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From LISTSERV@BROWNVM.BROWN.EDU Sun Jan 1 23:02:32 1995 Return-Path: <LISTSERV@BROWNVM.BROWN.EDU> Received: from mx4.u.washington.edu by redms.cac.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.32 ) id AA04169; Sun, 1 Jan 95 23:02:31 -0800 Received: from mx2.cac.washington.edu by mx4.u.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.31 ) id AA11681; Sun, 1 Jan 95 23:02:30 -0800 Received: from brownvm.brown.edu by mx2.cac.washington.edu (5.65+UW94.10/UW-NDC Revision: 2.31 ) id AA13781; Sun, 1 Jan 95 23:02:06 -0800 Message-Id: <9501020702.AA13781@mx2.cac.washington.edu> Received: from BROWNVM.BROWN.EDU by BROWNVM.brown.edu (IBM VM SMTP V2R2) with BSMTP id 2802; Mon, 02 Jan 95 02:01:04 EST Received: from BROWNVM.BROWN.EDU (NJE origin LISTSERV@BROWNVM) by BROWNVM.BROWN.EDU (LMail V1.2a/1.8a) with BSMTP id 3118; Mon, 2 Jan 1995 02:00:54 -0500 Date: Mon, 2 Jan 1995 02:00:52 -0500 From: BITNET list server at BROWNVM (1.8a) <LISTSERV@BROWNVM.brown.edu> Subject: File: "FIREFLY SCRIPT" To: "Michael S. Johnson" <msj@CAC.WASHINGTON.EDU> Status: O FIREFLY SCRIPT Subject: 1.) GRAVE OF THE FIREFLIES script (Miho Nishida, Mar. 28, 1992) L#01278 2.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991) L#01432 3.) ANGEL'S EGG script (Enrique Conty, October 8, 1992) L#01563 4.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93) L#01687 5.) ROBOT CARNIVAL script (Ron Azuma, January 17, 1990?) L#02231 6.) PLEASE BLINK, GRANDMA synopsis (JAPAN TIMES, July 30, 1992) [NOTE: there is no inherent connection between GRAVE OF THE FIREFLIES and ANGEL'S EGG, but I had to store the ANGEL'S EGG material *somewhere* on on the fileserver, and I figured graves and angels go together. ROBOT CARNIVAL is here because of the "Presence" segment. And as for PLEASE BLINK, GRANDMA . . . well, I had to put it *somewhere*. (I haven't seen ROUZIN Z yet. Should a synopsis of *that* be stored here, too?) -- Steven Feldman] Subject: 1.) GRAVE OF THE FIREFLIES script (Miho Nishida, Mar. 28, 1992) ========================================================================= SCRIPT: THE GRAVE OF THE FIREFLIES 73 COLUMN VERSION ========================================================================= This script is a fan-produced translation of the animation movie, "The Grave of the Fireflies," and is not meant in any way to infringe upon the rights held by the creators or those in connection with the movie. The script is purely an instrument to aid fans better understand the movie when viewed legally. Reproduction of this material is permitted for Non-Profit purposes only. Any personal alterations made should not be included in the script when distributed. In the use of this script for subtitling efforts, please read the section "SUBTITLING" attached at the end of the script. Maturity in the use of this script is expected. Original Edits by K Hindall & Sheng-Te Tsao (CJAS), March 28, 1992. Re-formatted to a 73-character line by Steven Feldman, August 11, 1992. Please keep these headlines intact. Griffin Script Miho Nishida 3/28/92 ========================================================================= HOTARU NO HAKA -Grave of the Fireflies- Script and direction by Shun Takahata ------------------------------------------------------------------------ ( ) = scenery notes [ ] = translational/cultural notes Within translational notes: LT Literal tranlation of Japanese; ET Equivalent translation; ALT Alternative phrasing of previous sentence or word; = Definition or clarification of a word; ? Uncertain translation due to unclear dialogue. < > = hidden reference of a dialogue ------------------------------ CHARACTERS: SEITA Son of a marine officer [general?]. SETSUKO Younger sister of Seita. ["Sett-chan" = Endearment of "Setsuko"] R/SEITA Rei [= Spirit] of Seita. MOTHER Seita and Setsuko's mother. AUNT A distant relative of Seita and Setsuko. There seems to be no direct blood ties to her and them (probably a wife of a distant blood relative). [Note: She may seem like an ogre or at least an abusive woman, but I would stress that her actions are just a result of the hard time they lived in.] ------------------------------ SPECIAL NOTE: TRANSLATOR'S SPECULATIONS AND INTERPRETATION NOTES 1) In this movie, the "rei"s of Seita and Setsuko travel through their flashbacks. This "rei" is not really a ghost but more a spirit. 2) In Japanese, like many other words, the word "hotaru" can be written in different ways. "Hotaru" is usually written with one kanji character that has the sub-character "insect" incorporated in it or written with the hira-gana (kana) characters that sound out "Ho" "Ta" and "Ru". In this movie, however, the author chose to use an archaic kanji formation to write "hotaru". The characters "Fire" and "Leaking/Spilling" and the hiragana "RU" are used. The use of the rather archaic formation leads this translator to speculate that the author perhaps intended to convey the meaning of "Life Leaking" or "Spilling of Life" to the audiences. Or perhaps, in the 1940's, this particular "spelling" was still valid. This is purely a speculation of this translator, but one that nonetheless was thought to be worth mentioning. [So don't quote me!] 3) Hotaru [= fireflies] do not live long. ----------------------------- SPECIAL NOTE: TERMS, CONCEPTS & OTHER NOTES In middle of the film, there is a song sang about frogs and heading home. Song: "The frogs are croaking so let's go home". The reason for the word "frog" in this song: "Kaeru" = frog; "kaeru" = to go home/back; "kaero^" = let's go home/back. It should be noted that the kaeru from the frog has no accent and kaeru to go home has accent on the "ka". ----------------------------- R/SEITA In 1945, on the night of September 21, I died. [ALT: On the night of September 21, 1945, I died. NOTE: Sho^wa year 20 = 1945] (_Train station_) VOICES What a dirty guy. Oi! Watch out! How dirty! I wonder if he's dead. The American troops will be arriving soon. It would be an embarrassment if they find such a guy here at the station. VOICE Mommy! SEITA What date is it? (He slumps down.) Setsuko... (Station workers arrive for clean-up.) WORKER 1 (prods Seita's body) Again... (Searches Seita) Hm? What's this? WORKER 2 Let it be, let it be. [ALT: Forget it, forget it.] <You should> just throw it away. WORKER 1 (prods another body) This one's gonna go soon, too. When they start staring into open air, they're goners. (The station worker throws the rusted candy can outside. The cap opens on impact and small white objects spill out. As the fireflies take flight, the rei of Setsuko rises up from the weed beds. Seeing her brother's form in the station, she starts to go there, but a hand restrains her. She looks up to see the rei of her older brother. Seita picks up the candy can and the can is no longer rusted. Handing the can to Setsuko, they head into the station together.) ------------------------------ Title: Hotaru no Haka (The Grave of the Fireflies) ------------------------------ (Riding on the train, light washes over the reis of Seita and Setsuko. As they turn around, they see the fires of an air raid...) ----------------------------- (Seita is putting food items into the hole he dug as the air raid sirens sound. His mother is trying to put a protective cap on Setsuko.) VOICE Take shelter! Take shelter! Please take shelter! VOICES [?][?] If it's a bombing raid then the shelter-hole behind the fire house is the safest. [?] SETUSKO It's hot! MOTHER You're a good girl, aren't you? You must bear it. [ALT: You must endure it.] (Setsuko squirms away.) Well, I'll be going to the air-raid shelter. You two be careful and join me soon. Sett-chan [in reference to Setsuko], you listen to your brother. SEITA Mom, never mind. You gotta go quickly! MOTHER Yes, yes. SEITA Mom, do you have the medicines with you? MOTHER Yes, yes. I have them. SETSUKO I don't like the air-raid shelter... SEITA Saying such a silly thing... [ALT (poor): What a silly thing to say.] You could be blown up by the bombs. [ALT: Don't blame me if you get blown up by a bomb.] Hurry and get on! SETSUKO The dolly! [ALT: My dolly!] SEITA Where? Ah! (They hear the warning bells. With a whooshing sound, the air raid begins.) SETSUKO Nii-chan! [LT: Elder brother; ET: Brother] SEITA Take cover! (They try to flee outside. As the fire bomb proceeds,) No! (They rush back into the house to avoid the fire, then return outside.) SETSUKO (As they prepare to leave, fire bursts from windows.) Nii-chan! Nii-chan! Nii-chan!! (The two manage to get away to a grove by the sea; various scenes follow.) MAN Emperor [ALT: Lord Emperor], Ban-zai!! [ALT: Long live the Lord Emperor!!] (The raid passes.) SEITA No need to worry. We should be safe here. SETSUKO Where did Mommy go? SEITA She's at the air-raid shelter. The shelter behind the fire station. She said it could withstand the direct hit of a 250 kilo bomb. There's no need to worry. Mom's probably at the Nihon Matsu Station. We arranged to meet there. Let's go there after we rest a while. (Seita starts to wipe Setsuko's face.) SEITA Are you all right? SETSUKO I lost my sandal. SEITA I'll buy you a new one, a much better one. SETSUKO I have money too! Open this. (She upends the purse to show the toys.) SEITA My, you're rich. (Rain starts to fall.) SEITA So this <rain> is what they say falls after air-raids... (Seita, carrying Setsuko on his back, climbs up to a road.) SEITA My, it's become really...cleared... Look, that's Kohkaido. We went there to eat zo-sui, remember? [zo-sui = soup-like rice dish] SETSUKO Did our home burn down? SEITA Looks that way. SETSUKO What will we do? SEITA Dad will take revenge for us. ------------------------------ (_The Aftermath_) VOICES Mom! Mom! [ALT: Mother! Mother!] MAN If your house was the only one that didn't burn, I guess you'd feel uncomfortable. I'm glad that ours just burned, clean and simple. MAN It's really a good thing that you're all right. WOMAN [?] MAN No, it's not Aunty. SETSUKO Nii-chan, I need to go! SEITA Okay. MAN Everyone! Please gather at the school! [LT: People's School, Citizen's School] SEITA What's the matter? SETSUKO My eyes hurt. SEITA You mustn't rub them. They'll be able to wash them at the school. SETSUKO Where's Mom? SEITA She's at the school. SETSUKO School? SEITA Yeah. Let's hurry over there. SETSUKO Okay. (At the school, a make-shift hospital has been set up.) WOMAN Seita-san. (takes him aside) Seita-san, have you seen your mother? She's hurt. Hurry, go see her. I'll watch her (in reference to Setsuko). (To Setsuko:) It was scary, wasn't it, Sett-chan. You didn't cry <did you>? SETSUKO No. WOMAN Your brother has some business. It won't be so long. (Seita rushes down to the main hospital complex.) MAN Ah, Seita-kun. We were looking for you. Are you all right? SEITA My mom? MAN This way. (As he leads Seita out, he turns back and hands Seita a ring.) Oh... This is your mother's. SEITA What? MAN Over here. (Seita is shown into a room where his mother lies wrapped in bandages. Her breathing is labored.) MAN She's finally gone to sleep. It would be better if she was placed in a hospital. I'm having people ask around. I heard that Kaisei hospital in Nishinomiya didn't burn. SEITA Ahm... Mom has a bad heart. [ALT: heart trouble] Is there any way could you get her the medicine for that? MAN I'll ask around. Well, I'll come again. SEITA Mom... (Seita comes back to the school playground where the woman and Setsuko is playing in the sand box.) WOMAN Did you see her? SEITA Yes... WOMAN It's really a pity. SETSUKO I'm thirsty. (Seita hands Setsuko his water bottle.) WOMAN If there's anything I can do, tell me. Oh, yes. Did you get the dried rations? I'll get them for you. SEITA Put this ring in your purse. You mustn't lose it. Mom's not feeling great. She'll get well soon, though. SETSUKO Where is she? SEITA In the hospital. The one in Nishinomiya. So we're going to stay over at the school tonight. And tomorrow... You remember our Nishinomiya aunty, the one who lives near the pond? Let's go there. Okay? WOMAN We're at the second floor of the school. Everyone's there; won't you join us? SEITA Thank you. We'll be there later. WOMAN Later, then. Sett-chan. SEITA Do you want to eat them? SETSUKO I want to go to Mommy. SEITA Tomorrow. It's too late today. (Setsuko starts to cry. After a while...) SETSUKO Look! Nii-chan's [ALT: Brother's, I'm] good at this. ------------------------------ (Another day. The body of Seita and Setsuko's mother is being carried out for cremation.) MAN1 We can't take off the bandage. It's better not to look at the body. MAN2 With this heat... MAN1 We have to use trucks starting today. MAN3 Your sister... What did you do with her? SEITA I left her with our distant relative in Nishinomiya. We had arrangements for us to stay there in case we got burned out <of our home>. MAN3 Is that so? That's good. Well, I have duties, so I'll leave you here. Take care. [LT: Be well.] ------------------------------ (Seita's rei looks on as his past self returns to Nishinomiya via train, carrying the ashes of his mother. Seita and Setsuko's rei get off at a station and they walk down a hill. It is night and they see Seita opening the gate to his aunt's home. Seita hesitates, and before opening the door, he hides the wooden box of his mother's ashes. [Note: Sadly, since it was a mass cremation, the ashes that Seita obtained are not, strictly speaking, "his mother's ashes". Rather, they are what may or may not contain some of her ashes.]) SETSUKO Mommy! Where's Mommy? Is Mommy still not well? SEITA No. She got hurt in the raid. AUNT Welcome back. How was your mother? Is she in the Kaisei Hospital? SETNA Uh... yes... AUNT Marines are lucky. They get to use trucks for transport in their pre-evacuation. ["Sokai" = pre-evacuation of items or persons to rural areas by those living in more metropolitan areas] Your spare futons are out in the room. SEITA Thank you. ["Sumimasen" LT: Sorry] SETSUKO I wonder if Mommy doesn't need it anymore. Did she give it to me? SEITA That's important, so put it away. Mom is... When Mom gets a little better, let's go pay her a visit, okay? [ALT: Let's go see her, okay?] SETSUKO Okay. SEITA It's late, so sleep now. [ALT: So, go to sleep now.] SETSUKO Okay. (Late that night, Seita sneaks out of the house to retrieve the urn.) ------------------------------ (The next day finds Seita going back to what is left of his house to retrieve what he hid in the backyard. On his way back to his aunt's house, he drinks a water from a broken water pipe. He tosses the treasure he found, the candy can, into the back of the cart. He opens a jar of umeboshi [= pickled plums; extremely acidy and sour, but good] and suffers the consequences.) AUNT <Dried> herring, dried fish flakes, dried sweet potatoes, eggs, and pickled plums. My! Isn't this butter? Even during these hard times, some people have it all. <Only> the military people get to live in luxury. [ALT: get to live in excess.] So Seita-san, have you visited the hospital? I want to discuss with your mother about what to do in the future, so I was planning to visit her with Sett-chan. (Noticing Seita's grim face,) She didn't make it? SEITA Mom died at the school. AUNT What? She died? If that was the case, why didn't you tell me sooner? You're an unfrank child! ["Mizukusai" = not being frank out of reservation or from politeness] SEITA I didn't want Setsuko to know. AUNT So she died... My goodness. You must write to your father immediately and let him know. SETSUKO Nii-chan! Sister bought me a new sandals! SEITA That's good, Setsuko. [ALT: Aren't you lucky, Setsuko.] GIRL Welcome back. ------------------------------ (Seita and Setsuko are playing in a bath tub at their neighbor's house. They come out refreshed and amused.) [Note: In those days, especially in the rural areas, not everyone had bathing facilities. Neighbors borrowed from those who did have them.] VOICE Rough time for you kids... SEITA Thank you very much. SETSUKO What's that sound? SEITA That's the <sound of an> edible frog. There's nothing to fear. SETSUKO Ah! A firefly! SEITA (Seita catches one.) Here, take this. [ALT: catch it.] (Setsuko accidentally crushes the firefly.) Oh, you crushed it! SETSUKO What is this smell? SEITA It's because you squished it! (They arrive at a field where there are plenty of fireflies both in and out the air.) SEITA My, there're so many of them; the fireflies. Oh yes. Setsuko, close your eyes and say "Ahhhn". SETSUKO Why? SEITA It doesn't matter why. Just say "Ahhhn". SETSUKO Ahhhn. (Seita pops in one of the drop candies into Setsuko's mouth.) SETSUKO A drop! Mmmmm! Drop, drop, drop! [ET: candy; "Dorop" which comes from drop candy is synonymous to "Ame" = candy, in Japanese.] (She runs around but suddenly comes to a halt.) SETSUKO I almost swallowed it! ------------------------------ (Seita and Setsuko returns. Their aunt is scraping the bottom of a pot to get the burnt scraps.) SEITA We're back. AUNT That was long. [ALT: You're back late.] Did you thank the lady? [Note: In Japanese, "Oba-san" is not only "aunt" but is also used in reference to any middle aged woman.] SEITA Yes. (As the kids retire to their room, Seita peers back at the kitchen and swallows.) SEITA That looked good... ------------------------------ (_Rainy day_) AUNT Seita-san. What happened to school? Don't you need to go? [ALT: Shouldn't you attend?] SEITA Well, the academy I used to go is a mess from the bombings, and the school burned, so there's nothing I can do. AUNT Really? [ALT: Is that so?] You did write that letter to your father, <didn't you>? SEITA I did <send it>. As a certified mail. AUNT When? SEITA It was as soon as I got here, so it's been more than 10 days. AUNT That's strange. I haven't received any reply yet. (As she leaves the room,) If you use the scissors you must put them away, Sett-chan. ----------------------------- (Somedays later, at dinner:) AUNT How goes the war? BOY It's getting worse, I heard. Other factories have to cover the load for those others burned in the air-raid. All they keep saying is for us to pour all efforts into increasing the production in preparation for the battle on the mainland. [ALT: They tell us to pour all efforts into increasing the production in preparation for the final battle.] AUNT That must be so... Even the distribution of food items are getting worse and worse. [ALT: Food rations are getting sparser as well.] It's becoming tough for everyone, and not just for the soldiers on the battle field. Koi-san is also part of the country's work force; you must eat alot and gain strength as well. [ALT: keep up your energy/strength] ["Koi-san" = Youngest sister in rural 'Kansai' tongue] (The siren starts.) AUNT Again! (_In the shelter_) WOMEN So at your place, two got burned out? That must be hard. They're so young. Pity. SEITA What's the matter? Your rash itches? SETSUKO I'm hot! I hate shelters! SEITA Bear it. Nii-chan's here, so you're not afraid, are you? [ALT: I'm here, so you're not afraid, are you?] ----------------------------- (Some days later:) SEITA Wanna go to the sea? SETSUKO Yes, let's go. Let's go to the sea! (On their way to the sea,) SEITA My... They've turned everything into <farm> fields... (_At the sea_) SETSUKO What are they doing? SEITA They're taking the salt water. The rationed salts and soy- sauces aren't enough. Let's go. Hurry and get undressed. SETSUKO Ohhh! SEITA It might be a little cold. SETSUKO Noo! [ALT: Do--n't!] It's co--ld! SEITA