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Subject:      File: "FIREFLY SCRIPT"
To: "Michael S. Johnson" <msj@CAC.WASHINGTON.EDU>
Status: O

FIREFLY SCRIPT

Subject:  1.) GRAVE OF THE FIREFLIES script (Miho Nishida, Mar. 28, 1992)
L#01278   2.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991)
L#01432   3.) ANGEL'S EGG script (Enrique Conty, October 8, 1992)
L#01563   4.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93)
L#01687   5.) ROBOT CARNIVAL script (Ron Azuma, January 17, 1990?)
L#02231   6.) PLEASE BLINK, GRANDMA synopsis (JAPAN TIMES, July 30, 1992)

[NOTE: there is no inherent connection between GRAVE OF THE FIREFLIES and
 ANGEL'S EGG, but I had to store the ANGEL'S EGG material *somewhere* on
 on the fileserver, and I figured graves and angels go together.  ROBOT
 CARNIVAL is here because of the "Presence" segment.  And as for PLEASE
 BLINK, GRANDMA . . . well, I had to put it *somewhere*.  (I haven't seen
 ROUZIN Z yet.  Should a synopsis of *that* be stored here, too?)
                                                       -- Steven Feldman]


Subject:  1.) GRAVE OF THE FIREFLIES script (Miho Nishida, Mar. 28, 1992)


=========================================================================
SCRIPT: THE GRAVE OF THE FIREFLIES                      73 COLUMN VERSION
=========================================================================

This script is a fan-produced translation of the animation movie, "The
Grave of the Fireflies," and is not meant in any way to infringe upon the
rights held by the creators or those in connection with the movie.  The
script is purely an instrument to aid fans better understand the movie
when viewed legally.

Reproduction of this material is permitted for Non-Profit purposes only.
Any personal alterations made should not be included in the script when
distributed.  In the use of this script for subtitling efforts, please
read the section "SUBTITLING" attached at the end of the script.

Maturity in the use of this script is expected.

Original Edits by K Hindall & Sheng-Te Tsao (CJAS), March 28, 1992.
Re-formatted to a 73-character line by Steven Feldman, August 11, 1992.

Please keep these headlines intact.

Griffin Script                                    Miho Nishida    3/28/92
=========================================================================

                             HOTARU NO HAKA
                        -Grave of the Fireflies-
                  Script and direction by Shun Takahata

------------------------------------------------------------------------

( ) = scenery notes
[ ] = translational/cultural notes
        Within translational notes:
        LT  Literal tranlation of Japanese;
        ET  Equivalent translation;
        ALT Alternative phrasing of previous sentence or word;
        =   Definition or clarification of a word;
        ?   Uncertain translation due to unclear dialogue.
< > = hidden reference of a dialogue

------------------------------

CHARACTERS:

SEITA       Son of a marine officer [general?].
SETSUKO     Younger sister of Seita.  ["Sett-chan" = Endearment of
            "Setsuko"]
R/SEITA     Rei [= Spirit] of Seita.
MOTHER      Seita and Setsuko's mother.
AUNT        A distant relative of Seita and Setsuko.  There seems to be
            no direct blood ties to her and them (probably a wife of a
            distant blood relative).  [Note: She may seem like an ogre or
            at least an abusive woman, but I would stress that her
            actions are just a result of the hard time they lived in.]

------------------------------

SPECIAL NOTE:  TRANSLATOR'S SPECULATIONS AND INTERPRETATION NOTES

1) In this movie, the "rei"s of Seita and Setsuko travel through their
flashbacks.  This "rei" is not really a ghost but more a spirit.

2) In Japanese, like many other words, the word "hotaru" can be written
in different ways.  "Hotaru" is usually written with one kanji character
that has the sub-character "insect" incorporated in it or written with
the hira-gana (kana) characters that sound out "Ho" "Ta" and "Ru".  In
this movie, however, the author chose to use an archaic kanji formation
to write "hotaru".  The characters "Fire" and "Leaking/Spilling" and the
hiragana "RU" are used.  The use of the rather archaic formation leads
this translator to speculate that the author perhaps intended to convey
the meaning of "Life Leaking" or "Spilling of Life" to the audiences.  Or
perhaps, in the 1940's, this particular "spelling" was still valid.  This
is purely a speculation of this translator, but one that nonetheless was
thought to be worth mentioning.  [So don't quote me!]

3) Hotaru [= fireflies] do not live long.

-----------------------------

SPECIAL NOTE: TERMS, CONCEPTS & OTHER NOTES

     In middle of the film, there is a song sang about frogs and heading
home.  Song: "The frogs are croaking so let's go home".  The reason for
the word "frog" in this song: "Kaeru" = frog; "kaeru" = to go home/back;
"kaero^" = let's go home/back.  It should be noted that the kaeru from
the frog has no accent and kaeru to go home has accent on the "ka".

-----------------------------

R/SEITA     In 1945, on the night of September 21, I died.  [ALT: On
            the night of September 21, 1945, I died.  NOTE: Sho^wa year
            20 = 1945]

(_Train station_)

VOICES      What a dirty guy.  Oi!  Watch out!  How dirty!  I wonder if
            he's dead.  The American troops will be arriving soon.  It
            would be an embarrassment if they find such a guy here at the
            station.
VOICE       Mommy!
SEITA       What date is it?  (He slumps down.)  Setsuko...

(Station workers arrive for clean-up.)

WORKER 1    (prods Seita's body)  Again... (Searches Seita)  Hm?  What's
            this?
WORKER 2    Let it be, let it be.  [ALT: Forget it, forget it.]  <You
            should> just throw it away.
WORKER 1    (prods another body)  This one's gonna go soon, too.  When
            they start staring into open air, they're goners.

(The station worker throws the rusted candy can outside.  The cap opens
 on impact and small white objects spill out.  As the fireflies take
 flight, the rei of Setsuko rises up from the weed beds.  Seeing her
 brother's form in the station, she starts to go there, but a hand
 restrains her.  She looks up to see the rei of her older brother.  Seita
 picks up the candy can and the can is no longer rusted.  Handing the can
 to Setsuko, they head into the station together.)

------------------------------

Title:  Hotaru no Haka  (The Grave of the Fireflies)

------------------------------

(Riding on the train, light washes over the reis of Seita and Setsuko.
 As they turn around, they see the fires of an air raid...)

-----------------------------

(Seita is putting food items into the hole he dug as the air raid sirens
 sound.  His mother is trying to put a protective cap on Setsuko.)

VOICE       Take shelter! Take shelter!  Please take shelter!
VOICES      [?][?]  If it's a bombing raid then the shelter-hole behind
            the fire house is the safest.  [?]
SETUSKO     It's hot!
MOTHER      You're a good girl, aren't you?  You must bear it.  [ALT: You
            must endure it.]  (Setsuko squirms away.)  Well, I'll be
            going to the air-raid shelter.  You two be careful and join
            me soon.  Sett-chan [in reference to Setsuko], you listen to
            your brother.
SEITA       Mom, never mind.  You gotta go quickly!
MOTHER      Yes, yes.
SEITA       Mom, do you have the medicines with you?
MOTHER      Yes, yes.  I have them.
SETSUKO     I don't like the air-raid shelter...
SEITA       Saying such a silly thing... [ALT (poor): What a silly thing
            to say.]  You could be blown up by the bombs.  [ALT: Don't
            blame me if you get blown up by a bomb.]  Hurry and get on!
SETSUKO     The dolly!  [ALT: My dolly!]
SEITA       Where?  Ah!

(They hear the warning bells.  With a whooshing sound, the air raid
 begins.)

SETSUKO     Nii-chan!  [LT: Elder brother; ET: Brother]
SEITA       Take cover!  (They try to flee outside.  As the fire bomb
            proceeds,)  No!

(They rush back into the house to avoid the fire, then return outside.)

SETSUKO     (As they prepare to leave, fire bursts from windows.)
            Nii-chan! Nii-chan! Nii-chan!!

(The two manage to get away to a grove by the sea; various scenes
 follow.)

MAN         Emperor [ALT: Lord Emperor], Ban-zai!!  [ALT: Long live the
            Lord Emperor!!]

(The raid passes.)

SEITA       No need to worry.  We should be safe here.
SETSUKO     Where did Mommy go?
SEITA       She's at the air-raid shelter.  The shelter behind the fire
            station.  She said it could withstand the direct hit of a
            250 kilo bomb.  There's no need to worry.  Mom's probably at
            the Nihon Matsu Station.  We arranged to meet there.  Let's
            go there after we rest a while.

(Seita starts to wipe Setsuko's face.)

SEITA       Are you all right?
SETSUKO     I lost my sandal.
SEITA       I'll buy you a new one, a much better one.
SETSUKO     I have money too!  Open this.  (She upends the purse to show
            the toys.)
SEITA       My, you're rich.

(Rain starts to fall.)

SEITA       So this <rain> is what they say falls after air-raids...

(Seita, carrying Setsuko on his back, climbs up to a road.)

SEITA       My, it's become really...cleared...  Look, that's Kohkaido.
            We went there to eat zo-sui, remember?  [zo-sui = soup-like
            rice dish]
SETSUKO     Did our home burn down?
SEITA       Looks that way.
SETSUKO     What will we do?
SEITA       Dad will take revenge for us.

------------------------------

(_The Aftermath_)

VOICES      Mom!  Mom!  [ALT: Mother!  Mother!]
MAN         If your house was the only one that didn't burn, I guess
            you'd feel uncomfortable.  I'm glad that ours just burned,
            clean and simple.
MAN         It's really a good thing that you're all right.
WOMAN       [?]
MAN         No, it's not Aunty.

SETSUKO     Nii-chan, I need to go!
SEITA       Okay.
MAN         Everyone!  Please gather at the school!  [LT: People's
            School, Citizen's School]
SEITA       What's the matter?
SETSUKO     My eyes hurt.
SEITA       You mustn't rub them.  They'll be able to wash them at the
            school.
SETSUKO     Where's Mom?
SEITA       She's at the school.
SETSUKO     School?
SEITA       Yeah.  Let's hurry over there.
SETSUKO     Okay.

(At the school, a make-shift hospital has been set up.)

