DOKAN 6/Dokan 06.iso/Webs/www.nausicaa.net/miyazaki/file-archive/opp.synopsis

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Subject:      File: "OPP SYNOPSIS"
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Status: O

OPP SYNOPSIS

Subject:  1.) OMOIDE POROPORO synopsis (Bryan Wilkinson, July 22, 1992)
L#00478   2.) OMOIDE POROPORO review (Bryan Wilkinson, August 18, 1992)
L#00696   3.) UMI GA KIKOERU mini-synopsis (Alan Takahashi, 7/18/93)
L#00768:  4.) UMI GA KIKOERU timing file (Blue Shield, [July 29,] 1994)

[NOTE: the UMI GA KIKOERU files are stored here only because fileserver
 space has not yet been freed up for creating the UMI_GA SCRIPT file.
                               --Steven Feldman, nausicaa list founder]


========================================================================
Subject:  1.) OMOIDE POROPORO synopsis (Bryan Wilkinson, July 22, 1992)


WRITTEN by Bryan C. Wilkinson with Yohei Honda and Kazuharu Iida in the
   second week of May, 1992.
POSTED to the Hayao Miyazaki Discussion Group on May 9, 1992 by Bryan C.
   Wilkinson.
EDITED, RE-WRITTEN, AND GENERALLY FUSSED OVER by Enrique Conty, Steven
   Feldman and Bryan C. Wilkinson between May 12th and July 22nd, 1992.

      Omoide Poro Poro--Remembering the Sounds of Falling Teardrops

                 a plot description (revised version) by

          Bryan C. Wilkinson with Yohei Honda and Kazuharu Iida


     "...there would be no point in writing an animated film that places
the burden of subtle acting on the animator.  This goal may never be
reached; in spite of the best efforts of the staff at the Disney studio
(and they have included some of the best draftsmen in the profession),
very subtle acting may never be possible to attain in this medium."
                    -- Shamus Culhane, in ANIMATION FROM SCRIPT TO SCREEN

     I'd like to use this space to thank Isao Takahata and Hayao Miyazaki
for this gentle reminder that the greatest story of all is the one within
each and every one of us (and for proving dear Shamus wrong so many
times, especially now...).  Additional thanks go to Kazuharu and Yohei,
as well as those who helped me out from the Miyazaki Discussion Group and
rec.arts.anime.


               Omoide Poro Poro--directed by Isao Takahata


     It's 1982.  27-year old "office lady" Taeko Okajima is planning to
take a sabbatical.

     In 1966, 10-year-old Taeko is jealously finding that her friends are
making trips to their families' hometowns during summer break.  Her
family is native to the Tokyo area, though, and has no such plans.
Grandmother plans to go to a hot spring resort (atami), and
Taeko's older sisters Yaeko and Nanako tell her about how nice it is,
until their enthusiasm almost traps them into going.

     The older Taeko talks to her eldest sister Nanako about her
sabbatical.  Mitsuo (Nanako's husband)'s family owns a farm in Yamagata
which Taeko has visited before.  Without a hometown to go to, Taeko wants
to use this as a chance to adopt one.  She relates it to her trip to the
atami--and Nanako laughs over how easily Taeko had fallen into that!

     The younger Taeko goes with Grandmother, and after waiting through a
boring massage, she finds the atami's luxurious public baths to exceed
her expectations.

     The older Taeko passes by fruit stands, and remembers when Taeko's
family encountered their first pineapple, but didn't have a
clue as to how to cut one properly.  Nanako later finds out, and the
family gathers to see the preparation of this wondrous looking fruit.
Tastewise, though, the pineapple fails, although Taeko doesn't give up on
it easily.  She inevitably concludes, though, like her sisters, that the
"king of fruit" is the banana.

     1966 was the year the Beatles toured Japan, and Nanako, in art
school at the time, was a fan and kept up with the new fashions such as
wearing the infamous mini-skirt.  Yaeko had a secret crush on a male-part
actress in an all-female acting troupe.  Taeko remembers this as she
sits to await her train.  She sees a young girl.

     The younger Taeko enthusiastically shares her schoolwork with her
mother.  Her mother finds that Taeko didn't eat part of her lunch, and
reprimands her for the waste of food.  At school lunch, Taeko's neighbor
notes that she doesn't mind the taste of her milk, so he barters his bowl
in exchange for eating her radish and onion the following day.  As she
expects, the second bowl doesn't go down so well.  Later, a class debate
leads to a rule against running in the halls.  Chaos breaks out, however,
after Taeko's pony-tailed friend Tsuneko Tani, primary advocate of the
rule, proposes a "no leftovers" rule at lunch for the sake of those on
clean-up duty.

     The older Taeko boards her train.

     A self-made delegation of three girls from another 5th grade class
at the school informs Taeko that Hirota from their class is in love
with her. Taeko's friends show her the proof positive--a "sukebeyokocho"
graffiti of Taeko and Hirota together.  Taeko has never even heard of
this mysterious Hirota, so her friends form their own delegation led by
Tsuneko to sniff out Hirota from the other class.  Their report is so
positive, they can't keep from running to tell Taeko (in spite of
Tsuneko's own rule).  Taeko soon finds out that Hirota is the ace pitcher
of his classes' baseball team.

     The two classes' teams compete in a game.  In spite of Hiro's
classmates making sure he is aware that Taeko is watching, his talent
sees him through to delivering a shut-out performance.  Having to answer
nature's call, Taeko misses the final out of the ballgame.  Hiro's
classmates are still teasing him about Taeko, who panics and runs off.
But on her way home she is confronted by Hiro.  He tries to mention the
sukebeyokocho, but is too nervous.  So instead, he asks her which kind of
weather is her type: rainy, cloudy, or sunny.  She manages to reply that
it is cloudy weather.  Surprised, Hiro replies that they are alike (a la
"matching pair"--"onaji").  He laughs, and runs off happily.  Taeko also
runs home in a state of ecstasy.

     The older Taeko, alone in bed, repeats Hirota's words, and then
breaks into a giggling fit.  On the train, Taeko wonders why so many of
her memories lately have been from her life as a ten-year-old.  She
enters her cabin, and the 1966 children run through the train's hall.
She lies down and recalls that, among other things, this was the year she
first encountered menstruation.

     During P.E., the fifth grade girls are taken aside for a
lecture on certain facts of life.  Afterwards, the girls return to the
classroom with hushed apprehension.  P.E. isn't over, so the boys are
still out.  Toko, a slightly overweight friend of Taeko, shares what she
knows about their classmates.  The other friends join them and ask the
girl if she has made "her purchase" yet.  She has, and they ask if Taeko
has also.  Taeko finds herself agreeing.

     At lunch, to the frozen fear of the girls, one of the boys has
discovered that the school has made new underwear available to the girls
as a service.  Soon all the boys are questioning the girls just why this
is the case, with of course no answer forthcoming.

     Later on, Taeko finds her friends in the bathroom.  They are
concerned about their friend Rie, who has just started her period.  It
seems that Rie has told Nakayama (a boy she has a crush on) what mensing
is.  Consequently, the boys have finally discovered what the underwear
thing is about.  They tease the girls about it and look up their skirts.
As if that wasn't enough, Rie later tells Taeko that she accidentally
told Nakayama that girls having their period generally sit out P.E.
Taeko realizes that now the entire school's male population has learned
how to identify these girls.

     As it happens, Taeko comes down with a bad cold, and her mother
gives her a note for her teacher.  Much to her dismay, Taeko finds that
she is forced to sit out P.E. with Rie, who is glad for the company.
They sit and watch their class play, while Taeko makes sure that Rie
understands that she is only sick.  A stray ball heads their way, and Rie
goes to retrieve it.  But a boy comes and shouts at her to back off, so
she doesn't "contaminate the ball"!  Rie realizes that it looks to
everyone that Taeko is having her period, too, and finds this funny.
Taeko is NOT amused and gets very upset, but the excitement makes her
stomach worse.  The rest of the day is an ordeal for Taeko, as she denies
the accusations of teasing boys.

     The older Taeko, resting in the train, muses that for a caterpillar
to become a butterfly, it must first become a cocoon, and she doubts that
a caterpillar ever really wants to be a cocoon.

     Early morning.  The train pulls into Taeko's station.  She
disembarks, but there is no sign of Mitsuo's brother, Kazuo.  A stranger
wakes up to find the train has left, and panics.  He then spots her, and
asks her if she is Taeko Okajima.  Relieved to hear she is, he grabs her
bag and starts to go.  Taeko, flustered, asks who he is.  He realizes
that she wouldn't have expected him, and introduces himself as Kazuo's
cousin's cousin Toshio.  She digests this, and laughs herself to tears--
she thought he was trying to steal her bag.  He replies that a thief
wouldn't very well call her by name, though, would he?

     As it turns out, it's been raining, and they squeeze into Toshio's
little white Subaru.  As they head for the farm (and we briefly get a
false, idealized conception of a drive in the country) Taeko learns that
Toshio previously was a businessman who was introduced to agriculture
through his friends.  She is both surprised and quite impressed that he
now really enjoys his new life--working in the big business world of
Tokyo, she has never met someone who could honestly say they enjoy their
work.  She is interested in the traditional harvesting of benibana
flowers.  He confirms her understanding of how the lack of recent demand
has decreased the number of benibana farms to a mere handful.  Since this
farm is one of the few, she purposely took the overnight express so she
could immediately pitch in.

     After the long car trip, they finally arrive at the farm.  The
family is at work harvesting benibana flowers.  After a brief welcome,
Taeko suits up to help out.  Wanting to experience the old-fashioned way
of picking the flowers, Taeko removes her glove and plucks one bare-
handed.  She is pricked by its spines.

     The benibana--literally, "red flower"--is actually a yellow-orange
color, but when processed, gives its namesake red pigment.  A folk tale
relates that this is because, originally, poor women who harvested the
flower for use by the more well-to-do for lip-color picked them bare-
handed.  Because of their spilled blood, their grudge has cursed the
flowers, which now give their famous blood-red color.

     Taeko is quite caught up by the beauty of the country.  The
harvesting of the benibana progresses, and she experiences different
stages of the process (plus taking a break with Kazuo's daughter Naoko to
tie-dye some fabric), even with the odd downpour.

     Later, Naoko tries to convince her mother to lend her money to buy a
pair of fashionable PUMA sports shoes.  The persistent Naoko makes Taeko
laugh, until an upsetting memory comes.

     Yaeko is complaining about how spoiled Taeko is, since their
father brought her a present without it even being her birthday.  Taeko
argues that Yaeko always gets money for buying her new clothes, but Yaeko
responds that these things will be handed down to her later anyway.
Taeko protests that she could care less about second-hand things, that
she wants new things.  Yaeko reminds her she promised to give Taeko her
new black handbag soon enough, but Taeko wants Yaeko to give it to her
now.  Their mother asks Yaeko why she hasn't given the bag to Taeko if
she already told her she would.  Yaeko agrees to give Taeko the handbag,
but Taeko isn't interested anymore.  This suits Yaeko fine.

     Meanwhile, the family has made plans to go out to a restaurant.
Taeko, unhappy with the cutesy handbag she has, decides she can't go.
Her mother orders Yaeko to give Taeko the handbag, much to Yaeko's
consternation.  Yaeko retrieves it and drops it on Taeko's head, giving
her a new reason to stay behind.  Her father gives her one more chance to
join them, but Taeko stays put, so he leaves.  Realizing she really is
going to be left behind, Taeko panics and runs out the door to join them.
In her haste, she comes outside in her socks, and is on the verge of
tears.  Her father sees that she has come outside without shoes on, and
strikes her without thinking.  Her mother intervenes, and the frightened
and hurt Taeko collapses and sobs.  Taeko's father looks on sadly and in
silence.  Yaeko notices that a button has come off Taeko's coat.

     Naoko is stunned by this story.  Taeko is picking tomatoes, and
comments that she regrets being so stubborn as a child.  Naoko is so
affected by this story that she secretly admits to Taeko that she doesn't
really need the shoes, and will lay off her parents.

     Toshio invites Taeko to visit a nearby ski resort, though the weak
engine of his car ends up holding up traffic on the way.  At the resort,
he asks her why she hasn't married.  The rate of marriages is up, but
Taeko likens her life to her weakness at division in mathematics.  A
friend once told her that weakness in division is a sign of a "jinxed
life."  That friend being of course good at such problems, did in fact
wind up with a "smooth" life.

     1966 Taeko's test on dividing fractions scored only a 25%.  Taeko
explains to her mother that before math class is her art class, and they
were doing watercolor work.  In order to dry the artwork, she had to blow
on it several times.  All this blowing gave her a headache, and she
accounts her poor performance to this.  Her mother tells her to have
Yaeko help her on the homework.  Taeko is flustered, but Nanako isn't
available, and her mother insists on it.

     Yaeko looks at the paper with non-comprehending eyes.  She runs
downstairs and protests repeatedly to her mother.  Taeko comes downstairs
just in time to hear her mother tell Yaeko that Taeko is a "slow" child.
Forced to do the tutoring, Yaeko shows Taeko that she forgot to invert
her fractions.  Taeko protests by example.  The problem is 2/3 divided by
1/4.  She draws an apple and divides the drawing into thirds, shading two
of them.  She then divides the section into fourths and shades one.  Now
clearly the two thirds are each divided in two, so she divides the
remaining third as well and counts the total sections, getting six, hence
her answer is 1/6.

     Yaeko thinks about this, and realizes that the answer would be
right, if she were multiplying fractions, not dividing.  But Taeko knows
that she was "dividing" here, so is confused as to why it isn't division.
Yaeko finds she can't answer this, and just flatly denies the thought as
being wrong.

     Later, Yaeko talks about this with Nanako and her mother, thinking
that something is wrong with Taeko's mind.  Taeko is in the adjoining
room eating an apple, and overhears some of the conversation.  She
grumbles to herself and tries dividing her apple with her fork.

     Taeko and Toshio finish their talk and take the ski lift down.
Driving back, they pull over on a shoulder for a break.  Taeko looks into
the valley and comments on the beauty of its nature.  Toshio replies that
many urbanites react this way, too, coming out here to "return to nature"
as it were.  But in reality, it is all the work of people.  The fields
and woods are the result of generations of farmers, not nature, and even
the irrigating river was put there through human work.  Taeko feels a
familiarity with it, as if she belongs here.  Toshio agrees that many
feel this way, and thinks that humans have a symbiotic relationship with
nature that they often forget.

     Taeko enjoys further work on the farm, including a lesson at driving
a tractor.

     Taeko, Toshio, and Naoko enjoy a sunset resting on a hill.  Four
crows fly by and off into the distance.  "Oh look, the crows are flying
home!  First one..." Taeko responds.  This strange outburst confuses the
other two, so she explains it was from her class performance of "Kobutori
Jiisan", where she acted in the opening.  The other two talk about roles
they played.  Taeko then tells them of how she almost became a star.

     In 1966, it started with a class performance of "Kobutori Jiisan".
Rehearsing, Taeko embellishes her part by adding a line of farewell to
the crows.  The teacher tells her not to do this.  The night of the
performance, though, Taeko deliberately sneaks her addition in anyway by
adding an extended pause and good-bye wave.