Doesn't if feel good around the rash? SETSUKO Yes! It's a large bath tub! SEITA Hey! (Starts chasing Setsuko) Stop! [ALT: Wait] I'll eat you up! (Seita starts to playfully chase after Setsuko. As they rest, Setsuko comes across a crab and follows it. She comes across a body hidden under a mat.) SETSUKO What's the matter? [ALT: What's he doing?] He's lying down. SEITA You don't have to see that. When it gets a little warmer, we can swim; I'll teach you how. SETSUKO If you swim, you'll grow hungry! [ALT: If we swim, we'll grow hungry] VOICE "If you swim, you'll grow hungry!" [ALT: *as above*] MOTHER Seita-san, Sett-chan. Come over here. You must be hungry. The carupisu is chilled, too. [Carupisu = a sweet milk-based drink] (With the roar of the siren, Seita comes out from day-dreaming. They head back home.) GIRL Oh, Mother! Were you safe? It's great you came. WOMAN How are you? GIRL I'm fine. Everybody cared for me. (The girl and the woman continue their discussion in the backdrop.) SETSUKO I'm hungry. SEITA Bear it. Hurry, or else the raid's gonna come here soon. SETSUKO I'm tired. Nii-chan, piggy-back! (Seita sighs.) VOICE Take shelter! ----------------------------- (_At the aunt's home_) AUNT About your mother's kimono... I hate to say it, but since there's no more use for them, why don't you exchange them for rice? I myself have been bartering [="item-item exchange"] a little at a time for some time to supplement <the rations>. I think this would be about one- toh <of rice>. ["toh" = about 16 qt.] SEITA One toh?! AUNT You must get more nourishments. You're going to grow strong and be a soldier, right? SEITA This would be one toh <of rice>? AUNT I'm sure your mother would be pleased about it, rather than have these just lie about. Well, I'll be going. SETSUKO You can't. AUNT Why, Sett-chan, you were awake? SETSUKO It's Mom's <clothes>. You can't! It's Mom's. You can't, you can't! SEITA Setsuko! SETSUKO No, no, no! No, no, no! (Seita's rei covers his ears, not wanting to hear Setsuko's tormenting cry. The kimono their aunt took for item exchange was a formal kimono their mother wore. The fall of the cherry-blossom petals changes to the fall of white rice into a container.) AUNT Isn't it a good rice? I'll be cooking this white rice for dinner, Sett-chan. (tightens lid) Here, you two hold on to this. SEITA It's white rice, Setsuko! [ET: A white meal, Setsuko!] (Seita pokes Setsuko. Setsuko begins to cry, but at dinner...) AUNT There you go. It's a pity that both Koi-san and Nii-san are working over-time and won't be able to eat this warm meal. SEITA The white rice is sure delicious, isn't it? SETSUKO (Nods.) Seconds! AUNT Yes, yes. Sett-chan, you have an appetite when it's white rice, don't you? SETSUKO Yes! <It's because> I like it! (_Next day, breakfast_) SEITA What's the matter? SETSUKO I don't like zo^ sui. ["zo^ sui"=watered barley/rice meal] SEITA The pickled plums that I brought... There're no more? AUNT That thing... You know that it ran out a long time ago. (To her son:) Here, your lunch. BOY Thanks. [LT: Then, I'll be taking it.] AUNT Gokuroh-sama [LT: Thanks for the labor/toil; ALT: Have a good day.] GIRL Well, I'll be going! AUNT Take care! SEITA Look. Lunch will be white rice, so bear it and eat it. AUNT Cut it out! For those that are here during the day, lunch will also be zohsui! Why should the lunch for those that work for the country and those that just sit around all day be the same? Seita-san. You're old enough; start thinking about how you can be of help. You two don't give us any rice but expect to eat it. It just doesn't go that way. No way. You let them eat white rice for a while and my, they become so picky about taste. [ALT: picky about food] SETSUKO But that rice is our rice... [ALT: But it's our rice.] AUNT What was that? Are you saying that I'm cheating you, then? What a thing to say! What's the use of taking in two orphans, if they say such things to me? [ALT: Why should I bother to take in two orphans, if they...] Fine! Let's cook separate meals from now on. You won't have any complaint, then. And Seita-san. You do have other relatives in Tokyo, don't you? There's that someone from your mother's family. Why don't you send out a letter? Nishinomiya [ALT: This place] might be bombed any day <you know>. (On a train,) SEITA But I don't know their addresses... ------------------------ (In front of a bank,) GIRL Let's go home! WOMAN Yes. Dad's waiting at home, isn't he? BOTH The frogs are croaking, so let's go home... [NOTED EARLIER: The reason for frog in this song: "Kaeru" = frog; "kaeru"= to go home/back; "kaero^" = let's go home/back] SEITA Sorry! [LT: Forgive me!] I had to wait a long time. What's the matter? SETSUKO I'm hungry. I'm thirsty. SEITA All right. [ ALT: Understood] Here. Lick these <candy> drops. Mom had seven thousand yen saved in the bank. Seven thousand yen! If there's that much, we can manage plenty. There's no need to worry anymore. (_At a post office_) SEITA I'm writing to Dad, saying "Give us a reply, Setsuko's waiting." (_At a store_) OWNER You guys are lucky. In times like these, no matter how much money you offer, you can't buy these items. Nowadays, there're no items to sell and the business is dry. Especially metal products. Can't find them anywhere. SEITA I'll take that comb, and... do you have any umbrellas? OWNER I don't have umbrellas... Oh yes. (_Outside, in the rain_) SEITA (Song to the effect of) "Rain, rain, fall, fall, Nii-chan has come with an umbrella. Pitt-chi Pitt-chi Chap-pu Chap-pu [the sounds of rain close to "splatter splatter droppity drop"] Lan Lan Lan!" -------------------------- (Home. Seita is making a fire.) SEITA Isn't Nii-chan good with this? SETSUKO Yup. AUNT Careful with the fire. SEITA Okay. BOY What happened to those two? AUNT They say they're going to cook for themselves from now on. BOY Really... That's admirable. <May I have a> second, please. GIRL Mother, didn't you say something harsh again? AUNT Well, but, not a single word of apology and they went and bought all those utensils. It's as if they're insinuating something! (In a different room,) SEITA I'm filled! [ALT: I'm full!] ["Gosso-san" = short for "Gochiso^ sama"; said after meals to indicate gratefulness or contentment with the meal] SETSUKO [?: That's not proper, Nii-chan.] SEITA It's okay. You don't have to sit so properly. ----------------------------- (At the rationing station,) MAN There. That's the rationed portion for two. SEITA Only this much? MAN Yup. The next ration will probably be in July. (Setsuko is crying in the street, expressing her hunger. Her crying ceases temporarily when Seita hands over the candy can, but resumes when she finds no candy drops. Seita hits the can and several candy pieces that were stuck to the bottom of the can are found. Setsuko looks at what she has left, and after some thought, eats the smallest and puts the rest back into the can. Seita gives the can to Setsuko for her to keep.) ----------------------------- (Having no more candies left, the two fill the empty can with water. Seita begins to shake it, but gives it over to Setsuko who is eager to do it herself. Seita pours the candy-water into a small cup and hands it to Setsuko to drink.) SEITA <Is it> sweet? SETSUKO Ahhh! There're lots of flavors! SEITA Grapes, strawberries, melons, mints. They're all in there, aren't they? Setsuko, you can drink 'em all. SETSUKO Whew! I drank 'em all! ----------------------------- (_At the kitchen, another day_) AUNT My, my! They went to sleep without cleaning up <afterwards>! They do as they like. They really aren't cute at all! [ALT: They're not likable at all!] (Setsuko starts crying in another room.) AUNT Again!! (Aunt opens the sho^ji door.) SETSUKO Mommy! Mommy! AUNT Seita-san! Koi-san [= younger sister] and Nii-san [= older brother] are both working for our country, so why don't you at least try not to make her cry? [ALT: so why don't you at least make an effort to stop her crying?] We're already losing sleep from the <air-raid> sirens every night. We can't sleep with this racket! SETSUKO Mommy! Mommy! (Seita takes Setsuko outside, and having her on piggy-back, tries to lull her to sleep. Suddenly, the raid-sirens sound and he runs for shelter.) VOICE Emergency war status, emergency war status. The enemy is approaching from the northern direction... AUNT'S VC Seita-san, you're going to the shelter-hole, again? ["yoko ana" = LT: Side Hole; A hole dug into the side of a mountain for air-raid shelter] At your age, shouldn't you be [ALT: isn't it natural for you to be] helping the fire-prevention program of the community group? (Seita comes to the shelter-hole. As they wait out the raid in the shelter,) SETSUKO I want to go home. I don't want to stay at aunt's anymore. SEITA The house got burnt. We can't go home anymore. (_Flashback -- Seita and Setsuko are playing the organ_) BOTH (Singing:) Higher than the roof, the Koi-Nobori. The large koi is the father and... [NOTE: Koi-Nobori = a colorful cone-like flag in the shape of carps that is displayed outside on the national holiday, Children's Day] AUNT Stop it! What a thing to do in time of war? I'm the one who will be scorned! How senseless! [ALT: How irrational!] Really, what burden have been tossed my way! [LT: Really, what god-of misfortune has wandered in!] Even during the air-raid, you're never of any use... If you value your life that much, you should live in the shelter-hole! (Recalling,) SEITA Hey... Do you want to make this our home? No one would come here and the structure is solid. We can do as we please. SETSUKO Is it okay to make it our home? SEITA Yup. [ALT would be a broken "yes": yeah, n-hmph, ah-huh] ----------------------------- (Seita is packing their stuff onto