WOMAN       Seita-san.  (takes him aside)  Seita-san, have you seen your
            mother?  She's hurt.  Hurry, go see her.  I'll watch her (in
            reference to Setsuko).  (To Setsuko:) It was scary, wasn't
            it, Sett-chan.  You didn't cry <did you>?
SETSUKO     No.
WOMAN       Your brother has some business.  It won't be so long.

(Seita rushes down to the main hospital complex.)

MAN         Ah, Seita-kun.  We were looking for you.  Are you all right?
SEITA       My mom?
MAN         This way.  (As he leads Seita out, he turns back and hands
            Seita a ring.)  Oh... This is your mother's.
SEITA       What?
MAN         Over here.

(Seita is shown into a room where his mother lies wrapped in bandages.
 Her breathing is labored.)

MAN         She's finally gone to sleep.  It would be better if she was
            placed in a hospital.  I'm having people ask around.  I heard
            that Kaisei hospital in Nishinomiya didn't burn.
SEITA       Ahm...  Mom has a bad heart.  [ALT: heart trouble]  Is there
            any way could you get her the medicine for that?
MAN         I'll ask around.  Well, I'll come again.
SEITA       Mom...

(Seita comes back to the school playground where the woman and Setsuko
 is playing in the sand box.)

WOMAN       Did you see her?
SEITA       Yes...
WOMAN       It's really a pity.
SETSUKO     I'm thirsty.  (Seita hands Setsuko his water bottle.)
WOMAN       If there's anything I can do, tell me.  Oh, yes.  Did you get
            the dried rations?  I'll get them for you.
SEITA       Put this ring in your purse.  You mustn't lose it.  Mom's not
            feeling great.  She'll get well soon, though.
SETSUKO     Where is she?
SEITA       In the hospital.  The one in Nishinomiya.  So we're going to
            stay over at the school tonight.  And tomorrow... You
            remember our Nishinomiya aunty, the one who lives near the
            pond?  Let's go there.  Okay?
WOMAN       We're at the second floor of the school.  Everyone's there;
            won't you join us?
SEITA       Thank you.  We'll be there later.
WOMAN       Later, then.  Sett-chan.
SEITA       Do you want to eat them?
SETSUKO     I want to go to Mommy.
SEITA       Tomorrow.  It's too late today.

(Setsuko starts to cry.  After a while...)

SETSUKO     Look!  Nii-chan's [ALT: Brother's, I'm] good at this.

------------------------------

(Another day.  The body of Seita and Setsuko's mother is being carried
 out for cremation.)

MAN1        We can't take off the bandage.  It's better not to look at
            the body.
MAN2        With this heat...
MAN1        We have to use trucks starting today.
MAN3        Your sister...  What did you do with her?
SEITA       I left her with our distant relative in Nishinomiya.  We had
            arrangements for us to stay there in case we got burned out
            <of our home>.
MAN3        Is that so?  That's good.  Well, I have duties, so I'll leave
            you here.  Take care.  [LT: Be well.]

------------------------------

(Seita's rei looks on as his past self returns to Nishinomiya via train,
 carrying the ashes of his mother.  Seita and Setsuko's rei get off at a
 station and they walk down a hill.  It is night and they see Seita
 opening the gate to his aunt's home.  Seita hesitates, and before
 opening the door, he hides the wooden box of his mother's ashes.  [Note:
 Sadly, since it was a mass cremation, the ashes that Seita obtained are
 not, strictly speaking, "his mother's ashes".  Rather, they are what may
 or may not contain some of her ashes.])

SETSUKO     Mommy!  Where's Mommy?  Is Mommy still not well?
SEITA       No.  She got hurt in the raid.
AUNT        Welcome back.  How was your mother?  Is she in the Kaisei
            Hospital?
SETNA       Uh... yes...
AUNT        Marines are lucky.  They get to use trucks for transport in
            their pre-evacuation.  ["Sokai" = pre-evacuation of items or
            persons to rural areas by those living in more metropolitan
            areas]  Your spare futons are out in the room.
SEITA       Thank you.  ["Sumimasen" LT: Sorry]
SETSUKO     I wonder if Mommy doesn't need it anymore.  Did she give it
            to me?
SEITA       That's important, so put it away. Mom is...  When Mom gets a
            little better, let's go pay her a visit, okay?  [ALT: Let's
            go see her, okay?]
SETSUKO     Okay.
SEITA       It's late, so sleep now.  [ALT: So, go to sleep now.]
SETSUKO     Okay.

(Late that night, Seita sneaks out of the house to retrieve the urn.)

------------------------------

(The next day finds Seita going back to what is left of his house to
 retrieve what he hid in the backyard.  On his way back to his aunt's
 house, he drinks a water from a broken water pipe.  He tosses the
 treasure  he found, the candy can, into the back of the cart.  He opens
 a jar of umeboshi [= pickled plums; extremely acidy and sour, but good]
 and suffers the consequences.)

AUNT        <Dried> herring, dried fish flakes, dried sweet potatoes,
            eggs, and pickled plums.  My!  Isn't this butter?  Even
            during these hard times, some people have it all.  <Only> the
            military people get to live in luxury.  [ALT: get to live in
            excess.]  So Seita-san, have you visited the hospital?  I
            want to discuss with your mother about what to do in the
            future, so I was planning to visit her with Sett-chan.
            (Noticing Seita's grim face,)  She didn't make it?
SEITA       Mom died at the school.
AUNT        What?  She died?  If that was the case, why didn't you tell
            me sooner?  You're an unfrank child!  ["Mizukusai" = not
            being frank out of reservation or from politeness]
SEITA       I didn't want Setsuko to know.
AUNT        So she died...  My goodness.  You must write to your father
            immediately and let him know.
SETSUKO     Nii-chan!  Sister bought me a new sandals!
SEITA       That's good, Setsuko.  [ALT: Aren't you lucky, Setsuko.]
GIRL        Welcome back.

------------------------------

(Seita and Setsuko are playing in a bath tub at their neighbor's house.
 They come out refreshed and amused.)

[Note: In those days, especially in the rural areas, not everyone had
 bathing facilities.  Neighbors borrowed from those who did have them.]

VOICE       Rough time for you kids...
SEITA       Thank you very much.
SETSUKO     What's that sound?
SEITA       That's the <sound of an> edible frog.  There's nothing to
            fear.
SETSUKO     Ah!  A firefly!
SEITA       (Seita catches one.)  Here, take this.  [ALT: catch it.]
            (Setsuko accidentally crushes the firefly.)  Oh, you crushed
            it!
SETSUKO     What is this smell?
SEITA       It's because you squished it!

(They arrive at a field where there are plenty of fireflies both in and
 out the air.)

SEITA       My, there're so many of them; the fireflies.  Oh yes.
            Setsuko, close your eyes and say "Ahhhn".
SETSUKO     Why?
SEITA       It doesn't matter why.  Just say "Ahhhn".
SETSUKO     Ahhhn.

(Seita pops in one of the drop candies into Setsuko's mouth.)

SETSUKO     A drop!  Mmmmm!  Drop, drop, drop!  [ET: candy; "Dorop" which
            comes from drop candy is synonymous to "Ame" = candy, in
            Japanese.]

(She runs around but suddenly comes to a halt.)

SETSUKO     I almost swallowed it!

------------------------------

(Seita and Setsuko returns.  Their aunt is scraping the bottom of a pot
 to get the burnt scraps.)

SEITA       We're back.
AUNT        That was long.  [ALT: You're back late.]  Did you thank the
            lady?  [Note: In Japanese, "Oba-san" is not only "aunt" but
            is also used in reference to any middle aged woman.]
SEITA       Yes.
(As the kids retire to their room, Seita peers back at the kitchen and
 swallows.)

SEITA       That looked good...

------------------------------

(_Rainy day_)

AUNT        Seita-san.  What happened to school?  Don't you need to go?
            [ALT: Shouldn't you attend?]
SEITA       Well, the academy I used to go is a mess from the bombings,
            and the school burned, so there's nothing I can do.
AUNT        Really?  [ALT: Is that so?]  You did write that letter to
            your father, <didn't you>?
SEITA       I did <send it>.  As a certified mail.
AUNT        When?
SEITA       It was as soon as I got here, so it's been more than 10 days.
AUNT        That's strange.  I haven't received any reply yet.  (As she
            leaves the room,)  If you use the scissors you must put them
            away, Sett-chan.

-----------------------------

(Somedays later, at dinner:)

AUNT        How goes the war?
BOY         It's getting worse, I heard.  Other factories have to cover
            the load for those others burned in the air-raid.  All they
            keep saying is for us to pour all efforts into increasing the
            production in preparation for the battle on the mainland.
            [ALT: They tell us to pour all efforts into increasing the
            production in preparation for the final battle.]
AUNT        That must be so...  Even the distribution of food items are
            getting worse and worse.  [ALT: Food rations are getting
            sparser as well.]  It's becoming tough for everyone, and not
            just for the soldiers on the battle field.  Koi-san is also
            part of the country's work force; you must eat alot and gain
            strength as well. [ALT: keep up your energy/strength]
            ["Koi-san" = Youngest sister in rural 'Kansai' tongue]

(The siren starts.)

AUNT        Again!

(_In the shelter_)

WOMEN       So at your place, two got burned out?  That must be hard.
            They're so young.  Pity.
SEITA       What's the matter?  Your rash itches?
SETSUKO     I'm hot!  I hate shelters!
SEITA       Bear it.  Nii-chan's here, so you're not afraid, are you?
            [ALT: I'm here, so you're not afraid, are you?]

-----------------------------

(Some days later:)

SEITA       Wanna go to the sea?
SETSUKO     Yes, let's go.  Let's go to the sea!

(On their way to the sea,)

SEITA       My... They've turned everything into <farm> fields...

(_At the sea_)

SETSUKO     What are they doing?
SEITA       They're taking the salt water.  The rationed salts and soy-
            sauces aren't enough.  Let's go.  Hurry and get undressed.
SETSUKO     Ohhh!
SEITA       It might be a little cold.
SETSUKO     Noo!  [ALT: Do--n't!]  It's co--ld!
SEITA       Doesn't if feel good around the rash?
SETSUKO     Yes!  It's a large bath tub!
SEITA       Hey!  (Starts chasing Setsuko)  Stop!  [ALT: Wait]  I'll eat
            you up!

