Resources:Episode 24 Draft 1 (Translation): Difference between revisions
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This is one of the early drafts for [[Episode 24]] printed in the magazine ''JUNE'' Supplement 09/1996 issue (『別冊JUNE』1996年9月号). From [http://web.archive.org/web/20071011104241/homepage3.nifty.com/kyrie/story24-1-1.htm 1] and [http://web.archive.org/web/20070311143105/http://homepage3.nifty.com/kyrie/story24-2-1.htm 2]. The drafts were '''credited to [[Akio Satsukawa]] (薩川昭夫)''',<ref>"脚本：薩川昭夫 "Screenplay: Akio Satsukawa.<br>Illustrations included in this magazine are also made by a third-party doujinshi author, and are not official.</ref> an Evangelion scriptwriter that also worked with [[Hideaki Anno|Anno]] in nine other episodes, including [[Episode 6]], [[Episode 9|9]], [[Episode 15|15]] and [[Episode 21|21]]. Anno, interviewed by this magazine, explains he first gives scriptwriters a general outline of the episode, which they organize into a plot, forming the first draft. It is then brought up for staff consideration and suggestions, reworked into a second draft by the writer, which goes through the same process. Afterwards, a "definitive draft" is produced and harmonized with the larger plot which is when it finally receives Anno's revision and credit, to be further re-worked into a shooting script. Anno mentions he fixed up the later script in a more final form. This is detailed in the ''[[Evangelion Original]]'' publication, which features the "definitive draft" for all episodes.<ref>"In TV anime, as the staff meetings between producers and the directors proceed, the screenwriters write the script.The manuscript goes through the "first draft", "second draft", and the script becomes the "definitive draft." The director draws the storyboard based on the script that has become the "definitive draft". The storyboard is the movie’s blueprint, which has been filled in with the composition of each cut, acting, lines, second count and the like. In anime, the greater part of the director’s "directing" process occurs in the phase of drawing this storyboard. It is not unusual for the contents to change in the storyboard stage. There are also cases when it becomes almost a completely different story.<br>Among all 26 episodes of the TV version of “Neon Genesis Evangelion”, Director Anno himself wrote the scripts for five episodes, and is credited jointly with other screenwriters for the scripts of 20 episodes. The number of scripts that were jointly credited are the definitive drafts of scripts based on plots by director Anno written by screenwriters and gone over directly by director Anno. [..] Just by looking at these numbers, you will understand how much director Anno pulled the series together by his personal authorship." - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#EVANGELION_ORIGINAL_(1996) Evangelion Original I]</ref> These Ep 24 drafts had not yet gone under Anno's revision and are attributed only to Satsukawa, unlike the definitive draft. [http://forum.evageeks.org/post/363606/NGE-Ep24-Script-First-and-Second-Drafts/#363606 It is very similar] to the version aired in Episode 24, [http://forum.evageeks.org/post/472732/NGE-Ep24-Script-First-and-Second-Drafts/#472732 with a few plot-related differences].<ref>"The process of how these scripts reached the point of definitive drafts is exactly as follows.<br>First, Anno prepares a memo that simply writes out each episode’s idea. The screenwriters write a script based on that memo. Going through staff meetings that center on the director, the screenwriters go through the second and third drafts and for the time being are finished. In addition, Anno directly goes over the scripts that the screenwriters have finished and the script becomes the definitive draft.'''Not matter how high their level of completeness is as TV anime scripts, the times when the scripts completed by the screenwriters do not match Anno’s sensibilities or creativity, do not pass.'''After the script’s definitive draft, Anno ends up revising and correcting even further in the storyboard stage. You can say there is a thorough system for producing the film according to Anno’s intent. - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#EVANGELION_ORIGINAL_(1996) Evangelion Original II]</ref> That is in fact the one considered as the "original ''script''" in production notes.<ref> "This book is a collection of scripts for "Neon Genesis Evangelion." Excluding the stories whose scripts Anno handled directly, the scripts traced the following process in reaching the point of definitive drafts. First, Anno prepares an idea memo for each episode. The screenwriters write a script based on that memo and go through staff meetings that center on the director. On behalf of the staff, the screenwriters go through the second and third drafts. And then Anno directly corrects and revises the finished script and it is completed. As you’ll understand if you see the text, in scripts that are completed this way, the directions regarding the screen image are meticulous and the action and staging are quite concretely depicted. Therefore, the storyboard that is written in characters (letters), that is, the "wordboard-al" hue is also strong." - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#EVANGELION_ORIGINAL_(1996) Evangelion Original III]</ref><ref>''Another example:'' While contributing to all episodes as a key frame animator, he ([[Mitsuo Iso]]) also – in addition to what’s been credited – proposed a number of setting details affecting the script direction and the work as a whole. On episode 13, “Angel Invasion”, he was involved as screenwriter and assistant settei artist. This was his screenwriting debut. He shares the “Screenplay” credit with Akio Satsukawa and Hideaki Anno. Since the script contents that Iso completed were over twice the usual amount, they were recompiled by Akio Satsukawa and turned into the final manuscript through Director Anno’s edits. -''[https://arqacrypha.net/wiki/Mitsuo_Iso_Animation_Works:_Preproduction Mitsuo Iso Animation Works: Preproduction]''</ref> '''Thus, these should not be considered Anno's authorial intent due to his lack of direct involvement, rejection of elements included, and subsequent modification by him and other staff into the "definitive draft" and final script aired on [[Episode 24]].'''<ref>"As for the Evangelion manga, Sadamoto claims to have made it entirely by himself, without consulting with anyone, so any differences with the anime were all decided solely by him; this in contrast to the anime where all decisions were made as a group, all sitting in the same room and arguing." - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#Yoshiyuki_Sadamoto%3A_Milan_Manga_Festival_.282013.29 Sadamoto Milan Manga Festival 2013]</ref><ref>''"So for those of you who were wondering, the famous first and second drafts of episode 24 are not in this book, however the content that is in here is still pretty interesting. The included script for episode 24 is much closer to the actual episode that was produced – the original version, not the Directors’ Cut version – but there are some differences. (Does that mean we should call this the third draft? Heck, for all we know, it might actually be the fifth draft, or eighth draft, or something… making a show like this is a lot of work!)"'' - [https://literaryeagle.tumblr.com/post/117871921514/for-my-twenty-sixth-evangelion-book-review-here Evangelion Original III review]</ref> | |||
There are several | There are several myths surrounding these drafts, besides Anno's involvement. Satsukawa was not chosen specifically for this episode, as Anno hadn't seen his previous work on ''Watcher on the Attic''. The reason for his hiring was that Satsukawa had worked with Anno on ''[https://en.wikipedia.org/wiki/Nadia:_The_Secret_of_Blue_Water Nadia].'' The drafts include indications of their early production, as Anno had many new ideas with every new episode of Evangelion,<ref>But Mr. Anno's style on EVANGELION was not so. He wants to put it together episode-by-episode. It's just like the style of a manga. In your typical manga, the artist doesn't have any picture of the last scene, or the last episode. They just think of building up on past episodes. And finally, the manga artist, and his assistants, and editor...[BURIES HEAD IN HANDS], they work out an idea about the last sequence. If it's a good idea, the whole episode is very good. If they can't make a good idea, the whole episode is not so good. It's an unhappy story. And I think that's what happened with the last two episodes of EVANGELION. Mr. Anno and his staff couldn't make a good idea for it. He told an anime magazine in Japan that he couldn't make what he wanted because of schedule or budget. But that's not correct. I talked with Mr. Yamaga and Mr. Anno. They said, "It's not only a problem of schedule or budget. It's a problem of what the ending is going to be." Mr. Anno couldn't decide. Mr. Anno's and my own style of production are very different. - [https://web.archive.org/web/20001217044400/http://www.j-pop.com/anime/archive/feature/04_gal_999/otaking10.html Toshio Okada, Return of the Otaking]</ref> but these drafts contradict central plot elements of finalized episodes as early as Episode 15,<ref>https://forum.evageeks.org/post/364688/NGE-Ep24-Script-First-and-Second-Drafts/#364688</ref> Some elements thought up by Satsukawa for these drafts, such as Shinji's cello playing and cello piece, were moved to other episodes he worked on, with as this usage being moved to [[Shinji]] kissing [[Asuka]] in Ep 15.<ref>Anno: That’s right, that’s right. There was a scene in a music room after an evacuation, when no one was there. | ||
Interviewer: What is the connection between Kaworu-kun and this image of music? | Interviewer: What is the connection between Kaworu-kun and this image of music? | ||
Anno: I don’t think it was words. It was as communication, when he’d first come. | Anno: I don’t think it was words. It was as communication, when he’d first come. | ||
| Line 8: | Line 8: | ||
Interviewer: Did that first script do anything like take on that sort of form? | Interviewer: Did that first script do anything like take on that sort of form? | ||
Anno: It didn’t. It just went as far as the scenario. | Anno: It didn’t. It just went as far as the scenario. | ||
</ref>, | </ref> Incidentally, Satsukawa still considered he had put his all in [[Episode 15]], not Kaworu's story.<ref name="LovePop">''Interviewer: So, your first meeting with Mr. Anno was when you participated in "Nadia: the secret of Blue Water" as an editor, right?''<br>''Satsukawa: That's right. The editing of Nadia was originally planned to be done by [...] But there was trouble between Mr. Anno and the said editor. That's how the office I worked in got the job after the 10th episode.''<br> | ||
[...] you made your screenplay debut as a scriptwriter with Mr. Jissoji's "The Watcher in the Attic," Did Mr. Anno saw it?''<br>''Satsukawa: No, he didn't watch "Attic".''<br>''Interviewer: So he asked you (to be his writer) out of the blue?''<br>''Satsukawa: Right. He probably never read what I wrote.''<br>[...]Funnily enough, personally, I am not like that. In Eva, for example, I think the part where my personality was truly projected wasn't this Kaworu part, but episode 15.''<br>[...] ''Satsukawa: I picked the cello piece that Shinji plays in episode 15.'' - [https://wiki.evageeks.org/Statements_by_Evangelion_Staff#Akio_Satsukawa:_Love_&_Pop_Theatrical_Booklet_(1998) Love & Pop Theatrical Booklet (1998)]</ref> Anno explains how elements present here went against his ideas, to a larger degree than other rejected proposals.<ref>[[Sore o Nasumono]]</ref><ref>[https://wiki.evageeks.org/Evangelion_2.0_Complete_Records_Collection Evangelion 2.0 Complete Records Collection]</ref> The public bath scene was made more casual to reflect it as the open social occurrence it is in his native countryside.<ref>Anno: As might be expected, this was what you’d call above my tolerance level. | |||
[...] | [...] | ||
Anno: Around the time when you’re a middle school student, you often go with friends to public bath-houses and stuff, right? On the way home from school and so forth. Also, going there right after you go play at the beach, just as you are. There are more public baths in the boonies, you see. So it almost feels like a watering hole for men. Well, people don’t go washing each other’s backs or any skinship things like that. In any case, it’s a sort of place that you can all go to together, play there, and head home.</ref><ref>Interviewer: Speaking about the blushing, is it because Shinji was happy that someone said they like him? | Anno: Around the time when you’re a middle school student, you often go with friends to public bath-houses and stuff, right? On the way home from school and so forth. Also, going there right after you go play at the beach, just as you are. There are more public baths in the boonies, you see. So it almost feels like a watering hole for men. Well, people don’t go washing each other’s backs or any skinship things like that. In any case, it’s a sort of place that you can all go to together, play there, and head home.</ref><ref>Interviewer: Speaking about the blushing, is it because Shinji was happy that someone said they like him? | ||
Anno: Yes, Shinji kun really didn’t experience carnal desire there.</ref> | Anno: Yes, Shinji kun really didn’t experience carnal desire there.</ref> Many of the plot points here caused backlash from Anno and staff for straying so much from early ideas, with staff expressing surprise at interpretations.<ref>I: But it caused female audiences in front of their televisions to shriek with joy. | ||
M: We never thought it will turn out like that. | M: We never thought it will turn out like that. | ||
T: Was it not planned? | T: Was it not planned? | ||
M: We really only realised it afterwards and never thought of much at that time, after all we were going berserk. | M: We really only realised it afterwards and never thought of much at that time, after all we were going berserk. | ||
- Shizo/Parano interview "judging Hideaki Anno in his absence" | - Shizo/Parano interview "judging Hideaki Anno in his absence"</ref> Episode director [[Masayuki]] even threatened to resign. Additionally, some details were even missed due to the late production time constraints, such as [[Kaworu Nagisa|Kaworu]] not being supposed to touch Shinji's hand,<ref>M: That interview in which he pushes all responsibility to Satsukawa is interesting. But when we came up with the original idea, did it start out as such? | ||
</ref><ref>M: That interview in which he pushes all responsibility to Satsukawa is interesting. But when we came up with the original idea, did it start out as such? | |||
H: eh? | H: eh? | ||
M: Not that level of homo, did Satsukawa up it? | M: Not that level of homo, did Satsukawa up it? | ||
| Line 33: | Line 33: | ||