     Later, the "most amazing thing" happened.  Taeko is watching a
popular puppet show on TV ("Hyokkori Hyotan Island") when a talent scout
comes by to pay his respects.  Impressed by Taeko's subtle re-
interpretation, he asks her mother if Taeko would consider acting
professionally.  Taeko is stunned and giddily imagines herself as a
famous star.  After the scout leaves, Taeko finds out that her mother
approves of the idea.  Taeko wonders at her good fortune.

     At dinner, the matter is brought up, and the girls are ecstatic for
Taeko.  Everyone talks about how great it is, particularly Grandmother,
who notes that Taeko is better as a performer than in academics like
math.  But then they realize that Father hasn't made any comment.  They
all wait for a response, but one does not come.  They start to talk
again, but then he puts his foot down and forbids any of his daughters
from leading the life of an actress, case closed.  Taeko is confused, and
later tries to get an explanation from Nanako, to no avail.  The next day
the scout returns, and Taeko slumps as her mother tells him that Taeko
has reservations against joining and apologizes for his going out of his
way.

     The scout ends up selecting Tsuneko instead.  Out with her mother,
Taeko is told not to tell anyone at school what happened and cause any
jealousy.  As the two walk off, Taeko sings her show's theme song...

     Naoko and Toshio feel sorry for Taeko, but she won't have it.
Then Toshio and Taeko reminisce about the show and their favorite
character, leaving Naoko to wonder what they're going on about.

     Soon Taeko will return to Tokyo.  Kazuo's mother asks Taeko if she's
enjoyed the stay, and Taeko replies that working here is far better than
her life in Tokyo.  The woman then suggests that she could stay here, and
continues by proposing an arranged marriage for her and Toshio.  Kazuo
and his wife overhear this and start to argue with her.  Kazuo tells his
mother she can't be serious, that of a matter of course, Taeko must
return to Tokyo, but his wife takes the other side and argues how much
Taeko has enjoyed the rural life.  They argue about Taeko's feelings,
until the silent Taeko can't bear it any more and runs off.  It begins to
rain.

     Taeko walks away down the road. She feels she has been dishonest in
what she has said about enjoying the work, and is now both scared of
being trapped into a life she doesn't really want and confused by her
conflicting feelings.  Standing alone on a bridge, to her horror, a bad
memory comes back.  She sees Abe, a boy from her 1966 class, appear on
the bridge.  He is from a rural town, dirty in appearance, and bad
mannered.

     Transformed into the 1966 Taeko, her peers gather around her and
talk about how terrible the new classmate is, and pity Taeko for having
to sit next to him in class.  Taeko tells them that it's okay and that
he's not so bad, much to their disbelief.

     "Don't make me hit you!" Abe shouts.  He turns and walks away.

     Taeko calls after the apparition, but he has disappeared.
Instead, Toshio arrives in his car, wondering what she's doing way out
here alone and if she's okay.  He helps her in the car and starts to
drive back.  But she asks him not to return just yet.

     She recounts what her mysterious vision was about.  Abe, a new
classmate, was assigned to the seat next to her.  She didn't think he was
a bad person, and felt wrong about how her classmates treated him.
However, when she acted nice to Abe, he told her he would hit her if she
pretended to be kind to him.  When it came time for him to leave, he was
required to shake hands with each of his classmates.  Taeko was the last
for him to get to.  But when he came to her, he refused to let her touch
him.  And after that moment, she realized that she was lying to herself,
and that she was the one that really hated him the most.

     But Toshio doesn't agree with how she interpreted Abe's actions and
feelings.  He argues that boys (and girls) often confuse their feelings
for others, and will act the opposite of how they feel, particularly in
the case of the friendless Abe.  So in acting as he did, Toshio thinks
that Abe was showing that he liked her the most.  Taeko doesn't believe
this reasoning at first, but then remembers something else.

     The younger Taeko encounters Abe out with his father.  The boy
breaks away toward her, and spits.  His father knocks him on the head and
they walk away.  Taeko stares, then also spits, and walks away, mimicking
Abe and spitting repeatedly.

     Taeko realizes that Toshio is speaking the truth.  (She actually
liked Abe.)  The rain has stopped and they get out to enjoy the fresh
night air.  Getting back in, Taeko still doesn't want to go back just
yet, so they make an outing of it.  Taeko examines her feelings for
Toshio, finding his hand is the one she really wishes was hers to shake.

     The next day Taeko waits with her friends at the station.  They ask
her to come visit again.  Kazuo's mother asks Taeko to consider her
suggestion.  Toshio and Naoko wonder what she's on about, but she tells
them it's Taeko's secret.  The train arrives.  Taeko boards as they wish
her luck, but they are interrupted by an old man boarding with a loud
radio.  The door closes, and Naoko wishes a final quick farewell as the
train leaves.  Taeko hurries to a window to look back at the station, but
it quickly disappears from sight.

     The last and important part of Taeko's story is told as the credits
are shown and requires no explanation.

----

Extended Family Tree of Taeko:

                                             ?+?        ?+?
  ?-+-Grandmother   ?+?                  .----+----.  .--+---.
    |                |                   |         |  |      |
   Mother----+-----Father         ?-+-Grandma      ?-+-?      ?-+-?
             |   (Okajima)          |                |          |
     .-------+-------.          .---+---.   ?+?   (cousin)    Toshio
     |       |       |          |       |    |
   Taeko   Yaeko   Nanako-+-Mitsuo   Kazuo-+-Wife (name?)
                                           |
                                         Naoko

Note that Naoko's Grandma is also by this definition, the sister of an
unidentified aunt or uncle of Toshio (albeit in-law).

Also "(cousin)" is the cousin linking Toshio with Kazuo and Mitsuo as the
"cousin of a cousin of".

-------------
If you would like to publish this synopsis in your fanzine, please send
a copy of its publication to:  Bryan Wilkinson, 10379 Lansdale Ave.,
Cupertino, CA  95014.

Thank you.

------------------------------cut here----------------------------------

Subject:  1.) Hayao Miyazaki Filmography, Revision 6.25 (5/6/92)

KEY:  $ means commercially available in English in the USA.
      % means known to be commercially available on LD or VHS in Japan.
      * means commercially released at least once but not on LD nor VHS.
      + indicates an anime which was worked on in some capacity, but
          never (at least, not yet) completed and/or released.
      = indicates a non-anime project, i.e. manga, a documentary, etc.

7/20/91  %OMOIDE POROPORO (REMEMBERING IN DROPS; ONLY YESTERDAY).  Feature.
        Producer only.  Direction is by Miyazaki's personal friend Isao
        (GRAVE OF THE FIREFLY) Takahata.  [See Takahata Filmography]

 ========================================================================
Subject:  2.) Isao Takahata Filmography, Revision 3.5 (11/20/91)

                ISAO TAKAHATA FILMOGRAPHY EXPLANATION:

ORIGINAL SOURCE OF INFORMATION: "Eiga Wo Tsukurinagara Kangaeta Koto"
  (What I Thought During Making Movies), written by Takatata Isao.
POSTED TO HAYAO MIYAZAKI DISCUSSION GROUP by Atsushi Fukumoto, 9/23/91.
EDITED AND RE-FORMATTED by Steven Feldman, September 27, 1991.

NOTE:  Those entries preceded by an asterisk ("*") indicate involvement
  with HAYAO MIYAZAKI on some level or other.
NOTE:  "Ekonte" is a mixture of storyboarding and continuity.  By
  contrast, the term for Scene Designer is "Bamen Sekkei".


                      TAKAHATA ISAO FILMOGRAPHY

1991 * OMOHIDE POROPORO (Feature.)
       Director, Script, rough ekonte:  Takahata Isao
       Original Story:  Okamoto Hotaru, Tone Yuuko
       Character Design:  Kondo Yoshifumi
       Scene Design (detailed ekonte):  Momose Yoshiyuki
       Animation Directors:  Kondo Yoshifumi, Kondo Katsuya,
                             Sato Yoshiharu
       Key Animation:  Hane Shouetsu, Ishii Kuniyuki, Kagawa Ai,
                       Ootsuka Shinji, et al.
       Art Design and Director:  Oga Kazuo
       Color Designation:  Yasuda Michiyo
       Music:  Hoshi Masaru
       Executive Producer:  MIYAZAKI HAYAO

========================================================================
Subject:  2.) OMOIDE POROPORO review (Bryan Wilkinson, August 18, 1992)


      Omoide Poro Poro--Remembering the Sounds of Falling Teardrops

                      A Review by Bryan C. Wilkinson


WRITTEN by Bryan C. Wilkinson on May 30, 1992.
EDITED AND RE-FORMATTED by Steven Feldman (with the cooperation of Bryan
   C. Wilkinson) through to July 22, 1992.
POSTED to the Hayao Miyazaki Discussion Group on August 18, 1992 by
   Steven Feldman.


     "...there would be no point in writing an animated film that places
the burden of subtle acting on the animator.  This goal may never be
reached; in spite of the best efforts of the staff at the Disney studio
(and they have included some of the best draftsmen in the profession),
very subtle acting may never be possible to attain in this medium."
                     --Shamus Culhane, in ANIMATION FROM SCRIPT TO SCREEN

    "The existing order is complete before the new work arrives; for
order to persist after the supervention of novelty, the WHOLE existing
order must be, if ever so slightly, altered; and so the relations,
proportions, values of each work of art are readjusted; and this is
conformity between the old and new."
                    --T.S. Eliot in "Tradition and the Individual Talent"


    While many animators and animation critics are moping about how
BEAUTY AND THE BEAST should have won the Oscar for Best Picture this
year, an animated film named MY NEIGHBOR TOTORO changed Japanese history
three years ago by winning the Japanese equivalent to the Oscar--the
Kinemajumpo award--for Best Picture of 1988, while yet another took fifth
place.

    MY NEIGHBOR TOTORO, which was directed by Hayao Miyazaki, was a film
that captured the nation's soul and imagination by reminding it of its
lost roots through the story of two children's moving to an old house in
the country and their encounters with residing spirits.  The film has
since taken the place of THE SEVEN SAMURAI as the nation's most popular
film, according to recent polls.  Interestingly, the film that took fifth
place was made by the same studio--in fact by Miyazaki's mentor and
partner, Isao Takahata.  Its name was GRAVE OF THE FIREFLIES.  An anti-
war film based on a real-life story about two dying children orphaned
during the bombing of Tokyo, GRAVE OF THE FIRELFIES has since gained much
international acclaim, including at the 1991 Annecy festival.  One critic
noted that it used animation to portray the child characters in a depth
that just wouldn't be possible in live action.

    The two partners, who have had several acclaimed works between them
over the past 25 years, afterward teamed up for KIKI'S DELIVERY SERVICE
(with Miyazaki directing and Takahata producing, as had been the case
with NAUSICAA OF THE VALLEY OF THE WIND, LAPUTA, and--of course--TOTORO).
Based on a story by Eiko Kadono, this film is a coming-of-age story about
a 13-year-old witch, and is meant to be a direct allegory for the
increasing number of Japanese teenaged girls ousted from their homes at
an early age.  The 1989 film quickly became the highest-ever grossing
movie in Japan, and Miyazaki himself has taken the place of Akira
Kurosawa as Japan's most popular director.  On a humorous note, both
TOTORO and KIKI have also since become two of the films the Disney
studios employ in educating new animators.

    Miyazaki's strong directing style and philosophy is definitely an
extension of his early work under Takahata in the Sixties and most of the
Seventies (although he is also influenced by western work including that
of the Fleischer Brothers and the comparitively recent works of Jean
"Moebius" Giraud).  Takahata's early directing career involved making
fantasy films with a strong verisimilitude, and research for his works
required him and Miyazaki to span the globe in order to capture the feel
of the stories' locations.  This field-research is still practiced by
Studio Ghibli (their production company) today.  As the years progressed,
the inner coherence of each work heightened, and eventually, Miyazaki
separated to direct his own realist fantasy films.  Takahata's very
strong humanist values (which helped gain him his early popularity as a
director of children's stories) were shared by Miyazaki, so in this way,
too, Miyazaki continued Takahata's progress (his second film, NAUSICAA OF
THE VALLEY OF THE WIND, gained the endorsement of the World Wildlife Fund
in1984).  Takahata, meanwhile, seemed to realize Miyazaki's potential in
the genre, and decided to go all-out after work in full realism, which he
had begun by the time Miyazaki left for his own work.  The two have
created from scratch a whole new animation movement that has nothing in
common with the overblown commercial Japanese animation that has gained
some popularity in America.  One might even be tempted to call their
movement "Shun'nami Anime" (New Wave animation).

    Thus, it is particularly interesting to see what their latest
collaboration is; with Miyazaki producing Takahata's 1991 film, OMOIDE
PORO PORO (Remembering the Sounds of Falling Teardrops), their usual
corresponding roles have been reversed.

    The result is stunning--certainly, "Teardrops" is the most beautiful
cel-animated feature film I have ever seen.

    The film succeeds on several levels: it is aesthetically beautiful
and it has a tremendous depth of realism, yet at the same time it never
fails to make use of the potential of the animation medium to actually
heighten the experience of the film in ways not achievable in a live-
action one.  Partly based on a semi-autobiographical comic written by
Hotaru Okamoto and drawn by Yuuko Tonai, the movie's characters have an
honesty to them I've only encountered in the neo-realist and new wave
cinema of Europe and China.  Like GRAVE OF THE FIREFLIES, it is a mature
and psychologically resonant work.

    "Teardrops" makes use of acclaimed professional actors--not just
voice actors--and Takahata has taken this cue to the animators to bring
forth some of the most subtle and sensitive character animation ever done
in a feature film (thus humorously taking a cue from the film itself at
a point where the main character is approached as a ten-year-old to act
professionally after her subtly-acted reinterpretation of a part in a
school play).  Yet, Takahata never resorts to the pseudo-rotoscoping that
is the hallmark of Disney character animation.  Miyazaki had enough
influence in the film's production to bring his stylish humorous wit into
it, as well.  Even the music--comprised of original work, Slavic tunes
(enjoyed by Toshio, one of the characters in the film), and pop hits
indigenous to the film's two time frames--creates a rich feeling of
depth.  "Hungarian Rhapsody", a classical piece reknowned for its use in
some classic Warner Brothers cartoons, shows up in service of a comical
scene.

     The film delivers many of the values of their best prior works, and
yet much more effectively than ever before.  Time itself is masterfully
manipulated, creating startling temporal (and occasionally spatial)
juxtapositions which would appear affected in a live-action film.
Crucial yet lengthy "real time" scenes (not unlike the work of more
experimental cel-animation film directors of Japan, such as the "dark"
animation of Rintaro or Oshii Mamoru)--that would normally be all but
unthinkable in an animated film--also stand out.

    "Teardrops" is a story that stretches back and forth between the life
of Taeko Okajima as a 10-year-old girl in 1966 and her life in 1982 at
27.  Her 1982 world is portrayed in the neo-realist character style of
GRAVE OF THE FIREFLIES, combined with the rich photo-like oil-painted
backgrounds of TOTORO; the 1966 characters are rendered in a more
Miyazaki-like caricature style, with bright watercolor backgrounds that
fade out on the edges of the field to create an effective "limited focus"
look that has no precedent in either director's films.  The mlilieux
depicted in the two time periods literally overlap and intermix at
points, particularly when the actions of the younger Taeko have their
strong repercussions on the life of the older one.  It is difficult to
single out any particular parts of the film for examples due to the
"folkiness" of the narrative style (i.e. detailing continuous day-to-day
ordinary life as opposed to overt dramaticism), not to mention that
describing the visual and temporal qualities is hard to begin with.