(Seita starts to playfully chase after Setsuko.  As they rest, Setsuko
 comes across a crab and follows it.  She comes across a body hidden
 under a mat.)

SETSUKO     What's the matter?  [ALT: What's he doing?]  He's lying down.
SEITA       You don't have to see that.  When it gets a little warmer, we
            can swim; I'll teach you how.
SETSUKO     If you swim, you'll grow hungry!  [ALT: If we swim, we'll
            grow hungry]
VOICE       "If you swim, you'll grow hungry!"  [ALT: *as above*]
MOTHER      Seita-san,  Sett-chan.  Come over here.  You must be hungry.
            The carupisu is chilled, too.  [Carupisu = a sweet milk-based
            drink]

(With the roar of the siren, Seita comes out from day-dreaming.  They
 head back home.)

GIRL        Oh, Mother!  Were you safe?  It's great you came.
WOMAN       How are you?
GIRL        I'm fine.  Everybody cared for me.

(The girl and the woman continue their discussion in the backdrop.)

SETSUKO     I'm hungry.
SEITA       Bear it.  Hurry, or else the raid's  gonna come here soon.
SETSUKO     I'm tired.   Nii-chan, piggy-back!  (Seita sighs.)
VOICE       Take shelter!

-----------------------------

(_At the aunt's home_)

AUNT        About your mother's kimono... I hate to say it, but since
            there's no more use for them, why don't you exchange them
            for rice?  I myself have been bartering [="item-item
            exchange"] a little at a time for some time to supplement
            <the rations>.  I think this would be about one- toh <of
            rice>.  ["toh" = about 16 qt.]
SEITA       One toh?!
AUNT        You must get more nourishments.  You're going to grow strong
            and be a soldier, right?
SEITA       This would be one toh <of rice>?
AUNT        I'm sure your mother would be pleased about it, rather than
            have these just lie about.  Well, I'll be going.
SETSUKO     You can't.
AUNT        Why, Sett-chan, you were awake?
SETSUKO     It's  Mom's <clothes>.  You can't!  It's Mom's.  You can't,
            you can't!
SEITA       Setsuko!
SETSUKO     No, no, no!  No, no, no!

(Seita's rei covers his ears, not wanting to hear  Setsuko's tormenting
 cry.  The kimono their aunt took for item exchange was a formal kimono
 their mother wore.  The fall of the cherry-blossom petals changes to the
 fall of white rice into a container.)

AUNT        Isn't it a good rice?  I'll be cooking this white rice for
            dinner,  Sett-chan.  (tightens lid)  Here, you two hold on to
            this.
SEITA       It's white rice,  Setsuko!  [ET: A white meal, Setsuko!]

(Seita pokes Setsuko.  Setsuko begins to cry, but at dinner...)

AUNT        There you go.  It's a pity that both Koi-san and Nii-san are
            working over-time and won't be able to eat this warm meal.
SEITA       The white rice is sure delicious, isn't it?
SETSUKO     (Nods.)  Seconds!
AUNT        Yes, yes.  Sett-chan, you have an appetite when it's white
            rice, don't you?
SETSUKO     Yes!  <It's because> I like it!

(_Next day, breakfast_)

SEITA       What's the matter?
SETSUKO     I don't like  zo^ sui.  ["zo^ sui"=watered barley/rice meal]
SEITA       The pickled plums that I brought...  There're no more?
AUNT        That thing...  You know that it ran out a long time ago.  (To
            her son:)  Here, your lunch.
BOY         Thanks.  [LT: Then, I'll be taking it.]
AUNT        Gokuroh-sama  [LT: Thanks for the labor/toil; ALT: Have a
            good day.]
GIRL        Well, I'll be going!
AUNT        Take care!
SEITA       Look.  Lunch will be white rice, so bear it and eat it.
AUNT        Cut it out!  For those that are here during the day, lunch
            will also be zohsui!  Why should the lunch for those that
            work for the country and those that just sit around all day
            be the same?  Seita-san.  You're old enough; start thinking
            about how you can be of help.  You two don't give us any rice
            but expect to eat it.  It just doesn't go that way.  No way.
            You let them eat white rice for a while and my, they become
            so picky about taste.  [ALT: picky about food]
SETSUKO     But that rice is our rice...  [ALT: But it's our rice.]
AUNT        What was that?  Are you saying that I'm cheating you, then?
            What a thing to say!  What's the use of taking in two
            orphans, if they say such things to me?  [ALT: Why should I
            bother to take in two orphans, if they...]  Fine!  Let's cook
            separate meals from now on.  You won't have any complaint,
            then.  And Seita-san.  You do have other relatives in Tokyo,
            don't you?  There's that someone from your mother's family.
            Why don't you send out a letter?  Nishinomiya [ALT: This
            place] might be bombed any day <you know>.

(On a train,)

SEITA       But I don't know their addresses...

------------------------

(In front of a bank,)

GIRL        Let's go home!
WOMAN       Yes.  Dad's waiting at home, isn't he?
BOTH        The frogs are croaking, so let's go home...

[NOTED EARLIER: The reason for frog in this song: "Kaeru" = frog;
 "kaeru"= to go home/back; "kaero^" = let's go home/back]

SEITA       Sorry! [LT: Forgive me!] I had to wait a long time.  What's
            the matter?
SETSUKO     I'm hungry.  I'm thirsty.
SEITA       All right. [ ALT: Understood] Here.  Lick these <candy>
            drops.  Mom had seven thousand yen saved in the bank.  Seven
            thousand yen!  If there's that much, we can manage plenty.
            There's no need to worry anymore.

(_At a post office_)

SEITA       I'm writing to Dad, saying "Give us a reply,  Setsuko's
            waiting."

(_At a store_)

OWNER       You guys are lucky.  In times like these, no matter how much
            money you offer, you can't buy these items.  Nowadays,
            there're no items to sell and the business is dry.
            Especially metal products.  Can't find them anywhere.
SEITA       I'll take that comb, and... do you have any umbrellas?
OWNER       I don't have umbrellas... Oh yes.

(_Outside, in the rain_)

SEITA       (Song to the effect of) "Rain, rain, fall, fall, Nii-chan has
            come with an umbrella.  Pitt-chi Pitt-chi Chap-pu Chap-pu
            [the sounds of rain close to "splatter splatter droppity
            drop"] Lan Lan Lan!"

--------------------------

(Home.  Seita is making a fire.)

SEITA       Isn't Nii-chan good with this?
SETSUKO     Yup.
AUNT        Careful with the fire.
SEITA       Okay.
BOY         What happened to those two?
AUNT        They say they're going to cook for themselves from now on.
BOY         Really... That's admirable.  <May I have a> second, please.
GIRL        Mother, didn't you say something harsh again?
AUNT        Well, but, not a single word of apology and they went and
            bought all those utensils.  It's as if they're insinuating
            something!

(In a different room,)

SEITA       I'm filled!  [ALT: I'm full!]  ["Gosso-san" = short for
            "Gochiso^ sama"; said after meals to indicate gratefulness
            or contentment with the meal]
SETSUKO     [?: That's not proper, Nii-chan.]
SEITA       It's okay.  You don't have to sit so properly.

-----------------------------

(At the rationing station,)

MAN         There.  That's the rationed portion for two.
SEITA       Only this much?
MAN         Yup.  The next ration will probably be in July.

(Setsuko is crying in the street, expressing her hunger.  Her crying
 ceases  temporarily when Seita hands over the candy can, but resumes
 when she finds no candy drops.  Seita hits the can and several candy
 pieces that were stuck to the bottom of the can are found.  Setsuko
 looks at what she has left, and after some thought, eats the smallest
 and puts the rest back into the can.  Seita gives the can to Setsuko for
 her to keep.)

-----------------------------

(Having no more candies left, the two fill the empty can with water.
 Seita begins to shake it, but gives it over to  Setsuko who is eager to
 do it herself.  Seita pours the candy-water into a small cup and hands
 it to Setsuko to drink.)

SEITA       <Is it> sweet?
SETSUKO     Ahhh!   There're lots of flavors!
SEITA       Grapes, strawberries, melons, mints.  They're all in there,
            aren't they?  Setsuko, you can drink 'em all.
SETSUKO     Whew!  I drank 'em all!

-----------------------------

(_At the kitchen, another day_)

AUNT        My, my!  They went to sleep without cleaning up <afterwards>!
            They do as they like.  They really aren't cute at all!  [ALT:
            They're not likable at all!]

(Setsuko starts crying in another room.)

AUNT        Again!!

(Aunt opens the sho^ji door.)

SETSUKO     Mommy!  Mommy!
AUNT        Seita-san!  Koi-san [= younger sister] and Nii-san [= older
            brother] are both working for our country, so why don't you
            at least try not to make her cry?  [ALT: so why don't you at
            least make an effort to stop her crying?]  We're already
            losing sleep from the <air-raid> sirens every night.  We
            can't sleep with this racket!
SETSUKO     Mommy!  Mommy!

(Seita takes  Setsuko outside, and having her on piggy-back, tries to
 lull her to sleep.  Suddenly, the raid-sirens sound and he runs for
 shelter.)

VOICE       Emergency war status, emergency war status.  The enemy is
            approaching from the northern direction...
AUNT'S VC   Seita-san, you're going to the shelter-hole, again?  ["yoko
            ana" = LT: Side Hole; A hole dug into the side of a mountain
            for air-raid shelter]  At your age, shouldn't you be [ALT:
            isn't it natural for you to be] helping the fire-prevention
            program of the community group?

(Seita comes to the shelter-hole.  As they wait out the raid in the
 shelter,)

SETSUKO     I want to go home.  I don't want to stay at aunt's anymore.
SEITA       The house got burnt.  We can't go home anymore.