M: Because thats what the artist drew and I wasn’t really too concerned and ok-ed it. (laughs) there was basically no time. | M: Because thats what the artist drew and I wasn’t really too concerned and ok-ed it. (laughs) there was basically no time. | ||
- NGE Storyboards Collection, Vol.3-4</ref><ref> | - NGE Storyboards Collection, Vol.3-4</ref> nor was Shinji supposed to blush in some scenes.<ref>According to the [https://imgur.com/YFEUXdQ the storyboards]</ref> Character designer Sadamoto later noted how Satsukawa diverged from the more neutral original outline<ref>[https://wiki.evageeks.org/Neon_Genesis_Evangelion_Proposal#Apostolos Evangelion Proposal]</ref> as a little boy possessed by a cat, the actual Angel.<ref> He wasn’t the last Angel from the baginning. At first, the information they gave me only said that Kaworu was a humanoid Angel who appeared at the finale stage of the Anime. But at that time, I had already worked out something similar—since the gradually appeared Angel all had different shapes and characteristics, they should become more closer to human. Then there also came with the subtitle “Cat and Transfer Student” when they were planing it. If I have to figure out Anno’s intention, I think he may awared the “Monster Messenger and Boy” (Ep.33) in The Return of Ultraman. It is where a monster named Muruchi appeared. - All About Kaworu Nagisa interview with Sadamoto</ref><ref>Anno: "[...] In the initial stages, he was a pretty boy who carried around a cat. The very first plot title was “The cat and the transfer student.” It was a story about transfer student carrying a cat coming to the school and so forth. As we went on with it, in episode 24, it had already moved away from the school, so. It would have still have been good if it had come between episodes 11 and 16, though."</ref> Official supplemental material also notes this angle, explaining that Kaworu evolved from his early role on Proposal, as ultimately "This act of having his life ended by his friend Shinji was symbolic of Kaworu's desire for humanity to choose the path of life".<ref>"Kaworu Nagisa was sent to NERV headquarters by the Human Instrumentality Committee, specifically by SEELE. The unusual circumstances surrounding Kaworu's assignment were met with more than a little reservation by a portion of NERV personnel, including Misato Katsuragi. Despite their misgivings, Kaworu became a cherished friend to the first NERV employee he met, Shinji Ikari. Kaworu deemed Shinji to be "favorable," an almost peculiar and straightforward appraisal that Shinji had never experienced before. Perhaps as a result of this unusual approach, Kaworu managed to quickly secure a special place in Shinji's heart, especially because Shinji had only recently lost most of the people he had considered close friends. Tragically, Kaworu would later be revealed as an Angel, an enemy that Shinji was fated to destroy. When he saw the pain and inner struggle in Shinji's eyes upon discovering the truth, Kaworu willingly offered up his life to Shinji. This act of having his life ended by his friend Shinji was symbolic of Kaworu's desire for humanity to choose the path of life. In those last moments, it seemed to be Kaworu's sincere wish that humans continue to exist. Kaworu also briefly interacted with Rei Ayanami, and the two confessed to sharing a sense of empathy for one another. This exchange demonstrated that both individuals were aware on some level that they were different from everyone else.<br> | ||
The conclusion is that it probably was Akio Satsukawa. Nagisa can also be read as Messenger, perhaps he came up with the name when he was writing the script. We all think it fits Akio’s taste. What struck me most was how Akio expanded the world, he made Kaworu a JUNE character……Or I should say a male/male tanbi(“aesthetic”) romances character that went berserk. | Kaworu took an instant liking to Shinji Ikari and was quite assertive in his efforts to forge a friendship with him. The actions Kaworu took as a "human" moved Shinji on a relatively deep level and encouraged him to open up. However, this also resulted in a devastating sense of hopelessness when things ended tragically between them." - [https://www.youtube.com/watch?v=TtD8pbqwSlU The Essential Evangelion Chronicle Side B] </ref><ref>"After bathing together, Shinji spent the night in Kaworu's room and expressed a fondness for his new friend. The next morning, Misato felt uneasy about the fact that she had not been able to uncover any definitive information about Kaworu's identity and went to visit Ritsuko, who had been imprisoned. In response to Misato's inquiry, Ritsuko responded that Kaworu was the final messenger. These words proved to be true when Kaworu revealed himself to be an Angel by taking control of EVA-02 and infiltrating Terminal Dogma. Shinji was dumbfounded and had a hard time comprehending this unexpected truth. Kaworu made it all the way to "Adam" only to discover that the giant was not Adam at all, but rather Lilith. EVA-01 showed up shortly thereafter, and Kaworu was captured willingly. Kaworu begged for Shinji to kill him, and after some hesitation, Shinji conceded. Shinji raged over his own actions and declared that Kaworu, if anyone, deserved to live. Misato replied that only those who actually desire life deserve that privilege." - [https://www.youtube.com/watch?v=TtD8pbqwSlU The Essential Evangelion Chronicle Side B]</ref><ref>"Kaworu Nagisa, the mysterious boy who had been popping up in the opening sequence for so long, finally made his debut in this episode. The proposal for the series structure clearly indicated that Kaworu was an Angel disguised as a human boy who would first appear toward the end of the series, so it is clear that Kaworu was specifically designed to fill this vital role. When Shinji and Kaworu are sharing a conversation before falling asleep, the situation somewhat mirrors the episode 8 scene in which Shinji sleeps near Kaji. The significant difference between the two situations is that Shinji speaks while looking directly at Kaworu's face, which suggests that he felt comfortable enough with Kaworu to truly open up to him." - [https://www.youtube.com/watch?v=TtD8pbqwSlU The Essential Evangelion Chronicle Side B] </ref> Kaworu's character seems to be the most diverged from Anno's early ideas, notably he was the only one not named by him but rather Satsukawa.<ref>[https://wiki.evageeks.org/Character_Name_Origins Character Name Origins]</ref> His name was decided relatively late in production, after all others and beyond the initial ''[https://wiki.evageeks.org/Neon_Genesis_Evangelion_Proposal Proposal]'' stage, and many details from this episode were shuffled around, and Kaworu's appearance was cut down from two to one episode.<ref>The conclusion is that it probably was Akio Satsukawa. Nagisa can also be read as Messenger, perhaps he came up with the name when he was writing the script. We all think it fits Akio’s taste. What struck me most was how Akio expanded the world, he made Kaworu a JUNE character……Or I should say a male/male tanbi(“aesthetic”) romances character that went berserk. [...] | ||
Interviewer: Is this what they called the dreamy first script? | Interviewer: Is this what they called the dreamy first script? | ||
Yes, Yes. In the end, Anno changed it to the bath scene. Anno took Akio’s idea into a very unique perspective, which end with this Kaworu who give you a decadent feeling, in my option. There is one thing that doesn’t need to cover up: they wrote EVA’s script as long as possible. In other words, the script they gave Anno had two Eps length, then Anno modified it into a story. So I think he probably cut off a lot of Kaworu’s story. - All About Kaworu Nagisa interview with Sadamoto | Yes, Yes. In the end, Anno changed it to the bath scene. Anno took Akio’s idea into a very unique perspective, which end with this Kaworu who give you a decadent feeling, in my option. There is one thing that doesn’t need to cover up: they wrote EVA’s script as long as possible. In other words, the script they gave Anno had two Eps length, then Anno modified it into a story. So I think he probably cut off a lot of Kaworu’s story. | ||
</ref> This | - All About Kaworu Nagisa interview with Sadamoto | ||
</ref> Of course, this was also affected by the fact that as the series got produced the production staff ran out of time and Kaworu, considered a minor character at the time, got reduced and pushed further in appearance. At that point, Kaworu would show up slightly early also, in episode 22 rather than 24.<ref>'''■ Episode 22: “The Cat and the Transfer Student” [Storyboards] (5)''' This episode number was later produced as episode 24, “The Final Messenger”. [From Iso:] “At this point in time, the name ‘Kaworu’ wasn’t decided yet, so in memos we called him things like ‘the transfer student’ and ‘bishounen’. The Proposal had a humanoid Angel accompanied by a cat, but he was changed to an Angel that could transform from a boy into a cat. Setting him against the human-sized Eva-05, we created a story with a showdown on a human scale. The Proposal also called for the laboratory’s secrets to be revealed, and in my own version of the screenplay I proposed a climatic scene wherein Eva-05 dropped down before the eyes of the boy Angel (who had invaded ever deeper into Central Dogma) and blocked the way forward.” - ''[https://arqacrypha.net/wiki/Mitsuo_Iso_Animation_Works Mitsuo Iso Animation Works: Preproduction]''</ref> This is one of many rejected ideas from individual staff members that didn't make it past Anno or anyone else. For instance, [[Mitsuo Iso]] had his [https://arqacrypha.net/wiki/Mitsuo_Iso_Animation_Works:_Preproduction#BOTTOM_(LEFT)_5 own entire draft] for the episode, and his Kaworu would have his own human-sized Eva 05 rather than taking over Eva 02, with a more straightforward confrontation deeper in Terminal Dogma.<ref>[https://arqacrypha.net/wiki/Mitsuo_Iso_Animation_Works:_Preproduction#BOTTOM_(LEFT)_5 Mitsuo Iso Animation Works: Preproduction]: '''■ Episode 22: The Cat and the Transfer Student [Storyboards] (1)'''</ref> In other examples besides Ep 24, [[Ikuto Yamashita|Yamashita]], wanted Asuka to [https://wiki.evageeks.org/Sore_o_Nasumono become a werewolf]. In [[Evangelion 2.0|Eva 2.0]], [[Yoji Enokido|Enokido]] wanted Mari to say "anta baka" and completely replace Asuka, including kissing Shinji, in one of the movie's at least 16 different drafts.<ref>[https://www.gwern.net/docs/eva/2010-crc#part-3 Evangelion 2.0 Complete Records Collection]</ref> In summary, Kaworu as presented in these drafts is not Anno's brainchild, but Satsukawa's. | |||
Moreover, in the June interview, Anno was asked about expanding Ep 24 with these elements for the then-unreleased home video versions. He however, decided against it on the expanded Director's Cut episodes and [https://wiki.evageeks.org/Guides:Episode_24_OA_vs._DC chose to focus] on Misato and her relationship with Kaworu instead, despite his considerable expansions to other relationships Shinji had [https://wiki.evageeks.org/Guides:Episode_22_OA_vs._DC as in Episode 22]. <ref>'''''Interviewer''': In the video edition, is there nothing like getting a power up from that sort of thing?'' + + '''''Anno''': I’m thinking of adding a few scenes. I had the feeling that it’d be good to focus on Shinji and Kaworu-kun’s story. However, I also think that, if I have the extra time, I have to make Kaworu-kun with just Misato. The truth is that Kaworu-kun just greeted Rei by chance and he’s only spoken with Shinji, hasn’t he? There’s no need for him to meet other people, but if the only one that I haven’t made him meet up with is Misato, I kind of wonder whether that’s awkward.''</ref> Doujinshi author Nobi Nobita provided June magazine with non-official illustrations. She even participates in the longer and often-omitted second half of the June interview. Nobita made a doujin expanding Asuka's mind attack sequence.<ref>''Nobi is not sure that female manga writers will be able to match the imagination of the male authors. Anno wanted to do a longer story involving Asuka's menstruation, but because he felt it was impossible for a man to write, he abandoned it. Only a single scene remained. He feels he can't match the way Nobi portrayed Asuka in the doujinshi "Absolute Safety Razor" (or "Absolutely Safe Razor" - "Zettai Anzen Kamisori").'' - [https://forum.evageeks.org/post/425333/NGE-Ep24-Script-First-and-Second-Drafts/#425333 Second Interview]</ref> Unlike suggestions by June, Anno took inspiration from her doujinshi for Episode 22's DC, but chose instead to use it for Asuka's relationship with Shinji, removing the ambiguity over it possibly referring to Kaji present in the original doujinshi. This show a decreased interest on Anno's part on the draft's ideas.<ref>[https://forum.evageeks.org/thread/17938/Nobi-Nobita-Bridal-Veil-Ep-22-DC-Source/ ''Bridal Veil''], full [https://e-hentai.org/g/1377732/c4c53e87b2/ scanlation]</ref> The interviewer also does not differentiate between drafts and asks questions about it its content, was conducted in April 1996,<ref>(April 25, 1996; at GAINAX)</ref> whereas the drafts were released in the magazine's September issue, presumably at June's request. This indicates they had not yet read the drafts at the time of the interview. Rumours of censorship are also unsubstantiated - the network had not even seen the episode before airing it, due to its rushed production.<ref>Episode 1, for instance, took six months to be only written, but in later episodes this become far more constrained, to about 5 months for the middle episodes. In contrast, Episode 24 took three weeks after its definitive draft was decided, while Episode 26 took three days.:<br>''When Anno thought of Eva, he wanted to create an anime that would surpass "Gundam" and "Yamato." However, he became dissatisfied with his early ideas. The script for the first episode took half a year to complete. He was stuck after that, so he wrote episodes 5 and 6, and then came back to episode 3. He felt he had to go beyond regular TV anime in developing realistic characters in episodes 3 and 4. However, the first six episodes left the staff drained and feeling weighed down by the heavy mood, so he felt it necessary to lighten the feeling of the series for episodes 7, 8, and 9. This early stage of production took 4 or 5 months in total; the storyboards were done in two months. However, the schedule became more and more constrained. The series was only finished thanks to the supreme efforts and talents of the staff. Episode 26 was completed in only three days. Episode 24 was put together almost entirely by Masayuki alone in the space of three weeks.'' [https://forum.evageeks.org/post/425333/NGE-Ep24-Script-First-and-Second-Drafts/#425333 Second June Interview]</ref> Afterwards, they demanded to see [[Episode 25|Episodes 25]] and [[Episode 26|26]] because of a single contention point - Kaworu's ''death'' being too graphic.<ref>Anno and the rest of the Gainax team had been pushing production of the various episodes up closer and closer to the deadlines issued by their TV station, to the extent that they were actually biking episodes over to the broadcast center on Beta tape only minutes before the broadcast time77. This was tolerated, because Eva had some of the highest ratings of any show ever - until Episode 24. | |||