     Regardless, the story details 1982 Taeko's sabbatical to the country
town of Yamagata from her work as a businesswoman in Tokyo, and crosses
her current experiences with that of the trials and few rewards of her
fifth-grade schooldays.  A condensation of most of this story would be as
follows:

         Younger 10-year-old Taeko (1966) finds that her friends are
     spending their vacations visiting relatives outside Tokyo.  Her own
     family has no kin outside the area so she ends up taking a trip to a
     public bath instead.  Older 27-year-old (1982) Taeko is making plans
     on a sabbatical to her older sister's in-law's farm.  Older Taeko
     passes through fruit stands--and younger Taeko's family encounters
     their first pineapple at a time when foreign fruits are scarce and
     expensive, including their favorite, the banana.  They are baffled
     as to how it is prepared for eating.

          Older Taeko boards her train, and younger Taeko has her first
     crush.  Older Taeko wonders about why her 1966 life seems so
     significant, and younger Taeko has an unusual first encounter with
     menstruation.

          Older Taeko is picked up by a distant cousin (her sister's
     husband's cousin's cousin), Toshio.  They drive to the farm, she
     learns of his own change from a business life to the farm life--a
     job he enjoys very much.  Having never met someone who enjoys their
     work so much before, this leaves a strong impression on Taeko.

          She meets her sister's in-laws and helps in the traditional
     harvesting of benibana flowers.  Her sister's husband's niece Naoko
     stubbornly tries to convince her mother to buy her fashionable
     sports shoes, and 1966 Taeko gets into a dispute with her family
     over a handbag.  1982 Taeko has a lunch date with Toshio, where she
     relates her trouble doing math in school with her social life.  1966
     Taeko has math trouble and is forced into being tutored by her
     sister.

          1982 Taeko takes a break with Toshio and Naoko to watch a
     sunset, and sees crows flying by.  It reminds her of a scene in a
     school play.  Younger Taeko performs in the play and gains a chance
     to act professionally, only to be denied it by her father.

          1982 Taeko is approached with the prospect of an arranged
     marriage to Toshio, and confronts her fear of being trapped into an
     unwanted life.  She transforms into 1966 Taeko and relives one of
     her deepest regrets.  1982 Taeko confronts Toshio with her 1966
     dilemma...

    This hints at the complex temporal balancing act that continues
through the film, though it is impossible to sum up most of the movie's
two hours easily in such a generalized fashion.  The amount of detail,
beauty, animation style and imagery in this film simply defies words: the
silent, unvoiced emotions of the characters; the real-feeling traveling
scenes; the subtle expressions of interacting characters; the beauty of a
sunrise, a single flower or a whole field of them, or the entire
atmosphere of the country.

     The uniquely cinematographic feel of a Studio Ghibli film has
reached a new peak with this movie, while not losing any of the magic
that their animation has always had from the start.  Interestingly, it
was just shown this year along with Miyazaki's MY NEIGHBOR TOTORO at the
Cannes Film Festival, so maybe Western critics of Japanese films
will finally take notice.  It should also be interesting to see what
Studio Ghibli's latest film, THE RED PIG (in the works), will turn out
like.  Directed by Miyazaki and produced by Takahata, press releases have
indicated further overlapping of the two men's work.  In the meantime,
REMEMBERING THE SOUNDS OF FALLING TEARDROPS is a new (and already
classic) masterwork that effectively fuses the genius of two of the
world's greatest animators into one.  But more importantly, it is a film
that shows that the greatest story of all is the one within each and
every one of us.

========================================================================
Subject:  3.) UMI GA KIKOERU mini-synopsis (Alan Takahashi, 7/18/93)


Date:         Sun, 18 Jul 1993 21:50:16 PDT
Source:       Hayao Miyazaki Discussion Group <[e-mail]>
Really-From:  Alan Takahashi <[e-mail]>
Subject:      "Umi Ga Kikoeru" entry

Well, since the List activity has dropped so much, here's something to
talk about.  The following is the current new entry for "Umi Ga Kikoeru",
largely based on the showing over at Anime America.  Of course, I had
to chop a lot out for the entry, but I hope I didn't get *too*
misleading.  :-)

Have fun with it...

Title: I can hear the Sea                                 (TV) gDR tUGK
  aka: Umi Ga Kikoeru                                              tUGK
Cast:                                                              tUGK
Description:                                                       tUGK
  Taku Morisaki is a college student on his way back to a high     tUGK
  school reunion.  On the plane flight back, he remembers events   tUGK
  from his high school days.  He remembers getting a glimpse of a  tUGK
  new girl with his friend Matsuno.  Later, Matsuno introduces his tUGK
  new girlfriend to Morisaki.  Her name is Rikako Muto.  She is    tUGK
  very good in sports and academically, but is a social outsider   tUGK
  since she is a transfer student.  In their last year in school,  tUGK
  the class takes a trip to Hawaii.  When Rikako's money is stolen,tUGK
  it is to Morisaki that she asks to help her.  This doesn't go    tUGK
  unnoticed by Matsuno, and cracks begin to appear in their        tUGK
  friendship.  This is a very real look at relationships, and how  tUGK
  a single act may change them forever.  Did a romantic triangle   tUGK
  form?  It's hard to tell.  This TV movie compares well with      tUGK
  better live-action dramas and outshines most anime.              tUGK
  NOTE: This is Studio Ghibli's first solo attempt by the "younger tUGK
    generation" of the company.  Miyazaki-sensei was not involved. tUGK
Rating: HIGHLY RECOMMENDED                                         tUGK

BTW, anyone have any cast info for this one?

-----
Alan Takahashi           UUCP    : ......!{portal,ames}!ntmtv!takahash
Northern Telecom Inc.              ...!uunet/
Mountain View, CA        INTERNET: [e-mail]
----------------------------------------------------------------------
"When you need to knock on wood is when you realize the world's
  composed of aluminum and vinyl." -- Flugg's Law

+          +          +          +          +          +          +

Date:         Sun, 2 May 1993 01:06:08 EDT
Source:       Hayao Miyazaki Discussion Group <[e-mail]>
Really-From:  Steven Feldman <[e-mail]>
Subject:      UMI GA KIKOERU & HEISEI TANUKI KASSEN PONPOKO

>Subject:      Re: Mistaken Identity and Ponpoko
>Date:         Sat, 1 May 1993 17:03:37 -0700
>From:         Trish Ledoux <[e-mail]>
>
>I'm dialing in from home, so I don't have my mags here, but I think
>PONPOKO is a TV series...I recall seeing it in some sort of "New TV
>Show Listing" in ANIME-V or ANIMEDIA recently.

     I think you are confusing Isao Takahata's new film project, HEISEI
TANUKI KASSEN PONPOKO, with Studio Ghibli's recent TV project, UMI GA
KIKOERU (a/k/a I CAN HEAR THE SEA), directed by Tomomi Mochizuki (of
KOKO WA GREENWOOD, the ORANGE ROAD movie & the MAISON IKKOKU movie fame)
-- which is scheduled to air May 5th.

                          -- Steven Feldman <[e-mail]>

========================================================================
Subject:  4.) UMI GA KIKOERU timing file (Blue Shield, [July 29,] 1994)


TRANSLATED BY: Akiko Kinoshita
SUBTITLED BY: Blue Shield at NT-Anime in 1994
UPLOADED & E-MAILED BY: David Goldsmith, June 29, 1994
EDITED & RE-FORMATTED BY: Steven Feldman, July 3, 1994
RE-EDITED BY: Steven Feldman, July 3 & 15, 1994
POSTED TO <NAUSICAA@BROWNVM> BY: Steven Feldman, July 29, 1994

+      Please note that the bracketed comments made here and there in the
+ script are my own suggestions and corrections to what I thought or felt
+ were errors in spelling, grammar and/or punctuation.  --S.F., 7/3/94


--========================_35149148==_
Content-Type: text/plain; name="Umigakikoeru.script"; charset="us-ascii"
Content-Disposition: attachment; filename="Umigakikoeru.script"

# JACOsub script file
# For software information, contact Alex Matulich, Unicorn Research Corp.
# [phone]  Internet: [e-mail]
# Fido: 1:363/137, 1:363/140
#
# This was timed on the Digital Creations SuperGen w/ an Amiga 1200. It
# was translated and timed for NON-profit uses. It is NOT a NEXUS script.
# Translated by Akiko Kinoshita. Subtitled by Blue Shield at NT-Anime.
# Please do not change the translation or sell this.
# Thank you, and enjoy.
#
# Please use the small font...they talk too much to use the big! I'm
# working on scaling the 36 font down to a 32, which should look nice.
# Right now, it makes the 29 bigger, and looks blocky.
#