a cart. Setsuko notices the Aunt coming.) SEITA We've overstayed our welcome. [LT: We've interrupted you for a very long time.] We'll be moving elsewhere. AUNT <You say> elsewhere? <But> where are you going? SEITA I don't know for certain, yet. AUNT Well, be careful... Sett-chan, goodbye. (They come to the cave. Setsuko is thoroughly enjoying herself.) SETSUKO Here's the kitchen! Here's the front door! Where's the toilet? SEITA It doesn't matter where. <Because> I'll be going with you. (At the farm, Seita is returning the cart.) SEITA Thank you. MAN Just leave it around there. SEITA Ahm... Can you sell me a little more hay and something that can be a side-dish? [ALT: part of dinner] MAN Sure... I only have what I have though... (They cook. As they look at the fruit of their labor...) SETSUKO Wow! My mouth is watering! SEITA I'm hungry! (They finish eating. They hear the bellow of a frog.) SEITA If it could be caught, we can eat that <as well>... [ALT: It's supposed to be edible if we only could catch it] SETSUKO The frog? SEITA I heard it's good. SETSUKO (Makes a noise in her throat indicating amazed acceptance.) SEITA Setsuko, forget the rest and get inside the net. [ALT: I'll do the rest so get inside the net.] (_Nightfall_) SEITA What's the matter? SETSUKO I forgot my toothbrush. SEITA It doesn't matter if you don't do it for a day. SEITA Hey, you'll be bitten by the mosquitos. You should be in the net. SETSUKO It's so dark, I'm scared. [ALT: It's all dark and I'm scared.] SEITA I'm going to go to the bathroom, but do you want to go too? SETSUKO Yes. (_Outside, finishing their business_) SEITA That's the "special attack" unit. [ALT: suicide unit. Men in the "Tokkoh-tai" never returned alive.] SETSUKO Really? They look like fireflies. SEITA I guess so. Hey... Do you want to capture fireflies? (Seita comes into the net holding several fireflies. He releases them.) SETSUKO Ah! I see your face. SEITA Your face, too. (A firefly lands on Setsuko's hair.) A hair ornament! (Setsuko is delighted.) SEITA All right! Firefly's light, window's snow! [Note: Part of a poem/song describing the changing season] (Seita brings in a whole bucketful. The fireflies slowly emerge and the inside of the net is soon filled with small points of stars.) SEITA Before you were born, I once saw a ship-naming ceremony [?: ship-opening?? "kankai ceremony"]. SETSUKO A ship-naming ceremony? SEITA Yup. Dad got on board the front of the ship [?]. The combined fleets were all there. (Seita starts to sing the then-military anthem.) SEITA Enemy ships attacking! Bababababa! Babababa! [Noise associated with firing machine guns] (pause) I wonder where Dad's fighting the war... (Suddenly feeling lonely, Seita hugs Setsuko to him.) SETSUKO You're suffocating me, Nii-chan! ----------------------------- (The next morning finds Setsuko digging a hole.) SEITA What are you doing? SETSUKO I'm making a grave. Mommy's in a grave, too, right? I heard it from Aunty. < Aunty said> Mommy died, too, and she's in a grave. (Hearing this, Seita begins to cry for the first time since the tragedy befell him and his sister.) SEITA (wiping his tears,) Let's someday visit her grave. Maybe you remember... [LT: Setsuko, do you remember?] You've been to the graveyard near the Inofuki [?], right? She's <resting> there... Mother is... under the big camphor tree... SETSUKO Why do the fireflies die so quickly? ----------------------------- (Kids from nearby find the conditions Seita and Setsuko are living under.) BOY1 What's this? Someone's living in a place like this. BOY2 I wonder if they were burned out <of their home>? BOY Do you think a scary-looking man might come out? BOY When have they...? It's a swing! BOY There's a grave! [?] BOY What's this? BOY May you rest in peace! (picking up a make-believe sweet-rice cake) If only this was real!! BOY (Pointing to the grass bed that Setsuko made,) Setsuko! It says Setsuko! BOY Look at this! It's a dried frog! BOY What a thing to eat! [ALT: What are they eating!] I wonder if Tatt-chan and Ken-chan who escaped to rural areas are eating something like this, as well? BOY Uggh! All soybeans! It's worse than our rice-soup! BOY A ghost! (They laughingly run away.) ----------------------------- (_Seita at one of the farms_) SEITA And... we've traded all of Mom's kimono for rice and don't have anymore. From your place, we've purchased many things with money before... MAN I'm not talking about kimono or money. Though we're a farm, we don't make enough to distribute it to others all the time. (pause) Never mind that; don't you have other kin? [ET: relatives] SEITA Well... I can't get in touch with them. MAN Then, it's better for you to go back to that house. Besides, everything's rationed now. If you're not part of a community group, you can't eat. Apologize and ask them to let you stay. SEITA (pause) Sorry <to have bothered you>. I'll try other places. MAN You're the son of a marine, aren't you? Don't lose heart. [ALT: You got to be strong.] ----------------------------- (Air raid. Seita and Setsuko take cover in a tomato garden. Finding the tomatoes all ripe, Seita, unable to resist, takes some for himself and Setsuko--a grave crime in times of war.) SETSUKO Is it okay? [ALT: Is it right?] SEITA (makes a noise in his throat indicating "yes, yes") (Walking back to their shelter, they meet a military officer. Fearing discovery of the crime they committed, they run away.) SEITA Damn! [LT: No good!] ----------------------------- (Seita is combing Setsuko's hair. Finding lice, he angrily kills one.) SEITA Whether it's soy-bean or whatever, you mustn't be picky. If you don't eat well, you won't be able to grow up! SETSUKO Nii-chan? [ET: Brother?] SEITA Yes? SETSUKO I... I have a bad stomach. [ALT: My stomach is feeling funny.] SEITA Did you chill your stomach? [ALT: Did you leave your stomach exposed while sleeping?] SETSUKO I've been having diarrhea for a long time now. ----------------------------- (Seita is found stealing from a farm.) MAN You bastard!! SEITA Forgive me! I'm sorry. Please forgive me! My sister's ill, so I wanted to let her drink potato broth! MAN What nonsense do you speak of? Stealing from a farm during times of war is a grave crime! (Seita tries to get away, but is captured again.) MAN You little bastard. Come on. Stand up! (he flashes his light at Seita) What's this? You pulled up even the small potatoes. You must have been the one who has been stealing from the farms around here! SETSUKO Nii-chan! SEITA I'm sorry! I won't do it again! MAN If sorry is all it took, we wouldn't need police! Walk, why don't you! SETSUKO Nii-chan! Nii-chan! SEITA My sister's really sick! I gotta be with her...! SETSUKO Nii-chan! Nii-chan! (At the local station,) POLICE I understand what happened <very well>. Regarding this case, I'll consider the best solution after I talk to the offender and prepare a report, so you may leave. MAN But...! POLICE You've hit him this much, you must be satisfied. (Seeing the man is still reluctant to leave,) Violence against a minor, causing injury [ALT: bodily harm]. MAN (panicking,) Then, I'll ask you to take care of the rest! [ALT: Then, I trust you'll take care of the rest.] POLICE I heard that today's air-raid was unexpected. Well, why don't you take a drink of water from the back? (Seita comes out from the station after some time.) SEITA Setsuko...! SETSUKO Nii-chan! (Seita begins to cry.) SETSUKO Nii-chan... (pause) Where does it hurt? That's not good. We'll have to call the doctor and have him give you a shot. SEITA Setsuko...! SETSUKO Nii-chan, I want to go to the bathroom. SEITA Can you hold it for a little distance? SETSUKO Yes. SEITA Get on my back. ----------------------------- (Air-raid. Setsuko awaits Seita's return but seems delirious.) SETSUKO Brother went to the mountain for firewood. Grandmother went to... [Note: This is the famous beginning sentences to the children's story "Momotaro". She changed the phrases from "Grandfather went to the mountain for firewood. Grandmother went to the river to wash clothes".] (Seita, meanwhile, rummages through the home of those who fled. Coming back with his booty--food and other items--he presents them to Setsuko.) SEITA Setsuko, let's have supper. Today's pumpkin is really tasty! Look. Isn't it like a bean jelly? SETSUKO I don't like bean jelly. SEITA What are you saying? If you don't eat, I'll be scolded by Dad! Here, I'll help you eat, so get your spirits up and eat! Eat well, get well quickly, and we'll go to the sea again together! ----------------------------- (Sirens sound. While the people flee, Seita plunders through homes.) SEITA Do it, do it! Yeahy! [ALT: Go, go! Yeahy!] (Seita returns from the rampage well stocked. He drinks from the river. He points his flashlight and says "Bang", then laughs.) SEITA This time I'll really treat you to something good to eat, Setsuko! SETSUKO (Wandering around the shelter-hole,) Nii-chan. Nii-chan... (At a farm house, Seita is trying to barter his plunders for food.) WOMAN You say this is your mother's keep-sake? Fool! Why would something so cheap and thin be a keep-sake? Don't fool with me! [ALT: Get real!] (Seita returns to the shelter-hole and finds Setsuko's doll.) SEITA Setsuko... Setsuko...! (He finds her collapsed nearby.) SEITA Setsuko! (Finding that she still breathes, he sighs.) SETSUKO Nii-chan... water... ----------------------------- (_Doctor's office_) DOCTOR Breathe in. Breathe out. SEITA And her diarreah hasn't stopped for several days now. Her rashes don't seem to be heat-rashes either... When I wash her with salt water, all it does is give her pain. DOCTOR It's a prostration due to malnutrition. Her diarreah is the result of that. Okay, next person! SEITA Some medicine or shots...? SETSUKO I