Episode 24 arrived at the station so late that it couldn’t even be watched before being broadcast - it was slapped in a Beta drive and transmitted directly, without being reviewed by any staff at the station. Episode 24, you’ll recall, is the Kaworu episode, which aside from the homosexual overtones (probably not actually an issue), ends with, er, a pop. Bear in mind that this was broadcast in a 6.30pm weekday slot on Japanese national television. | |||
The network went apeshit - it may have been in silhouette, and he may have been technically non-human, but you can’t show a 14 year old popping his 14 year old friend’s head off at 6.30pm on TV, even in Japan. Gainax, and Anno specifically, were accused of deliberately holding back the episode to prevent the network from seeing it before broadcast - and the network staff demanded to see the storyboards for the next two episodes. - [https://www.gwern.net/otaku#s-15 Rob Fahey]</ref><ref>Incidentally, aversion to gore also motivated [[Toji]] not getting killed, [[List of Common Misconceptions#Toji not only loses his leg, but his arm as well|at the request of the producer]].</ref> Anno later also expressed he communicated Kaworu's character poorly and denied "thinking much" about any ''yaoi'' elements.<ref name=":5">Jinken: You only look at the superficial aspects of the story, and towards the end, the character Kaworu Nagisa appears. I was watching the movie as a regular person, and I was wondering why this character appeared at the end of the movie. Did you think about the fans who came in for the yaoi? | |||
Anno: Not really, I didn't think that much about it. | |||
Jinken: I thought that Kaworu Nagisa was a character for commercialization, like Saint Seiya. Is that not the case? | |||
Anno: Actually, I had planned for him to appear a little earlier. I didn't have any intentions to go that far, but I did intend on having a ''bishounen'' [the little boy controlled by the cat]. | |||
Jinken: On the contrary, it made him a very memorable character, though. | |||
Anno: If the planned relations had worked out - the plan was that the ‘unconscious Shinji-kun’ would be Ayanami Rei, the Shinji-kun who appears on the surface would be Ikari Shinji, and the ‘ideal Shinji-kun’ would be Nagisa Kaworu-kun. [Kaworu was] supposed to be an ideal male but when I tried putting him together he was just a strange fellow (laughs). That was something of a lack of capability on my part. - [https://forum.evageeks.org/post/478968/Is-Rei-still-retrievable-as-a-human/#478968 2000 December Anno: Interview ‘with a member of Waseda University for the purpose of “character study.]</ref> | |||
See also: [[Resources:Episode 24 Draft 2 (Translation)]]; '''Translation by Reichu of the earlier draft, [https://arqacrypha.net/wiki/Mitsuo_Iso_Animation_Works:_Preproduction#BOTTOM_(LEFT)_5 ''The Cat and the Transfer Student''] on Arqa Apocrypha''' | |||
=English Translation= | =English Translation= | ||
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== | ==Notes== | ||
{{reflist}} | {{reflist}} | ||
Latest revision as of 21:32, 22 May 2024
This is one of the early drafts for Episode 24 printed in the magazine JUNE Supplement 09/1996 issue (『別冊JUNE』1996年9月号). From 1 and 2. The drafts were credited to Akio Satsukawa (薩川昭夫),[1] an Evangelion scriptwriter that also worked with Anno in nine other episodes, including Episode 6, 9, 15 and 21. Anno, interviewed by this magazine, explains he first gives scriptwriters a general outline of the episode, which they organize into a plot, forming the first draft. It is then brought up for staff consideration and suggestions, reworked into a second draft by the writer, which goes through the same process. Afterwards, a "definitive draft" is produced and harmonized with the larger plot which is when it finally receives Anno's revision and credit, to be further re-worked into a shooting script. Anno mentions he fixed up the later script in a more final form. This is detailed in the Evangelion Original publication, which features the "definitive draft" for all episodes.[2] These Ep 24 drafts had not yet gone under Anno's revision and are attributed only to Satsukawa, unlike the definitive draft. It is very similar to the version aired in Episode 24, with a few plot-related differences.[3] That is in fact the one considered as the "original script" in production notes.[4][5] Thus, these should not be considered Anno's authorial intent due to his lack of direct involvement, rejection of elements included, and subsequent modification by him and other staff into the "definitive draft" and final script aired on Episode 24.[6][7]
There are several myths surrounding these drafts, besides Anno's involvement. Satsukawa was not chosen specifically for this episode, as Anno hadn't seen his previous work on Watcher on the Attic. The reason for his hiring was that Satsukawa had worked with Anno on Nadia. The drafts include indications of their early production, as Anno had many new ideas with every new episode of Evangelion,[8] but these drafts contradict central plot elements of finalized episodes as early as Episode 15,[9] Some elements thought up by Satsukawa for these drafts, such as Shinji's cello playing and cello piece, were moved to other episodes he worked on, with as this usage being moved to Shinji kissing Asuka in Ep 15.[10] Incidentally, Satsukawa still considered he had put his all in Episode 15, not Kaworu's story.[11] Anno explains how elements present here went against his ideas, to a larger degree than other rejected proposals.[12][13] The public bath scene was made more casual to reflect it as the open social occurrence it is in his native countryside.[14][15] Many of the plot points here caused backlash from Anno and staff for straying so much from early ideas, with staff expressing surprise at interpretations.[16] Episode director Masayuki even threatened to resign. Additionally, some details were even missed due to the late production time constraints, such as Kaworu not being supposed to touch Shinji's hand,[17] nor was Shinji supposed to blush in some scenes.[18] Character designer Sadamoto later noted how Satsukawa diverged from the more neutral original outline[19] as a little boy possessed by a cat, the actual Angel.[20][21] Official supplemental material also notes this angle, explaining that Kaworu evolved from his early role on Proposal, as ultimately "This act of having his life ended by his friend Shinji was symbolic of Kaworu's desire for humanity to choose the path of life".[22][23][24] Kaworu's character seems to be the most diverged from Anno's early ideas, notably he was the only one not named by him but rather Satsukawa.[25] His name was decided relatively late in production, after all others and beyond the initial Proposal stage, and many details from this episode were shuffled around, and Kaworu's appearance was cut down from two to one episode.[26] Of course, this was also affected by the fact that as the series got produced the production staff ran out of time and Kaworu, considered a minor character at the time, got reduced and pushed further in appearance. At that point, Kaworu would show up slightly early also, in episode 22 rather than 24.[27] This is one of many rejected ideas from individual staff members that didn't make it past Anno or anyone else. For instance, Mitsuo Iso had his own entire draft for the episode, and his Kaworu would have his own human-sized Eva 05 rather than taking over Eva 02, with a more straightforward confrontation deeper in Terminal Dogma.[28] In other examples besides Ep 24, Yamashita, wanted Asuka to become a werewolf. In Eva 2.0, Enokido wanted Mari to say "anta baka" and completely replace Asuka, including kissing Shinji, in one of the movie's at least 16 different drafts.[29] In summary, Kaworu as presented in these drafts is not Anno's brainchild, but Satsukawa's.
Moreover, in the June interview, Anno was asked about expanding Ep 24 with these elements for the then-unreleased home video versions. He however, decided against it on the expanded Director's Cut episodes and chose to focus on Misato and her relationship with Kaworu instead, despite his considerable expansions to other relationships Shinji had as in Episode 22. [30] Doujinshi author Nobi Nobita provided June magazine with non-official illustrations. She even participates in the longer and often-omitted second half of the June interview. Nobita made a doujin expanding Asuka's mind attack sequence.[31] Unlike suggestions by June, Anno took inspiration from her doujinshi for Episode 22's DC, but chose instead to use it for Asuka's relationship with Shinji, removing the ambiguity over it possibly referring to Kaji present in the original doujinshi. This show a decreased interest on Anno's part on the draft's ideas.[32] The interviewer also does not differentiate between drafts and asks questions about it its content, was conducted in April 1996,[33] whereas the drafts were released in the magazine's September issue, presumably at June's request. This indicates they had not yet read the drafts at the time of the interview. Rumours of censorship are also unsubstantiated - the network had not even seen the episode before airing it, due to its rushed production.[34] Afterwards, they demanded to see Episodes 25 and 26 because of a single contention point - Kaworu's death being too graphic.[35][36] Anno later also expressed he communicated Kaworu's character poorly and denied "thinking much" about any yaoi elements.[37]
See also: Resources:Episode 24 Draft 2 (Translation); Translation by Reichu of the earlier draft, The Cat and the Transfer Student on Arqa Apocrypha
English Translation
Translation by Good Haro. Translator's notes are in { brackets }.
NEON GENESIS EVANGELION EPISODE 24 "THE FINAL ANGEL" (FIRST DRAFT)
INT. NERV HQ - CAGE
In one corner a humanoid weapon, about 5 meters in length, is submerged in coolant.
On its body are the markings, "αーTYPEーEVA000."
Standing on the umbilical bridge before it are Ikari Gendou and Fuyutsuki Kouzou.
IKARI: The new Eva prototype: α Eva.
FUYUTSUKI: The miniature Evangelion, was it? What need do we have for something like this now of all times?
IKARI: It was created for the Human Instrumentality Project. This is the prototype.
FUYUTSUKI: Wasn't there a need to make some arrangements [to reach] the site? There are quite a few people asking questions about the freeze on Unit 00's repairs. Professor Akagi is taking matters into her own hands to find another Eva pilot.
IKARI: Let her keep at it a little longer. Plan E still isn't complete. According to SEELE's script, there's still one Angel remaining.
THE FINAL ANGEL
INT. NERV HQ - TEST PLUGS, CONTROL ROOM
MISATO: How's it going?
IBUKI: Not well. These are the worst numbers the two of them have made yet.
Asuka and Rei are shown in their test plugs on a monitor.
MISATO: Any idea what's causing it?
IBUKI: We don't have a clear answer yet, but the data shows that both of their sync rates tend to fluctuate. Asuka's numbers are probably a result of mental stress while Rei's are probably physical.
MISATO: There's no way either of them could pilot an Eva like this, huh. I guess this sort of thing was unavoidable with the main pilots. This is probably why Ritsuko's been running around these past few weeks trying to find a replacement pilot.
IBUKI: This'll be the first pilot who doesn't come from the Marduk report. I'm a little worried. I can't help but think that Professor Akagi is being a little overzealous this time. Haven't you noticed it? She's been in such a hurry lately.
MISATO: ……
EXT. THE OUTSKIRTS OF TOKYO-3, IN FRONT OF THE TURNSTILES OF A TRAIN STATION - AFTERNOON
A single car is parked by the station. Ritsuko and Shinji are waiting for their train.
Ritsuko tries to light the cigarette in her mouth, but a sudden wind prevents her.
Shinji spontaneously reaches out with his palm to block the wind.
RITSUKO: Thanks. (She lights the cigarette.) Shinji, you're always looking out for other people, aren't you? I bet you don't even get a break at home, do you?
SHINJI: Oh, not at all. Plus, the three of us are rarely together these days. Misato's always os busy and Asuka's doing overtime for testing so they never get back until evening.
RITSUKO: I guess I'm the one who's been sowing the seeds of your house's ruin.
SHINJI: It's not your fault. Work is work after all. Though, there is one thing that's been bugging me. Misato seems to be drinking more.
RITSUKO: –––Shinji, have you ever fallen in love?
SHINJI: Not yet…
RITSUKO: In Misato's heart, Kaji was a physically a part of her. Now that he's gone, it's finally hit her. But, some times those painful feelings become so overwhelming, it becomes unbearable. And on those nights, sometimes [we {general}] need to rely on the power of alcohol just a bit.
A special train pulls into the platform.
SHINJI: Will I understand that sort of thing better once I've fallen in love?
RITSUKO: When you understand it, it means you've become an adult. –––Alright. The Fifth Child is here.
The special train pulls out of the station.
A young boy wearing a cute, navy sailor suit remains on the platform. (Nagisa Kaworu)
Kaworu stands in the heat haze.
He sparkles against the light of the setting sun, his hair the color of honey.
Shinji is unconsciously bewitched by his divine beauty.
Shinji meets Kaworu's gaze. His heart pounds.
INT. GEOFRONT - LOBBY OF THE CEILING BUILDING {er, does 天井ビル have a more common translation re: Eva?}
Kaworu is meeting the three Eva pilots.
Misato and Ritsuko stand next to Kaworu.
RITSUKO: This is the fifth candidate we've selected, Nagisa Kaworu.
KAWORU: I'm Nagisa Kaworu. Pleased to meet you.
ASUKA: (Her eyes sparkle.) I'm Asuka. Soryuu Asuka Langley. Nice to meet 'cha.
She shakes his hand.
RITSUKO: This is the First Child, Ayanami Rei.
KAWORU: Pleased to meet you.
REI: (Deadpan as always.) You too.
They shake hands and for just an instant look at each other.
Misato looks over to Shinji, who looks a bit forlorn.
INT. NERV HQ - PHOTO ROOM
Kaworu faces forward and a flash goes off.
INT. SAME AREA, DIFFERENT ROOM
Kaworu's ID card comes off the printer.
MISATO: (Picking it up.) Nagisa Kaworu… He's quite the beauty.
RITSUKO: He's more than just a pretty face. Apparently he's at the top of his class and his athletic ability is prodigy-level too.
MISATO: I hope Shinji doesn't develop an [inferiority] complex over him. He doesn't take [this kind of stress very well]. He seemed a little down today too.
RITSUKO: (Giving Misato a sidelong glance) You worry too much…
EXT. CENTRAL HOSPITAL - AERIAL VIEW
KENSUKE'S VOICE: Suuup
TOUJI'S VOICE: Oh, that you, Kensuke? Come to visit your sick pal?
INT. CENTRAL HOSPITAL - TOUJI'S ROOM
Touji is on the bed and Kensuke has come to visit.