(_Flashback -- Seita and Setsuko are playing the organ_)

BOTH        (Singing:) Higher than the roof, the Koi-Nobori.  The large
            koi is the father and...  [NOTE:  Koi-Nobori = a colorful
            cone-like flag in the shape of carps that is displayed
            outside on the national holiday, Children's Day]

AUNT        Stop it!  What a thing to do in time of war?  I'm the one who
            will be scorned!  How senseless!  [ALT: How irrational!]
            Really, what burden have been tossed my way!  [LT: Really,
            what god-of misfortune has wandered in!]   Even during the
            air-raid, you're never of any use...  If you value your life
            that much, you should live in the shelter-hole!

(Recalling,)

SEITA       Hey...  Do you want to make this our home?  No one would come
            here and the structure is solid.  We can do as we please.
SETSUKO     Is it okay to make it our home?
SEITA       Yup.  [ALT would be a broken "yes": yeah, n-hmph, ah-huh]

-----------------------------

(Seita is packing their stuff onto a cart.  Setsuko notices the Aunt
 coming.)

SEITA       We've overstayed our welcome.  [LT: We've interrupted you for
            a very long time.]  We'll be moving elsewhere.
AUNT        <You say> elsewhere?  <But> where are you going?
SEITA       I don't know for certain, yet.
AUNT        Well, be careful...  Sett-chan, goodbye.

(They come to the cave.  Setsuko is thoroughly enjoying herself.)

SETSUKO     Here's the kitchen!  Here's the front door!  Where's the
            toilet?
SEITA       It doesn't matter where.  <Because> I'll be going with you.

(At the farm, Seita is returning the cart.)

SEITA       Thank you.
MAN         Just leave it around there.
SEITA       Ahm...  Can you sell me a little more hay and something that
            can be a side-dish?  [ALT: part of dinner]
MAN         Sure...  I only have what I have though...

(They cook.  As they look at the fruit of their labor...)

SETSUKO     Wow!  My mouth is watering!
SEITA       I'm hungry!

(They finish eating.  They hear the bellow of a frog.)

SEITA       If it could be caught, we can eat that <as well>...  [ALT:
            It's supposed to be edible if we only could catch it]
SETSUKO     The frog?
SEITA       I heard it's good.
SETSUKO     (Makes a noise in her throat indicating amazed acceptance.)
SEITA       Setsuko, forget the rest and get inside the net.  [ALT: I'll
            do the rest so get inside the net.]

(_Nightfall_)

SEITA       What's the matter?
SETSUKO     I forgot my toothbrush.
SEITA       It doesn't matter if you don't do it for a day.
SEITA       Hey, you'll be bitten by the mosquitos.  You should be in the
            net.
SETSUKO     It's so dark, I'm scared.  [ALT: It's all dark and I'm
            scared.]
SEITA       I'm going to go to the bathroom, but do you want to go too?
SETSUKO     Yes.

(_Outside, finishing their business_)

SEITA       That's the "special attack" unit.  [ALT: suicide unit.  Men
            in the "Tokkoh-tai" never returned alive.]
SETSUKO     Really?  They look like fireflies.
SEITA       I guess so.  Hey...  Do you want to capture fireflies?

(Seita comes into the net holding several fireflies.  He releases them.)

SETSUKO     Ah!  I see your face.
SEITA       Your face, too.  (A firefly lands on Setsuko's hair.)  A hair
            ornament!

(Setsuko is delighted.)

SEITA       All right!  Firefly's light, window's snow!  [Note: Part of a
            poem/song describing the changing season]

(Seita brings in a whole bucketful.  The fireflies slowly emerge and the
 inside of the net is soon filled with small points of stars.)

SEITA       Before you were born, I once saw a ship-naming ceremony
            [?:  ship-opening?? "kankai ceremony"].
SETSUKO     A ship-naming ceremony?
SEITA       Yup.  Dad got on board the front of the ship [?].  The
            combined fleets were all there.

(Seita starts to sing the then-military anthem.)

SEITA       Enemy ships attacking!  Bababababa!  Babababa!  [Noise
            associated with firing machine guns]  (pause)  I wonder where
            Dad's fighting the war...

(Suddenly feeling lonely, Seita hugs Setsuko to him.)

SETSUKO     You're suffocating me, Nii-chan!

-----------------------------

(The next morning finds Setsuko digging a hole.)

SEITA       What are you doing?
SETSUKO     I'm making a grave.  Mommy's in a grave, too, right?  I heard
            it from Aunty.  < Aunty said> Mommy died, too, and she's in
            a grave.

(Hearing this, Seita begins to cry for the first time since the tragedy
 befell him and his sister.)

SEITA       (wiping his tears,) Let's someday visit her grave.  Maybe you
            remember...  [LT: Setsuko, do you remember?]  You've been to
            the graveyard near the Inofuki [?], right?  She's <resting>
            there...  Mother is...  under the big camphor tree...
SETSUKO     Why do the fireflies die so quickly?

-----------------------------

(Kids from nearby find the conditions Seita and Setsuko are living
 under.)

BOY1        What's this?  Someone's living in a place like this.
BOY2        I wonder if they were burned out <of their home>?
BOY         Do you think a scary-looking man might come out?
BOY         When have they...?  It's a swing!
BOY         There's a grave!  [?]
BOY         What's this?
BOY         May you rest in peace!  (picking up a make-believe sweet-rice
            cake)  If only this was real!!
BOY         (Pointing to the grass bed that Setsuko made,) Setsuko!  It
            says Setsuko!
BOY         Look at this!  It's a dried frog!
BOY         What a thing to eat!  [ALT: What are they eating!]  I wonder
            if Tatt-chan and Ken-chan who escaped to rural areas are
            eating something like this, as well?
BOY         Uggh!  All soybeans!  It's worse than our rice-soup!
BOY         A ghost!  (They laughingly run away.)

-----------------------------

(_Seita at one of the farms_)

SEITA       And...  we've traded all of  Mom's kimono for rice and don't
            have anymore.  From your place, we've purchased many things
            with money before...
MAN         I'm not talking about kimono or money.  Though we're a farm,
            we don't make enough to distribute it to others all the time.
            (pause)  Never mind that; don't you have other kin?  [ET:
            relatives]
SEITA       Well... I can't get in touch with them.
MAN         Then, it's better for you to go back to that house.  Besides,
            everything's rationed now.  If you're not part of a community
            group, you can't eat.  Apologize and ask them to let you
            stay.
SEITA       (pause)  Sorry <to have bothered you>.  I'll try other
            places.
MAN         You're the son of a marine, aren't you?  Don't lose heart.
            [ALT: You got to be strong.]

-----------------------------

(Air raid.  Seita and Setsuko take cover in a tomato garden.  Finding
 the tomatoes all ripe, Seita, unable to resist, takes some for himself
 and Setsuko--a grave crime in times of war.)

SETSUKO     Is it okay?  [ALT: Is it right?]
SEITA       (makes a noise in his throat indicating "yes, yes")

(Walking back to their shelter, they meet a military officer.  Fearing
discovery of the crime they committed, they run away.)

SEITA       Damn!  [LT: No good!]

-----------------------------

(Seita is combing Setsuko's hair.  Finding lice, he angrily kills one.)

SEITA       Whether it's soy-bean or whatever, you mustn't be picky.  If
            you don't eat well, you won't be able to grow up!
SETSUKO     Nii-chan?  [ET: Brother?]
SEITA       Yes?
SETSUKO     I...  I have a bad stomach.  [ALT: My stomach is feeling
            funny.]
SEITA       Did you chill your stomach?  [ALT: Did you leave your stomach
            exposed while sleeping?]
SETSUKO     I've been having diarrhea for a long time now.

-----------------------------

(Seita is found stealing from a farm.)

MAN         You bastard!!
SEITA       Forgive me!  I'm sorry.  Please forgive me!  My sister's ill,
            so I wanted to let her drink potato broth!
MAN         What nonsense do you speak of?  Stealing from a farm during
            times of war is a grave crime!

(Seita tries to get away, but is captured again.)

MAN         You little bastard.  Come on.  Stand up!  (he flashes his
            light at Seita)  What's this?  You pulled up even the small
            potatoes.  You must have been the one who has been stealing
            from the farms around here!
SETSUKO     Nii-chan!
SEITA       I'm sorry!  I won't do it again!
MAN         If sorry is all it took, we wouldn't need police!  Walk, why
            don't you!
SETSUKO     Nii-chan!  Nii-chan!
SEITA       My sister's really sick!  I gotta be with her...!
SETSUKO     Nii-chan!  Nii-chan!

(At the local station,)

POLICE      I understand what happened <very well>.  Regarding this case,
            I'll consider the best solution after I talk to the offender
            and prepare a report, so you may leave.
MAN         But...!
POLICE      You've hit him this much, you must be satisfied.  (Seeing the
            man is still reluctant to leave,)  Violence against a minor,
            causing injury [ALT: bodily harm].
MAN         (panicking,) Then, I'll ask you to take care of the rest!
            [ALT: Then, I trust you'll take care of the rest.]
POLICE      I heard that today's air-raid was unexpected.  Well, why
            don't you take a drink of water from the back?

(Seita comes out from the station after some time.)

SEITA       Setsuko...!
SETSUKO     Nii-chan!

(Seita begins to cry.)

SETSUKO     Nii-chan...  (pause)  Where does it hurt?  That's not good.
            We'll have to call the doctor and have him give you a shot.
SEITA       Setsuko...!
SETSUKO     Nii-chan, I want to go to the bathroom.
SEITA       Can you hold it for a little distance?
SETSUKO     Yes.
SEITA       Get on my back.

-----------------------------

(Air-raid.  Setsuko awaits Seita's return but seems delirious.)

SETSUKO     Brother went to the mountain for firewood.  Grandmother went
            to...

[Note: This is the famous beginning sentences to the children's story
 "Momotaro".  She changed the phrases from "Grandfather went to the
 mountain for firewood.  Grandmother went to the river to wash clothes".]

(Seita, meanwhile, rummages through the home of those who fled.  Coming
 back with his booty--food and other items--he presents them to Setsuko.)

SEITA       Setsuko, let's have supper. Today's pumpkin is really tasty!
            Look.  Isn't it like a bean jelly?
SETSUKO     I don't like bean jelly.
SEITA       What are you saying?  If you don't eat, I'll be scolded by
            Dad!  Here, I'll help you eat, so get your spirits up and
            eat!  Eat well, get well quickly, and we'll go to the sea
            again together!