don't like shots. SEITA Anyhow, please give her treatment of some kind. Please. DOCTOR <There's no> medicine or anything... Well, I suggest that she get some nourishment. That's all that can be done. SEITA You say nourishment, but... DOCTOR (To the next patient,) What seems to be the matter? SEITA Where can you <possibly> find nourishment?!! ----------------------------- (A farmer is cutting ice block for delivery. Seita, standing by, picks the ice scraps and feeds them to Setsuko after the man leaves.) SEITA I'm so hungry... [ALT: I'm so starved...] What do you want to eat? SETSUKO Tempura, and Otsukuri, and Tokoro-ten... [ET: Tempura, and Sashimi, and Sour Jelly] SEITA Anything more? SETSUKO Ice cream... And I want to eat drops again. [Note: During the war, food items were rare and the variety scarce. The fact that she knows about them and expresses that she wants to eat them indicates that she has eaten them regularly and shows how well-off her family actually was.] SEITA Drops, huh? Alright! I'll go withdraw all the savings. I'll <buy and> bring back all that you wanted to eat. SETSUKO I don't want anything. Just stay here, Nii-chan. Don't go. Don't go. Please don't go. SEITA Don't worry, Setsuko. [ALT: There's no need to worry, Setsuko] After I withdraw the money and buy rice and things with nutrients, I won't go anywhere anymore. I'll stay by your side for ever and ever. [ALT: for always] It's a promise. ----------------------------- (_At the bank_) TELLER Here, 3000 yen. MAN1 I hear the typhoon's nearing? MAN2 No matter how much the Kami-kaze [ET: God-Wind] blows, if it comes after we surrendered to the Americans, it's of no use whatsoever. How ridiculous! SEITA Surrender? You mean we lost the war? MAN1 You don't know anything? SEITA Is it true that we lost? Japan? The Japanese Empire?! [ALT: The Imperial Japan?] MAN2 Yup. Unconditional surrender. SEITA What happened to the combined fleet... MAN2 No good, no good. That got sunk long time ago and there's not one left anymore. SEITA What!? You mean Dad's <battle> cruiser got sunk as well?! Is that why we never got any letter back?! MAN2 Why should I know <of such thing>!? [ALT: How should I know?] What a strange kid! SEITA Dad, you fool! [grrrrr: doesn't translate well. It's like "Damn you, Dad", but not that strong] (He runs, but hunger slows him.) SEITA I'm so hungry... (pause) Dad... SEITA Dad died, too. Dad died, too. Dad...! ----------------------------- (Seita returns.) SEITA Setsuko, I'm sorry I'm late. I'll cook you a white rice porridge. SETSUKO It went down... It went up... Ah, it stopped... SEITA Luckily, I was able to buy fish and eggs. And... (notices that Setsuko has something in her mouth. Picking up the drop can,) Setsuko! What are you licking! These are marble pieces. <You know that> it's not drops! Today, I've gotten something much better <than that>. It's something you like. SETSUKO Here you go, Nii-chan... SEITA What's this, Setsuko? SETSUKO It's a meal. I'll give you the the cooked okara. [Note: "Okara" is soybean milk crust that is a by-product of making tofu.] SETSUKO Go ahead, eat. Aren't you going to eat? SEITA Setsuko...! Look, watermelon. Isn't it great? I didn't steal it <either>. Here, watermelon. SETSUKO It's delicious... SEITA Wait a moment. I'll cook you a rice-porridge with eggs immediately. I'll leave the watermelon here. Okay? SETSUKO Nii-chan... Thank you... R/ SEITA After that, Setsuko never opened her eyes again. ----------------------------- (_At the coal shop_) MAN Here. The one sack of coal, special delivery. [ALT: one bale] If it's a child, you should borrow the burning ground from the temple. You take her clothes off and if you light the fire with soybean skin, it'll burn nicely. But... what nice weather! [Note: Do not think this man to be insensitive. Everyone has been desensitized to some degree during the war. It is truly sad that a child's death is nothing new or anything sensational.] ----------------------------- (People are returning to their homes from rural districts they had fled to. Two such girls enter their long deserted home.) GIRLS My, it hasn't changed at all! Home is definitely great! [ALT: There's no place like home!] It's been a while; the record player!! Familiar sights! (Song: "There's No Place Like Home". Visions of Setsuko in all the places she had been near the shelter-hole that was their home.) SETSUKO Hurry home! ----------------------------- (At an open field, Seita is preparing Setsuko's cremation. Setsuko is placed in the empty container the coal came in. Her few "treasures" are placed lovingly along side of her. Seita pauses on the drop can, and sets it aside. He lights the fire and grimly watches the cremation. Morning turns to day, and day turns to evening. With the last remaining flames, the fireflies take flight from their resting spots among the field...) R/ SEITA The following morning, I placed the remnants of Setuko's bones that were like a fragment of a jewel into the drop can and left the mountain, never returning to the shelter-hole. (Seita's figure is slowly replaced by Seita's rei. From the darkness, Setsuko's rei appears and runs to Seita.) R/ SETSUKO Nii-chan... R/ SEITA It's late, so sleep now. [ALT: It's late, so go to sleep now.] R/ SETSUKO Okay. (She snuggles close and closes her eyes.) (The rei of Seita watches over Setsuko; then, as if to beseech to the audience, he stares out towards the viewers. He returns his attention to the sleeping form of Setsuko...) THE END [If I may add my opinion here, the strongest message of this film comes when Seita's rei stares out at us. I heard "Look at what war does to people. Please don't ever repeat what happened again. War is not glorious nor honorable. We just wanted to live more..."] ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: MESSAGE: Translating takes lots of time and money. If you find this script useful, monetary contribution of any amount is greatly appreciated. Suggestions for improving this script are welcome. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ========================================================================= SUBTITLING ========================================================================= In the event this script is used for a subtitling effort, it would be greatly appreciated if the subtitler followed these guidelines: 1. All names listed in the script heading be given their appropriate credits (specifically, translator and editor(s)). 2. The dialogues may be shortened to fit the screen as the subtitler deems, provided that the nuances and meanings are not changed drastically. (It would be even more appreciated if the subtitler could send the altered dialogues to the translator for approval beforehand. It would help prevent the translator from biting her nails to pieces later.) 3. If there is more than one script for the same movie title, avoid mixing the scripts (i.e., interchanging dialogues from different scripts). Different translators have different assumptions, and will cause disharmony when scripts are mixed. If there is a clear need, please contact this translator. 4. The existence of the tape be made known to the translator. (Preferably, contacted before the project is begun.) An inappropriate subtitling using any of the Griffin scripts may result in either a less wide distribution of the script or a termination of any future script translating effort. Thanks! --- Griff To contact Griffin (August 1992): 119 Bowbell Rd.; White Plains NY 10607 (will take half a year for a reply at this address [August/December, 1992]) 335 Warabi Chu^o^; Yayoi 212; Miho Nishida; Saitama Japan e-mail contact: <editor> K_Hindall@qmrelay.mail.cornell.edu ========================================================================= Currently Available Griffin Scripts: * Nausicaa of the Valley of the Wind (Script by another translator is also available on the ftp sites) * Grave of the Fireflies * Rig Veda #1 * Arslaan War Record #1 To Come: * Karura Mau (movie) * Rig Veda #2 ======================================================================== Subject: 2.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991) [this is the review as posted to the Miyazaki list; it was later printed in the July 1992 issue of Anime Hasshin's THE ROSE (#33, page 26).] Subject: Angel's Egg, a quick walk-thru. Date: Sun, 22 Dec 1991 13:40:00 CST Source: Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET> From: "Bryan C. Wilkinson" <mbaron@CHINET.CHI.IL.US> Pardon any errors, this is a direct-from-memory interpretation, and some of the order may be wrong. But the essential premise of the film should be clear enough. Snatches of this are remembered also from Miyako Graham's translation of a plot description released to Animage from the studio. Oshii Mamoru's Angel's Egg ------- --- Prologue: A Boy watches the Sun set into the Sea. The Sun is portrayed as mechanical-looking red orb-shaped piece of architecture emitting light from an eye-shaped window of stained glass. (This sun is metallic blue, yet the sky is red from its light.) The upper surface of the Sun is covered with statues. A great deal of steam, causing a siren-like pitch, vents off as it sinks below the water, and darkness begins to permeate the seascape. The Boy appears to be on the edge of his twenties, which edge is not cleat (a Man, then?). He bears a weapon on his shoulder in the shape of a crucifix, and sometimes bandages may be visible on his hands. Not a living soul does he see, nor does one see him. The Planetarium: A Girl awakens. Her bed is in the ruin of a planetarium, in the center of a damaged model of the Solar System. With her, under her blankets, is an Egg. She envelops the egg in her skirt, and hides it under her blouse, giving her