KENSUKE: I asked the receptionist, but are you really getting discharged tomorrow?
TOUJI: Yeah. I think things'll be going pretty well for me starting next week.
KENSUKE: When you're all better, are you going to pilot again?
TOUJI: Nah, they decided to give me a break. They didn't really try very hard to keep me so they must not have been expecting much from me in the first place. Wahahaha. (He gives a melancholy smile.)
KENSUKE: Oh…
TOUJI: So, how's school been?
KENSUKE: Well, I guess it's about as normal as it gets. Though, we did get a transfer student recently.
INT. KENSUKE'S VIDEO
Inside the classroom, Kaworu writes his name on the blackboard.
KENSUKE'S VOICE: His name is Nagisa Kaworu. I guess he's what you'd call a pretty-boy.
TOUJI'S VOICE: He pales in comparison to me though.
Finished writing, Kaworu turns around.
KENSUKE'S VOICE: Check out the girls' reactions.
The girls being excited.
TOUJI'S VOICE: So the bitches are showing their true colors. {'bitches' sounds a bit harsh even for Touji but he's using メス which is pretty damn rude, I don't remember if he uses it in the series though}
Lunch time. A bunch of girls are chatting with Kaworu in the courtyard.
KENSUKE'S VOICE: He's only just transferred in and he already has a fan club. I wouldn't be surprised if every girl at school was in it. Save a very tiny fraction.
Rei rests her chin on her hands, disinterested.
TOUJI'S VOICE: Well, she's always like that.
The camera pans over to Asuka, looking dejected.
KENSUKE'S VOICE: Soryuu looks pretty down, doesn't she? And she's usually the most energetic person in class.
In the morning she was screwing around with everyone like usual, but, now, the transfer student came, and apparently he's going to be an Eva pilot too. I bet Soryuu sees him as a rival. Apparently her sync tests with Unit 02 haven't been going well lately.
When Asuka notices the camera focused on her, she throws something at it.
Followed by video noise.
INT. TOUJI'S HOSPITAL ROOM AGAIN
Kensuke closes the video screen.
KENSUKE: So, this new transfer student's already being called the Prince of the class after just three days.
TOUJI: I dunno anything about princes, but I don't like this guy.
KENSUKE: Suzuhara, you're always like that with the newcomers. I think you hated all the transfer students. Even Shinji, if I recall correctly!
TOUJI: How is that Shinji kid doing anyway?
INT. SCHOOL, CLASSROOM 2-A - AFTER SCHOOL
Shinji is sitting at his seat, burying his face between his arms on his desk.
No one else is in the room but him.
We hear piano playing coming from somewhere.
Hikari comes in to get her bag.
HIKARI: Oh, Ikari, you're here?
SHINJI: (Lifts his head.) Yeah……
HIKARI: I thought you'd gone with Aida to visit Susuhara in the hospital.
SHINJI: It's…. complicated.
HIKARI: (Noticing the piano.) Nagisa's playing. He's really good, isn't he? –––Well, I'm off.
SHINJI: Bye.
Alone again, Shinji listens to the piano in his deep melancholy.
EXT. SHINJI'S MEMORY - THE STATION
He meets Kaworu's gaze and smiles.
KAWORU: Pleased to meet you.
SHINJI: (Stuttering) S-Same here.
Shinji blushes and hangs his head.
INT. SCHOOL - MUSIC ROOM
Kaworu playing the piano.
INT. CLASSROOM 2-A
The piano piece ends at a sort of unnatural point.
SHINJI: ……
INT. SCHOOL - MUSIC ROOM
Shinji ever so timidly opens the door.
––No one's inside.
We hear footsteps going down stairs.
INT. SCHOOL - STAIRS
Shinji runs down the stairs.
But he can't seem to catch up with the footsteps.
At which point the PA system comes on and the string piece "Winter" from Vivaldi's Four Seasons plays over the speakers.
ANNOUNCER: It's time to go home. Any students left on campus, please prepare to head home immediately.
EXT. SCHOOL YARD - DUSK
The end-of-the-school-day broadcast echos throughout the yard.
The various athletic club students [stream by] as their practices end.
Shinji looks around as he leaves the building, but Kaworu is nowhere to be seen.
As the athletic club members are cleaning up, they all look up at the sky at once.
–––It's started raining.
Even though the sun is still shining, large drops of rain fall from the sky. {I thought it was supposed to be dusk already!}
The students rush into the school building.
Shinji is enveloped by the golden rain.
EXT. THE ROAD HOME
Kaworu walks home alone with an umbrella in the sun shower.
Someone comes running from behind him and overtakes him.
It's Shinji, completely soaked.
When Shinji notices Kaworu, he stops in his tracks.
Kaworu raises his umbrella a bit and smiles.
SHINJI: ––
Kaworu raises his umbrella again.
Shinji hesitates a bit before joining Kaworu under the umbrella.
KAWORU: Heading to Nerv?
SHINJI: Yeah……
KAWORU: Let's go together then.
The two walk together.
INT. REI'S ROOM
Rei is drying herself off when something catches her eye and she looks out the window.
There's a vivid rainbow over Tokyo-3.
REI: ……
INT. NERV HQ - THIRD LAB
Asuka enters and tries to raise the ramp to Unit 02.
ASUKA: Alright, I wonder if both me and Unit 02 are in good condition today.
RITSUKO'S VOICE: (Over the PA) Wait a second. I'm sorry, but Asuka you're on standby.
ASUKA: Standby…
RITSUKO'S VOICE: The Fifth Child will be taking Unit 02 today.
We see Shinji and Kaworu in their plugsuits on an upper landing.
KAWORU: I thought you hated me, Shinji.
SHINJI: Why……?
KAWORU: I kinda got the feeling you were avoiding me.
SHINJI: I wasn't trying to.
KAWORU: Really?
SHINJI: Really……
We hear Kaworu and Shinji giggling.
ASUKA: ……
INT. NERV HQ - CONTROL ROOM
Misato, Ibuki and Ritsuko looking at the monitors.
RITSUKO: How's the Fifth Chid doing?
IBUKI: His sync is quite high. This is far beyond Asuka's personal best.
MISATO: So, this means he's confirmed as the replacement pilot now?
RITSUKO: Only after we get the results of Unit 02's startup test.
INT. SCHOOL, CLASSROOM (THE NEXT DAY)
Kaworu and Shinji are having fun talking to each other.
Several female students watch from a distance. {this is so retro shoji it burns, also side note: they're -sama'ing Kaworu in this}
GIRL A: That Ikari's such a leech. He's just hanging all over our dear Kaworu.
GIRL B: They even shared an umbrella home yesterday.
GIRL C: (To Asuka who's next to her) Hey, Soryuu, don't you have suspicions about Kaworu and Ikari?
ASUKA: Well, I mean, they are an item after all.
GIRL A: You mean, they're…… you know?
GIRL B: Huh, I don't believe it.
The rumor spreads through the girls' whispers.
Asuka seems to feel a little bad about it, but just sticks out her tongue and feigns ignorance.
INT. SCHOOL, HALLWAY - AFTER SCHOOL
Kensuke stops Shinji as he's about to head home.
KENSUKE: Shinji.
SHINJI: What?
KENSUKE: I was thinking about throwing Touji a party to celebrate getting out of the hospital, so–
SHINJI: Sorry. I can't today, I have a prior engagement…
KENSUKE: Oh, well that's too bad.
SHINJI: Well, later then… {dick move Shinji!}
As Shinji hurries off, we see Kensuke, watching him leave, looking dejected.
EXT. OLD TOWN (NEAR ODAWARA)
A townscape that was submerged 15 years ago.
Ruins of buildings stick out of the ocean in clusters.
Shinji and Kaworu gaze at the scene from the breakwater.
KAWORU: It's like Bruges in the play, 'Die tote Stadt.' Beautiful and desolate.
SHINJI: What's that?
KAWORU: It's the story of a man who closes himself away in a house in the City of Death, not wanting to forget his young wife who died. The man calls one of the rooms, 'The Temple of Memories,' which he carefully fills with his late wife's belongings to maintain her memory. But, a dancer who looks just like his wife appears and throws his heart into confusion. He learns that life and death are different things, and finally resolves to leave the City of Death.
SHINJI: Huh…
KAWORU: Hey, how about a swim?
SHINJI: A swim? Here?
KAWORU: Yeah.
SHINJI: But I didn't bring a swimsuit.
KAWORU: We can just swim in the nude. No one else is here after all.
SHINJI: But……
KAWORU: There's nothing to be embarrassed about. We're both boys.
SHINJI: Yeah, but…
KAWORU: Let's go.
He says as he heads for the water, stripping off his sailor suit.
Shinji follows after him, unbuttoning his clothes.
EXT. SEA
At a shore between the buildings stands Kaworu, without a shred of clothing on.
Shinji follows a bit later.
Kaworu's supple limbs float to the surface of the sparkling water.
Shinji is unconsciously fascinated by his figure.
Kaworu gradually heads deeper into the water but Shinji stops.
KAWORU: (Turning around) Come over here.
SHINJI: I can't go any further…. I can't swim……
KAWORU: It'll be alright. Just hold on to me.
Shinji enters the deeper water as if drawn to Kaworu.
But, Kaworu doesn't take his hand and Shinji nearly drowns.
Kaworu embraces Shinji.
Shinji clings to him.
KAWORU: Hahaha. You really can't swim, can you?
SHINJI: You're so mean. I trusted you……
Shinji bursts out into tears and buries his face into Kaworu's shoulder, sobbing without hesitation.
INT. ROOM IN AN ABANDONED BUILDING - AFTER SUNSET
The sun has disappeared past the horizon, but the sky is dyed emerald green.
Shinji and Kaworu gaze at it as they dress themselves.
KAWORU: Wow…… An emerald sunset.
SHINJI: It's so beautiful.
As Kaworu buttons the sleeve of his sailor suit, Shinji notices several lines of scars on Kaworu's wrist.
KAWORU: Hey. Why were you crying earlier? Are you scared of the ocean?
SHINJI: I don't know….. I-I don't know. I just thought I'd like to sink into the ocean and die.
KAWORU: Why……?
SHINJI: To tell you the truth, I was avoiding you. Next to you, I'm such a pathetic excuse for a person…… I feel like I'm going to go crazy when I'm with you, but, when I can't see you…… I feel so, so anxious…… And when I thought about how you shouldn't spend your life with someone as pathetic as me…… I just felt like dying……
The sky is dark, their figures are in complete silhouette now.
SHINJI: I can't see your face now……. Kaworu, I……
KAWORU: (Interrupting him) I'm sorry……. I don't feel that way about you.
SHINJI: –––
KAWORU: Let's go home separately. I don't want to hurt you any more.
Kaworu leaves by himself.
Shinji stands there in a sea of despair.
INT. MISATO'S APARTMENT, LIVING ROOM - NIGHT
Asuka is playing on the Famicon with Penpen.
Misato comes out of Shinji's room carrying a tray with cold porridge on it.
ASUKA: Shinji's not eating?
MISATO: Yeah, not one bite. I wonder what's wrong. He doesn't have a fever or anything. I wonder if I need to take him to the hospital for a checkup.
ASUKA: That wouldn't do anything.
MISATO: Why?
ASUKA: You know, it's one of those things, "neither doctors nor a soak in the Kusatsu springs" can solve. {not sure what a good English idiom to this effect would be, the full line is more like "love sickness cannot be cured by doctors or a soak in the Kusatsu springs"}
MISATO: Huh……
ASUKA: I'm sure that idiot is crying into his pillow about being spurned by the object of his affections.
MISATO: Object of his affections…
ASUKA: Yeah, it's the Fifth Child. (Standing up) ––Well, I guess I'll go try to cheer him up.
INT. SHINJI'S ROOM
The door opens and Asuka enters.
Shinji is lying in bed, the cover pulled over his head.
ASUKA: Shinji. I don't know what happened, but you can't lie around like this forever.
Shinji doesn't respond.
ASUKA: (Poking Shinji's cheek) Hey, Shinji, say something. Shin-chan.
SHINJI: (Coldly pushing her hand away) Don't touch me with your filthy hands…
ASUKA: –––
SHINJI: Funny hearing this from you. You're the one who started that disgusting rumor. I don't want to see your face, get out.
Asuka angrily storms out of the room.
INT. NERV HQ, HALLWAY - THE NEXT DAY
Kaworu walking down the hall alone.
INT. THIRD CAGE
Unit 02 is submerged in the red coolant. We hear announcements from the sync test operators.
INT. NERV HQ - CONTROL ROOM
They're preparing for the test.
RITSUKO: Shinji [has a crush] on Kaworu!?
MISATO: For a boy to end up like that over another boy, I made a bit miscalculation.
RITSUKO: So, what of Shinji now?
INT. NERV HQ - SICKBAY
Shinji lies on the bed, hugging a pillow
MISATO: He came to HQ, but he's resting in sickbay. He seems completely dejected.
INT. NERV HQ - BACK IN THE CONTROL ROOM
MISATO: To be honest, I had a bit of a bad feeling when I first met Kaworu. But to think it'd end up like this. I'm really at a loss.
RITSUKO: You're jealous of Kaworu. He stole Shinji from you.
MISATO: What are you saying. I'm his guardian, it's my job to worry about him.
RITSUKO: I know you're not as strong as you look. A lot of things have happened these last few months. I think you might have been able to hold it all together because you've been living with Shinji.
MISATO: ……
OPERATOR A: (To Ritsuko) We're past the time scheduled for the test, but the pilot isn't in the entry plug yet.
RITSUKO: That's strange. I'm sure I gave him the right time….