-----------------------------

(Sirens sound.  While the people flee, Seita plunders through homes.)

SEITA       Do it, do it!  Yeahy!  [ALT: Go, go!  Yeahy!]

(Seita returns from the rampage well stocked.  He drinks from the river.
 He points his flashlight and says "Bang", then laughs.)

SEITA       This time I'll really treat you to something good to eat,
            Setsuko!

SETSUKO     (Wandering around the shelter-hole,)  Nii-chan.  Nii-chan...

(At a farm house, Seita is trying to barter his plunders for food.)

WOMAN       You say this is your mother's keep-sake?  Fool!  Why would
            something so cheap and thin be a keep-sake?  Don't fool with
            me!  [ALT: Get real!]

(Seita returns to the shelter-hole and finds Setsuko's doll.)

SEITA       Setsuko...  Setsuko...!

(He finds her collapsed nearby.)

SEITA       Setsuko!  (Finding that she still breathes, he sighs.)
SETSUKO     Nii-chan...  water...

-----------------------------

(_Doctor's office_)

DOCTOR      Breathe in.  Breathe out.
SEITA       And her  diarreah hasn't stopped for several days now.  Her
            rashes don't seem to be heat-rashes either...  When I wash
            her with salt water, all it does is give her pain.
DOCTOR      It's a prostration due to malnutrition.  Her diarreah is the
            result of that.  Okay, next person!
SEITA       Some medicine or shots...?
SETSUKO     I don't like shots.
SEITA       Anyhow, please give her treatment of some kind.  Please.
DOCTOR      <There's no> medicine or anything...  Well, I suggest that
            she get some nourishment.  That's all that can be done.
SEITA       You say nourishment, but...
DOCTOR      (To the next patient,)  What seems to be the matter?
SEITA       Where can you <possibly> find nourishment?!!

-----------------------------

(A farmer is cutting ice block for delivery.  Seita, standing by, picks
 the ice scraps and feeds them to Setsuko after the man leaves.)

SEITA       I'm so hungry...  [ALT: I'm so starved...]  What do you want
            to eat?
SETSUKO     Tempura, and Otsukuri, and Tokoro-ten...  [ET: Tempura, and
            Sashimi, and Sour Jelly]
SEITA       Anything more?
SETSUKO     Ice cream...  And I want to eat drops again.

[Note: During the war, food items were rare and the variety scarce.  The
 fact that she knows about them and expresses that she wants to eat them
 indicates that she has eaten them regularly and shows how well-off her
 family actually was.]

SEITA       Drops, huh?   Alright!  I'll go withdraw all the savings.
            I'll <buy and> bring back all that you wanted to eat.
SETSUKO     I don't want anything.  Just stay here,  Nii-chan.  Don't go.
            Don't go.  Please don't go.
SEITA       Don't worry,  Setsuko.  [ALT: There's no need to worry,
            Setsuko]  After I withdraw the money and buy rice and things
            with nutrients, I won't go anywhere anymore.  I'll stay by
            your side for ever and ever.  [ALT: for always]  It's a
            promise.

-----------------------------

(_At the bank_)

TELLER      Here, 3000 yen.
MAN1        I hear the typhoon's nearing?
MAN2        No matter how much the Kami-kaze [ET: God-Wind] blows, if it
            comes after we surrendered to the Americans, it's of no use
            whatsoever.  How ridiculous!
SEITA       Surrender?  You mean we lost the war?
MAN1        You don't know anything?
SEITA       Is it true that we lost?  Japan?  The Japanese Empire?!
            [ALT: The Imperial Japan?]
MAN2        Yup.  Unconditional surrender.
SEITA       What happened to the combined fleet...
MAN2        No good, no good.  That got sunk long time ago and there's
            not one left anymore.
SEITA       What!?  You mean Dad's <battle> cruiser got sunk as well?!
            Is that why we never got any letter back?!
MAN2        Why should I know <of such thing>!?  [ALT: How should I
            know?]  What a strange kid!
SEITA       Dad, you fool!  [grrrrr: doesn't translate well.  It's like
            "Damn you, Dad", but not that strong]

(He runs, but hunger slows him.)

SEITA       I'm so hungry...  (pause) Dad...
SEITA       Dad died, too.  Dad died, too.  Dad...!

-----------------------------

(Seita returns.)

SEITA       Setsuko, I'm sorry I'm late.  I'll cook you a white rice
            porridge.
SETSUKO     It went down...  It went up...  Ah, it stopped...
SEITA       Luckily, I was able to buy fish and eggs.  And...  (notices
            that Setsuko has something in her mouth.  Picking up the drop
            can,) Setsuko!  What are you licking!  These are marble
            pieces.  <You know that> it's not drops!  Today, I've gotten
            something much better <than that>.  It's something you like.
SETSUKO     Here you go, Nii-chan...
SEITA       What's this, Setsuko?
SETSUKO     It's a meal.  I'll give you the the cooked okara.  [Note:
            "Okara" is soybean milk crust that is a by-product of making
            tofu.]
SETSUKO     Go ahead, eat.  Aren't you going to eat?
SEITA       Setsuko...!  Look, watermelon.  Isn't it great?  I didn't
            steal it <either>.  Here, watermelon.
SETSUKO     It's delicious...
SEITA       Wait a moment.  I'll cook you a rice-porridge with eggs
            immediately.  I'll leave the watermelon here.  Okay?
SETSUKO     Nii-chan...  Thank you...

R/ SEITA    After that, Setsuko never opened her eyes again.

-----------------------------

(_At the coal shop_)

MAN         Here.  The one sack of coal, special delivery.  [ALT: one
            bale]  If it's a child, you should borrow the burning ground
            from the temple.  You take her clothes off and if you light
            the fire with soybean skin, it'll burn nicely.  But... what
            nice weather!

[Note: Do not think this man to be insensitive.  Everyone has been
 desensitized to some degree during the war.  It is truly sad that a
 child's death is nothing new or anything sensational.]

-----------------------------

(People are returning to their homes from rural districts they had fled
 to.  Two such girls enter their long deserted home.)

GIRLS       My, it hasn't changed at all!  Home is definitely great!
            [ALT: There's no place like home!]  It's been a while; the
             record player!!  Familiar sights!

(Song: "There's No Place Like Home".  Visions of Setsuko in all the
 places she had been near the shelter-hole that was their home.)

SETSUKO     Hurry home!

-----------------------------

(At an open field,  Seita is preparing Setsuko's cremation.  Setsuko is
 placed in the empty container the coal came in.  Her few "treasures" are
 placed lovingly along side of her.   Seita pauses on the drop can, and
 sets it aside.  He lights the fire and grimly watches the cremation.
 Morning turns to day, and day turns to evening.  With the last remaining
 flames, the fireflies take flight from their resting spots among the
 field...)

R/ SEITA    The following morning, I placed the remnants of Setuko's
            bones that were like a fragment of a jewel into the drop can
            and left the mountain, never returning to the shelter-hole.

(Seita's figure is slowly replaced by Seita's rei.  From the darkness,
 Setsuko's rei appears and runs to Seita.)

R/ SETSUKO  Nii-chan...
R/ SEITA    It's late, so sleep now.  [ALT: It's late, so go to sleep
            now.]
R/ SETSUKO  Okay.  (She snuggles close and closes her eyes.)

(The rei of Seita watches over Setsuko; then, as if to beseech to the
 audience, he stares out towards the viewers.  He returns his attention
 to the sleeping form of Setsuko...)

THE END

[If I may add my opinion here, the strongest message of this film comes
 when Seita's rei stares out at us.  I heard "Look at what war does to
 people.  Please don't ever repeat what happened again.  War is not
 glorious nor honorable.  We just wanted to live more..."]

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
MESSAGE:

Translating takes lots of time and money.  If you find this script
useful, monetary contribution of any amount is greatly appreciated.

Suggestions for improving this script are welcome.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

=========================================================================
SUBTITLING
=========================================================================

In the event this script is used for a subtitling effort, it would be
greatly appreciated if the subtitler followed these guidelines:

1.  All names listed in the script heading be given their appropriate
    credits (specifically, translator and editor(s)).
2.  The dialogues may be shortened to fit the screen as the subtitler
    deems, provided that the nuances and meanings are not changed
    drastically.  (It would be even more appreciated if the subtitler
    could send the altered dialogues to the translator for approval
    beforehand. It would help prevent the translator from biting her
    nails to pieces later.)
3.  If there is more than one script for the same movie title, avoid
    mixing the scripts (i.e., interchanging dialogues from different
    scripts).  Different translators have different assumptions, and will
    cause disharmony when scripts are mixed.  If there is a clear need,
    please contact this translator.
4.  The existence of the tape be made known to the translator.
    (Preferably, contacted before the project is begun.)  An
    inappropriate subtitling using any of the Griffin scripts may result
    in either a less wide distribution of the script or a termination of
    any future script translating effort.

                                                     Thanks!   ---  Griff

To contact Griffin (August 1992):

        119 Bowbell Rd.; White Plains NY 10607 (will take half a year
                for a reply at this address [August/December, 1992])
        335 Warabi Chu^o^; Yayoi 212; Miho Nishida; Saitama Japan

        e-mail contact: <editor> K_Hindall@qmrelay.mail.cornell.edu
=========================================================================

Currently Available Griffin Scripts:
 * Nausicaa of the Valley of the Wind
   (Script by another translator is also available on the ftp sites)
 * Grave of the Fireflies
 * Rig Veda #1
 * Arslaan War Record #1

To Come:
 * Karura Mau (movie)
 * Rig Veda #2

========================================================================
Subject:  2.) ANGEL'S EGG synopsis (Bryan Wilkinson, December 22, 1991)


[this is the review as posted to the Miyazaki list; it was later printed
 in the July 1992 issue of Anime Hasshin's THE ROSE (#33, page 26).]

Subject:      Angel's Egg, a quick walk-thru.
Date:         Sun, 22 Dec 1991 13:40:00 CST
Source:       Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET>
From:         "Bryan C. Wilkinson" <mbaron@CHINET.CHI.IL.US>

Pardon any errors, this is a direct-from-memory
interpretation, and some of the order may be wrong. But the
essential premise of the film should be clear enough.
Snatches of this are remembered also from Miyako Graham's
translation of a plot description released to Animage from
the studio.