the look of being pregnant, and hurries from her abode. The City of Fish: The Girl sets about the task of filling flasks with water. She first does this at a lake. The lake is fed by a stream, though, which leads her to an empty city. The city's architecture bears stone gargoyles in the image of Fish, as is the form of its fountains. Inside one house we peer at her from, a wheel can be seen, the kind used to steer old ships. She visits a house with many flasks, and inspects them carefully. The Arrival: A long, long line of organic (Fish-like?) looking tanks rumble into the city. They stop, and the Boy, with his weapon, emerges from one. They then continue and leave. The Girl is unsure of this new arrival, and runs away. She hides in a ruin, and checks the Egg. But the Boy has followed her, and questions her what she thinks is in it. The Girl doesn't trust him, and tries to leave. But he persists in following her and questioning her. He seems to already know things she doesn't. But all she responds with is "Who ARE you?" This he does not answer. (the next is probably a little jumbled) The Fish: As the two wander the city, a horde of faceless fishermen run through the city. We see--everywhere--the shadows of many great Fish (leviathans or the symbol of Christ?), on the streets, the buildings, everywhere. The pursuers try to harpoon the shadows, and their spears merely bounce off stone or shatter windows and lamps. The Opera House: In the ruin of a great cathedral-like opera house, the two look at a damamged stain-glass window of a Fish. The Girl speaks of a Dream she had, where the Egg was in a Tree and inside the Egg was an Angel--or was it a great Bird? She's not sure. The Boy has suggested that one must break an Egg to know what it hides, and this thought is what scares the Girl the most. She knows where there is a picture of the Tree, and takes him to see. Fossil of an Angel: She takes him to a ruin, which seems to be a great skeleton. In the walls, the floor, and the stairs of the ruin are giant fossils of giant fish and birds. Lining the walls are hundreds of flasks, all filled with water. She takes him to a wall, and we see an old carving of a Tree. He is shocked. He has seen such a Tree before, but it was very long ago. He then relates a story, one of a great flood that was to last forty days and nights. She takes him up the stairs, and his surprise is even greater. Imbedded in the wall, like the famous fossil of the prehistoric bird archeopterex, is the skeleton of a winged humanoid. The Impregnation: Back at the planetarium, the Girl sleeps, and the Boy stares at the Egg. He reaches a decision, and raises his weapon above the Egg... The Girl awakens. The Egg is not with her, and the Boy is gone. She climbs out of bed and sees the floor. She screams. Before her, is a blasted open shell. As for INSIDE it... There was nothing inside the Egg. It is getting less dark. The fishermen stand still-- statues?--as the tide rises and the buildings begin to disappear beneath the water. The Girl flees from her home, and runs towards a large crack in the earth. She plunges from the cliff, and slowly falls (flies? floats?) towards a reflection (?) of herself. Then, she is drownning, and hundreds of bubbles erupt from her lungs. The bubbles rise to the surface... Simultaneously, Trees bearing bubble-like Eggs erupt from the ground's surface. Epilogue: The Boy watches again, as the Sun rises from the water (an Egg as well?). Among the statues, is one of the Girl. Feathers swirl around him in the air. He stands on the beach alone--never did he see a soul, nor did one see him. We then slowly, slowly pull away into the sky (a Heaven?), until most of the island becomes visble--the island is a great Ark, and it is without motion. Sorry if I screwed the order and such up a little, it's been a while since I've seen it. I remember bits of Miyako Graham's translated article, so that helped. Amendments and corrections are quite welcome, this was off the cuff. Brought to you by Bryan C. Wilkinson _ send e-mail to: /;/\|\|\|\|\|\/.| mbaron@chinet.chi.il.us |/ //|| _____________ \ /:/ | / __ _ \ /|\|\|\|\ / | _ ,.__/___ \ \ / \ `.\- - / / |_,- / | / : ______\ \/ / `|@) @) | |) / / | / [] : [_____/ \ / ( - \ / / | \___/ / / Long \ --' / \/V /____| /__/ Live GASP! ~----.' \-,-- / |\__/ / \ "An'ta dare?!" "Niya wa To-y no aijin dayo!" `----' \ ======================================================================== Subject: 3.) ANGEL'S EGG script (Enrique Conty, October 8, 1992) [Posted to the Hayao Miyazaki Discussion Group by Enrique Conty, 10/8/92] Subject: Angel's Egg Script <SAVE THIS!!> Date: Thu, 8 Oct 1992 23:36:00 CDT Source: Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET> From: Enrique Conty <jester@IHLPL.ATT.COM> Here it is, Mitch. Not that it will do you any good as far as understanding this film. :-) Share and Enjoy!!! ----------------------------------- cut here --------------------------- [WARRIOR watches the Eye sink into the waters.] ANGEL: Who... who are you? TITLE: Angel's Egg Directed by: Mamoru Oshii Character Designs by: Yoshitaka Amano Screenplay by: Mamoru Oshii [we see a day in the strange life of ANGEL] [WARRIOR gives Egg to ANGEL] W: Keep precious things inside you or you will lose them. W: What do you think is inside that egg? A: I can't tell you things like that... besides, I don't even know who you are. W: You have to break an egg if you are to know what's inside. A: Who are you?! [ANGEL runs away] A: Don't follow me! [later] A: The fish have come out. W: Fish? A: Even though they aren't anywhere, they chase after them. Even though there aren't any fish anywhere. [after the Fish hunt] A: Please... my egg... don't do anything to it... promise. [ANGEL leads WARRIOR into a building] A: This way. [In front of a stylized basrelief of a Tree.] W: I've seen a tree like this somewhere... when was it? So long ago that I've forgotten... under a sky where the clouds made sounds as they moved. The black horizon swelled and from it grew a huge tree. It sucked the life from the ground and its pulsing branches reached up, as if to grasp something... the giant bird sleeping within an egg. A: What happened to the bird? Where is it? W: He's still there, still dreaming. A: Dreaming? What kind of dream does the bird dream? W: What's in the egg? You still cannot tell me? [ANGEL leads WARRIOR up a staircase lined with Water bottles] W: Since when have you been here? As many days as there are bottles? W: I too have forgotten where I'm from... Maybe I didn't know from the beginning where I am going. A: Will you be going away? [WARRIOR starts quoting] W: "I will blot out man whom I have created from the face of the ground, man and beast and creeping things and birds of the air, for I am sorry that I have made them. I will send rain upon the earth forty days and forty nights, and every living thing that I have made I will blot out from the face of the ground. And after seven days the waters of the flood came upon the earth. On that day all the fountains of the great deep burst forth, and the windows of the heavens were opened. And rain fell upon the earth forty days and forty nights. The ark floated on the face of the waters, and all flesh died that moved upon the earth. Birds, cattle, beasts, all swarming creatures that swarm upon the earth, and every man. Only Noah was left, and those that were with him in the ark. Then he sent forth a dove from him, to see if the waters had subsided from the face of the ground. Then he waited another seven days, and sent forth the dove, and she did not return to him any more." W: Where did the bird land? Or maybe it weakened and was swallowed by the waters, no one could know. So the people waited for her return, and waited and grew tired of waiting. They forgot they had released the bird, even forgot there was a bird and a world sunken under water. They forgot where they had come from, how long they had been there, and where they were going so long ago that the animals have turned to stone. The bird I saw, I can't even remember where or when, it was so long ago. Perhaps it was a dream. Maybe you and I and the fish exist only in the memory of a person who is gone. Maybe no one really exists and it is only raining outside. Maybe the bird never existed at all. A: It exists. It's here. [ANGEL leads WARRIOR around] A: It's here. It's here. [WARRIOR encounters the fossilized Bird] A: I found it, it's already turned to stone, it's in here. I'm going to hatch it and put it back. It's the bird I found. W: I know that. I thought so. [ANGEL is listening to the Egg] W: Can you hear something? A: I can hear it. The sound of soft breathing. W: That's your breathing. A: I can hear the sound of wings. It must be dreaming of flying in the sky. W: That's just the sound of the wind outside. [ANGEL talks to the Egg] A: Very soon... right now you're in here dreaming but soon I will show you... very soon... so you must stay here now. It doesn't rain here... where it's warm. [WARRIOR puts ANGEL in Bed] A: Who are you? W: Who are you? [rest of movie, climax, and conclusion] E n r i q u e C o n t y jester@ihlpl.att.com ----------------------------------- cut here ---------------------------- Subject: Angel's egg X-Topic: Entry #2351 of LISTS.NAUSICAA Date: Fri, 9 Oct 1992 02:48:00 CDT Reply-To: Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET> From: "(Bryan C. Wilkinson)" <mbaron@CHINET.CHI.IL.US> Uh, Conty, don't you think you should give credit to Sue and maybe the NSA, since that's who you owe this script to...? --bry ======================================================================== Subject: 4.