MISATO: I wonder if he got lost. He's still not used to this place.
An alarm bell sounds suddenly.
INT. NERV HQ CENTRAL COMMAND CENTER
Misato and Ritsuko enter.
MISATO: What happened?
AOBA: A suspicious person has trespassed quite a ways into the underground structure. They're heading for Central Dogma.
HYUGA: We have ID data on the subject. They seem to be using Professor Akagi's card.
RITSUKO: What!?
MISATO: No way……
AOBA: I've got a visual on the target through the cameras in P-block.
An image of the underground facility appears on the main screen.
Kaworu is walking around.
RITSUKO: (Into the microphone) What are you doing there? You're not supposed to be in that place.
On the screen, Kaworu looks a bit troubled.
KAWORU: I'm so sorry……
And that instant video noise fills the screen.
IBUKI: AT Field detected in the underground structure!
MISATO: An Angel!
RITSUKO: That's impossible!
INT. PART OF THE UNDERGROUND STRUCTURE
Kaworu is enveloped by dazzling light.
It converges on him and thus he is transformed into an Angel with a core. {lol this would have totally been a magical girl henshin}
KAWORU: This is my…… true form……?
At which point a deadly laser shines on Kaworu.
But, his AT Field deflects it.
INT. NERV HQ COMMAND CENTER
MISATO: Regular weapons are useless against an Angel!
RITSUKO: Immediately overwrite Unit 02's personal data with Asuka's!
IBUKI: Yessir!
INT. PART OF THE UNDERGROUND STRUCTURE
Kaworu heads toward Central Dogma.
He's breaking through the AT Field defense wall.
INT. NERV HQ THIRD CAGE
Unit 02's entry plug is being inserted.
INT. UNIT 02 - ENTRY PLUG
ASUKA: See, what did I tell you!
INT. NERV HQ THIRD CAGE
Unit 02 begins startup procedure.
IBUKI'S VOICE: Main power connected. Initiating startup sequence.
OPERATOR A'S VOICE: Startup voltage in 0.5, 0.2… breakthrough.
OPERATOR B's VOICE: Startup system entering phase two.
INT. UNIT 02 - ENTRY PLUG
Asuka prepares for startup, holding the levers.
OPERATOR C'S VOICE: Pilot, connected.
OPERATOR A'S VOICE: Synapses connected, initiating binding.
The plug's inner walls start to deform in various ways, the picture becomes distorted.
ASUKA: ––!?
OPERATOR B'S VOICE: Her pulse is disturbed!
INT. NERV HQ THIRD CAGE
Unit 02's startup sounds are rapidly fading
INT. NERV HQ COMMAND CENTER
IBUKI: The pilot's harmonics aren't within acceptable limits!
MISATO: ……
INT. UNIT 02 - ENTRY PLUG
Asuka's shoulders tremble as she hangs her head.<nr> The light that had shone on her heartlessly goes out.
INT. NERV HQ COMMAND CENTER
The control room rises and Ikari and Fuyutsuki appear.
FUYUTSUKI: So, you allowed an Angel to get into [Central Dogma].
RITSUKO: My apologies. The fault is all mine……
IKARI: This is a massive blunder, Professor Akagi. I am dismissing you from all of your duties at NERV.
For a second, Ritsuko can't believe her ears.
IKARI: Leave immediately. (To everyone) I will be in direct command from hereon, you'll be following my orders. Lieutenant Katsuragi, prepare Unit 01 for standby immediately.
MISATO: Yessir.
IKARI: Commence startup of α Eva.
IBUKI: Roger that.
The central control staff are in a panic.
No one even looks at Ritsuko.
IKARI: What are you doing, Professor Akagi. Only authorized personnel are allowed in this area.
Ritsuko turns around and leaves.
INT. NERV HQ - CAGE
We see α Eva starting up.
A dummy plug being loaded in.
INT. NERV HQ - SICKBAY
Shinji stands dumbfounded holding the phone.
SHINJI: (In barely a whisper) Kaworu is…… An Angel…….!?
MISATO: Hello? Shinji? Can you hear me?
SHINJI: (Screaming) No! You're lying!!!
INT. NERV HQ - CENTRAL DOGMA
Kaworu continues to descend into Terminal Dogma.
There, we find an object that resembles a large, inverted tree.
Before that gate/door, Kaworu senses something.
INT. NERV HQ - SOME ROOM
Kaworu walks in.
The room is full of broken beakers and test tubes.
It's some kind of lab that was wrecked and just left as-is.
On the wall is the symbol of the Human Instrumentality Project, the seven-eyed mark.
A rainbow/rainbows come off the beaker/s as the light hits it/them.
REI: –––Who are you?
Rei comes out from where she was hiding.
KAWORU: Oh it's you…. What are you doing in this place?
REI: This is where I was born and raised.
KAWORU: Hm. I had a feeling when we shook hands, but you really aren't a Lilin are you?
REI: Lilin?
KAWORU: Human that is.
REI: You're an Angel aren't you?
KAWORU: Angel!? (He laughs like it's preposterous) I'm on servant of God.
REI: When did you realize you weren't a Lilin?
KAWORU: I think it was when I turned ten. I came to this city and first understood my fate. This is what I was seeking.
He says, pointing out the seven-eyed mark.
KAWORU: The real thing is somewhere nearby. Would you take me there?
REI: I can't. You'll cause the Third Impact.
KAWORU: (Not quite believing her) You mean I'll cause a horrible disaster just like the Second Impact?
REI: Yes.
At which point we hear a GUOOOOON! GUOOOOON! sound continuously.
KAWORU: An Eva is coming after me.
REI: (Listening to the sound) It's not Unit 01 or Unit 02 though.
INT. NERV HQ - CENTRAL DOGMA
The Angel and Rei leave the room. {from this point on Kaworu is referred to only as 'the Angel' in the stage directions}
α Eva appears from the darkness.
α Eva, upon confirming the presence of an Angel, attacks like a wild beast having spotted its prey.
The Angel runs away, dragging Rei by the hand.
The Angel handily dodges the berserk α Eva.
Almost like Benkei at Gojo bridge. {http://en.wikipedia.org/wiki/Benkei}
α Eva crashes into a wall and it crumbles.
Through the thick smoke, the upper body of a seven-eyed giant can be seen nailed to a cross.
REI: Adam……
KAWORU: Adam!?
The Angel and Rei are cornered by some of the rubble.
In an act of utter brutality, α Eva swallows the two of them whole.
Nothing more can be done!
At which point Unit 01 appears.
Unit 01 skewers α Eva on its Prog Knife, and cuts it open.
α Eva dies horrifically.
INT. UNIT 01 - ENTRY PLUG
Shinji confirms Rei on the screen.
SHINJI: Ayanami, are you okay?
REI: Yeah.
INT. CENTRAL DOGMA
At some point, the Angel made it to the catwalk overlooking Adam. {how the fuck did Kaworu get here}
The Angel stares at Adam, not moving a muscle.
Ikari's voice comes over the PA system.
IKARI: Angel. Why do you not advance any further?
KAWORU: Commander Ikari, I presume?
IKARI: Indeed.
KAWORU: This is your 'Temple of Memories' isn't it?
INT. PA SYSTEM LOCATION {?}
IKARI: Why do you make no attempt to make contact with Adam? Could it be that you pity humanity?
KAWORU: I'm the one who deserves your sympathy. Because continuing to live is so difficult.
IKARI: You chose death?
INT. CENTRAL DOGMA
KAWORU: Death is the single act of free will I have. The only way to defy my maker.
IKARI: But that's contrary to the basic principle of life.
KAWORU: Angels are creatures that constantly evolve. We have no predetermined form. And death is but another part of life.
We hear Shinji's voice coming from Unit 01.
SHINJI: Kaworu……
KAWORU: Shinji. I knew it would come to this, so I'm glad we had a chance to swim in the ocean together.
INT. UNIT 01 - ENTRY PLUG
SHINJI: You deceived me? You used me?
KAWORU: That's not quite right. I had so much fun spending those days with you. You're the only one who can end my life. If it's by your hand, nothing could bring me greater joy, even death.
SHINJI: (Sobbing) How am I supposed to be able to do that!
INT. CENTRAL DOGMA
KAWORU: Hurry. I can feel something stirring inside me. I think it's my instinct. Right now, I feel like you did before, I don't even know myself. {er, he's mirroring Shinji's line about not knowing why he's crying}
INT. UNIT 01 - ENTRY PLUG
SHINJI: ……
KAWORU: Hurry!
INT. CENTRAL DOGMA
Kaworu suddenly turn around and jumps, diving toward Adam.
REI: Ikari!
INT. UNIT 01 - ENTRY PLUG
SHINJI: –––!
INT. CENTRAL DOGMA
Unit 01 reaches out and grabs the Angel just before it makes contact with Adam.
Crunch.
With that sound, we see a faint grimace on Rei's face.
Blood flows from Unit 01's hand, trickling down.
Finally, Shinji's screams fill the huge room.
(FADE OUT)
INT. CAGE - SOME TIME HAS PASSED
Unit 01 in the coolant.
Shinji is in a corner washing his hands at a sink.
Misato comes over.
MISATO: Shinji…
SHINJI: (Without turning around) The scent of his blood is gone. But, I can still feel it in my hands……
MISATO: Shinji, you admired him didn't you?
SHINJI: He had everything I didn't. He should have survived.
MISATO: That's not true. Only those who desire to live survive.
Shinji doesn't say a word and intently washes his hands.
INT. LOCKER ROOM
Asuka stands there alone.
The door of the locker in front of her is covered in dents like someone punched it over and over.
ASUKA: –––
INT. HALL
We hear the clanging of Asuka beating on her locker from the locker room.
Rei leans against the wall, as if dizzy.
She eventually ends up lying on the ground.
INT. RITSUKO'S LAB
Ritsuko, alone, thinking about something intently.
Several MPs enter the room without knocking.
MAN A: (Holding out a warrant) Akagi Ritsuko. You are under arrest. I'm sure you know all too well what the charges are, Professor, would you care to hear them?
RITSUKO: No, no need. It'd just be a waste of time.
Ritsuko is taken away.
INT. SOMEWHERE - HUMAN INSTRUMENTALITY PROJECT
The committee is gathered.
KEEL: We have just confirmed the elimination of the final Angel as predicted in the scenario. Now there are no barriers to the Human Instrumentality Project.
MEMBER A: But we have a new problem. Ikari Gendou and Unit 01.
MEMBER B: Nerv is of no use to us now.
MEMBER C: He's been using his position as commander to turn Nerv into his personal property.
MEMBER D: Our investigation up until now makes it painfully clear that Ikari has been plotting to turn Unit 01 into a "god" and keep it to himself.
KEEL: As head of SEELE, I think we should dissolve Nerv.
INT. NERV HQ - MAIN COMMAND CENTER
Fuyutsuki and Ikari plotting something.