0:00:13.90 0:00:18.70 {Background:} \IShortly, A train will be coming in
the fourth lane.
0:00:18.70 0:00:21.80 {Background:} \IFor safety, please step behind the
white line.
0:00:37.56 0:00:41.96 VTJRCF15F3FSSE2 {Subtitle:} \n\n\nTokunashoten
Books~
0:00:37.56 0:00:41.96 VUJRCF15F3FSSE2 {Subtitle:} \nJapan Television
Network~
0:00:37.56 0:00:41.96 VUJRCF15F3FSSE2 {Subtitle:} \n\nand Studio Ghibuli~
0:00:37.56 0:00:41.96 VUJLCF15F3FSSE2 {Subtitle}
0:00:37.56 0:00:41.96 VUJRCF15F3FSSE2 {Subtitle:}\n Present~~~~~
0:00:42.46 0:00:47.10 VTCF15F3FSSE2 {Subtitle:} \n\n\n\nA story by
Himuro Saeko
0:01:02.18 0:01:08.67 CF7F1 {Title:} I Can Hear The Ocean
0:01:02.18 0:01:08.60 VU {Blank:}
0:02:08.80 0:02:11.18 {Speaker:} \ISorry to keep you waiting.
0:02:11.18 0:02:13.76 {Speaker:} \IThe plane will take off shortly.
0:02:22.40 0:02:26.88 {Taku:} \IThe first time Matsuno and I met Rikako
was a scorching summer like this...
0:02:26.88 0:02:30.48 {Taku:} \ITwo years ago when we were second year
high school students.
0:02:41.24 0:02:44.72 {Taku:} \IThat day, Matsuno called me at work.
0:02:46.14 0:02:49.26 {Dude:} Hey, part-time worker, wash those quickly,
there are more dishes coming.
0:02:49.30 0:02:50.04 {Taku:} Alright.
0:02:51.50 0:02:54.13 {Lady:} Taku, telephone!
0:02:54.13 0:02:55.18 {Taku:} Oh - Excuse me.
0:02:58.30 0:02:59.12 {Taku:} Hello?
0:02:59.12 0:03:00.06 {Matsuno:} Morisaki.
0:03:00.06 0:03:01.60 {Taku:} Oh, Matsuno?
0:03:01.60 0:03:03.60 {Matsuno:} You get off from work early today,
right?
0:03:03.60 0:03:08.40 {MATSUNO:} Come up to the school soon. I've just
finished my seminar, but I'll be up here for a while.
0:03:08.40 0:03:09.30 {Taku:} Alright.
0:03:10.80 0:03:14.70 {Taku:} I'm sorry, I have an emergency, so I can't
work this afternoon.
0:03:14.70 0:03:16.58 {Lady:} Wait a second.
0:03:17.30 0:03:18.88 {Taku:} Sorry for leaving work so early.
0:03:22.79 0:03:24.82 {Guy:} We can't count on the young guys.
0:03:32.14 0:03:32.98 {Taku:} See ya.
0:04:09.02 0:04:10.12 {Taku:} Matsuno.
0:04:10.26 0:04:11.98 {Matsuno:} You got here so soon?
0:04:12.15 0:04:13.76 {Taku:} You're the one who asked me to come.
0:04:13.76 0:04:15.60 {Matsuno:} Come here for a second.
0:04:19.60 0:04:22.00 {Taku:} Who's that? I can't see her well from here.
0:04:22.00 0:04:26.63 {Matsuno:} She's the transfer student who joined
our class. Her name is Muto Rikako.
0:04:26.63 0:04:28.22 {Taku:} For the second semester?
0:04:28.22 0:04:28.62 {Matsuno:} Yes.
0:04:28.84 0:04:32.42 {Taku:} That's strange. It's rare to have a
transfer student the second year of high school.
0:04:32.60 0:04:36.25 {Matsuno:} But she's coming, and she's from Tokyo.
0:04:36.25 0:04:39.88 {Matsuno:} A moment ago my teacher, Kosugi, asked
me to show her around campus.
0:04:39.88 0:04:44.86 {Taku:} Oh? Since you're the class president? \nYou
seem excited.
0:04:45.65 0:04:49.46 {Matsuno:} Yeah, of course, I'm very excited,
Muto's very pretty.
0:04:49.66 0:04:50.54 {Taku:} Oh?
0:04:53.98 0:04:58.26 {Taku:} I can't see her and I can't go into the
teachers' office.
0:04:58.26 0:05:01.30 {Matsuno:} But we can't go into the teachers'
office just to see her.
0:05:01.30 0:05:04.32 {Matsuno:} If you want to, we can go in and pretend
that we have a question.
0:05:04.32 0:05:07.80 {Taku:} No, no, that's OK. I don't want to go to
the teacher's office.
0:05:07.80 0:05:13.10 {Taku:} Teachers know that I'm not taking any
summer seminars since I'm working.
0:05:13.75 0:05:17.22 {Matsuno:} Do you still mind about the Junior High
school trip?
0:05:17.22 0:05:22.80 {Taku:} No, I don't mind, but I don't like the way
the teachers cancelled our junior high trip...
0:05:22.80 0:05:26.38 {Taku:} and are trying to make up for it now by
taking us to a fancy place in Hawaii.
0:05:26.68 0:05:32.20 {Matsuno:} But, the students are really excited
about going to Hawaii, so the school is being successful for manipulating
the students.
0:05:32.20 0:05:37.84 {Matsuno:} The teachers are saying we should have a
good time in Hawaii, and then put all our effort in the entrance exams.
0:05:39.76 0:05:42.35 {Taku:} It takes a lot of money to go to Hawaii...
0:05:42.35 0:05:44.00 {Taku:} so I'll have to work.
0:05:45.35 0:05:49.72 {Matsuno:} It would be ridiculous if you were being
stubborn like that and fell behind the other students.
0:05:49.74 0:05:51.16 {Matsuno:} So make sure you're studying on your
own.
0:05:51.16 0:05:54.30 {Taku:} Yeah - By the way, what's gotten into you
today?
0:05:54.30 0:05:56.54 {Taku:} Is there something you're worried about?
0:05:56.78 0:06:00.02 {Matsuno:} No, I just wanted to talk to you a bit.
0:06:00.29 0:06:03.04 {Taku:} Alright, I'll go get my bicycle. Please
wait for me at the gate.
0:06:03.06 0:06:03.64 {Matsuno:} OK.
0:06:10.10 0:06:13.70 {Taku:} \IFor six years through junior high and
high school...
0:06:13.70 0:06:17.58 {Taku:} \IMatsuno and I were never in the same
class.
0:06:18.22 0:06:22.78 {Taku:} \IBut despite the fact, I always felt he
was my best friend.
0:06:24.32 0:06:31.60 {Taku:} \IThe first time I got a[c]quainted with
Matsuno was when the school suddenly cancelled our trip in junior high.
0:06:31.60 0:06:37.70 {Intercom:} \II know it's very sudden, but we
cancelled your school trip.
0:06:37.70 0:06:43.26 {Intercom:} \IWe've decided [that] from now on,
we'll have only one trip through junior high and high school.
0:06:45.15 0:06:50.96 {Intercom:} \IYour scores finally got last among
the public schools on last year's country-wide examination.
0:06:51.08 0:06:58.05 {Intercom:} \IWe can't face the alumni or you[r]
parents who have been keeping the fine tradition.
0:06:58.05 0:07:04.90 {Intercom:} \IWe want the high school seniors to do
well on the second test to restore the honor.
0:07:04.90 0:07:10.08 {Intercom:} \IIf they don't do good ["do well"?],
the junior high student's ["students'"?] sacrifice will be meaningless.
0:07:10.50 0:07:14.70 {Boy:} Let's go see Sayama later... Hey, Taku.
0:07:14.70 0:07:15.92 {Taku:} Oh?
0:07:17.34 0:07:22.62 {Taku:} \ISince it was so ridiculous, some of us
decided to protest against our teacher.
0:07:30.20 0:07:33.55 {taku:} Uh... We can't understand.
0:07:33.55 0:07:37.96 {Taku:} We don't think our grades will get higher
by cancelling the school trip.
0:07:37.96 0:07:42.32 {Taku:} Since there's not a good explanation, I
think most of us aren't very persuaded.
0:07:42.78 0:07:46.50 {Teacher:} You could say such things if you were in
["among"?] the top 100 students of the country.
0:07:47.66 0:07:50.02 {Taku:} I was number 89, last time!
0:07:52.86 0:07:57.96 {Man:} Aren't you acting like that because your
teacher's a woman?
0:08:00.78 0:08:04.30 {Taku:} \II didn't think the school would bring up
the protest anymore since then...
0:08:04.88 0:08:08.14 {Taku:} \IHowever, a week later at the morning
assembly...
0:08:13.42 0:08:19.75 {Teacher:} The decision upon canceling the junior
high trip was even approved by the PTA.
0:08:19.75 0:08:25.70 {Teacher:} It seems like some students are still
making a big deal out of it. So we want them to have a good explanation.
0:08:25.70 0:08:30.56 {Teacher:} We want to make sure, once again, who is
not satisfied with this decision. So those, raise your hands now.
0:08:39.16 0:08:40.28 {Girl:} They're brave, aren't they?
0:08:41.80 0:08:44.02 {Taku:} \IThat was Matsuno Yutaka.
0:08:44.80 0:08:49.60 {Teacher:} That's good. For those who raised their
hand[s], there's going to be an explanation meeting...
0:08:49.60 0:08:52.78 {Teacher:} so please come to the art room after
school. That's all.
0:09:05.80 0:09:11.80 CF15 {Chalkboard:} Explanation meeting has been
postponed. Put your name and class number on a piece of paper and write
your opinion about the cancellation of the school trip.
0:09:25.25 0:09:28.15 VTCF15 {Paper:} \n3rd year - Class 3 - Morisaki
Taku
0:09:40.26 0:09:46.22 VTCF15 {Paper:} \n3rd year - Class 3 - Morisaki
Taku
0:09:40.26 0:09:46.22 CF15 {Paper:} There's no meaning for the
cancelation and I think it's only to ease the teacher's ["teachers'"?]
and parents['] feelings.
0:10:02.58 0:10:06.22 {Matsuko:} I just saw Yamamura at the stairs.
0:10:06.22 0:10:09.20 {Matsuko:} He asked me to tell you he's sorry.
0:10:10.06 0:10:10.98 {Matsuko:} Forgive him.
0:10:12.68 0:10:13.94 {Taku:} Idiot.
0:10:32.28 0:10:37.27 VTCF15 {Paper:} \n\nMatsuno Yutaka - 3rd year -
Class 4.
0:10:32.28 0:10:37.27 CF15 {Paper:} I can't understand the cancellation
0:10:32.28 0:10:37,27 VU {Blank:}
0:10:32.28 0:10:37,27 VU {Blank:}
0:10:32.28 0:10:37.27 VUCF15 {Paper:} since it's a one-sided view.
0:10:32.28 0:10:37.27 VU {Blank:}
0:10:32.28 0:10:37.27 VU {Blank:}
0:10:37.27 0:10:44.26 VTCF15 {Paper:} \n\n\n\n10 or 20 years after I
graduate
0:10:37.27 0:10:44.26 VUCF15 {Paper:} \nfrom this school, I'll still
think
0:10:37.27 0:10:44.26 VUCF15 {Paper:} \nyour decisions were very unfair.
0:10:46.10 0:10:53.52 {Taku:} Wow! You're already thinking 10 or 20 years
later.
0:11:01.82 0:11:10.28 {Taku:} \ISince then, Matsuno has been someone
different in my mind, than the others.
0:11:34.44 0:11:37.88 {Matsuno:} This is Morisaki Taku, from the 4th
class.
0:11:38.05 0:11:42.42 {Matsuno:} This is a new transfer student, Muto
Rikako.
0:11:43.34 0:11:44.84 {Rikako:} OK, I'm leaving now...
0:11:45.60 0:11:46.84 {Rikako:} Help me out next semester.
0:11:56.78 0:12:00.10 {Taku:} You... already after her?
0:12:00.10 0:12:04.00 {Matsuno:} No, no, don't get me wrong. She asked me
where Kinsendo Bookstore was.
0:12:04.00 0:12:07.42 {Matsuno:} Since her school books are there, she
just wanted to go get them.
0:12:16.90 0:12:22.26 {Taku:} ...And I heard that the cook at my work
used to be one of the mafia's big guys.
0:12:22.28 0:12:27.78 {Taku:} Sometimes he squats and smokes by habit
from the experience.
0:12:35.80 0:12:37.05 {Taku:} Is something wrong?
0:12:37.05 0:12:42.62 {Matsu:} Hey, I was wondering if she has any
problems since she's transferring at this time of the year.
0:12:44.90 0:12:52.18 {Taku:} \IThat's it. Now I realize the real meaning
["reason"?] why Matsuno called me up.
0:12:53.30 0:12:57.12 {Taku:} I wonder, maybe her father was transferred.
0:13:01.70 0:13:02.22 {Matsuno:} See you later.
0:13:05.27 0:13:10.64 {Taku:} \IWhen I found out that Matsuno was
attracted to her, I was unreasonably upset.
0:13:11.42 0:13:15.90 {Taku:} \IDon't go for her. Women are just looking
for a guys looks, anyways.
0:13:15.90 0:13:18.86 {Taku:} \IWomen can never find your good
personality.
0:13:20.70 0:13:21.94 {Athelete:} HERE I GO!
0:13:26.30 0:13:33.74 {Taku:} When the second semester started, Rikako
came to be a strong appearance among the innocent countryside boys like
us.
0:13:34.76 0:13:37.86 {Boy:} Hey Morosaki, look at the girls. It's
looking good for us!
0:13:38.96 0:13:42.28 {Taku:} You're talking about Ariga?
0:13:45.25 0:13:47.28 {Taku:} They're big, I know.
0:13:47.50 0:13:50.74 {Boy:} No, no. I meant the inner court.
0:14:17.88 0:14:19.30 {Taku:} Gosh, she's good.
0:14:19.30 0:14:21.74 {Boy:} Seri, from the tennis club has been treated
like a kid.
0:14:22.41 0:14:24.26 {Voice:} God, Muto was so good.
0:14:24.26 0:14:25.98 {Voice2:} She plays like a pro.
0:14:25.98 0:14:27.70 {Voice:} She must've practiced pretty hard.
0:14:27.70 0:14:30.14 {Voice2} Tokyo girls hit the ball differently.
0:14:30.14 0:14:31.48 {Vocie:} How Outstanding!
0:14:31.48 0:14:33.12 {Voice2} And she has nice legs.
0:14:33.12 0:14:35.54 {Voice:} But a girl like that looks like she's
stubborn.
0:14:38.18 0:14:41.46 {Taku:} Oh, Muto is way too prominent.
0:14:42.32 0:14:44.64 {Matsuno:} Don't say that she's prominent.
0:14:46.62 0:14:47.46 {Taku:} Hey, Matsuno.
0:14:58.00 0:15:02.30 {Matsuno:} I'm sorry... It seems Muto's been out of
place in class.
0:15:03.30 0:15.06.76 {Matsuno:} I was worried about her being different.
0:15:07.55 0:15:08.98 {Taku:} Out of place, huh?
0:15:08.98 0:15:10.70 {Matsuno:} In so many ways...
0:15:18.60 0:15:23.48 VTCF15 {Paper:} Number 12 Muto Rikako.
0:15:27.45 0:15:30.60 {Taku:} She made 12th so suddenly.
0:15:30.60 0:15:35.70 {Boy:} She's good in sports and studies. She's a
super-woman. Uh... Taku, you're...
0:15:35.70 0:15:37.50 {Taku:} Number 92.
0:15:37.50 0:15:41.92 {Boy:} You were such a good student when you were
in junior high.
0:15:46.32 0:15:47.88 {Girl:} What an attitude?
0:15:47.88 0:15:49.40 {Girl2:} Snobby, isn't she?
0:15:49.40 0:15:54.66 {Girl3:} Stop that, don't say such things...
\nHurry, class is starting.
0:16:06.25 0:16:09.06 {Boy:} What's wrong with you? Are you lost in the
admiration of her beauty?
0:16:09.06 0:16:13.92 {Taku:} No, I was just thinking that she didn't
look so happy.
0:16:13.92 0:16:18.21 {Boy:} No way! What're you thinking?! She's 12th!
12th!
0:16:40.40 0:16:44.26 {Mom:} I heard there's a girl named Muto that
