minor in this country. Hey, this world's gotten pretty damn cool, don't you think? )

( Another team member leans in and reacts to these words )

SAT 1: Stop talking, jerk. I happen to take our mission seriously. ( SUB : Watch your mouth! What do you think our mission is? )

( Bando pulls a gun on his comrade, holding it almost up the man's nostrils ; the others are plainly shocked, but do nothing )

SAT 2: Hey. ( SUB : What're you doing? )

SAT 3 : Stop. ( SUB : Stop it! )

SAT 4 : What're you doing? ( SUB : What're you thinking )

( SUB Only : Stop! )

Bando: Everyday, all this training, what is it add up to, huh? Killing people, right? ( SUB : What are we training for every day? Killing, right? Do you get that? )

( Bando cocks the gun, but then just as calmly puts it away )

Bando: That serious enough for ya?

( The relief of the others is visible, instantaneous and even palpable )

Comrades (As one) : Phew.

( Their commander, having let this play out, faces them )

Chief: When you're done playing grab-ass, you guys lock and load. ( SUB : I don't care if this gets your rocks off, but be on guard. )

( He begins to brief them )

Chief: Your target killed 23 people in 5 minutes. She's vicious. ( SUB : Your target is a vicious criminal who killed 23 people within just five minutes. )

( His description is interspersed with the sight of a sad, confused Nyu in the rain, at the shore, still crying from when Kouta yelled at her )

Next Episode Announcer : ( Bando is smiling, Nyu cowering in the sand ) The Hunter, and the hunted. ( Bando with a gun on Kouta, next on Nyu/Lucy) The tables turned, and then, turned again. ( SUB : The tables were turned, and then turned yet again ) ( Kouta is shown a photo of Lucy by police detectives ; Nyu is knocked about by Bando ; An umbrella goes flying in the air ; Nyu is knocked back by gunfire ; A small dog reacts to noise while sitting with someone ) Torn between an instinct for destruction and an ignorant bliss, innocence is her only chance at peace. ( SUB : Unwavering Impulse and also innocent behavior. She feels pleasure due to her innocence. ) ( Lucy shrugs off gunfire, splits a fence and rowboat ; Bando fires to little effect ; Lucy's vectors come at him en masse from behind her head ) On the next Elfen Lied, Episode Two : Annihilation.