(FADE OUT)
Original Japanese
新世紀エヴァンゲリオン 第24話「最後のシ者」（第1稿）
○（F・I)ネルフ本部・ケイジ
一角に、全長５mほどの人型兵器が冷却液に侵かっている。
ボディーには『αーTYPEーEVA000』のマーキング。
その前のアンビリカル・ブリッジに立つ碇ゲンドウと冬月コウゾウ。
碇: 「エヴァの新たな試作品、αーエヴァだ」
冬月: 「小型化したエヴァンゲリオンか。今になって、何故このようなものが必要なんだ」
碇: 「人類補完計画のために作られたものだ。これはそのテストタイプさ」
冬月: 「現場への根回しも少しは必要ではなかったのか。零号機復旧作業の凍結についても疑問に思っている人間も多い。赤木博士は独自のルートでエヴァのパイロットを探しているぞ」
碇: 「彼女にはもう少し、頑張ってもらう。E計画は終わっていない。ゼーレのシナリオでは、まだ最後の使徒が残っている」
「 最 後 の シ 者 」
○ネルフ本部・テストプラグ実験場・制御室
グラフの数値を見つめているミサトと伊吹。
ミサト: 「——どう？ 」
伊吹: 「駄目ですね。二人とも過去最低の数値です」
テストプラグのアスカ、レイがモニターに映っている。
ミサト: 「何か原因が考えられるの？」
伊吹: 「まだ明確な回答を得られませんが、二人のシンクロ率低下にはデーター的に相違がみられます。おそらくアスカは精神的要因、レイは肉体的要因によるものです」
ミサト: 「二人がこのままエヴァに乗るには無理があるわね。肝心のパイロットがこれではしょうがないわ。この数週間、リツコが代替パイロットのスカウトに奔走していたわけか」
伊吹: 「今度の適任者はマルドゥック機関の報告書に依らない、初めてのパイロットだそうですね。私、ちょっと心配なんです。今回のことに関しては、赤城博士の勇み足のような気がして仕方がないんです。お気づきになりません？ 先輩は最近、焦ってるって」
ミサト: 「･･････」
○第３新東京市郊外・駅前のロータリー（午後）
一台の車が止まっていて、リツコとシンジが列車の到着を待っている。
リツコ、くわえた煙草に火をつけようとするが、折からの風でうまくいかない。
シンジの掌が自然に伸び、風を避ける。
リツコ: 「ありがとう。（と煙草を吸い）シンジ君って、いつも誰かに気を使っているのね。家に帰っても気の休まる暇、ないんじゃない？」
シンジ: 「そんなことないですよ。それに、最近は3人が揃うこと、少ないですから。ミサトさんはずっと忙しいし、アスカはテストの居残りで、夜遅くまで帰らないし」
リツコ: 「家庭崩壊の種を蒔いているのは、どうやら私のようね」
シンジ: 「しょうがないですよ。仕事なんだから。ただ、ちょっと気になるんです。ミサトさんのお酒の量が増えたみたいで」
リツコ: 「——シンジ君は誰かに恋したこと、ある？」
シンジ: 「まだないですよ・・・・・・」
リツコ: 「ミサトの心の中では、加持君は身体の一部になっていたの。彼がいなくなってから、ミサトは初めてそれに気づいたのね。でも時に切ない気持ちがあふれ出して、どうしようもない事があるわ。そんな夜はチョッピリお酒の力を借りるわけ」
駅のホームに特別列車が滑り込んでくる。
シンジ: 「人を好きになれば、そうゆうことがわかるようになるんですか」
リツコ: 「わかる大人になることね。——さ。フィフスチルドレンのお出ましよ」
停車していた特別列車が発車する。
ホームに可愛らしい紺色の水兵服を着た一人の少年が残される。（渚カヲル）
陽炎の中に立つカヲル。
蜜色の豊かな髪が西日の逆光を受け、キラキラ輝いている。
その神々しい美しさに思わず見とれてしまうシンジ。
カヲルと視線が合うシンジ。どきっ、とする。
○ジオフロント・天井ビルのロビー
エヴァの3パイロットとカヲルとの対面が行われている。
カヲルの横にはミサトとリツコ。
リツコ: 「私達が選んだ5人目の適任者・渚カヲル君よ」
カヲル: 「渚カヲルです。よろしく」
アスカ: 「（目を輝かせ）私、アスカ。惣流・アスカ・ラングレー。よろしくねッ ❤」
と握手する。
リツコ: 「こっちがファースト・チルドレンの綾波レイ」
カヲル: 「よろしく」
レイ: 「（相変わらず無表情で）こちらこそ」
握手を交わした二人、ほんの一瞬、見つめ合う。
ミサトは暗く沈んだ様子のシンジを見ている。
○ネルフ本部・写真室
正面を向くカヲルに、パッとフラッシュの閃光。
○同・別室
プリンターからカヲルのIDカードが出てくる。
ミサト: 「（それを取り上げ）渚カヲル・・・なかなかの美形じゃない」
リツコ: 「可愛いだけじゃないわ。向こうでも成績優秀、スポーツ万能の神童で評判だったそうよ」
ミサト: 「シンジ君が彼にコンプレックスを持たなければいいのだけど。アイツ、すぐイジけちゃうから。今日もちょっとそんな感じあったし」
リツコ: 「（ミサトを横目で見て）過保護ね・・・・・・」
○中央病院・全景
ケンスケの声:「ちわーッす」
トウジの声: 「おう、ケンスケやないか。見舞いに来てくれたんか」
○同・病室
ベッドの上のトウジと、見舞いに来たケンスケ。
ケンスケ: 「受付で聞いたけど、明日にも退院だって？」
トウジ: 「ああ。来週から行けると思うわ」
ケンスケ: 「治ったら、またエヴァに乗るのか？」
トウジ: 「いや、勘弁してもらうことにした。大して引き留められへんかったところを見ると、あんまし期待されてへんかったみたいやな。わははは。（と寂しげに笑う）」
ケンスケ: 「そうか・・・・・・」
トウジ: 「ところで、学校の方はどないや」
ケンスケ: 「ま、相変わらずと言えば相変わらずだな。そういや最近、転校生が来たよ」
○ケンスケのビデオ録画
学校の教室で、黒板に自分の名前を書いているカヲル。
ケンスケの声: 「名前は渚カヲル。こうゆうのを美少年って言うんだろうな」
トウジの声: 「ワシには負けるけどな」
書き終わり、正面を向くカヲル。
ケンスケの声: 「見てみろよ。女たちのリアクション」
色めき立つ女子たちの様子。
トウジの声: 「メスどもが、色づきよって」
休み時間。中庭で女の子たちと談笑しているカヲル。
ケンスケの声: 「転校して来た早々、ファンクラブが結成される始末さ。校内の女子全員が入会したんじゃないのかな。ごく一部を除いてね」
我関せず、頬杖をついているレイ。
トウジの声: 「ま、コイツはこうやろ」
パンすると、しょんぼりした様子のアスカ。
トウジの声: 「惣流、元気ないやないか。一番騒ぎそうな奴なのに」
ケンスケの声: 「朝にはみんなの先頭になって騒いでいたけど、今、転校して来るってことは、エヴァのパイロットになるってことだろ。惣流にとってはライバルの出現ってわけだよ。アイツ、最近、弐号機とのシンクロ、うまく行ってないようだから」
アスカ、フォーカスされているのに気づき、カメラに物を投げつける。
以下、サンドノイズ。
○もとの病室
携帯ビデオのモニターを収めるケンスケ。
ケンスケ: 「今度の転校生、早3日でクラスの貴公子と言ったところさ」
トウジ: 「貴公子や何や知らんけど、いけすかんやっちゃな」
ケンスケ: 「鈴原は新入りが来るときまってそうだな。だいたい転校生ってのはいけすかないもんなんだよ。シンジの時もそうだったじゃないか」
トウジ: 「シンジの奴はどないしてんねん」
○第壱中学校・２-A教室（放課後）
シンジ、席に座り、机の上の両腕に顔を伏せている。
シンジの他には誰もいない。
どこからかピアノの音が聞こえてくる。
カバンを取りに来たヒカリが入って来る。
ヒカリ: 「あれ。碇君、いたの」
シンジ: 「（顔を上げ）うん･･････」
ヒカリ: 「相田君と一緒に鈴原のお見舞いに行ったんだと思ってた」
シンジ: 「ちょっと・・・・・・ね」
ヒカリ: 「（ピアノの音色に気づき）渚君が弾いているんだ。彼、上手ね。———じゃ、お先に」
シンジ: 「さよなら」
再び一人のシンジ、もの憂げな様子でピアノの音色を聴いている。
○シンジの記憶——駅
視線の合ったカヲル、フッとほほ笑む。
カヲル: 「よろしく」
シンジ: 「（吃ってしまい）こ、こちらこそ」
頬を染め、俯いてしまうシンジ。
○第壱中学校・音楽室
ピアノの鍵盤を叩いているカヲル。
○同・2-A教室
ピアノの曲が、何か不自然な終わり方をする。
シンジ: 「・・・・・・」
○同・音楽室
恐る恐るドアを開けるシンジ。
——中には誰もいない。
階段の方から去っていく足音が聞こえて来る。
○同・階段
駆け降りるシンジ。
だが足音には追いつかない。
その時、校内スピーカーからヴィヴァルディの『四季』・”冬”の弦楽のユニゾンが流れる。
アナウンス: 『下校の時刻になりました。学校に残っている生徒は、直ちに下校準備をしてください』
○同・校庭（夕方）
響き渡る下校放送。
次々に練習を終える運動部の生徒たち。 校舎から出て来たシンジ、見回すが、カヲルの姿はない。
用具を片付けていた運動部員たち、一斉に空を仰ぐ。
——雨だ
太陽が照っているにもかかわらず、大粒の雨が降り出す。
生徒たち、急いで校舎内に駆け込む。
黄金色の雨に包まれるシンジ。
○帰り道
お天気雨の中、一人、傘をさして帰るカヲル。
誰かが後ろから駆けて来て、追い抜いて行く。
それはずぶ濡れになったシンジである。
シンジ、カヲルに気づいて、立ち止まる。
カヲル、傘を少し持ち上げ、ニコッと笑う。
シンジ: 「——」
カヲル、もう一度、傘を持ち上げる。
シンジ、少しためらうが、カヲルの傘の下に入る。
カヲル: 「これからネルフに行くの？」
シンジ: 「うん・・・・・・」
カヲル: 「じゃ、一緒に行こう」
二人、歩きだす。
○レイの部屋
濡れた体を拭いていたレイ、ふと気づいて、窓の外を見やる。
第３新東京市に鮮やかな虹の橋が架かっている。
レイ: 「・・・・・・」
○ネルフ本部・第３試験場
アスカが入って来て、弐号機のタラップを上がろうとする。
アスカ: 「さてと、今日も私の弐号機はナイス・コンディションかな」
リツコの声: 『（アナウンス）ちょっと、まって。悪いけど、アスカは後にして』
アスカ: 「後って・・・・・・」
リツコの声: 『弐号機にはフィフスチルドレンが入るから』
上の踊り場にはプラグスーツを着たシンジとカヲルの姿が見える。
カヲル: 「僕、シンジ君に嫌われているのかと思っていた」
シンジ: 「どうして・・・・・・？」
カヲル: 「何だか、僕を避けてたみたいだから」
シンジ: 「そんなことないよ」
カヲル: 「ホントに？」
シンジ: 「ホントだよ・・・・・・」
シンジとカヲルのクスクス笑いが聞こえてくる。
アスカ: 「・・・・・・」
○同・制御室
モニターを見ているミサト、リツコ、伊吹。
リツコ: 「フィフスチルドレンの調子はどう？」
伊吹: 「高いシンクロ率を示しています。これはアスカの自己ベストをも遥かに凌いでいます」
ミサト: 「じゃあ、今のままでは代替パイロットは彼で決まりということ？」
リツコ: 「弐号機の起動試験の結果次第では、そうゆうことになるわね」
○第壱中学校・教室（翌日）
楽しげにおしゃべりしている様子のシンジとカヲル。
それを遠巻きに見ている数人の女子生徒たち。
女子生徒A: 「碇君たら、腰ぎんちゃくみたい。カヲル様に纏わりついちゃってさ」
女子生徒B: 「昨日も相合い傘で帰ってたわよ」
女子生徒C: 「（側にいたアスカに）ねえ、惣流。カヲル様と碇君、怪しくない？」
アスカ: 「だって、あの二人、デキてるんだもの」
女子生徒A: 「それって、あの二人が・・・・・・ってコト？」
女子生徒B: 「えーッ、信じられない」
撒いた噂が女子生徒たちのヒソヒソ話に乗って、伝えられていく。
アスカ、少し後悔した様子を見せるが、ペロッと舌を出し、しらんぷりする。
○同・廊下（放課後）
帰ろうとするシンジを呼び止めるケンスケ。
ケンスケ: 「シンジ」
シンジ: 「何？」
ケンスケ: 「うちでトウジの退院祝いのパーティやろうかと思ってるんだけど」
シンジ: 「ごめん。今日はちょっと、先約があるんだ・・・・・・」
ケンスケ: 「そうか、そりゃ残念」
シンジ: 「じゃ、また・・・・・・」
そそくさと去って行くシンジの後ろ姿を寂しげに見送るケンスケ。
○旧市街（小田原あたり）
15年前に水没した街並み。
海の中から突き出したビルの廃墟が林立している。
防波堤の上からそれを眺めているシンジとカヲル。
カヲル: 「『死の都』の舞台・ブリュージュのようだ。美しくて、寂しくて」
シンジ: 「何なの、それは」
カヲル: 「若くして死んだ奥さんを忘れられずに、死の都の家に閉じこもってしまったという男の物語だよ。男は部屋の一つを『ありし人の教会』と呼んで、思い出がつまった亡き妻の持ち物を大切に保管している。だが、妻と瓜二つの踊り子が現れ、心をかき乱された男は、生と死が別のものであることを悟り、最後は死の都から出て行く決心をするという話さ」
シンジ: 「ふうん・・・・・・」
カヲル: 「ねえ、泳がない？」
シンジ: 「泳ぐって、ここで？」
カヲル: 「うん」
シンジ: 「水着、持って着てないよ」
カヲル: 「裸で泳げばいいさ。他に誰もいないのだから」
シンジ: 「でも・・・・・・」
カヲル: 「何を恥ずかしがってるの。男同士だろ」
シンジ: 「そうだけど・・・・・・」
カヲル: 「行こうよ」
と水兵服を脱ぎながら、水辺へと進んでいく。
シンジも後について行きながら、服のボタンを外す。
○海
ビルの谷間の浅瀬を、一糸纏わぬ姿で入っていくカヲル。
少し遅れてシンジ。
水面のきらめきの中にカヲルのなよやかな肢体が浮かび上がる。
その姿に思わず見とれてしまうシンジ。
カヲルはどんどん沖へと進んでいくが、シンジはついて行けずに、立ち止まってしまう。
カヲル: 「（振り返り）こっちへおいでよ」
シンジ: 「ここから先はダメだよ・・・・・・。僕、泳げないんだ・・・・・・」
カヲル: 「大丈夫。僕につかまればいい」
カヲルに吸い寄せられるようにして、シンジは深みへと入る。
だが、カヲルは手を引っ込めてしまい、シンジは溺れそうになる。
シンジを抱き寄せるカヲル。
しがみつくシンジ。
カヲル: 「ははは、本当に泳げないんだね」
シンジ: 「意地悪。信じていたのに・・・・・・」
不意に涙を流すと、シンジはカヲルの肩に顔を埋め、訳もなく嗚咽する。
○ビルの廃墟・一室（日没後）
水平線に消えた夕日が、空を緑色に染めている。
服を着ながら、それを眺めているシンジとカヲル。
カヲル: 「すごい・・・・・・緑色の夕焼けだ」
シンジ: 「きれいだね」
シンジ、水兵服の腕のボタンをはめるカヲルの手首に幾筋もの傷が入っているのに気づく。
カヲル: 「ねえ、さっきは、何で泣いたりしたの？ 海が怖かったの？」
シンジ: 「わからない・・・・・・。僕、自分で自分がわからないんだ。あの海に沈んで、死んでしまいたいって思った」
カヲル: 「どうして・・・・・・？」