transfer[r]ed to your class.
0:16:44.26 0:16:46.96 {Taku:} Yeah... What is it?
0:16:46.96 0:16:52.48 {Mom:} I heard she's a brilliant student, no wonder
she's from Tokyo. [vague phrashing; should be separate sentences --S.F.]
0:16:52.48 0:16:54.62 {Taku:} How did you know this?
0:16:55.10 0:17:01.46 {Mom:} I heard it at the meeting of the
Agricultural Union. Her mother's sister is the of the owner of [should
this read "sister is one of the owners of"?] the famous Muto Orchard.
0:17:01.46 0:17:04.40 {Mom:} About Rikako's mother...
0:17:04.40 0:17:05.30 {Taku:} Huh?
0:17:05.30 0:17:10.25 {Mom:} She came back here because she had some
problems at home, so she took back her son and daughter.
0:17:13.50 0:17:16.30 {Taku:} Problems at home? I wonder if her parents
are divorced or not.
0:17:16.30 0:17:19.48 {Taku:} I wonder if Muto's father is still in
Tokyo.
0:17:19.48 0:17:21.30 {Mom:} Well, I don't know about that.
0:17:21.30 0:17:22.12 {Taku:} That was a good meal.
0:17:22.12 0:17:25.44 {Mom:} Atsushi! Why do you make such a mess?
0:17:25.44 0:17:31.85 {Taku:} Poor Muto. If she can study that well, she
could've gone to a good high school in Tokyo.
0:17:31:85 0:17:35.30 {Taku:} It's bad that she had to come here because
of her mother's problems.
0:17:35.30 0:17:40.78 {Mom:} It's not that way if you're a mother. You'll
take your children with you!
0:17:40.78 0:17:44.20 {Taku:} What's the matter? Why're you getting so
excited?
0:17:44.20 0:17:47.35 {Mom:} It must've been a big decision for her to
come home like this.
0:17:47.35 0:17:51.38 {Mom:} Under such circumstances, how could she dare
leave her kids and worry about things like her kids being in a good
school?
0:17:51.38 0:17:55.28 {Mom:} Most mothers in that case would take their
kids... Did you get that?!
0:17:57.84 0:17:59.80 {Taku:} Speaking from experience, huh?
0:18:01.22 0:18:04.90 {Woman:} You be kind to Muto-san, OK?
0:18:04.90 0:18:08.42 {Woman:} Since she's come to a strange place, she
must have lots of difficulties.
0:18:08.42 0:18:09.20 {Taku:} Yeah, yeah.
0:18:20.89 0:18:22.32 CF15 {TV:} Gokai - Hearty
0:18:42.86 0:18:44.84 {Mom:} Taku!
0:18:46.30 0:18:48.44 {mom:} Taku - Telephone!
0:18:49.00 0:18:49.64 {Taku:} OK!
0:18:53.60 0:18:58.20 {Taku:} Hello - Oh Matsuno? Oh, how's it going?
0:18:58.74 0:19:00.16 {Matsuno:} \IWell...
0:19:00.16 0:19:01.94 {Taku:} What is it?
0:19:02.20 0:19:05.55 {Matsuno:} \II didn't think it was necessary to
call you, but...
0:19:05.55 0:19:06.54 {Taku:} Uh?
0:19:06.54 0:19:08.72 {Matsuno:} \II went to Muto's place today.
0:19:08.72 0:19:11.05 {Taku:} You mean you went to her house?
0:19:11.05 0:19:16.80 {Matsuno:} \IMuto was absent today with a cold and
I heard she was living by herself. So I kinda got worried.
0:19:17.02 0:19:22.54 {Taku:} Oh, she's living by herself? It's not that
far to commute from Harigei to school.
0:19:22.56 0:19:23.48 {Matsuno:} \IOh...
0:19:23.48 0:19:26.90 {Taku:} So you went to see her on your own?
0:19:26.90 0:19:31.10 {Matsuno:} \IYes. When I was there, I saw her in
bed.
0:19:31.10 0:19:34.18 {Taku:} In bed, huh?
0:19:34.56 0:19:36.34 {Matsuno:} \IThat was all.
0:19:36.34 0:19:36.90 {Taku:} Yeah.
0:19:38.41 0:19:39.22 {Matsuno:} \IThat was it.
0:19:40.13 0:19:41.00 {Taku:} Yeah.
0:19:51.35 0:19:55.56 {Taku:} You like that kind of girl... Matsuno.
0:20:03.90 0:20:10.74 {Taku:} \IIt's March, and we finally get to go on
the school trip we've been waiting for.
0:20:11.10 0:20:11.72 {Boy:} Morisaki.
0:20:12.36 0:20:12.68 {Taku:} Huh?
0:20:14.50 0:20:16.75 {Boy:} What's wrong? You aren't going to the beach?
0:20:16.75 0:20:18.56 {Boy2:} Tomorrow we have to go back to Kochi.
0:20:18.56 0:20:21.60 {Taku:} Well, my stomach's been upset since this
morning.
0:20:21.60 0:20:23.40 {Boy:} You poor guy.
0:20:23.40 0:20:23.96 VB {Boy2:} Oh well.
0:20:23.75 0:20:24.10 VU {Taku:} \C1Yeah.
0:20:24.10 0:20:25.22 VB {Boy2:} Bye!
0:20:27.56 0:20:32.50 {Taku:} And then this school trip came to ruin my
life. Until later on...
0:20:39.82 0:20:42.90 {Muto:} Morisaki-kun.
0:20:43.94 0:20:45.52 {Muto:} Can you lend me some money?
0:20:53.15 0:20:57.96 {Taku:} Money? What's wrong? You spent too much
money?
0:20:57.98 0:21:04.68 {Muto:} Well... uhh... It seems like I lost all of
my money.
0:21:04.88 0:21:13.26 {Taku:} That's a big problem! Did you tell your
teacher? If it's a traveler's check and you contact them, you can get it
back.
0:21:14.05 0:21:16.08 {Muto:} I don't want to be scolded.
0:21:16.08 0:21:20.58 {Taku:} What're you saying? You have to be serious.
Your money is very important.
0:21:24.20 0:21:30.48 {Muto:} I'm sorry, you sound like an actor in an
old fashioned movie. Why don't we sit down?
0:21:31.64 0:21:33.68 {Muto:} I was also confused.
0:21:33.68 0:21:40.82 {Muto:} I'll explain it clearly. Most of the money
I brought was cash, because I thought travelers checks were troublesome,
so...
0:21:40.82 0:21:42.56 {Taku:} Were they all American dollars?
0:21:42.78 0:21:48.48 {Muto:} Yeah, about $400. It disappeared before I
used any of it.
0:21:48.48 0:21:53.76 {Taku:} You shouldn't have brought all of your
money in cash. We were told we were limited to $200 cash.
0:21:53.78 0:21:57.40 {Taku:} The other 30,000 yen was supposed to be in
travelers checks.
0:21:57.40 0:21:59.88 {Muto:} No one's abiding by those rules.
0:21:59.88 0:22:05.10 {Muto:} What? You're talking like a teacher. Are
you that good of a student?
0:22:05.10 0:22:08.32 {Muto:} You're much different from what I heard
about you. I'm disappointed.
0:22:13.82 0:22:16.60 {Taku:} Your Tokyo accent makes it sound like
you're talking with a defiant attitude.
0:22:16.60 0:22:20.65 {Muto:} Eh? What're you saying? I didn't mean to
argue.
0:22:20.65 0:22:23.54 {Taku:} Yeah, and I'm not an old-fashioned movie
actor.
0:22:26.08 0:22:31.70 {Muto:} Morisaki-kun, you're kind of mean, aren't
you? This is the first time I've been told I spoke with a defiant
attitude.
0:22:31.70 0:22:34.14 {Muto:} Do I really sound like that?
0:22:34.16 0:22:37.10 {Taku:} Yeah, everyone thinks so.
0:22:37.10 0:22:41.76 {Taku:} The reason why nobody tells you about it is
because you'll tell them they sound like old-fashioned movie actors.
0:22:41.76 0:22:46.94 {Muto:} Please don't say that anymore. It was my
fault. I didn't mean to make fun of you.
0:22:49.72 0:22:53.64 {Muto:} But in some movies, they use a countryside
accent intentionally.
0:22:54.32 0:22:57.92 {Muto:} I thought that was only in movies, and
didn't think it really exist[ed].
0:22:59.75 0:23:04.44 {Muto:} But when I came to Kochi, everyone was
speaking with that accent... I was so suprised.
0:23:05.04 0:23:09.80 {Muto:} But this is the first time I told anybody
they sounded like an old-fashioned movie actor. I'd been thinking about
it, but never told anybody.
0:23:09.80 0:23:11.82 {Taku:} Yeah, you'd better not.
0:23:11.82 0:23:18.70 {Muto:} Yeah, language is important. I couldn't
understand a little bit ["understand the least bit"?] of it.
0:23:18.70 0:23:22.42 {Muto:} It seems that they hate me, since I ask
them what they're saying all the time.
0:23:22.42 0:23:24.42 {Taku:} Being hated... by who?
0:23:24.42 0:23:32.28 {Muto:} Particularly the boys hardly ever talk to
me, except for the class president, Matsuno-kun. He's kind, isn't he?
0:23:32.28 0:23:36.64 {Taku:} Yeah, Matsuno's a good guy. Did you hear
about me from him?
0:23:36.64 0:23:42.78 {Muto:} Yeah, we saw you during the Christmas
holidays working with your apron on at the restaurant in Obiyamachi.
0:23:42.78 0:23:46.40 {Muto:} Matsuno was saying that you were working so
hard.
0:23:46.93 0:23:48.80 {Muto:} Then he told me a lot of things. For
example...
0:23:48.80 0:23:53.62 {Muto:} How you were out of control in junior high
and the explanation meeting [???] for you two guys.
0:23:53.62 0:23:56.05 {Taku:} He even told you about that?
0:23:56.05 0:24:00.98 {Muto:} Hey, since you worked all through the
summer and winter, you must've brought a lot of money.
0:24:04.54 0:24:05.78 {Taku:} How much do you need?
0:24:07.10 0:24:08.58 {Muto:} How much do you think you can lend me?
0:24:08.58 0:24:16.44 {Taku:} I only brought 60,000 yen and $400 dollars.
I haven't used any of it, so I could lend you about $300 dollars.
0:24:16.44 0:24:20.72 {Muto:} Really? Well, would you rather lend me
60,000 yen?
0:24:28.80 0:24:30.16 {Taku:} Wait. Here?
0:24:44.66 0:24:47.38 {Taku:} 60,000?
0:24:58.30 0:25:00.60 {Muto:} Thank you for the trouble, Moriksaki-sama!
0:25:00.60 0:25:03.80 {Taku:} What do you want me to do with the money?
Do you want me to give it to you here?
0:25:03.82 0:25:08.26 {Muto:} You're a very careful person[,] aren't
you?  Please sit in that chair there.
0:25:10.25 0:25:13.72 {Muto:} Wrap the money inside this handkerchief and
give it back to me.
0:25:16.22 0:25:19.74 {Taku:} Oh man, it looks like we're doing illegal
business.
0:25:25.72 0:25:32.32 {Muto:} I'll pay you back to you when we get back
to Japan, but it won't be too soon. I know where I can get the money, but
it won't be too soon.
0:25:32.34 0:25:34.34 {Taku:} Well, whenever it's available.
0:25:34.80 0:25:36.84 {Muto:} Can you keep this a secret?
0:25:36.84 0:25:38.70 {Taku:} Yeah, but why?
0:25:38.70 0:25:40.96 {Muto:} If my mama finds out, she'll be mad.
0:25:41.14 0:25:41.90 {Taku:} Mama?
0:25:46.36 0:25:50.00 {Taku:} What kind of person is she?
0:25:54.08 0:25:55.62 {Matsuno:} Hey...
0:25:58.84 0:26:03.24 {Taku:} I was suprised that that girl knew me.
0:26:03.26 0:26:06.65 {Taku:} She sounded like you guys got along. I
heard you two were on a date the other day.
0:26:06.65 0:26:13.80 {Matsuno:} It wasn't a date. When I ran into her
during the winter holidays in Obiyamachi, Hesitantly, I asked her ["I
hesitantly asked her"?] to go to the movie.
0:26:13.80 0:26:18.60 {Matsuno:} Suprisingly, she said yes. The fact that
she said yes that easy ["easily"?] shocked me. I was nervous and didn't
know what to say to her.
0:26:18.60 0:26:24.70 {Matsuno:} But when we passed by the restaurant you
were working at, I used you to fill the empty conversation... You saved
my life.
0:26:24.70 0:26:28.44 {Taku:} Because you talked about me in your
conversation, she asked me for a loan.
0:26:28.44 0:26:30.72 {Matsuno:} A loan...? She asked you?
0:26:30.72 0:26:33.70 {Taku:} Yes... She said she lost some money...
0:26:33.70 0:26:38.58 {Taku:} And she saw me walking by. I guess she
remembered that I worked and had money.
0:26:38.58 0:26:43.78 {Matsuno:} Huh...? She lost her money? That poor
thing.
0:26:46.06 0:26:47.98 {Matsuno:} Hey, you wanna go for a walk downtown?
0:26:48.00 0:26:48.95 {Taku:} Good idea.
0:26:48.95 0:26:52.36 {Matsuno:} I'll go put my bathing suit in my room.
Wait here.
0:26:52.36 0:26:53.12 {Taku:} Yeah.
0:27:02.82 0:27:03.88 {Girl:} You got a good tan...
0:27:03.88 0:27:05.88 {Boy:} It looks good doesn't it?
0:27:06.78 0:27:08.26 {Boy2:} Look closer. It looks good...
0:27:14.54 0:27:18.38 {Muto:} You told Matsuno about it already even
though I asked you not to. [should this end in a "?" mark?]
0:27:18.38 0:27:20.58 {Taku:} Eh? Matsuno said what?
0:27:20.58 0:27:23.64 {Muto:} Matsuno asked me if I'd like some of his
money since he had some extra.
0:27:23.64 0:27:26.88 {Taku:} He's a good guy isn't he?
0:27:26.88 0:27:30.75 {Muto:} I borrowed 20,000 yen from him, but don't
tell anybody else again.
0:27:30.75 0:27:35.04 {Muto:} You're getting me in trouble. You're very
talkative for a guy, aren't you?
0:27:38.22 0:27:41.30 {Taku:} What kind of girl is she? How was she
raised?
0:27:42.98 0:27:46.30 {Taku:} \IThe next day, we went back to Kochi...
0:27:46.30 0:27:53.56 {Taku:} \IAnd I bought some "candid snapshots" of
Muto, from my friend Suda, for revenge.
0:27:46.89 0:27:50.60 VTJRCF15 {Paper:} (It's a catalogue to buy
["catalogue for buying" or "catalogue selling"?] pictures)
0:27:50.60 0:27:56.64 {Taku:} \II thought the revenge idea worked, and I
wouldn't hold it against her.
0:27:56.64 0:28:00.90 {Taku:} \IHowever, when we started our third year
of high school, Rikako and I were in the same class.
0:28:09.12 0:28:10.52 {Muto:} \IYumi, lunch time!
0:28:10.54 0:28:11.08 {Yumi:} Yeah.
0:28:14.30 0:28:17.06 {Taku:} \IRikako found a friend...
0:28:18.35 0:28:45.45 {Taku:} \IHer name is Yumi Kohama. She's someone
who's kind of quiet.
0:28:23.45 0:28:29.30 {Taku:} \IAnyways, Rikako didn't pay the money
back. \nNot even at the "Golden Week". \n\CF(Vacation - 1st week of May)
0:28:30.70 0:28:33.00 {Taku:} \IAs if she totally forgot about it.
0:28:35.36 0:28:37.82 {Mom:} Taku... telephone... it's Kohama-san.
0:28:42.82 0:28:47.90 {Taku:} Hey Kohama, you're calling from a public
phone?
0:28:47.90 0:28:52.00 {Yumi:} \IMorisaki, I don't know what to do.
0:28:52.00 0:28:53.16 {Taku:} What's wrong?