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93) [NOTE: I don't know how to uncompress compressed files or how to convert a Z file to plain text, so I would *really* appreciate it if anyone who *does* know how to do these things e-mailed me with a copy of this timing file uncompressed, in plain text--so that I can store *that* here instead of the compressed Z file below. -- Steven Feldman <ar402004@brownvm.brown.edu> (11/1/94)] From: bilver!vicstoy!fleggett@peora.sdc.ccur.com (Fred Leggett) Message-Id: <9301050658.AA09841@vicstoy> Subject: Timing script for "Egg of the Angel" To: ar402004@brownvm.brown.edu (Steven Feldman) Date: Tue, 5 Jan 93 1:58:00 EST X-Mailer: ELM [version 2.3 PL11] Steven, Here's the timing script for "Egg of the Angel" in JACOsub (.js) format. Hope you like it. 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end -- Fred Leggett - fred.leggett@oau.org - fleggett@vicstoy.oau.org : fleggett@vicstoy.UUCP - ...!{peora,ge-dab,tous,tarpit}!bilver!vicstoy!fleggett vicstoy Unix, Orlando, Florida ======================================================================== Subject: 5.) ROBOT CARNIVAL script (Ron Azuma, January 17, 1990?) ORIGINAL TRANSLATOR: Anonymous TRANSCRIPTION & POLISHING: Ron Azuma Robot Carnival script v 1.00 Robot Carnival is a collection of eight short animated films by different people. About the only thing that links them together is that each film has at least one robot in it. The films vary from comedy to fast-paced action to philosophical drama, so there's something for everyone. Also, all but two of the films lack a voice track, so Robot Carnival is a good film to introduce people to Japanese animation. And in one of those films, half of the dialogue is in English! This script includes detailed descriptions of the two segments with voice tracks. So without further ado, here are the descriptions of the films: ============================ Robot Carnival Opening Title ============================ A kid sees a poster fly by, which sends him into shock. He warns the villagers, who hole themselves up in their homes or flee for their lives. In the distance, something huge approaches... (Incidentally, the kid's speech is just gibberish.) ====================== Franken's New Creation ====================== A scientist tries to bring life to his creation, which this time is a robot instead of a green-skinned cadaver! ======= Deprive ======= Evil troops take girl from her robot/cyborg friend. Robot fights to rescue girl. There's nothing deep to this one - it's a fast paced action video! ======== Presence ======== Unlike Deprive, Presence tries to deliver a message. Sometimes, robots can become too real... [In this world, human-appearing robots are commonplace. The film opens with a bunch of schoolkids attacking a teacher robot, knocking off his head and kicking it high into the sky...] [In a house, a man enjoys his soup and sees his daughter say goodbye. As the man drives off to work, he thinks about his wife.] Man: "My wife is an aggressive career woman. I sometimes sense great ambition inside her." Man: "She is active, takes initiative, and is someone you can rely on. She almost works better than I do!" Man: "My collegues think I'm a feminist. I admit it to myself, but with others it's different." <1> [At a lake, the man picks up and throws a screw. A clock flies by.] Man: "You scared me!" Clock: "It's 12:40. Return to your work." Man: "Ok, ok." [The Man walks down a path.] Man: "I have a secret." [The Man goes into a workshop and sees a girl robot sitting on a desk.] Man: "Of course, this is a secret for my family." [He brings some tools.] Man: "I never had the love of a mother. I understand why I needed to get married so badly... I desperately wanted femininity in my wife (?)" [He touches the girl robot. One gets the sense that he is not entirely happy with being married to a wife who is an aggressive career woman.] [As the man walks down the street, he sees some people leaving a bar. Various robot body parts are left dumped in a nearby trash can.] [Back in the workshop, the girl robot starts moving.] Girl: "I don't have a name." Man: "Meow." (?) Girl: "I think I want to fall in love." Man: "What are you saying? I don't remember programming such a word into you!" Girl: "You are lonely, aren't you?" Man: "What happened to you?" Girl: "I could hear and I could feel." "You are still a little boy, aren't you?" [Man picks up flying saucer toy.] Man: "I'm surprised that you recognize your own consciousness." [Girl jumps on desk.] Man: "Huh?" Girl: "Don't be surprised." Man: "You shouldn't step into my life." (?) Girl: "Why do I exist?" "I'd like to be closer to you." Man: "Does a machine feel pain?" "There are no robot 'groupies'!" "Does a machine have a personality?" Girl: "But I know myself very well." "I want to experience lots of love, by my own choice!" Girl: "Hm. You are wearing a cynical smile." [As the man walks away, the girl robot grabs him. Surprised, he throws her against a wall. As she bleeds, he grabs a wrench...] [Now many years in the future, he sits in a chair outside a house. His now grown-up daughter and grandaughter approach.] Man: "Are you leaving already?" Daughter: "Yes, father. Next time, three of us will come. Please take care of my mother. (To grandaughter) Now say goodbye to grandpa." Granddaughter: "See you next time, grandpa! Next time, please make me a toy." Man: "Be careful on the way home." Granddaughter: "Bye bye!" [The wind starts to blow. Suddenly, the man sees a vision of the girl robot.] Girl: "I was waiting for a prince..." Man: (Sadly) "I couldn't be your protector." <2> [The vision disappears. The Man returns to the workshop to view the long-decayed body...] [Now even further in the future, the man is again sitting outside the house. The wind starts blowing.] Wife: "Grandpa, grandpa, the wind is starting to blow [so you should come inside]." Wife: "Ok grandpa, you're not a little boy anymore, so you should listen to what I say!" Wife: "Grandpa?" [The girl and the man walk off together and vanish. A toy angel hovers in front of the camera.] Notes: <1> Apparently in Japanese, "feminist" can mean either a person who promotes equal rights for women, or it can mean an effeminate man. <2> Literally, "I couldn't be your 'long-legged Uncle.'" If anyone knows the story that this comes from, please let me know! =============== Starlight Angel =============== In the future, Tokyo Disneyland is still "the Happiest place in the World!" Especially for a "robot" who falls in love with one of the visitors... ===== Cloud ===== A lonely robot walks by as the sky fills with different types of clouds. Not much of a plot, but it is beautiful to watch... ======================================================================= Extraordinary Meiji machine stories: A story of a Western man attacking <1> ======================================================================= Set in the early Meiji period (around 1830 or 1840?), this film is a hilarious spoof of Japanese 'giant robot' films! The villain speaks English, and the Japanese defenders speak Japanese. Therefore, this script will only summarize the villain's lines... The cast of this film is: American ------- John Jack Orkafin(?) The evil scientist villain Japanese -------- Sankichi The leader with the headband Yayoi The girl Fukuda The kid with the glasses Daimaru The big guy who works the engine Genjiro The thin guy who steers the machine To make this easier to follow, I will label their parts as: Villain, Leader, Girl, Glasses, Big Guy and Thin Guy. [The film opens with the town's population running for their lives as the Villain's robot smashes through the town. The title appears, and the Villain happily announces his plans for world domination. Note that he has Marco Polo's book describing the Far East!] Leader: "That damn thing! I'm going to get even!" "Are you ready?" Girl: "Yes, but can we move this without permission?" Glasses: "Won't all those people in the neighborhood get mad at us?" Leader: "You idiot! This is a national crisis!" "Daimaru, shove a lot of coals in the furnace!" Big Guy: "Ok!" Leader: "Genjiro, wake up!" (?) Thin Guy: "Ok." Leader: "Go!" [The Japanese robot rises up to challenge the invader...] Villain: Eh? [The Leader begins a long speech from the top of his machine.] Leader: "Hey you big slob, stop right there! You are the nasty one disturbing the order in this peaceful time after the opening of our country [to the West]! For the upcoming festival, all of the people in the neighborhood built this machine. It is not the most technologically advanced, but I, Sankichi Komajo, will not let you advance one more step from that spot! I'm going to destroy you, so get ready!" <2> [He disappears down a hatch] Leader: "Forward!" "Genjiro, raise the right leg!" [The robot punts a nearby house] Leader: "Move it more carefully!" [Meanwhile, the Villain starts getting furious] Glasses: "Someone is coming out [of the Villain's machine]!" Leader: "What? Genjiro, stop!" [He looks through a telescope] Leader: "Oh, let's see, ah..." [Sees the Villain and his cannon!] Leader: "It's a foreigner! It's a foreigner! What should I do?" Glasses: "Calm down! Calm down!" [The Villain begins a long speech through a megaphone, giving them 3 seconds to surrender before he blows them up.] Leader: "What is he saying?" Glasses: [Thumbing through book] "I understand English, but I'm not that familiar with American!" [Villain shoots a cannonball] Villian: "Eh?" Thin Guy: "Ah!" Leader: "Daimaru, they are firing the big cannon, so come upstairs!" Big Guy: "All right!" [The Villain aims and shoots again, hitting the Japanese robot. The girl screams.] Girl: "Wha?" Leader: "Damn, he hit us!" Girl: "What's going on?" Leader: "Be quiet! Just be patient!" Girl: "What do you mean, 'Be quiet'?" [Daimaru makes it up