シンジ: 「確かに僕は君を避けていた。カヲル君に比べると、僕なんてみじめでつまらない人間なんだろう・・・・・・君のそばにいると気が狂ってしまいそうで、そのくせ姿が見えないときには・・・・・・不安で不安で・・・・・・。そうゆういじましい自分と一生つきあっていかなきゃならないと思うと・・・・・・僕はもう、死んでしまいたい・・・・・・」
空はすっかり翳り、二人の姿は完全なシルエットになる。
シンジ: 「もう、顔も見えなくなっちゃった・・・・・・。カヲル君、僕は君のことが・・・・・・」
カヲル: 「（遮り）ごめん・・・・・・そうゆうのイヤなんだ」
シンジ: 「——」
カヲル: 「別々に帰ろ。これ以上、傷つけたくないから」
一人,去って行くカヲル。
シンジ、絶望の淵に立たされる。
○ネルフ本部・中央作戦司令室・発令所
入ってくるミサト、リツコ。
ミサト: 「何があったの？」
青葉: 「不審者が大深度地下施設に侵入。セントラルドクマに向かっています」
日向: 「IDのデータが入りました。赤木博士のものが使われています」
リツコ: 「何ですって！？」
ミサト: 「まさか・・・・・・」
青葉: 「Pブロックの監視カメラが目標の可視映像をとらえます」
主スクリーンが大深度地下施設の画像を映す。
歩いているのはカヲルである。
リツコ: 「（マイクに）どうしてそこにいるの。あなたはそこに入って行けないはずでしょ」
画面のカヲル、少し困ったような顔をする。
カヲル: 『ごめんなさい・・・・・・』
といった瞬間、パッと画面にノイズが走る。
伊吹: 「大深度地下施設にATフィールド確認！」
ミサト: 「使徒！」
リツコ: 「そんな馬鹿な！」
○同・大深度地下施設の一角
目も眩まんばかりの光に包まれているカヲル。
それが収束すると,彼はコアを持った使徒に変容している。
カヲル: 「これが僕の・・・・・・本当の姿・・・・・・？」
その時、突然、カヲルに向かって殺人レーザーが照射される。
だが、ATフィールドがそれを跳ね返してしまう。
○同・発令所
ミサ: 「使徒に対して、通常兵器は何の役にも立たないわ」
リツコ: 「弐号機のパーソナルデータを至急、アスカに書き換えて！」
伊吹: 「はい！」
○同・大深度地下施設の一角
セントラルドグマへ進んでいくカヲル。
ＡTフィールド防御壁を突き破って行く。
○同・第３ケイジ
弐号機にエントリープラグが挿入されていく。
○弐号機・エントリープラグ
アスカ: 「だーから、言わないこっちゃないんだから」
○ネルフ本部・第３ケイジ
起動準備に入る弐号機。
伊吹の声: 『主電源接続完了。起動用システム作業開始』
オペAの声: 『稼動電圧まであと0.5、0.2・・・突破』
オペBの声: 『起動システム、第２段階へ移行』
○弐号機・エントリープラグ
レバーを持って、起動に備えているアスカ。
オペCの声: 『パイロット、接合に入ります』
オペAの声: 『シナプス挿入、結合開始』
プラグの内壁が様々に変容していくが、その画像が乱れる。
アスカ: 「——！？」
オペBの声: 『パルスが乱れています！』
○ネルフ本部・第３ケイジ
弐号機の起動音が急速に落ちていく。
○同・発令所
伊吹: 「パイロットのハーモニクスが許容値にまで達してません！」
ミサト: 「・・・・・・」
○弐号機・エントリープラグ
肩を震わせて俯いているアスカ。
彼女を照らしていた明かりが、無情にも消えていく。
○ネルフ本部・発令所
司令室がせりあがり、碇と冬月が姿を現す。 冬月: 「使徒の侵入を許したのだな」
リツコ: 「申し訳ありません。責任は全て私に・・・・・・」
碇: 「大失態だな、赤城博士。ネルフにおける全ての職務から君を解任する」
一瞬、我が耳を疑うリツコ。
碇: 「直ちにここから出て行きたまえ。（一同に）これより私が直接、指揮を取る。葛城３佐。初号機のパイロットを至急、スタンバイさせろ」
ミサト:「はい」
碇: 「αーエヴァを起動開始」
伊吹: 「了解」
慌しく動き出す中央作戦司令室のスタッフたち。
誰もリツコの方を見ようとしない。
碇: 「何をしている赤木博士。ここは関係者以外、立ち入り禁止のはずだ」
リツコ、踵を返して、去って行く。
○同・ケイジ
起動するαーエヴァの描写。
搭載されるダミープラグ。
○同・医務室
内線の受話器を持ち、呆然とした様子のシンジ。
シンジ: 「（声にはならない声で）カヲル君が・・・・・・使徒・・・・・・！？」
ミサトの声: 『もしもし、シンジ君、聞こえる？』
シンジ: 「（絶叫）嘘だッ！ そんなの嘘だ！！」
○ネルフ本部・セントラルドグマ
を下降していくカヲル。
そこはまるで、巨大なさかさまの木のような形をしている。
カヲル、とある扉の前で何かの気配を感じる。
○同・一室
カヲルが入って来る。
割れた試験管やビーカーの散乱する室内。
すでに破壊され、放置されたままの施設である。
壁には人類補完委員会のシンボル、７つ目のマーク。
ビーカーに当たった光が虹を生む。
レイ: 「——誰？」
物陰から姿を現したのはレイである。
カヲル: 「君か・・・・・・。どうしてこんな所に？」
レイ: 「ここは私の生まれ育った場所だもの」
カヲル: 「ふうん。握手した時から思っていたけど。君はリリンではないって」
レイ: 「リリン？」
カヲル: 「人間のことさ」
レイ: 「あなたは使徒だったのね」
カヲル: 「使徒！？（おかしそうに笑い）僕は神様の使いなんかじゃないよ」
レイ: 「あなた自身がリリンじゃないと気づいたのはいつ？」
カヲル: 「十になった時からかな。この街にやってきて、初めて自分の宿命というものがわかった。僕が求めているのはコレだったんだ」
、7つ目のシンボルマークを指す。
カヲル: 「実物は、この近くにあるよね。案内してほしいな」
レイ: 「それは駄目。サードインパクトが起こってしまう」
カヲル: 「（些か信じられず）あのセカンドインパクトのような大惨事が起こるの？」
レイ: 「そうよ」
その時、グォオオン！ グォオオン！ と大音響が連続する。
カヲル: 「エヴァが追ってきた」
レイ: 「（その音を聞いて）初号機でも弐号機でもないわ」
○同・セントラルドグマ
一室から出てくる使徒とレイ。
暗闇の奥からαーエヴァが現れる。
αーエヴァ、使徒を確認すると、獲物を見つけた猛獣のように襲いかかる。
使徒、レイの手を引いて、逃げる。
猪突猛進のαーエヴァ、かろやかにそれをかわす使徒。
まるで五条橋の義経と弁慶だ。
αーエヴァが激突した壁が崩れ落ちる。
濛々たる煙の向こう側に十字架にかけられた７つ目の巨大の上半身が見える。
レイ: 「アダム・・・・・・」
カヲル: 「アダム！？」
その隙を衝かれて、使徒とレイは袋小路に追い詰められてしまう。
凶暴さを丸だしにして二人諸共喰いつこうとするαーエヴァ。
万事休す！
その時、シューターに乗って、初号機が現れる。
初号機、プログナイフでαーエヴァを串刺しにし、支柱に突き立てる。
悲惨なαーエヴァの断末魔。
○初号機・エントリープラグ
スクリーンに映るレイを確認するシンジ。
シンジ: 「綾波、無事？」
レイ: 『ええ』
○セントラルドグマ
いつのまにか使徒はアダムを見下ろす手摺りのところまで来ている。
使徒、アダムを見つめたまま、動かない。
スピーカーから碇の声が聞こえて来る。
碇: 『使徒よ。何故それ以上、進もうとしない』
カヲル: 「碇司令ですね」
碇: 『そうだ』
カヲル: 「ここはあなたにとっての『ありし人の教会』なんですね」
○発令所
碇: 「何故、君はアダムに触れようとはしない。人類に対する同情、哀れみかね」
カヲル: 『いたわりですよ。僕自身に対するね。生き続けることは、つらいことだから』
碇: 「死を選ぶのか？」
○セントラルドグマ
カヲル: 「死は僕に与えられた、唯一の自由意志。造物主の命に逆らえる、唯一の手段なんですよ」
碇: 『それが生命の原則に反していてもか』
カヲル: 「生命とは絶えず変化していくものです、形を定めるものではありません。死もまた生の一部に外ならないから」
初号機からシンジの声が聞こえて来る。
シンジ: 『カヲル君・・・・・・』
カヲル: 「シンジ君。こんな結末になるとわかってたのなら、あの時、一緒に海に沈めばよかった」
○初号機・エントリープラグ
シンジ: 「君は僕を騙していたの？ 利用しただけなの？」
カヲル: 『それは違うよ。君と過ごした数日間、とても楽しかった。僕の命を絶つことができるのは君だけだ。君の手にかかって、死ぬなら、こんな幸福なことはない』
シンジ: 「（泣きじゃくり）そんなことできるわけないじゃないか！」
○セントラルドグマ
カヲル: 「早く。体の中で、何かが僕を突き動かそうとしているのがわかるんだ。それは僕の本能なんだと思う。今の僕は、あの時の君のように、自分で自分がわからないんだ」
○初号機・エントリープラグ
シンジ: 「・・・・・・」
カヲル: 「早く！」
○セントラルドグマ
カヲル、いきなり身を翻したかと思うと、パッと跳躍し、アダムに向かってダイビングしていく。
レイ: 「碇君！」
○初号機・エントリープラグ
シンジ: 「——！」
○セントラルドグマ
初号機の腕が伸びて、アダムに接触する寸前にガッと使徒を掴む。
ぶちゅ。
という音とともに僅かに顔をしかめるレイ。
初号機の掌の中から血が溢れ、滴り落ちている。
やがて、シンジの絶叫が巨大な空間に響き渡る。
（Fade Out)
○ケイジ（時間経過）
冷却液に浸かっている初号機。
流しがある一角で放心したように手を洗っているシンジ。
ミサトが来る。
ミサト: 「シンジ君・・・・・・」
シンジ: 「（振り向きもせず）血の臭いが取れないんだ。それに、潰した時の感触も・・・・・・」
ミサト: 「シンジ君は、彼にあこがれていたのね」
シンジ: 「彼は、ぼくにないものをみんな持ってた。生き残るなら彼の方だ」
ミサト: 「それは違うわ。生き残るのは、生きたいという意志をもつものだけよ」
シンジ、無言のまま、ひたすら手を洗っている。
○更衣室
一人、佇んでいるアスカ。
何度も殴りつけたのか、目の前のロッカーの蓋はボコボコにへこんでいる。
アスカ: 「——」
○通路
更衣室からガンガンと、アスカがロッカーを叩く音が聞こえてくる。
目眩をおこしたのか、つらそうな様子で壁に凭れているレイ。
ついには床に伏せてしまう。
○リツコの研究室
一人、じっと何かを考えている様子のリツコ。
ノックもなしに数人の警務部の男が入ってくる。
男A: 「（令状を出し）赤木リツコ。君を逮捕する。容疑の詳細は博士自身が一番ご存知のはずだが、読み上げましょうか？」
リツコ: 「いえ、結構よ。時間の無駄でしょ」
リツコ、連行されて行く。
○どこか（人類補完委員会）
委員会のメンバーが集まっている。
キール: 「たった今、シナリオに記されていた最後の使徒の殲滅が確認された。これにより人類補完計画に対する障害はなくなったのだ」
委員A: 「だが、新たなる問題が浮上しつつある。碇ゲンドウと初号機だ」
委員B: 「ネルフも今となっては無用の長物」
委員C: 「奴は総司令の地位を利用してネルフを私物化した」
委員D: 「碇が初号着を”神”にしてそれを占有しようとたくらんでいることは、これまでの調査によっても明らかだ」
キール: 「私はゼーレの首長として、ここでネルフの解体を決議したいと思う」
○ネルフ本部・総司令公務室
何事か密議している碇と冬月
(Fade Out)
Notes
- ↑ "脚本：薩川昭夫 "Screenplay: Akio Satsukawa.
Illustrations included in this magazine are also made by a third-party doujinshi author, and are not official. - ↑ "In TV anime, as the staff meetings between producers and the directors proceed, the screenwriters write the script.The manuscript goes through the "first draft", "second draft", and the script becomes the "definitive draft." The director draws the storyboard based on the script that has become the "definitive draft". The storyboard is the movie’s blueprint, which has been filled in with the composition of each cut, acting, lines, second count and the like. In anime, the greater part of the director’s "directing" process occurs in the phase of drawing this storyboard. It is not unusual for the contents to change in the storyboard stage. There are also cases when it becomes almost a completely different story.
Among all 26 episodes of the TV version of “Neon Genesis Evangelion”, Director Anno himself wrote the scripts for five episodes, and is credited jointly with other screenwriters for the scripts of 20 episodes. The number of scripts that were jointly credited are the definitive drafts of scripts based on plots by director Anno written by screenwriters and gone over directly by director Anno. [..] Just by looking at these numbers, you will understand how much director Anno pulled the series together by his personal authorship." - Evangelion Original I - ↑ "The process of how these scripts reached the point of definitive drafts is exactly as follows.