0:28:53.18 0:28:59.12 {Yumi:} Today Rikako and I were supposed to go to
Ohsaka for a concert and stay there for two nights
0:28:59.12 0:29:04.06 {Yumi:} but when we go to the airport, Rikako
started saying she was going to Tokyo.
0:29:04.06 0:29:06.54 {Yumi:} She told me she planned this...
0:29:06.56 0:29:09.70 {Yumi:} And now I told her I'm going to the
bathroom, so I could call you.
0:29:09.70 0:29:10.60 {Taku:} \IWhat in the world?!
0:29:10.60 0:29:15.20 {Yumi:} Rikako was telling me that it's not that
big of a deal if we go to Tokyo, since it's only for two nights.
0:29:15.20 0:29:21.90 {Yumi:} \IRikako told me that she's already bought
two tickets for Tokyo, but I don't want to lie to my mother.
0:29:21.90 0:29:29.20 {Taku:} Calm down. You don't have to go with her.
Just say no and let her go alone.
0:29:29.20 0:29:37.50 {Yumi:} But Rikako's mother approved this trip
since I was going with her, so Rikako has to go with me. What should I
do?
0:29:37.50 0:29:44.12 {Taku:} What can you do... err... Wait a minute,
why are you asking me, anyways?
0:29:44.12 0:29:52.58 {Yumi:} Because Rikako told me that she borrowed
the money from you, Morisaki. If you're that close to her, can't you
convince her?
0:29:52.58 0:29:59.50 {Yumi:} Hey, Morisaki, come to the airport, please.
Our flight is at 11:30. You've still got an hour and thirty minutes.
0:29:59.50 0:30:02.08 {Yumi:} \IPlease, make sure you come.
0:30:04.40 0:30:05.50 {Taku:} That money!
0:30:29.76 0:30:32.80 {Taku:} \IThat was a lie that she lost her money in
Hawaii, it was for her trip today.
0:30:32.80 0:30:38.92 {Taku:} \IShe was tricking me. How could she trick
me like that? That's enough [no puntuation mark given; "." or "!"?]
0:30:56.52 0:30:59.68 {Yumi:} Morisaki, I'm glad you came.
0:30:59.68 0:31:00.98 {Taku:} Muto...
0:31:01.88 0:31:06.46 {Yumi:} She's in the bathroom. She told me she
hasn't been feeling well since this morning.
0:31:06.46 0:31:11.07 {Yumi:} I wish she would feel worse so she would
have to cancel this trip.
0:31:11.07 0:31:18.00 {Taku:} Anyways, what Muto's doing is terrible. If
you are a friend of hers, why can't you give her a lecture or two?
0:31:18.00 0:31:23.56 {Yumi:} But Rikako says she definitely wants to go
see her papa. So I understand her, but I couldn't be that strong... poor
thing.
0:31:23.58 0:31:25.72 {Taku:} Papa? You mean her father?
0:31:31.96 0:31:36.00 {Muto:} What?! What are you doing here? Did you
call him, Yumi?
0:31:36.00 0:31:41.36 {Yumi:} Hey Rikako, let's not go like this, lying
to our mothers. Why don't you tell your mom the truth?
0:31:41.36 0:31:43.96 {Muto:} My mama would never let me go...
0:31:43.96 0:31:47.38 {Muto:} That's why I was preparing for this for a
long time.
0:31:51.16 0:31:58.94 {Taku:} Oh wait... Kohama, why don't you call your
mother and tell her you're feeling bad and you want to go home...
0:31:58.96 0:32:00.28 {Yumi:} Uh... But...
0:32:00.28 0:32:07.78 {Taku:} And tell her that Muto is really worried
about you, but she didn't want to waste the concert tickets, so she's
going by herself.
0:32:07.78 0:32:11.40 {Taku:} Your parents say a lot of things to you,
but they are just worried about you.
0:32:11.40 0:32:13.30 {Taku:} So I don[']t think they would say something
about Muto.
0:32:13.30 0:32:20.00 {Yumi:} That's right! My mother doesn't know your
mother, so she won't tell your her what happened.
0:32:20.00 0:32:21.90 {Muto:} OK... You got it.
0:32:21.90 0:32:25.10 {Yumi:} I'll make the phone call.
0:32:26.90 0:32:34.54 {Taku:} Kohama was really well raised. She's
something else. She didn't change her mind and go to Tokyo to play
around.
0:32:41.34 0:32:44.26 {Taku:} You... Don't feel well...?
0:32:44.26 0:32:48.98 {Muto:} I was having a hard time, since it's the
first day of my period. Sometimes I even have to be in bed because of
Anemia.
0:32:48.98 0:32:50.40 {Taku:} In bed?
0:32:50.40 0:32:54.85 {Muto:} Men don't know how it is.
0:32:54.85 0:32:57.04 {Taku:} Are you really going?
0:32:57.04 0:32:59.86 {Muto:} I'll get the money that I borrowed from you
from my dad.
0:32:59.86 0:33:02.06 {Muto:} So don't worry, OK?
0:33:06.93 0:33:12.04 {Taku:} If you're nervous about going by yourself,
shall I go ["would you like me to go";"do you want me to go"?] with you?
0:33:12.33 0:33:15.76 {Muto:} Really? Can you really do that for me?
0:33:31.90 0:33:33.70 {Taku:} Hey...
0:33:33.70 0:33:34.76 {Muto:} Huh?
0:33:34.76 0:33:40.16 {Taku:} Your father knows you're coming, doesn't
he? Is he coming to get you at Haneda Airport?
0:33:40.16 0:33:42.54 {Muto:} I don't think he'll be there.
0:33:42.54 0:33:47.00 {Taku:} Do you think your father will find me a
place to stay?
0:33:47.00 0:33:50.22 {Muto:} Of course... I'll ask him for you.
0:33:51.15 0:33:59.90 {Muto:} Well... I'm planning to tell my dad that I
want to live with him and come back to Tokyo.
0:34:00.50 0:34:04.72 {Intercom:} \IAttention everyone. This plane will
be landing at Haneda Airport...
0:34:06.10 0:34:11.98 {Taku:} \IWhen I was walking in Tokyo with Rikako,
I was thinking that she 'got' me again.
0:34:13.20 0:34:17.00 {Taku:} \IBut I couldn't let her go to Tokyo by
herself.
0:34:19.20 0:34:22.78 {Muto:} Actually, the south exit looks nicer with
all those cherry trees.
0:34:22.78 0:34:24.96 {Muto:} Downtown Seijo is this way.
0:34:26.35 0:34:29.16 {Muto:} My Papa's parents['] house used to be
around here.
0:34:29.16 0:34:31.34 {Muto:} This also used to be a cultivating field.
0:34:31.34 0:34:32.30 {Taku:} Oh yeah?
0:34:32.30 0:34:37.50 {Muto:} But the real-estate company bought the
property and built an expensive apartment complex and gave the best room
to Papa.
0:34:37.50 0:34:41.74 {Muto:} The room was even too big for a family of
four. Now he's by himself and might be lonely.
0:34:41.74 0:34:45.48 {Taku:} Then if you go see him, he might be happy.
0:34:50.90 0:34:52.28 {Muto:} It's been a long time.
0:35:00.00 0:35:01.62 {Lady:} Who is it?
0:35:03.78 0:35:05.90 {Muto:} Uh... Is this Muto-san's place?
0:35:05.90 0:35:07.68 {Lady:} Yes, it is.
0:35:07.68 0:35:10.04 {Muto:} Uh... is Papa there?
0:35:10.04 0:35:13.70 {Dad:} Rikako? Wait in the lobby. I'm coming down.
0:35:30.98 0:35:33.60 {Dad:} You suprised me by coming without notice.
0:35:33.60 0:35:34.92 {Dad:} Did you come alone?
0:35:34.92 0:35:39.48 {Muto:} This is my boyfriend in Kochi. Since it's a
the Golden Week holidays, we came together.
0:35:39.48 0:35:42.52 {Papa:} Oh yeah? Thank you for taking care of
Rikako.
0:35:42.85 0:35:44.80 {Papa:} Uh... Why don't we have tea somewhere?
0:35:44.80 0:35:47.88 {Muto:} I would rather see my home. What's my room
look like?
0:35:48.90 0:35:51.36 {Dad:} Well then, let's go up.
0:35:51.90 0:35:56.30 {Dad:} I'm sorry, but could you wait here for
awhile?
0:36:31.12 0:36:35.84 {Dad:} Morisaki-kun, I'm sorry you had to keep
Rikako company all the way home.
0:36:35.84 0:36:40.88 {Dad:} I heard that you haven't found a place to
stay yet, so I've called this hotel and reserved a room for you.
0:36:40.88 0:36:45.40 {Dad:} And uh... Rikako borrowed money from you,
didn't she? Thank you.
0:36:53.04 0:36:57.40 {Taku:} I felt sorry for her... \nfrom the bottom
of my heart.
0:37:10.24 0:37:12.38 {Taku:} Oh - Hello, Mother?
0:37:12.38 0:37:15.76 {Taku:} Oh Taku, we're having dinner soon, so hurry
home.
0:37:15.76 0:37:18.76 {taku:} Well, actually, I have something going on
and I can't go home.
0:37:18.76 0:37:22.12 {Mom:} \IWell then, we're going to go ahead and
eat. Don't be too late, OK?
0:37:22.12 0:37:23.85 {Taku:} I'm in Tokyo right now.
0:37:23.85 0:37:26.60 {Mom:} \ITokyo? What do you mean? I just saw you
this morning.
0:37:26.60 0:37:29.40 {Taku:} But, I 'ZOOOMED' on ["a"?] plane!
0:37:29.40 0:37:31.02 {Mom:} \IEh?
0:37:31.35 0:37:32.85 {Taku:} I had to accompany somebody that ["somebody
who"?] had to go to Tokyo.
0:37:32.85 0:37:34.25 {Mom:} \IWho's somebody?
0:37:34.25 0:37:36.75 {Taku;} Anyway, I'll be back the day after
tomorrow.
0:37:36.75 0:37:38.10 {Mom:} \IExplain it to me straight.
0:37:38.42 0:37:40.32 {Mom:} \IHello...? Hello...?
0:37:39.90 0:37:41.30 VU {Taku;} \C1I'll explain when I get back.
0:37:41.30 0:37:43.36 {Taku:} I'm han[g]ing up, okay?
0:37:42.30 0:37:43.36 VU {Mom:} \C1Wait, Taku!
0:37:48.66 0:37:50.16 {Taku:} Muto...
0:37:53.50 0:37:55.16 {Taku:} What's the matter?
0:37:55.70 0:38:01.30 {Muto:} I'll stay here tonight. Since the bill will
be sent to my papa, I have a right to stay here, don't I?
0:38:03.14 0:38:03.82 {Taku:} Hey...
0:38:19.24 0:38:25.00 {Taku:} It was worse than a soap opera... I
thought.
0:40:00.00 0:40:05.00 {END} END!
0:00:06.42 0:00:08.52 {Taku:} Muto, want a beer?
0:00:10.06 0:00:13.84 {Taku:} Can't you drink it? We sometimes get
together and drink without the school knowing.
0:00:14.52 0:00:17.22 {Muto:} Make me a 'Kokuhai' \n\CF(Coke + Carbonated
Alcoholic Mix)
0:00:20.70 0:00:24.14 {Muto:} When we'd have a school fair, I would drink
these at my friend's house.
0:00:33.45 0:00:37.80 {Muto:} Papa said he's taking a trip with his
friend during the holidays.
0:00:37.80 0:00:40.28 {Taku:} I see... It's the holidays.
0:00:41.15 0:00:46.54 {Muto:} My room was completely remodeled, and the
wallpaper was changed to dark green!
0:00:47.56 0:00:49.06 {Muto:} I hate green!
0:00:49.06 0:00:52.12 {Taku:} Oh yeah, green is bad.
0:00:55.99 0:00:57.96 {Muto:} And the pans are enamel!
0:00:58.52 0:00:59.34 {Muto:} That's ridiculous!
0:01:00.05 0:01:02.86 {Muto:} Enamel pans are out of date!
0:01:04.10 0:01:09.70 {Muto:} When my mama and papa were arguing, I
thought my mama was stupid and should've ignored what was going on.
0:01:09.70 0:01:12.15 {Muto:} But she screamed and made a big deal out of
it.
0:01:12.15 0:01:13.90 {Muto:} So Papa tried to protect himself...
0:01:13.90 0:01:17.30 {Muto:} ...and they separated as if they did
something as stupid as a divorce.
0:01:17.30 0:01:22.75 {Muto:} My brother and I had to be separated from
our friends and ended up transferring to other schools because of my
mother, so...
0:01:22.75 0:01:25.42 {Muto:} I've been on my papa's side.
0:01:25.42 0:01:28.16 {Muto:} But Papa wasn't on my side.
0:01:28.58 0:01:31.45 {Taku:} On your side? You mean...
0:01:31.45 0:01:34.70 {Muto:} I'm so unfortunate...
0:01:36.90 0:01:41.39 {Taku:} I think you're unfortunate, but be nice to
your mom when you get back.
0:01:41.39 0:01:45.12 {Taku:} You rented a place by yourself in protest
against her?
0:01:45.12 0:01:50.20 {Muto:} I lived by myself because I didn't think it
was a good idea for all three of us to stay at Mama's house.
0:01:50.20 0:01:52.12 {Muto:} It wasn't that I was protesting.
0:01:52.12 0:01:53.58 {Taku:} OK, I see.
0:01:53.58 0:01:55.90 {Muto:} Morisaki-kun, it's none of your business.
0:02:07.30 0:02:13.18 {TV:} \IGood evening. How are you spending your
time on the first day of the Golden Week?
0:02:47.30 0:02:51.00 {Taku:} \II'm also unfortunate.
0:02:56.06 0:02:58.40 {Muto:} Morisaki-kun!
0:02:58.40 0:02:59.54 {Muto:} Hurry and wake up!
0:03:01.08 0:03:06.28 {Muto:} You finally woke up. I was in trouble
since I couldn't use the sink or the bathtub.
0:03:06.58 0:03:09.12 {Muto:} I went to the first floor to use the
bathroom.
0:03:09.72 0:03:10.46 {Taku:} Sorry.
0:03:10.82 0:03:16.10 {Muto:} Hey, could you excuse yourself for about 30
minutes? I want to get ready to see someone.
0:03:16.10 0:03:17.08 {taku:} Your father?
0:03:17.08 0:03:20.85 {Muto:} My friend from high school. I called him a
minute ago. He sounded excited to see me.
0:03:20.85 0:03:22.70 {Muto:} Since it's been so long, he said he'd come
to the hotel.
0:03:22.70 0:03:24.55 {Taku:} Oh, good for you.
0:03:24.55 0:03:28.00 {Muto:} I want to hurry and get ready. I need to
use the shower, so get out of here as quickly as possible, okay?
0:03:33.90 0:03:38.58 {Taku:} \IIt was possibly this time ["possibly
then"?] that I decided to go to a university in Tokyo.
0:03:42.68 0:03:47.96 {Taku:} \IIt might be because I was relieved from
the fact that Rikako was trying to cheer herself up.
0:03:53.10 0:03:57.90 {Muto:} Right on time. My friend just called me.
He's in the lobby.
0:03:57.90 0:03:58.58 {Taku:} Oh yeah?
0:03:58.80 0:04:00.28 {Muto:} Bye, I'm leaving.
0:04:02.18 0:04:05.80 {Muto:} Oh, what're we going to do with the key?
Are you going out, Morisaki-kun?
0:04:05.80 0:04:07.90 {Taku:} I'll sleep in the room, so I'll take care
of it.
0:04:07.90 0:04:09.58 {Muto:} Really... I'm sorry.
0:04:09.58 0:04:11.82 {Taku:} Don't worry about it. Enjoy yourself.
0:04:31.55 0:04:32.50 {Taku:} Yes?
0:04:32.50 0:04:36.30 {Muto:} \IMorisaki-kun, I'm sorry to bother you,
but could you come to th[e] tea shop on the first floor?
0:04:36.30 0:04:38.76 {Taku:} What's wrong? Did you forget your wallet?
0:04:38.76 0:04:41.20 {Muto:} \INo, hurry and come anyways. Think of it