Oshii Mamoru's Angel's Egg
               ------- ---

Prologue:
A Boy watches the Sun set into the Sea.  The Sun is portrayed
as mechanical-looking red orb-shaped piece of architecture
emitting light from an eye-shaped window of stained glass.
(This sun is metallic blue, yet the sky is red from its light.)
The upper surface of the Sun is covered with statues. A great
deal of steam, causing a siren-like pitch, vents off as it
sinks below the water, and darkness begins to permeate the
seascape.  The Boy appears to be on the edge of his twenties,
which edge is not cleat (a Man, then?).  He bears a weapon
on his shoulder in the shape of a crucifix, and sometimes
bandages may be visible on his hands. Not a living soul does
he see, nor does one see him.

The Planetarium:
A Girl awakens.  Her bed is in the ruin of a planetarium,
in the center of a damaged model of the Solar System.  With
her, under her blankets, is an Egg.  She envelops the egg in
her skirt, and hides it under her blouse, giving her the look
of being pregnant, and hurries from her abode.

The City of Fish:
The Girl sets about the task of filling flasks with water.
She first does this at a lake.  The lake is fed by a stream,
though, which leads her to an empty city. The city's
architecture bears stone gargoyles in the image of Fish, as
is the form of its fountains.  Inside one house we peer at
her from, a wheel can be seen, the kind used to steer old
ships.  She visits a house with many flasks, and inspects
them carefully.

The Arrival:
A long, long line of organic (Fish-like?) looking tanks
rumble into the city.  They stop, and the Boy, with his
weapon, emerges from one.  They then continue and leave. The
Girl is unsure of this new arrival, and runs away.  She hides
in a ruin, and checks the Egg. But the Boy has followed her,
and questions her what she thinks is in it.  The Girl doesn't
trust him, and tries to leave.  But he persists in following
her and questioning her. He seems to already know things she
doesn't.  But all she responds with is "Who ARE you?"  This
he does not answer.

(the next is probably a little jumbled)

The Fish:
As the two wander the city, a horde of faceless fishermen run
through the city.  We see--everywhere--the shadows of many
great Fish (leviathans or the symbol of Christ?), on the
streets, the buildings, everywhere.  The pursuers try to
harpoon the shadows, and their spears merely bounce off stone
or shatter windows and lamps.

The Opera House:
In the ruin of a great cathedral-like opera house, the two
look at a damamged stain-glass window of a Fish.  The Girl
speaks of a Dream she had, where the Egg was in a Tree and
inside the Egg was an Angel--or was it a great Bird?  She's
not sure.  The Boy has suggested that one must break an Egg
to know what it hides, and this thought is what scares the
Girl the most.  She knows where there is a picture of the
Tree, and takes him to see.

Fossil of an Angel:
She takes him to a ruin, which seems to be a great skeleton.
In the walls, the floor, and the stairs of the ruin are giant
fossils of giant fish and birds.  Lining the walls are
hundreds of flasks, all filled with water.  She takes him to
a wall, and we see an old carving of a Tree.  He is shocked.
He has seen such a Tree before, but it was very long ago. He
then relates a story, one of a great flood that was to last
forty days and nights.  She takes him up the stairs, and his
surprise is even greater.  Imbedded in the wall, like the
famous fossil of the prehistoric bird archeopterex, is the
skeleton of a winged humanoid.

The Impregnation:
Back at the planetarium, the Girl sleeps, and the Boy stares
at the Egg.  He reaches a decision, and raises his weapon
above the Egg...

The Girl awakens.  The Egg is not with her, and the Boy is
gone.  She climbs out of bed and sees the floor.

She screams.

Before her, is a blasted open shell. As for INSIDE it...

There was nothing inside the Egg.

It is getting less dark.  The fishermen stand still--
statues?--as the tide rises and the buildings begin to
disappear beneath the water.

The Girl flees from her home, and runs towards a large crack
in the earth.  She plunges from the cliff, and slowly falls
(flies? floats?) towards a reflection (?) of herself.  Then,
she is drownning, and hundreds of bubbles erupt from her
lungs.  The bubbles rise to the surface...

Simultaneously, Trees bearing bubble-like Eggs erupt from the
ground's surface.

Epilogue:
The Boy watches again, as the Sun rises from the water (an
Egg as well?).  Among the statues, is one of the Girl.
Feathers swirl around him in the air. He stands on the beach
alone--never did he see a soul, nor did one see him.  We then
slowly, slowly pull away into the sky (a Heaven?), until most
of the island becomes visble--the island is a great Ark, and
it is without motion.

Sorry if I screwed the order and such up a little, it's been a while
since I've seen it.  I remember bits of Miyako Graham's translated
article, so that helped. Amendments and corrections are quite welcome,
this was off the cuff.

Brought to you by Bryan C. Wilkinson
                                                      _
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"An'ta dare?!"  "Niya wa To-y no aijin dayo!"  `----'     \

========================================================================
Subject:  3.) ANGEL'S EGG script (Enrique Conty, October 8, 1992)


[Posted to the Hayao Miyazaki Discussion Group by Enrique Conty, 10/8/92]

Subject:      Angel's Egg Script <SAVE THIS!!>
Date:         Thu, 8 Oct 1992 23:36:00 CDT
Source:       Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET>
From:         Enrique Conty <jester@IHLPL.ATT.COM>

Here it is, Mitch.  Not that it will do you any good as far as
understanding this film.  :-)

Share and Enjoy!!!

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

[WARRIOR watches the Eye sink into the waters.]
ANGEL:  Who... who are you?

TITLE:  Angel's Egg
Directed by:  Mamoru Oshii
Character Designs by:  Yoshitaka Amano
Screenplay by:  Mamoru Oshii

[we see a day in the strange life of ANGEL]
[WARRIOR gives Egg to ANGEL]
W:      Keep precious things inside you or you will lose them.
W:      What do you think is inside that egg?
A:      I can't tell you things like that...
        besides, I don't even know who you are.
W:      You have to break an egg if you are to know what's inside.
A:      Who are you?!
[ANGEL runs away]
A:      Don't follow me!
[later]
A:      The fish have come out.
W:      Fish?
A:      Even though they aren't anywhere, they chase after them.
        Even though there aren't any fish anywhere.
[after the Fish hunt]
A:      Please... my egg... don't do anything to it... promise.
[ANGEL leads WARRIOR into a building]
A:      This way.
[In front of a stylized basrelief of a Tree.]
W:      I've seen a tree like this somewhere... when was it?  So long
        ago that I've forgotten... under a sky where the clouds made
        sounds as they moved.  The black horizon swelled and from it
        grew a huge tree.  It sucked the life from the ground and its
        pulsing branches reached up, as if to grasp something... the
        giant bird sleeping within an egg.
A:      What happened to the bird?  Where is it?
W:      He's still there, still dreaming.
A:      Dreaming?  What kind of dream does the bird dream?
W:      What's in the egg?  You still cannot tell me?
[ANGEL leads WARRIOR up a staircase lined with Water bottles]
W:      Since when have you been here?
        As many days as there are bottles?
W:      I too have forgotten where I'm from...
        Maybe I didn't know from the beginning where I am going.
A:      Will you be going away?
[WARRIOR starts quoting]
W:      "I will blot out man whom I have created from the face of the
         ground, man and beast and creeping things and birds of the air,
         for I am sorry that I have made them.  I will send rain upon
         the earth forty days and forty nights, and every living thing
         that I have made I will blot out from the face of the ground.
         And after seven days the waters of the flood came upon the
         earth.  On that day all the fountains of the great deep burst
         forth, and the windows of the heavens were opened.  And rain
         fell upon the earth forty days and forty nights.  The ark
         floated on the face of the waters, and all flesh died that
         moved upon the earth.  Birds, cattle, beasts, all swarming
         creatures that swarm upon the earth, and every man.  Only Noah
         was left, and those that were with him in the ark.  Then he
         sent forth a dove from him, to see if the waters had subsided
         from the face of the ground.  Then he waited another seven
         days, and sent forth the dove, and she did not return to him
         any more."
W:      Where did the bird land?  Or maybe it weakened and was
        swallowed by the waters, no one could know.  So the people
        waited for her return, and waited and grew tired of waiting.
        They forgot they had released the bird, even forgot there was a
        bird and a world sunken under water.  They forgot where they had
        come from, how long they had been there, and where they were
        going so long ago that the animals have turned to stone.  The
        bird I saw, I can't even remember where or when, it was so long
        ago.  Perhaps it was a dream.  Maybe you and I and the fish
        exist only in the memory of a person who is gone.  Maybe no one
        really exists and it is only raining outside.  Maybe the bird
        never existed at all.
A:      It exists.  It's here.
[ANGEL leads WARRIOR around]
A:      It's here.  It's here.
[WARRIOR encounters the fossilized Bird]
A:      I found it, it's already turned to stone, it's in here.  I'm
        going to hatch it and put it back.  It's the bird I found.
W:      I know that.  I thought so.
[ANGEL is listening to the Egg]
W:      Can you hear something?
A:      I can hear it.  The sound of soft breathing.
W:      That's your breathing.
A:      I can hear the sound of wings.  It must be dreaming of flying
        in the sky.
W:      That's just the sound of the wind outside.
[ANGEL talks to the Egg]
A:      Very soon... right now you're in here dreaming but soon I will
        show you... very soon... so you must stay here now.  It doesn't
        rain here... where it's warm.
[WARRIOR puts ANGEL in Bed]
A:      Who are you?
W:      Who are you?
[rest of movie, climax, and conclusion]

                            E n r i q u e  C o n t y
                              jester@ihlpl.att.com

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

Subject: Angel's egg
X-Topic: Entry #2351 of LISTS.NAUSICAA
Date:         Fri, 9 Oct 1992 02:48:00 CDT
Reply-To:     Hayao Miyazaki Discussion Group <NAUSICAA@BROWNVM.BITNET>
From:         "(Bryan C. Wilkinson)" <mbaron@CHINET.CHI.IL.US>

Uh, Conty, don't you think you should give credit to Sue and maybe the
NSA, since that's who you owe this script to...?