to the top of the machine] Big Guy: "I'm here! [Sees the tube] Isn't that the big fireworks?" Leader: "Yeah, but I made some changes to it..." [The Villain cleans his cannon while Sankichi aims his] Leader & Big Guy: "Ok, here it goes, look up!" [Fires and hits the Villain's machine] Leader & Big Guy: "All right! Ah? The inside of the machine is made of brick?" [The Villain fires another shot that hits the Japanese machine] Thin Guy: [Mumbles something...] (?) Big Guy: "What are we going to do, Sankichi?" Leader: "Ok, hit the guy who is standing on the shoulder of that thing!" Big Guy: (Surprised) "But if we hit, that guy will be killed!" Leader: "That's ok, just shoot!" [They shoot but hit the head of the Villain's robot instead. The Villain starts laughing until the shot sets off his storage of ammo...] Leader: "Yeah!" Big Guy: "Of course, we were aiming for the head to being with!" (?) Leader: "Oh no we weren't..." "Now we're going to tear down that machine!" [The Villain rants some more...] Girl: "Now we should stop fighting!" (?) Leader: "Huh?" Girl: "If we keep fighting, we'll destroy the whole neighborhood!" Leader: "Don't make a fuss! This is important!" Girl: "What did you say, you pinhead?" Leader: "Pinhead?" Glasses: "Pinhead!" Girl: "If you don't like pinhead, how about peabrain, dunce, moron..." <3> Leader: [gets irritated] Glasses: "Since the last hit we took, something's not working right!" (?) Leader: "Shut up! Be quiet!" Girl: "Someone who is so headstrong is called 'bullheaded'!" <4> Leader: "Ah?" Girl: "Don't act like you're so brave! You don't have any brains! Why don't you learn to read or write? A monkey is smarter than you are!" Leader: "You have a really mean personality!" Girl: [Sticks her tongue at him] [The kid with glasses rides some gears to get to another part of the machine. He yells, "Sankichi," then by accident sees under the girl's kimono.] Glasses: "Sorry!" Girl: [Kicks a shoe in his face] [Meanwhile the Villain discovers he's out of battery power.] Big Guy: "Hey Sankichi, we ran out of coals!" Leader: "Don't worry, just peel off and burn any available wood!" [The Villain recharges his batteries. It takes until sunset before the two machines advance far enough to reach each other.] Leader: "We finally got here..." [The Villain rants some more and raises the right arm of his machine] Leader: "Raise the right arm!" [The kid with glasses raises the Japanese robot's right arm] Leader: "That's good! Raise the left hand and grab his arm!" Girl: "What are you going to do?" Leader: "We're going to grab and throw him!" (?) Girl: "I grabbed it!" Leader: "Hold on tight! Are you ok?" Glasses: "Yes, I'm ok!" Leader: "Daimaru, grab onto something!" [Daimaru clings for dear life] Leader: [To pilot] "Is everything ok?" "Good! Raise the left leg and twist!" [The robot starts spinning] Leader: "Go!" [The Japanese machine throws the Villain's machine into the river, but the Japanese machine also falls. The Villain's robot causes a minature wave that washes out a bridge and the spectators on it... The kid with glasses views the destruction.] Glasses: "Oh my town! My neighborhood!" Leader: "We won!" Thin Guy: "I'm not so sure about that..." Big Guy: "Yeah..." Girl: "But we did a lot..." Leader: "Hey look, that's a Japanese sunrise!" [Sky fills with an old-style 'Rising Sun' emblem] Girl: "No, that's sunset." [Emblem abruptly disappears...] Leader: "Oh." Girl: [Laughs] "Sorry!" Leader: "Anyway, that battle is over. We fought off the foreigner with our own hands. But since I saved the peace in this town..." [Sankichi puts his arm on the girl's shoulder. She responds by stomping on his foot...] [And the Villain paddles off into the sunset, making plans for next time...] Notes: <1> The first part of the title literally reads, "Meiji Karakuri modern Western civilization strange story" where karakuri is an old word for a machine. <2> A lot of liberties are taken here. Eg, instead of "It is not the most technologically advanced," he literally says, "It is not a big steam locomotive." <3> All the insults have to do with implying that Sankichi has a low mental capacity... <4> Literally "Someone who gets hot-headed so quickly is called 'kettleheaded'!" ===================== Chicken Man & Redneck ===================== At night, the robots wake up... to terrorize a hapless man on a scooter! The chase sequence is very reminiscient of Disney's "Legend of Sleepy Hollow." ============================ Robot Carnival Closing Title ============================ Out of the wreckage of the machine, a man finds a small metal ball and brings it back to his kids. The toy delights them, but it has one last surprise... Translator: Anonymous Transcription & polishing: Ron Azuma Liberties have been taken in some of the translations, and undoubtedly we made mistakes along the way. The more questionable passages are marked with a (?). Notes and comments are marked with a <#>. Send any corrections to: Ron Azuma (azuma@dopey.cs.unc.edu) ======================================================================== Subject: 6.) PLEASE BLINK, GRANDMA synopsis (JAPAN TIMES, July 30, 1992) JAPAN TIMES, July 30, 1992 Animated Film Tells Heart-warming Tale by Yuko Naito When a family member becomes bedridden, the burden cast on the rest of the family is beyond words. Physical fatigue, the high costs of hospitalization and medicine, and the accompanying psychological stress can bring about the collapse of the entire family. In an effort to provide some support and helpful hints for such troubled families, Asahi Shimbun, Asahi Shimbun Social Welfare Organization and Cinema Work Co., have produced an animated film, "Patchin-shite! Obaachan" (Please Blink, Grandmother,) to be released this autumn at theaters. [Note: Scheduled for October release.] Based on a true-life story that unfolded in a Kanazawa City hospital between 1983-1986, the film depicts the relationship between a bed-ridden old woman whose only way to communicate is to blink her eyes, and the more than 100 people who visit the hospital, and are drawn to her personality. On a winter day in Kanazawa, Yasue Kitajima was rushed to the hospital after suffering her fourth cerebral thrombosis. Doctors told her only daughter, Hiro, that Yasue was totally paralyzed and would not recover. To help make Yasue's remaining years worthwhile, Hiro decided not to leave her alone. The unmarried daughter, however, has to support herself and pay her mother's hospitalization fees. Working during the day at an education center and attending Yasue at night is too much for Hiro, who eventually falls ill from exhaustion. Then, in response to Hiro's call for aid, friends, neighbors, their daughters, Hiro's former students and others volunteer their help. Those who actually nurse Yasue are largely young women in their 20's, totally inexperienced in the care of the sick. At first, they are shocked at the sight of Yasue, who is little more than a vegetable, unable to even speak. However, they learn how to communicate with her--blinking her eyes in response to their questions means "yes." They like the old woman who expresses her feelings honestly and enjoy being with her. Moreover, feeling needed gives them added strength and confidence. They call themselves the Yasue Family, although they are not related by blood. They do whatever pleases the elderly woman--reading the Bible, singing songs, playing the guitar, as well as feeding her, changing her diapers and moving her body to prevent bedsores. The climax comes on Christmas Eve when people gather around the Christian woman's bed with candles in their hands and sing hymns. Yasue, deeply touched, suddenly says, "Aaaa," which means "Arigato" (Thank you). When Yasue passed away after three years and two months of hospitalization, the members of the Yasue Family numbered 54, or even as many as 100 when all the people who in some way supported Yasue and Hiro were included. Their story was serially reported in 1986 in the Asahi Shimbun, Ishikawa Prefecture edition. It won the fifth Upjohn Science Writer's Award, which is awarded articles related to medical science and medical care. In 1990 Hiro published a book entitled "Hikari no Naka no Sei to Shi (Life and Death in the Light)" to show her gratitude to all those who helped her and her mother. In the book's preface, Masami Seki, Hiro's husband, who married her during Yasue's hospitalization, writes: "There may be some people who cannot believe this story is fact. Many people may think it is an exceptional case, a miracle. But I think it is possible if only people would try. To make it possible, it is important not to stick only to kinship." In Japanese society it is considered a matter of course that children care for their parents. Although the film shows one possible solution to the problem of caring for a bedridden relative, many people would hesitate to ask other people to help take care of their family. In fact, Seki also mentions in the book that the Kanazawa branch office of Asahi Shimbun received a letter from a reader who was nursing an elderly person. It said, "Please don't write such a happy story. It makes me feel miserable." When Hiro's book was published, there were several offers of dramatization from television stations and independent producers, which she, however, rejected for fear that the descriptions of medical treatment would be too graphic. Asahi Shimbun was finally given permission to make a film on the condition that it would be an animated film. "This film has two purposes," says Isao Kurose of Asahi Shimbun. "Firstly, we would like to let chidren know that an aging society has unavoidable problems. Secondly, welfare workers can, with this film, study the ideal nursing of aged people."