as rescuing me.
0:04:44.20 0:04:46.64 {Taku:} Man, what's next. [a "?" or an "!"?]
0:04:49.94 0:04:51.72 {Muto:} Morisaki-kun, over here.
0:05:06.34 0:05:08.85 {Muto:} This is Morisaki-kun.
0:05:08.95 0:05:12.15 {Muto:} He came along with me because he was
worried about me.
0:05:12.15 0:05:15.26 {Mtuo:} Morisak-kun, this is my ex-classmate,
Okada-kun.
0:05:15.43 0:05:16.38 {Okada:} Hello.
0:05:17.32 0:05:22.18 {Okada:} Rikako, you already have a boyfriend? I'm
kind of shocked.
0:05:22.88 0:05:28.90 {Muto:} Look who's talking. I didn't know you'd
start dating Ryoko so soon after I left.
0:05:28.90 0:05:30.86 {Muto:} I feel like I was betrayed... damn.
0:05:31.15 0:05:33.95 {Okada:} Eh? But you're prettier.
0:05:33.95 0:05:37,14 {Okada:} Ryoko says the same thing. "Compared to
Rikako, I feel un-noticeable."
0:05:37.14 0:05:40.66 {Muto:} Hey, listen Morisaki-kun, don't you think
it's shocking?
0:05:40.66 0:05:47.60 {Muto:} I dated Okada-kun for a year, but he
started dating another girl two months after I left. She was even a
friend of mine.
0:05:47.60 0:05:50.64 {Taku:} Well, that's the way it goes.
0:05:51.88 0:05:54.42 {Muto:} Hey, he's kind of calm, isn't he?
0:05:56.30 0:05:59.62 {Okada:} Well, I've already talked to Ryoko about
it.
0:05:59.62 0:06:04.62 {Okada:} So how about you ask him ["how about your
asking him"?] to go to a movie with us. It'll be a double date.
0:06:06.90 0:06:09.35 {Muto:} I want to, but...
0:06:09.35 0:06:13.85 {Muto:} My papa is coming to see me at noon and
we're supposed to have lunch together.
0:06:13.85 0:06:19.16 {Okada:} If I would've known you were coming, I
could've planned something for you. It's a shame.
0:06:19.16 0:06:22.50 {Okada:} But your mother is kind of mean to you,
isn't she?
0:06:22.50 0:06:27.70 {Okada:} If you are taking the entrance exams for
universities in Tokyo, she should've left you
0:06:27.70 0:06:33.34 {Okada:} but she forced you to go along with her.
She wasn't thinking about her kids at all.
0:06:33.86 0:06:37.80 {Taku:} She's not a junior high kid or anything.
What do you mean she should think about her KIDS?
0:06:39.58 0:06:41.32 {Muto:} What's wrong, Morisaki-kun?
0:06:41.32 0:06:46.40 {Taku:} How absurd... You and him...
0:06:50.42 0:06:54.00 {Okada:} Is he jealous of me or something? I'm
sorry...
0:06:58.88 0:07:01.50 {Taku:} \II was so disappointed.
0:07:01.50 0:07:10.26 {Taku:} \IThe Rikako who was always standing up for
herself was actually a girl who was flirting and smiling at stupid guys
like that in Tokyo.
0:07:15.30 0:07:15.98 {Taku:} Muto...
0:07:20.82 0:07:25.80 {Muto:} Okada-kun told me to tell you that he
didn't mind about [should "about" be omitted?] what you did.
0:07:25.80 0:07:28.25 {Muto:} He's really stupid[,] isn't he?
0:07:28.25 0:07:33.64 {Muto:} While I was dating him, I thought he was
kind and generous.
0:07:35.30 0:07:37.80 {Muto:} At first, I called you to be with me to
make me look good.
0:07:37.80 0:07:41.82 {Muto:} But after you left and we were alone, I
started feeling dumb.
0:07:42.20 0:07:44.84 {Muto:} We really were absurd... He and I...
0:07:45.50 0:07:50.02 {Taku:} Well, I understand that you were shocked
because he started dating another girl.
0:07:50.40 0:07:52.68 {Muto:} You don't understand, do you, Morisaki-kun?
0:07:53.44 0:07:58.75 {Muto:} I was shocked because Okada-kun became a
totally different person to me.
0:07:58.75 0:08:04.26 {Muto:} He only talks about himself, and he never
even asked me how I like Kochi.
0:08:04.26 0:08:09.82 {Muto:} But he actually was that kind of person, I
just didn't realize that ["realize it"?] before.
0:08:10.34 0:08:12.46 {Muto:} I'll stay at my aunt[']s house tonight.
0:08:12.46 0:08:15.60 {Muto:} I think it's kind of weird to stay in the
same room as you.
0:08:16.60 0:08:18.60 {Muto:} Let's meet tommorow at the counter in the
airport.
0:08:21.72 0:08:24.92 {Muto:} It turned out to be a horrible trip to
Tokyo, didn't it?
0:08:28.54 0:08:32.88 {Taku:} \IRikako looked as if she grew into an
adult in just thirty minutes.
0:08:38.18 0:08:39.62 {Muto:} Hey Yumi, where'd you get that?
0:08:39.62 0:08:40.84 {Muto:} Would you like to have one[,] too?
0:08:41.40 0:08:44.50 {Taku:} \IAfter the holidays were over...
0:08:44.50 0:08:47.26 {Taku:} \IRikako pretended like ["pretended that"
or "acted like"?] nothing happened.
0:08:48.52 0:08:51.84 {Taku:} \IAnd as before, she only hung around with
Yumi Kohama.
0:09:07.76 0:09:11.90 {Girl:} Don't get me wrong, and I'm not saying this
because I'm worried about you...
0:09:11.90 0:09:15.26 {Girl:} But if I don't tell you this now, I'm
afraid you'll be all by youself.
0:09:17.83 0:09:19.00 {Muto:} \C1Leave me alone.
0:09:15.80 0:09:19.00 VU {Girl:} Well, I know you have some reasons to be
like that, but you could be more...
0:09:40.40 0:09:42.80 {Taku:} How did you do on your finals?
0:09:42.80 0:09:44.98 {Matsuno:} I didn't do to[o] well...
0:09:44.98 0:09:47.54 {Matsuno:} I'll go to a 'cram' school in Osaka
during the summer holidays.
0:09:47.54 0:09:49.65 {Taku:} Oh? Training school?
0:09:49.65 0:09:51.78 {Matsuno:} It'll be a nice change.
0:09:55.14 0:09:55.82 {Matsuno:} Hey.
0:09:55.82 0:09:56.52 {Taku:} Huh?
0:09:56.52 0:09:59.28 {Matsuno:} I'm going to ask you something kind of
weird, so don't get upset.
0:09:59.68 0:10:03.64 {Matsuno:} You went to Tokyo with Muto during the
holidays, didn't you?
0:10:04.26 0:10:07.80 {Taku:} Oh, yeah I did. How did you know?
0:10:07.80 0:10:09.75 {Matsuno:} How did I?
0:10:09.75 0:10:14.32 {Matsuno:} It's like a big rumor around here.
Didn't you notice?
0:10:14.32 0:10:15.60 {Taku:} No, not at all.
0:10:15.60 0:10:17.86 {Matsuno:} That's just like you.
0:10:17.86 0:10:22.35 {Matsuno:} Since you spent a couple of days there,
we didn't think it would be a good idea to make fun of you in public.
0:10:22.35 0:10:23.80 {Matsuno:} So we just gossip["p"?]ed about it.
0:10:23.80 0:10:27.24 {Taku:} Hey, I don't know what kind of gossip you
heard...
0:10:27.24 0:10:29.98 {Taku:} But Muto only went to see her father.
0:10:29.98 0:10:31.72 {Matsuno:} I heard that.
0:10:31.72 0:10:34.72 {Taku:} Heard from who? From Kohama?
0:10:34.72 0:10:38.62 {Matsuno:} Kohama? Why Kohama? From Muto herself.
0:10:41.74 0:10:46.00 {Matsuno:} The other day I happened to run into her
at the library and we happened to go home at the same time, so I asked
her about it.
0:10:50.75 0:10:52.28 {Muto:} That story[,] again?
0:10:52.58 0:10:57.16 {Muto:} I sure did go to Tokyo with Morisaki-kun
and stayed with him at the hotel for a night.
0:10:57.16 0:11:00.00 {Muto:} So what does that have to do with you?!
0:11:04.94 0:11:07.60 {Matsuno:} I...
0:11:07.82 0:11:11.34 {Matsuno:} Because I... like you.
0:11:16.16 0:11:21.52 {Muto:} I... hate Kochi, and guys who speak with a
Kochi dialect.
0:11:21.52 0:11:23.56 {Muto:} I can't think of them as boyfriends...
0:11:23.56 0:11:26.02 {Muto:} ...and it makes me sick to hear something
like that.
0:11:35.75 0:11:37.56 {Taku:} She said you made her sick?
0:11:38.30 0:11:41.25 {Matsuno:} That's right. That was kind of rough.
0:11:41.25 0:11:44.35 {Taku:} Is there a reason why you didn't get good
grades?
0:11:44.35 0:11:47.46 {Matsuno:} I'll refresh my mind during summer
holidays.
0:11:47.76 0:11:50.14 {Taku:} That's sucks that she said you made her
sick!
0:11:52.84 0:11:53.78 {Matsuno:} Morisaki...
0:11:58.00 0:11:59.24 {Muto:} Which would you buy, white or red?
0:11:59.79 0:12:00.50 {Yumi:} Red.
0:12:01.30 0:12:02.80 {Muto:} White would look....
0:12:03.60 0:12:05.96 {Taku:} I have something to say to you... come
with me.
0:12:07.62 0:12:08.34 {Muto:} What?
0:12:20.52 0:12:22.34 {Muto:} What's wrong?
0:12:22.86 0:12:26.28 {Muto:} I'd prefer it if you didn't talk to me that
much at school. Everyone will look at us.
0:12:26.28 0:12:31.17 {Taku:} I heard you told Matsuno that we stayed at
the same hotel in Tokyo.
0:12:31.17 0:12:32.34 {Muto:} Yeah, I did.
0:12:32.34 0:12:34.40 {Taku:} It was you that insisted to stay with me
["you who insisted on staying with me"?] at the hotel.
0:12:34.40 0:12:37.38 {Tak:} I'm the one who's in trouble by all the
gossip stories.
0:12:38.02 0:12:38.88 {Muto:} What?!
0:12:38.88 0:12:41.82 {Taku:} Because of you, I'm in big trouble.
0:12:41.82 0:12:45.00 {Taku:} YOU'RE THE WORST! \n\CF (This is one of the
MOST insulting phrases)
0:12:51.20 0:12:54.04 {Muto:} YOU'RE PRETTY THOUGHTFUL FOR YOUR FRIEND,
AREN'T YOU?! THAT'S ENOUGH!
0:13:01.80 0:13:04.95 {Taku:} Really, the trip to Tokyo was no good...
0:13:04.95 0:13:09.64 {Taku:} For Rikako or me.
0:13:20.40 0:13:23.54 {Taku:} \IIn the fall...
0:13:30.73 0:13:35.95 {Taku:} \IRikako was out of place as usual.
0:13:35.95 0:13:39.56 {Taku:} \IHowever, her grades were going up higher
and higher.
0:13:41.28 0:13:46.98 {Taku:} \IAnd when we had our last school
festival...
0:13:49.85 0:13:52.56 {Girl:} Would you like some? Would you like to try
our noodles?
0:13:52.56 0:13:55.80 {Girl2:} Hey, she isn't her[e] today, either.
0:13:55.80 0:14:00.70 {Girl3:} I'm sure she'll skip the dance tomorrow.
She never made it to practice.
0:14:00.70 0:14:02.20 {Girl2:} She's ridiculous!
0:14:02.55 0:14:07.80 {Girl:} She's trying to make ["trying to get"?]
better grades by not participating in the festival.
0:14:07.80 0:14:10.60 {Girl:} We have to talk to her.
0:14:10.60 0:14:13.20 {Girl:} Why don't we get with her tomorrow?
0:14:12.56 0:14:13.28 {Girl2:} Then I'll write her a letter.
0:14:13.20 0:14:14.82 VU {Dude:} \C1Excuse me...
0:14:14.82 0:14:16.60 {All:} WELCOME!
0:14:16.60 0:14:19.16 {Intercom:} \IThis is an announcement from the
organization committee.
0:14:19.16 0:14:21.96 {Intercom:} \IThe last program today is 'Dance
Paradise.'
0:14:21.96 0:14:26.06 {Intercom:} \ISo will the groups that are finished
with clean up, please come to the activity grounds.
0:14:26.06 0:14:27.48 {Intercom:} \II'll repeat it again...
0:14:32.45 0:14:35.70 {Muto:} Is that all you had to say? Excuse me, I'm
in a hurry.
0:14:35.70 0:14:41.64 {Girl:} Wait a minute! What do you mean you're in a
hurry. ["?"?] What do you think about the unity of the class. ["?"?]
0:14:41.95 0:14:43.75 {Muto:} What do you mean by 'class unity'?
0:14:43.75 0:14:46.70 {Muto:} Don't speak like a politician. That's
ridiculous.
0:14:46.70 0:14:51.20 {Girl:} You only think about yourself. You think
that works in society?
0:14:51.42 0:14:55.10 {Muto:} What kind of society is it where you can't
think for yourself?
0:14:55.10 0:14:59.58 {Muto:} Would people care for me? It's natural that
I think for myself.
0:14:59.58 0:15:03.64 {Girl:} But you act like you're not interested in
guys, but you ["even though you"?] flirt with them.
0:15:03.64 0:15:06.05 {Girl:} You tempted Yanagida-kun with your erotic
eyes.
0:15:06.05 0:15:07.24 {Muto:} Yanagida?
0:15:07.56 0:15:10.86 {Muto:} Who's that? I've never seen or heard of
him.
0:15:10.98 0:15:12.46 {Muto:} Bring him here.
0:15:12.46 0:15:15.06 {Muto:} I'll tell him that I hate him.
0:15:17.38 0:15:18.92 {Girl:} What're you thinking?
0:15:18.92 0:15:20.24 {Shimizu:} Stop it.
0:15:20.24 0:15:22.28 {Shimizu:} You'll mess up your record.
0:15:23.80 0:15:26.64 {Shimizu:} You don't have to cry over a girl like
that.
0:15:33.30 0:15:34.70 {Bacground:} Remember this!
0:15:42.72 0:15:46.12 {Shimizu:} I may have misjudged you.
0:15:56.50 0:15:59.08 {Muto:} Morisaki-kun... how long have you been
there?
0:15:59.60 0:16:04.54 {Taku:} Oh? When I came to trash this, I just
happened to hear the voices.
0:16:04.54 0:16:08.74 {Taku:} You're great. You were never intimidated by
that group of girls.
0:16:08.74 0:16:11.52 {Taku:} The one who was attacking you even ended up
crying.
0:16:12.26 0:16:13.78 {Taku:} You're something else!
0:16:17.96 0:16:18.96 {Muto:} IDIOT!
0:16:18.96 0:16:20.92 {Muto:} YOU'RE THE WORST!
0:16:45.25 0:16:46.12 {Matsuno:} Hey.
0:16:49.32 0:16:54.64 {Matsuno:} I saw Muto running away... she looked
like she was crying.
0:16:55.66 0:17:00.62 {Taku:} Oh, she was being 'prosecuted' ["being
'persecuted'"?] by the girls in my class.
0:17:00.62 0:17:02.75 {Taku:} She skipped the practice and activities for
the school festival, so...
0:17:02.75 0:17:07.70 {Taku:} But her resistance was stronger than
theirs. So they couldn't really do anything to her.
0:17:07.70 0:17:10.74 {Taku:} That's Muto for ya'. She's so persistant.
0:17:11.38 0:17:13.88 {Matsuno:} You didn't stop them?
0:17:14.68 0:17:18.20 {Taku:} Even if I did stop them, they probably
would've told me that I stick up for her too much.
0:17:18.20 0:17:19.80 {Taku:} From here on, she'll learn.
0:17:19.80 0:17:21.60 {Taku:} She's really impudent.
0:17:26.60 0:17:28.24 {Matsuno:} You idiot!
0:17:47.45 0:17:55.85 {Taku:} \II thought the next day would be normal
and [that] I'd be able to talk to him as usual.