--bry

========================================================================
Subject:  4.) ANGEL'S EGG timing file, in JACOsub (Fred Leggett, 1/5/93)

[NOTE: I don't know how to uncompress compressed files or how to convert
a Z file to plain text, so I would *really* appreciate it if anyone who
*does* know how to do these things e-mailed me with a copy of this timing
file uncompressed, in plain text--so that I can store *that* here instead
of the compressed Z file below.
               -- Steven Feldman <ar402004@brownvm.brown.edu> (11/1/94)]


From: bilver!vicstoy!fleggett@peora.sdc.ccur.com (Fred Leggett)
Message-Id: <9301050658.AA09841@vicstoy>
Subject: Timing script for "Egg of the Angel"
To: ar402004@brownvm.brown.edu (Steven Feldman)
Date: Tue, 5 Jan 93 1:58:00 EST
X-Mailer: ELM [version 2.3 PL11]

Steven,
     Here's the timing script for "Egg of the Angel" in JACOsub (.js)
format.  Hope you like it.  Enjoy!


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M0GHB\4"6KWGX?%9)@M/F,F"=NU,;>DJ"S4O7O5-D-Z-)$MR"VS?#//GQ$=,I
H$8IM_" '&Z<1$[8!%;W7L4W:N#&A08\1&4.,*77LTQJ=<1+A,[LI /GQ

end
--
Fred Leggett - fred.leggett@oau.org
             - fleggett@vicstoy.oau.org : fleggett@vicstoy.UUCP
             - ...!{peora,ge-dab,tous,tarpit}!bilver!vicstoy!fleggett
               vicstoy Unix, Orlando, Florida

========================================================================
Subject:  5.) ROBOT CARNIVAL script (Ron Azuma, January 17, 1990?)


ORIGINAL TRANSLATOR:  Anonymous
TRANSCRIPTION & POLISHING:  Ron Azuma


        Robot Carnival script v 1.00

Robot Carnival is a collection of eight short animated films by
different people.  About the only thing that links them together is
that each film has at least one robot in it.  The films vary from
comedy to fast-paced action to philosophical drama, so there's
something for everyone.

Also, all but two of the films lack a voice track, so Robot Carnival
is a good film to introduce people to Japanese animation.  And in one
of those films, half of the dialogue is in English!  This script
includes detailed descriptions of the two segments with voice tracks.

So without further ado, here are the descriptions of the films:

============================
Robot Carnival Opening Title
============================

A kid sees a poster fly by, which sends him into shock.  He warns
the villagers, who hole themselves up in their homes or flee for
their lives.  In the distance, something huge approaches...
(Incidentally, the kid's speech is just gibberish.)


======================
Franken's New Creation
======================

A scientist tries to bring life to his creation, which this time
is a robot instead of a green-skinned cadaver!


=======
Deprive
=======

Evil troops take girl from her robot/cyborg friend.  Robot fights to
rescue girl.  There's nothing deep to this one - it's a fast paced
action video!


========
Presence
========

Unlike Deprive, Presence tries to deliver a message.  Sometimes, robots
can become too real...

[In this world, human-appearing robots are commonplace.
 The film opens with a bunch of schoolkids attacking a teacher
 robot, knocking off his head and kicking it high into the sky...]

[In a house, a man enjoys his soup and sees his daughter say goodbye.
 As the man drives off to work, he thinks about his wife.]

    Man:     "My wife is an aggressive career woman.  I sometimes
         sense great ambition inside her."

    Man:    "She is active, takes initiative, and is someone
         you can rely on.  She almost works better than I do!"

    Man:    "My collegues think I'm a feminist.  I admit it to
         myself, but with others it's different." <1>

[At a lake, the man picks up and throws a screw.  A clock flies by.]

    Man:    "You scared me!"
    Clock:    "It's 12:40.  Return to your work."
    Man:    "Ok, ok."

[The Man walks down a path.]

    Man:     "I have a secret."

[The Man goes into a workshop and sees a girl robot sitting on a desk.]

    Man:    "Of course, this is a secret for my family."

[He brings some tools.]

    Man:    "I never had the love of a mother.  I understand
         why I needed to get married so badly...  I
         desperately wanted femininity in my wife (?)"

[He touches the girl robot.  One gets the sense that he is not entirely
 happy with being married to a wife who is an aggressive career woman.]

[As the man walks down the street, he sees some people leaving a bar.
 Various robot body parts are left dumped in a nearby trash can.]

[Back in the workshop, the girl robot starts moving.]

    Girl:    "I don't have a name."

    Man:    "Meow." (?)

    Girl:    "I think I want to fall in love."

    Man:    "What are you saying?  I don't remember programming
         such a word into you!"

    Girl:    "You are lonely, aren't you?"

    Man:    "What happened to you?"

    Girl:    "I could hear and I could feel."
        "You are still a little boy, aren't you?"

[Man picks up flying saucer toy.]

    Man:    "I'm surprised that you recognize your own consciousness."

[Girl jumps on desk.]

    Man:    "Huh?"

    Girl:    "Don't be surprised."

    Man:    "You shouldn't step into my life." (?)

    Girl:    "Why do I exist?"
        "I'd like to be closer to you."

    Man:    "Does a machine feel pain?"
        "There are no robot 'groupies'!"
        "Does a machine have a personality?"

    Girl:    "But I know myself very well."
        "I want to experience lots of love, by my own choice!"

    Girl:    "Hm.  You are wearing a cynical smile."

[As the man walks away, the girl robot grabs him.  Surprised, he
 throws her against a wall.  As she bleeds, he grabs a wrench...]

[Now many years in the future, he sits in a chair outside a house.
 His now grown-up daughter and grandaughter approach.]

    Man:    "Are you leaving already?"

    Daughter: "Yes, father.  Next time, three of us will come.
           Please take care of my mother.  (To grandaughter)
           Now say goodbye to grandpa."

    Granddaughter:    "See you next time, grandpa!  Next time,
             please make me a toy."

    Man:    "Be careful on the way home."

    Granddaughter:    "Bye bye!"

[The wind starts to blow.  Suddenly, the man sees a vision of the girl robot.]

    Girl:    "I was waiting for a prince..."

    Man:    (Sadly) "I couldn't be your protector." <2>

[The vision disappears.  The Man returns to the workshop to view
 the long-decayed body...]

[Now even further in the future, the man is again sitting outside the
 house.  The wind starts blowing.]

    Wife:    "Grandpa, grandpa, the wind is starting to blow [so
         you should come inside]."

    Wife:    "Ok grandpa, you're not a little boy anymore, so you
         should listen to what I say!"

    Wife:    "Grandpa?"

[The girl and the man walk off together and vanish.  A toy angel hovers
 in front of the camera.]

Notes:

<1> Apparently in Japanese, "feminist" can mean either a person who
    promotes equal rights for women, or it can mean an effeminate man.

<2> Literally, "I couldn't be your 'long-legged Uncle.'"  If anyone knows
    the story that this comes from, please let me know!


===============
Starlight Angel
===============

In the future, Tokyo Disneyland is still "the Happiest place in the
World!"  Especially for a "robot" who falls in love with one of the
visitors...


=====
Cloud
=====

A lonely robot walks by as the sky fills with different types of clouds.
Not much of a plot, but it is beautiful to watch...


=======================================================================
Extraordinary Meiji machine stories: A story of a Western man attacking <1>
=======================================================================

Set in the early Meiji period (around 1830 or 1840?), this film is a
hilarious spoof of Japanese 'giant robot' films!  The villain speaks
English, and the Japanese defenders speak Japanese.  Therefore, this
script will only summarize the villain's lines...

The cast of this film is:

American
-------
John Jack Orkafin(?)     The evil scientist villain

Japanese
--------
Sankichi    The leader with the headband
Yayoi        The girl
Fukuda        The kid with the glasses
Daimaru        The big guy who works the engine
Genjiro        The thin guy who steers the machine

To make this easier to follow, I will label their parts as:
Villain, Leader, Girl, Glasses, Big Guy and Thin Guy.


[The film opens with the town's population running for their lives as
 the Villain's robot smashes through the town.  The title appears, and
 the Villain happily announces his plans for world domination.  Note
 that he has Marco Polo's book describing the Far East!]

    Leader:    "That damn thing!  I'm going to get even!"
        "Are you ready?"

    Girl:    "Yes, but can we move this without permission?"

    Glasses: "Won't all those people in the neighborhood get mad
          at us?"

    Leader:    "You idiot!  This is a national crisis!"
        "Daimaru, shove a lot of coals in the furnace!"

    Big Guy: "Ok!"

    Leader:    "Genjiro, wake up!" (?)

    Thin Guy: "Ok."

    Leader:    "Go!"

[The Japanese robot rises up to challenge the invader...]

    Villain: Eh?

[The Leader begins a long speech from the top of his machine.]

    Leader:    "Hey you big slob, stop right there!  You are the nasty
         one disturbing the order in this peaceful time after
         the opening of our country [to the West]!  For the
         upcoming festival, all of the people in the neighborhood
         built this machine.  It is not the most technologically
         advanced, but I, Sankichi Komajo, will not let you
         advance one more step from that spot!  I'm going to
         destroy you, so get ready!" <2>

[He disappears down a hatch]

    Leader:    "Forward!"
        "Genjiro, raise the right leg!"

[The robot punts a nearby house]

    Leader: "Move it more carefully!"

[Meanwhile, the Villain starts getting furious]

    Glasses: "Someone is coming out [of the Villain's machine]!"

    Leader:    "What?  Genjiro, stop!"

[He looks through a telescope]

    Leader:    "Oh, let's see, ah..."

[Sees the Villain and his cannon!]

    Leader:    "It's a foreigner!  It's a foreigner!  What should I do?"

    Glasses: "Calm down!  Calm down!"

[The Villain begins a long speech through a megaphone, giving them 3
 seconds to surrender before he blows them up.]

    Leader:    "What is he saying?"

    Glasses: [Thumbing through book] "I understand English, but
         I'm not that familiar with American!"

[Villain shoots a cannonball]

    Villian: "Eh?"

    Thin Guy: "Ah!"