0:17:55.85 0:18:03.30 {Taku:} \IHowever, Matsuno and I graduated without
speaking to each other from then on.
0:18:03.30 0:18:06.20 {Taku:} \IAnd Rikako went to Kochi University...
0:18:06.20 0:18:12.00 {Taku:} \IMatsuno went to Kyoto... and I went to
Tokyo. We were separated.
0:18:13.25 0:18:18.60 {Intercom:} \IEverybody, the plane just arrived at
the Kochi Airport. Thank you for...
0:18:38.26 0:18:39.78 {Matsuno:} Hey... Morisaki.
0:18:41.82 0:18:42.96 {Taku:} Matsuno?
0:18:47.25 0:18:49.40 {Taku:} You troubled yourself to pick me up?
0:18:49.95 0:18:52.80 {Matsuno:} Yeah, I just got my driver[']s license
last month.
0:18:52.80 0:18:56.84 {Taku:} You're so well spirited that you'd go to
driving school so soon.
0:18:56.84 0:19:03.89 {Matsuno:} It took me a month to get used to the
town, another month to get used to college, and another month to get used
to work.
0:19:03.89 0:19:06.84 {Taku:} And now, it's summer vacation already.
0:19:06.84 0:19:09.54 {Matsuno:} It might be a cultural difference
between Kyoto and Tokyo.
0:19:09.54 0:19:13.84 {Matsuno:} Kyoto has more similar cultures to
Kochi, so I got used to it faster.
0:19:17.35 0:19:19.95 {Matsuno:} Anyway, it's good that Kochi's not so
crowded.
0:19:19.95 0:19:24.60 {Taku:} I'm glad that you can find anything in this
one place.
0:19:24.60 0:19:30.10 {Taku:} People say Tokyo is very convenient, but
when you're going somewhere, it's not suprising to take an hour.
0:19:30.10 0:19:33.80 {Matsuno:} If you have an hour, you can go to
Katsurahama and take a walk.
0:19:33.80 0:19:37.50 {Taku:} Even to go to Jingu Stadium--since you have
to swit[c]h trains so much--it takes an hour.
0:19:37.50 0:19:41.60 {Matsuno:} But if you're in Kyoto and you've got an
hour, you can go to Osaka, Biwako, and Wara.
0:19:41.60 0:19:42.70 {Matsuno:} You can go to [omit the "to"?] any place
like that in an hour.
0:19:42.70 0:19:45.58 {Taku;} Wow! It sounds better there.
0:19:54.00 0:19:55.75 {Taku:} Hey, you're coming in[,] aren't you?
0:19:55.75 0:19:59.66 {Matsuno:} Well, I guess not today. I suppose your
family is waiting for you.
0:19:59.66 0:20:02.46 {Matsuno:} I'll probably see you tomorrow at the
class reunion.
0:20:05.80 0:20:08.28 {Matsuno:} I wanted to apologize for a long time.
0:20:08.28 0:20:09.96 {Matsuno:} I'm sorry for punching you.
0:20:11.24 0:20:14.38 {Taku:} Oh well, I guess that's why you gave me a
free ride.
0:20:16.84 0:20:17.98 {Matsuno:} I'll call you later.
0:20:18.64 0:20:20.82 {Taku:} Well, why don't we take a walk for a
minute?
0:20:22.08 0:20:23.26 {Taku:} It's been a long time.
0:20:56.35 0:20:58.95 {Matsuno:} The reason why I punched you then, was
because...
0:20:58.95 0:21:01.90 {Matsuno:} I realized you held back your feelings
because of me.
0:21:05.70 0:21:08.56 {Matsuno:} Not until that moment did I realize...
0:21:10:05 0:21:12.50 {Matsuno:} that you liked her.
0:21:39.30 0:21:44.34 {Taku:} Matsuno and I spent an hour there, then we
went home.
0:21:45.97 0:21:49.08 CF15 {Sign:} RESERVED
0:21:58.22 0:22:02.46 {Boy:} Oh, Megumi is in Osaka? It's close. Kobe!
Kobe!
0:22:02.46 0:22:03.62 {Girl:} Hey, drink!
0:22:06.20 0:22:12.44 {Boy2:} Why should I have to talk to Alumni to quit
my club?
0:22:13.34 0:22:16.37 {Girl:} I went to Disneyland with him.
0:22:16.37 0:22:18.50 {Girl:} It got late and there were no more
trains...
0:22:18.50 0:22:19.50 {Girl2:} And what did you do?
0:22:19.70 0:22:24.52 {Boy:} But I never thought [that] after getting
into a ski club, it would wind up as a religious group.
0:22:24.52 0:22:27.54 {Boy:} I got calls time after time. I'm so sick of
it.
0:22:30.64 0:22:33.32 {Taku:} Hey, don't drink that much, Yamao.
0:22:35.96 0:22:37.06 {Yamao:} She's late.
0:22:37.46 0:22:38.96 {Matsuno:} Late? Who's she?
0:22:40.04 0:22:41.24 {Yamao:} She's late.
0:22:44.78 0:22:45.84 {Boy:} Scoot over more.
0:22:48.34 0:22:51.64 {Shimizu:} Just now, Yamamoto-kun suddenly
confessed.
0:22:51.64 0:22:54.20 {Girl:} He liked Nishimura-san.
0:22:55.15 0:22:56.10 {Boy:} Good for him.
0:22:58.55 0:23:00.28 {Girl:} It seems like a couple is born.
0:23:04.18 0:23:06.76 {Yamao:} Alright, I guess I'll confess too.
0:23:10.00 0:23:13.00 {Yamao:} Actually, I liked Yumi Kohama for a
loooong time.
0:23:17.50 0:23:18.68 {Boy:} Hey, you're brave.
0:23:18.68 0:23:19.88 {Boy:} You're a real guy.
0:23:25.18 0:23:30.80 {Yamao:} I've always cared about her. She was
always behind the prominent Muto.
0:23:30.80 0:23:35.00 {Yamao:} She's so cute. I always thought that,
while you were looking at Muto.
0:23:35.36 0:23:36.74 {Taku:} What are you saying?
0:23:40.40 0:23:44.12 {Taku:} Look at you. Need to go to the bathroom?
0:23:46.00 0:23:48.10 {Boy:} Hey, Yamao, you alright?
0:23:57.20 0:24:00.00 {Shimizu:} I wonder if Muto-san's really not
coming?
0:24:03.16 0:24:07.46 {Girl:} Muto-san said she regrets the horrible
things she said to you.
0:24:13.50 0:24:16.96 {Taku:} Oh no, he's really gone.
0:24:16.96 0:24:20.30 {Taku:} By the way, you got really pretty, didn't
you?
0:24:20.30 0:24:25.08 {Girl:} Oh, thank you, but Muto-san is becoming
beautiful. But, she was beautiful in the first place.
0:24:26.52 0:24:29.20 {Matsuno:} Shimizu told me that she met Muto.
0:24:30.60 0:24:32.20 {Taku:} She's not here, is she?
0:24:32.20 0:24:35.75 {Shimizu:} I just ran into her at the ice cream
shop in town yesterday.
0:24:35.75 0:24:41.52 {Shimizu:} I told her about the class reunion, but
I suspect that she might've gone home today.
0:24:41.80 0:24:42.54 {Taku:} Went home?
0:24:46.30 0:24:48.86 {Taku:} Is Muto in Tokyo[,] by any chance?
0:24:48.86 0:24:53.28 {Shimizu:} Yeah. I also thought she went to school
at Kochi University, but...
0:24:53.28 0:24:57.45 {Shimizu:} I overheard that she did take the
entrance exams for Kochi University and passed...
0:24:57.45 0:25:00.64 {Shimizu:} but she also secretly took the entrance
exam for a university in Tokyo and passed.
0:25:01.32 0:25:07.76 {Taku:} Hey, when you ran into her, did you go like
"Wow! Long time no see. What's going on?"
0:25:07.90 0:25:09.58 {Shimizu:} How did you know?
0:25:09.58 0:25:12.92 {Taku:} Well, I didn't think you liked her.
0:25:13.25 0:25:16.02 {Shimizu:} Well, I didn't like her...
0:25:16.02 0:25:17.72 {Shimizu:} ...didn't like her very much.
0:25:18.23 0:25:22.58 {Muto:} But when I saw her, I was so glad and I
couldn't believe I used to hate her.
0:25:22.58 0:25:24.96 {Shimizu:} It's like changing seats.
0:25:25.62 0:25:31.96 {Shimizu:} When you were in elementary school and
you have someone you don't like become your neighbor, you wouldn't go to
school anymore.
0:25:31.96 0:25:36.80 {Shimizu:} Because you're narrow-minded when the
ones you hate sit close to you, you get upset.
0:25:36.80 0:25:44.54 {Shimizu:} If you have something more than school
like piano lessons or private classes, then you wouldn't care about these
people.
0:25:45.82 0:25:54.70 {Taku:} Well, then that means that you're having
nostalgia and regretting what you did. Is that why you used to be against
her?
0:25:54.70 0:25:56.60 {Shimizu:} That's also her problem.
0:25:56.60 0:26:01.92 {Shimizu:} She also regrets that she was very
narrow-minded at that time.
0:26:09.30 0:26:10.16 {Girl:} Oh, Yumi?
0:26:10.68 0:26:11.90 {Boy:} Oh, Kohama.
0:26:14.82 0:26:16.00 {Yamao:} Kohama?
0:26:21.80 0:26:22.80 {Yamao:} Kohama!
0:26:23.30 0:26:24.00 {Yamao:} Kohama!
0:26:25.40 0:26:26.50 {Yamao:} KOHAMA!
0:26:29.70 0:26:31.00 {Yamao:} KOHAMA-SAN!
0:26:41.60 0:26:43.76 {Taku:} Hey, Come quickly.
0:26:53.34 0:26:56.52 {Taku:} Oh? You also met Muto?
0:26:56.52 0:26:59.50 {Yumi:} Yeah, I wish she would've come.
0:26:59.50 0:27:02.48 {Matsuno:} I thought Muto was also there.
0:27:02.48 0:27:03.32 {Taku:} That's right.
0:27:03.32 0:27:08.30 {Yumi:} Oh, by the way, she said she had someone
she wanted to see in Tokyo.
0:27:08.90 0:27:11.10 {Yumi:} But I don't know who she was talking about.
0:27:11.10 0:27:14.84 {Yumi:} When I asked her who it was, she said it
was the person who would sleep in the bathtub.
0:27:20.65 0:27:24.20 {Shimizu:} Hey, if you haven't seen it for a while,
it's beautiful, isn't it...?
0:27:25.42 0:27:26.32 {Shimizu:} ...the castle.
0:27:33.46 0:27:39.90 {Taku:} The Kochi Castle there that was lit up,
didn't appeal to me much, and I only thought it was a waste of
electricity.
0:27:39.90 0:27:43.96 {Taku:} If I were alone with Rikako, it would've
looked beautiful.
0:27:44.52 0:27:48.96 {Taku:} In my high school days, I wanted to have a
little chat with Rikako, about many unimportant things.
0:27:48.96 0:27:52.30 {Taku:} I wanted to look at the castle like this
with Rikako.
0:27:52.63 0:27:55.02 {Muto:} Morisaki-kun, would you lend me some money?
0:27:55.50 0:27:58.25 {Muto:} What? You talk like you're the teacher.
0:27:58.25 0:28:00.68 {Muto:} Morisaki-kun, why are you that good of a
student?
0:28:00.68 0:28:02.65 {Muto:} That's a lot different from what I heard
about you.
0:28:02.65 0:28:04.42 {Muto:} I'm disappointed.
0:28:02.96 0:28:06.74 VU {Muto:} \C1Even though I told you not to tell
anyone, you told Matsuno, didn't you?
0:28:06.74 0:28:08.50 {Muto:} Morisaki-kun, you're talkative for a guy.
0:28:08.30 0:28:10.34 VU {Muto:} \C1The first day of my period is kind of
rough.
0:28:10.56 0:28:12.70 {Muto:} There are times when I have to lay down
from Anemia.
0:28:12.70 0:28:19.52 {Muto:} Hey, I think I'll tell my father--when I
see him--that I'd like to come back to Tokyo and live with him.
0:28:19.52 0:28:24.52 {Muto:} I'll stay here tonight. Since the bill is
going to my papa, I have a right to stay here, don't I?
0:28:24.52 0:28:30.15 {Muto:} My room was totally remodeled. The wall
paper is dark green.
0:28:30.15 0:28:36.62 {Muto:} I was thinking that I was always by my
father's side, but he wasn't by my side. I'm so unfortunate.
0:28:36.62 0:28:39.14 {Muto:} He and I were really absurd.
0:28:38.90 0:28:41.19 VU {Muto:} \C1It turned into a terrible trip to
Tokyo, didn't it?
0:28:41.19 0:28:43.92 {Muto:} YOU'RE VERY THOUGHTFUL FOR YOUR FRIENDS,
AREN'T YOU?! THAT'S ENOUGH!
0:28:43.92 0:28:46.28 {Muto:} IDIOT! YOU'RE THE WORST!
0:28:47.64 0:28:50.80 {Nuto:} In Tokyo, there's someone I'd like to see.
0:28:50.80 0:28:55.06 {Muto:} I'll tell you who he is. He's the guy that
sleeps in the bathtub.
0:29:16.86 0:29:25.50 {Intercom:} \IShortly, a train will arrive in the
3rd lane, so please step back for safety.
0:30:46.42 0:30:50.28 {Taku:} \IAh, I feel...
0:30:50.28 0:30:53.26 {Taku:} \IThat I really like her.
0:31:15.26 0:31:34.08 VMF3HL48JLCF15 {Subtitle:} Morisaku Taku -
0:31:15.26 0:31:34.08 VUF3HL48JRCF15 {Subtitle:} Tobita Norio
0:31:15.26 0:31:34.08 VUF3HL48JLCF15 {Subtitle:} Muto Rikako -
0:31:15.26 0:31:34.08 VUF3HL48JRCF15 {Subtitle:} Sakamoto Youko
0:31:15.26 0:31:34.08 VUF3HL48JLCF15 {Subtitle:} Matsuno Yutaka -
0:31:15.26 0:31:34.08 VUF3HL48JRCF15 {Subtitle:} Seki Toshihiko
0:31:15.26 0:31:34.08 VUF3HL48JLCF15 {Subtitle:} Kohama Yumi -
0:31:15.26 0:31:34.08 VUF3HL48JRCF15 {Subtitle:} Arak Harue
0:31:36.86 0:31:53.14 VMF3HL48JLCF15 {Subtitle:} Yamao Tadashi -
0:31:36.86 0:31:53.14 VUF3HL48JRCF15 {Subtitle:} Morikawa Hikaru
0:31:36.86 0:31:53.14 VUF3HL48JLCF15 {Subtitle:} Shimizu Akiko -
0:31:36.86 0:31:53.14 VUF3HL48JRCF15 {Subtitle:} Amano Yuri
0:31:36.86 0:31:53.14 VUF3HL48JLCF15 {Subtitle:} Kawa Mura -
0:31:36.86 0:31:53.14 VUF3HL48JRCF15 {Subtitle:} Toku Maru
0:31:54.98 0:32:01.92 VMF3HL48JLCF15 {Subtitle:} Written by Himuro Saiko
0:32:04.26 0:32:15.82 VMF3HL48CF15 {Subtitle:} Theme Song - "Michiru"
0:32:04.26 0:32:15.82 VUF3HL48JLCF15 {Subtitle:} Music by -
0:32:04.26 0:32:15.82 VUF3HL48JRCF15 {Subtitle:} Nagata Shigelu
0:32:04.26 0:32:15.82 VUF3HL48JLCF15 {Subtitle:} Vocals by -
0:32:04.26 0:32:15.82 VUF3HL48JRCF15 {Subtitle:} Sakamoto "Rikako" Youko
0:32:17.78 0:32:30.02 VMF3HL48JLCF15 {Subtitle:} Character Design -
0:32:17.78 0:32:30.02 VUF3HL48JRCF15 {Subtitle:} Kundo Katsuya
0:32:17.78 0:32:30.02 VUF3HL48JLCF15 {Subtitle:} Cell Director -
0:32:17.78 0:32:30.02 VUF3HL48JRCF15 {Subtitle:} Kundo Katsuya
0:32:17.78 0:32:30.02 VUF3HL48JLCF15 {Subtitle:} Art Director -
0:32:17.78 0:32:30.02 VUF3HL48JRCF15 {Subtitle:} Tanaka Yaowa
0:32:31.00 0:32:42.22 VMF3HL48JLCF15 {Subtitle:} Producers -
0:32:31.00 0:32:42.22 VUF3HL48JRCF15 {Subtitle:} Horikoshi Touru
0:32:31.00 0:32:42.22 VUF3HL48JRCF15 {Subtitle:} Maeda Shinichiro
0:32:31.00 0:32:42.22 VUF3HL48JRCF15 {Subtitle:} Yokou Michio
0:32:31.00 0:32:42.22 VUF3HL48JLCF15 {Subtitle:} Head Producer -
0:32:31.00 0:32:42.22 VUF3HL48JRCF15 {Subtitle:} Tarahasa Nozomi
0:32:44.06 0:32:51.58 VMF3HL48JLCF15 {Subtitle:} Translated by
0:32:44.06 0:32:51.58 VUF3HL48JRCF15 {Subtitle:} Bright Child
0:32:44.06 0:32:51.58 VUF3HL48JLCF15 {Subtitle:} Subtitled by
0:32:44.06 0:32:51.58 VUF3HL48JRCF15 {Subtitle:} \C7\IBlue Shield
0:33:39.40 0:33:46.52 {Subtitle:} END!