    Leader: "Daimaru, they are firing the big cannon, so come
         upstairs!"

    Big Guy: "All right!"

[The Villain aims and shoots again, hitting the Japanese robot.
 The girl screams.]

    Girl:    "Wha?"

    Leader:    "Damn, he hit us!"

    Girl:    "What's going on?"

    Leader: "Be quiet!  Just be patient!"

    Girl:    "What do you mean, 'Be quiet'?"

[Daimaru makes it up to the top of the machine]

    Big Guy: "I'm here!  [Sees the tube]  Isn't that the big
          fireworks?"

    Leader: "Yeah, but I made some changes to it..."

[The Villain cleans his cannon while Sankichi aims his]

    Leader &
    Big Guy: "Ok, here it goes, look up!"

[Fires and hits the Villain's machine]

    Leader &
    Big Guy: "All right!  Ah?  The inside of the machine is made
          of brick?"

[The Villain fires another shot that hits the Japanese machine]

    Thin Guy: [Mumbles something...] (?)

    Big Guy: "What are we going to do, Sankichi?"

    Leader:    "Ok, hit the guy who is standing on the shoulder
         of that thing!"

    Big Guy: (Surprised) "But if we hit, that guy will be killed!"

    Leader: "That's ok, just shoot!"

[They shoot but hit the head of the Villain's robot instead.  The Villain
 starts laughing until the shot sets off his storage of ammo...]

    Leader:    "Yeah!"

    Big Guy: "Of course, we were aiming for the head to being with!" (?)

    Leader: "Oh no we weren't..."
        "Now we're going to tear down that machine!"

[The Villain rants some more...]

    Girl:    "Now we should stop fighting!" (?)

    Leader:    "Huh?"

    Girl:    "If we keep fighting, we'll destroy the whole
         neighborhood!"

    Leader:    "Don't make a fuss!  This is important!"

    Girl:    "What did you say, you pinhead?"

    Leader:    "Pinhead?"

    Glasses: "Pinhead!"

    Girl:    "If you don't like pinhead, how about peabrain, dunce,
         moron..." <3>

    Leader:    [gets irritated]

    Glasses: "Since the last hit we took, something's not working
          right!" (?)

    Leader: "Shut up!  Be quiet!"

    Girl:    "Someone who is so headstrong is called 'bullheaded'!" <4>

    Leader:    "Ah?"

    Girl:    "Don't act like you're so brave!  You don't have any
         brains!  Why don't you learn to read or write?
         A monkey is smarter than you are!"

    Leader:    "You have a really mean personality!"

    Girl:    [Sticks her tongue at him]

[The kid with glasses rides some gears to get to another part of the
 machine.  He yells, "Sankichi," then by accident sees under the
 girl's kimono.]

    Glasses: "Sorry!"

    Girl:    [Kicks a shoe in his face]

[Meanwhile the Villain discovers he's out of battery power.]

    Big Guy: "Hey Sankichi, we ran out of coals!"

    Leader: "Don't worry, just peel off and burn
         any available wood!"

[The Villain recharges his batteries.  It takes until sunset before
 the two machines advance far enough to reach each other.]

    Leader: "We finally got here..."

[The Villain rants some more and raises the right arm of his machine]

    Leader: "Raise the right arm!"

[The kid with glasses raises the Japanese robot's right arm]

    Leader: "That's good!  Raise the left hand and grab his arm!"

    Girl:    "What are you going to do?"

    Leader: "We're going to grab and throw him!" (?)

    Girl:    "I grabbed it!"

    Leader:    "Hold on tight!  Are you ok?"

    Glasses: "Yes, I'm ok!"

    Leader: "Daimaru, grab onto something!"

[Daimaru clings for dear life]

    Leader: [To pilot] "Is everything ok?"
        "Good!  Raise the left leg and twist!"

[The robot starts spinning]

    Leader: "Go!"

[The Japanese machine throws the Villain's machine into the river,
 but the Japanese machine also falls.  The Villain's
 robot causes a minature wave that washes out a bridge and the
 spectators on it...  The kid with glasses views the destruction.]

    Glasses: "Oh my town!  My neighborhood!"

    Leader: "We won!"

    Thin Guy: "I'm not so sure about that..."

    Big Guy: "Yeah..."

    Girl:    "But we did a lot..."

    Leader:    "Hey look, that's a Japanese sunrise!"

[Sky fills with an old-style 'Rising Sun' emblem]

    Girl:    "No, that's sunset."

[Emblem abruptly disappears...]

    Leader:    "Oh."

    Girl:    [Laughs]  "Sorry!"

    Leader:    "Anyway, that battle is over.  We fought off the
         foreigner with our own hands.  But since I saved
         the peace in this town..."

[Sankichi puts his arm on the girl's shoulder.  She responds by
 stomping on his foot...]

[And the Villain paddles off into the sunset, making plans for next
 time...]


Notes:    <1>    The first part of the title literally reads,
        "Meiji Karakuri modern Western civilization
        strange story" where karakuri is an old word
        for a machine.

    <2>    A lot of liberties are taken here.  Eg, instead of
        "It is not the most technologically advanced," he
        literally says, "It is not a big steam locomotive."

    <3>    All the insults have to do with implying that
        Sankichi has a low mental capacity...

    <4>    Literally "Someone who gets hot-headed so quickly
        is called 'kettleheaded'!"


=====================
Chicken Man & Redneck
=====================

At night, the robots wake up... to terrorize a hapless man on a scooter!
The chase sequence is very reminiscient of Disney's "Legend of Sleepy
Hollow."


============================
Robot Carnival Closing Title
============================

Out of the wreckage of the machine, a man finds a small metal ball
and brings it back to his kids.  The toy delights them, but it has
one last surprise...


Translator:             Anonymous
Transcription & polishing:     Ron Azuma

Liberties have been taken in some of the translations, and undoubtedly
we made mistakes along the way.  The more questionable passages are
marked with a (?).  Notes and comments are marked with a <#>.
Send any corrections to:

                        Ron Azuma
                        (azuma@dopey.cs.unc.edu)

========================================================================
Subject:  6.) PLEASE BLINK, GRANDMA synopsis (JAPAN TIMES, July 30, 1992)


JAPAN TIMES, July 30, 1992

Animated Film Tells Heart-warming Tale
by Yuko Naito

     When a family member becomes bedridden, the burden cast on the rest
of the family is beyond words.  Physical fatigue, the high costs of
hospitalization and medicine, and the accompanying psychological stress
can bring about the collapse of the entire family.
   In an effort to provide some support and helpful hints for such
troubled families, Asahi Shimbun, Asahi Shimbun Social Welfare
Organization and Cinema Work Co., have produced an animated film,
"Patchin-shite!  Obaachan" (Please Blink, Grandmother,) to be released
this autumn at theaters.  [Note: Scheduled for October release.]
     Based on a true-life story that unfolded in a Kanazawa City hospital
between 1983-1986, the film depicts the relationship between a bed-ridden
old woman whose only way to communicate is to blink her eyes, and the
more than 100 people who visit the hospital, and are drawn to her
personality.
     On a winter day in Kanazawa, Yasue Kitajima was rushed to the
hospital after suffering her fourth cerebral thrombosis.
     Doctors told her only daughter, Hiro, that Yasue was totally
paralyzed and would not recover.  To help make Yasue's remaining years
worthwhile, Hiro decided not to leave her alone.  The unmarried
daughter, however, has to support herself and pay her mother's
hospitalization fees.  Working during the day at an education center and
attending Yasue at night is too much for Hiro, who eventually falls ill
from exhaustion.
     Then, in response to Hiro's call for aid, friends, neighbors, their
daughters, Hiro's former students and others volunteer their help.  Those
who actually nurse Yasue are largely young women in their 20's, totally
inexperienced in the care of the sick.
     At first, they are shocked at the sight of Yasue, who is little more
than a vegetable, unable to even speak.  However, they learn how to
communicate with her--blinking her eyes in response to their questions
means "yes."
     They like the old woman who expresses her feelings honestly and
enjoy being with her.  Moreover, feeling needed gives them added strength
and confidence.  They call themselves the Yasue Family, although they are
not related by blood.
     They do whatever pleases the elderly woman--reading the Bible,
singing songs, playing the guitar, as well as feeding her, changing her
diapers and moving her body to prevent bedsores.
     The climax comes on Christmas Eve when people gather around the
Christian woman's bed with candles in their hands and sing hymns.  Yasue,
deeply touched, suddenly says, "Aaaa," which means "Arigato" (Thank you).
     When Yasue passed away after three years and two months of
hospitalization, the members of the Yasue Family numbered 54, or even as
many as 100 when all the people who in some way supported Yasue and Hiro
were included.
     Their story was serially reported in 1986 in the Asahi Shimbun,
Ishikawa Prefecture edition.  It won the fifth Upjohn Science Writer's
Award, which is awarded articles related to medical science and medical
care.
     In 1990 Hiro published a book entitled "Hikari no Naka no Sei to Shi
(Life and Death in the Light)" to show her gratitude to all those who
helped her and her mother.
     In the book's preface, Masami Seki, Hiro's husband, who married her
during Yasue's hospitalization, writes: "There may be some people who
cannot believe this story is fact.  Many people may think it is an
exceptional case, a miracle.  But I think it is possible if only people
would try.  To make it possible, it is important not to stick only to
kinship."
     In Japanese society it is considered a matter of course that
children care for their parents.  Although the film shows one possible
solution to the problem of caring for a bedridden relative, many people
would hesitate to ask other people to help take care of their family.
     In fact, Seki also mentions in the book that the Kanazawa branch
office of Asahi Shimbun received a letter from a reader who was nursing
an elderly person.  It said, "Please don't write such a happy story.  It
makes me feel miserable."
     When Hiro's book was published, there were several offers of
dramatization from television stations and independent producers, which
she, however, rejected for fear that the descriptions of medical
treatment would be too graphic.
     Asahi Shimbun was finally given permission to make a film on the
condition that it would be an animated film.
     "This film has two purposes," says Isao Kurose of Asahi Shimbun.
"Firstly, we would like to let chidren know that an aging society has
unavoidable problems.  Secondly, welfare workers can, with this film,
study the ideal nursing of aged people."