First, Anno prepares a memo that simply writes out each episode’s idea. The screenwriters write a script based on that memo. Going through staff meetings that center on the director, the screenwriters go through the second and third drafts and for the time being are finished. In addition, Anno directly goes over the scripts that the screenwriters have finished and the script becomes the definitive draft.Not matter how high their level of completeness is as TV anime scripts, the times when the scripts completed by the screenwriters do not match Anno’s sensibilities or creativity, do not pass.After the script’s definitive draft, Anno ends up revising and correcting even further in the storyboard stage. You can say there is a thorough system for producing the film according to Anno’s intent. - Evangelion Original II - ↑ "This book is a collection of scripts for "Neon Genesis Evangelion." Excluding the stories whose scripts Anno handled directly, the scripts traced the following process in reaching the point of definitive drafts. First, Anno prepares an idea memo for each episode. The screenwriters write a script based on that memo and go through staff meetings that center on the director. On behalf of the staff, the screenwriters go through the second and third drafts. And then Anno directly corrects and revises the finished script and it is completed. As you’ll understand if you see the text, in scripts that are completed this way, the directions regarding the screen image are meticulous and the action and staging are quite concretely depicted. Therefore, the storyboard that is written in characters (letters), that is, the "wordboard-al" hue is also strong." - Evangelion Original III
- ↑ Another example: While contributing to all episodes as a key frame animator, he (Mitsuo Iso) also – in addition to what’s been credited – proposed a number of setting details affecting the script direction and the work as a whole. On episode 13, “Angel Invasion”, he was involved as screenwriter and assistant settei artist. This was his screenwriting debut. He shares the “Screenplay” credit with Akio Satsukawa and Hideaki Anno. Since the script contents that Iso completed were over twice the usual amount, they were recompiled by Akio Satsukawa and turned into the final manuscript through Director Anno’s edits. -Mitsuo Iso Animation Works: Preproduction
- ↑ "As for the Evangelion manga, Sadamoto claims to have made it entirely by himself, without consulting with anyone, so any differences with the anime were all decided solely by him; this in contrast to the anime where all decisions were made as a group, all sitting in the same room and arguing." - Sadamoto Milan Manga Festival 2013
- ↑ "So for those of you who were wondering, the famous first and second drafts of episode 24 are not in this book, however the content that is in here is still pretty interesting. The included script for episode 24 is much closer to the actual episode that was produced – the original version, not the Directors’ Cut version – but there are some differences. (Does that mean we should call this the third draft? Heck, for all we know, it might actually be the fifth draft, or eighth draft, or something… making a show like this is a lot of work!)" - Evangelion Original III review
- ↑ But Mr. Anno's style on EVANGELION was not so. He wants to put it together episode-by-episode. It's just like the style of a manga. In your typical manga, the artist doesn't have any picture of the last scene, or the last episode. They just think of building up on past episodes. And finally, the manga artist, and his assistants, and editor...[BURIES HEAD IN HANDS], they work out an idea about the last sequence. If it's a good idea, the whole episode is very good. If they can't make a good idea, the whole episode is not so good. It's an unhappy story. And I think that's what happened with the last two episodes of EVANGELION. Mr. Anno and his staff couldn't make a good idea for it. He told an anime magazine in Japan that he couldn't make what he wanted because of schedule or budget. But that's not correct. I talked with Mr. Yamaga and Mr. Anno. They said, "It's not only a problem of schedule or budget. It's a problem of what the ending is going to be." Mr. Anno couldn't decide. Mr. Anno's and my own style of production are very different. - Toshio Okada, Return of the Otaking
- ↑ https://forum.evageeks.org/post/364688/NGE-Ep24-Script-First-and-Second-Drafts/#364688
- ↑ Anno: That’s right, that’s right. There was a scene in a music room after an evacuation, when no one was there. Interviewer: What is the connection between Kaworu-kun and this image of music? Anno: I don’t think it was words. It was as communication, when he’d first come. Interviewer: Shinji also played the cello, and played music once, didn’t he? Or else, was that a variety of therapy, or something? Anno: No, I don’t know. That was the scriptwriters’ idea. Well, it was just that the character gave off the feeling of a cello. Interviewer: Did that first script do anything like take on that sort of form? Anno: It didn’t. It just went as far as the scenario.
- ↑ Interviewer: So, your first meeting with Mr. Anno was when you participated in "Nadia: the secret of Blue Water" as an editor, right?
Satsukawa: That's right. The editing of Nadia was originally planned to be done by [...] But there was trouble between Mr. Anno and the said editor. That's how the office I worked in got the job after the 10th episode.
[...] you made your screenplay debut as a scriptwriter with Mr. Jissoji's "The Watcher in the Attic," Did Mr. Anno saw it?
Satsukawa: No, he didn't watch "Attic".
Interviewer: So he asked you (to be his writer) out of the blue?
Satsukawa: Right. He probably never read what I wrote.
[...]Funnily enough, personally, I am not like that. In Eva, for example, I think the part where my personality was truly projected wasn't this Kaworu part, but episode 15.
[...] Satsukawa: I picked the cello piece that Shinji plays in episode 15. - Love & Pop Theatrical Booklet (1998) - ↑ Sore o Nasumono
- ↑ Evangelion 2.0 Complete Records Collection
- ↑ Anno: As might be expected, this was what you’d call above my tolerance level. [...] Anno: Around the time when you’re a middle school student, you often go with friends to public bath-houses and stuff, right? On the way home from school and so forth. Also, going there right after you go play at the beach, just as you are. There are more public baths in the boonies, you see. So it almost feels like a watering hole for men. Well, people don’t go washing each other’s backs or any skinship things like that. In any case, it’s a sort of place that you can all go to together, play there, and head home.
- ↑ Interviewer: Speaking about the blushing, is it because Shinji was happy that someone said they like him? Anno: Yes, Shinji kun really didn’t experience carnal desire there.
- ↑ I: But it caused female audiences in front of their televisions to shriek with joy. M: We never thought it will turn out like that. T: Was it not planned? M: We really only realised it afterwards and never thought of much at that time, after all we were going berserk. - Shizo/Parano interview "judging Hideaki Anno in his absence"
- ↑ M: That interview in which he pushes all responsibility to Satsukawa is interesting. But when we came up with the original idea, did it start out as such? H: eh? M: Not that level of homo, did Satsukawa up it? H: His descriptions are def top-notch. [Indicating, he is a good writer] M: In JUNE it shows that the scripts originally had skinny dipping, musical duets and stuff (laughs) A: Skinny dipping?! M: Yeah, completely naked. I didn’t want to draw that, like to a “If thats how it is I’ll quit” extent. A: Isn’t that basically porn? M: So when I stated we must change it, it became Anno’s expert bathing. A: His favourite public baths. H: Why hand-holding though? M: Because thats what the script said. H: (flips to the relevant page of the script) it says “touched his hand”. Isn’t it touched, but you drew “hold” (laughs). M: Because thats what the artist drew and I wasn’t really too concerned and ok-ed it. (laughs) there was basically no time. - NGE Storyboards Collection, Vol.3-4
- ↑ According to the the storyboards
- ↑ Evangelion Proposal
- ↑ He wasn’t the last Angel from the baginning. At first, the information they gave me only said that Kaworu was a humanoid Angel who appeared at the finale stage of the Anime. But at that time, I had already worked out something similar—since the gradually appeared Angel all had different shapes and characteristics, they should become more closer to human. Then there also came with the subtitle “Cat and Transfer Student” when they were planing it. If I have to figure out Anno’s intention, I think he may awared the “Monster Messenger and Boy” (Ep.33) in The Return of Ultraman. It is where a monster named Muruchi appeared. - All About Kaworu Nagisa interview with Sadamoto
- ↑ Anno: "[...] In the initial stages, he was a pretty boy who carried around a cat. The very first plot title was “The cat and the transfer student.” It was a story about transfer student carrying a cat coming to the school and so forth. As we went on with it, in episode 24, it had already moved away from the school, so. It would have still have been good if it had come between episodes 11 and 16, though."
- ↑ "Kaworu Nagisa was sent to NERV headquarters by the Human Instrumentality Committee, specifically by SEELE. The unusual circumstances surrounding Kaworu's assignment were met with more than a little reservation by a portion of NERV personnel, including Misato Katsuragi. Despite their misgivings, Kaworu became a cherished friend to the first NERV employee he met, Shinji Ikari. Kaworu deemed Shinji to be "favorable," an almost peculiar and straightforward appraisal that Shinji had never experienced before. Perhaps as a result of this unusual approach, Kaworu managed to quickly secure a special place in Shinji's heart, especially because Shinji had only recently lost most of the people he had considered close friends. Tragically, Kaworu would later be revealed as an Angel, an enemy that Shinji was fated to destroy. When he saw the pain and inner struggle in Shinji's eyes upon discovering the truth, Kaworu willingly offered up his life to Shinji. This act of having his life ended by his friend Shinji was symbolic of Kaworu's desire for humanity to choose the path of life. In those last moments, it seemed to be Kaworu's sincere wish that humans continue to exist. Kaworu also briefly interacted with Rei Ayanami, and the two confessed to sharing a sense of empathy for one another. This exchange demonstrated that both individuals were aware on some level that they were different from everyone else.
Kaworu took an instant liking to Shinji Ikari and was quite assertive in his efforts to forge a friendship with him. The actions Kaworu took as a "human" moved Shinji on a relatively deep level and encouraged him to open up. However, this also resulted in a devastating sense of hopelessness when things ended tragically between them." - The Essential Evangelion Chronicle Side B - ↑ "After bathing together, Shinji spent the night in Kaworu's room and expressed a fondness for his new friend. The next morning, Misato felt uneasy about the fact that she had not been able to uncover any definitive information about Kaworu's identity and went to visit Ritsuko, who had been imprisoned. In response to Misato's inquiry, Ritsuko responded that Kaworu was the final messenger. These words proved to be true when Kaworu revealed himself to be an Angel by taking control of EVA-02 and infiltrating Terminal Dogma. Shinji was dumbfounded and had a hard time comprehending this unexpected truth. Kaworu made it all the way to "Adam" only to discover that the giant was not Adam at all, but rather Lilith. EVA-01 showed up shortly thereafter, and Kaworu was captured willingly. Kaworu begged for Shinji to kill him, and after some hesitation, Shinji conceded. Shinji raged over his own actions and declared that Kaworu, if anyone, deserved to live. Misato replied that only those who actually desire life deserve that privilege." - The Essential Evangelion Chronicle Side B
- ↑ "Kaworu Nagisa, the mysterious boy who had been popping up in the opening sequence for so long, finally made his debut in this episode. The proposal for the series structure clearly indicated that Kaworu was an Angel disguised as a human boy who would first appear toward the end of the series, so it is clear that Kaworu was specifically designed to fill this vital role. When Shinji and Kaworu are sharing a conversation before falling asleep, the situation somewhat mirrors the episode 8 scene in which Shinji sleeps near Kaji. The significant difference between the two situations is that Shinji speaks while looking directly at Kaworu's face, which suggests that he felt comfortable enough with Kaworu to truly open up to him." - The Essential Evangelion Chronicle Side B
- ↑ Character Name Origins
- ↑ The conclusion is that it probably was Akio Satsukawa. Nagisa can also be read as Messenger, perhaps he came up with the name when he was writing the script. We all think it fits Akio’s taste. What struck me most was how Akio expanded the world, he made Kaworu a JUNE character……Or I should say a male/male tanbi(“aesthetic”) romances character that went berserk. [...] Interviewer: Is this what they called the dreamy first script? Yes, Yes. In the end, Anno changed it to the bath scene. Anno took Akio’s idea into a very unique perspective, which end with this Kaworu who give you a decadent feeling, in my option. There is one thing that doesn’t need to cover up: they wrote EVA’s script as long as possible. In other words, the script they gave Anno had two Eps length, then Anno modified it into a story. So I think he probably cut off a lot of Kaworu’s story. - All About Kaworu Nagisa interview with Sadamoto
- ↑ ■ Episode 22: “The Cat and the Transfer Student” [Storyboards] (5) This episode number was later produced as episode 24, “The Final Messenger”. [From Iso:] “At this point in time, the name ‘Kaworu’ wasn’t decided yet, so in memos we called him things like ‘the transfer student’ and ‘bishounen’. The Proposal had a humanoid Angel accompanied by a cat, but he was changed to an Angel that could transform from a boy into a cat. Setting him against the human-sized Eva-05, we created a story with a showdown on a human scale. The Proposal also called for the laboratory’s secrets to be revealed, and in my own version of the screenplay I proposed a climatic scene wherein Eva-05 dropped down before the eyes of the boy Angel (who had invaded ever deeper into Central Dogma) and blocked the way forward.” - Mitsuo Iso Animation Works: Preproduction
- ↑ Mitsuo Iso Animation Works: Preproduction: ■ Episode 22: The Cat and the Transfer Student [Storyboards] (1)
- ↑ Evangelion 2.0 Complete Records Collection
- ↑ Interviewer: In the video edition, is there nothing like getting a power up from that sort of thing? + + Anno: I’m thinking of adding a few scenes. I had the feeling that it’d be good to focus on Shinji and Kaworu-kun’s story. However, I also think that, if I have the extra time, I have to make Kaworu-kun with just Misato. The truth is that Kaworu-kun just greeted Rei by chance and he’s only spoken with Shinji, hasn’t he? There’s no need for him to meet other people, but if the only one that I haven’t made him meet up with is Misato, I kind of wonder whether that’s awkward.
- ↑ Nobi is not sure that female manga writers will be able to match the imagination of the male authors. Anno wanted to do a longer story involving Asuka's menstruation, but because he felt it was impossible for a man to write, he abandoned it. Only a single scene remained. He feels he can't match the way Nobi portrayed Asuka in the doujinshi "Absolute Safety Razor" (or "Absolutely Safe Razor" - "Zettai Anzen Kamisori"). - Second Interview
- ↑ Bridal Veil, full scanlation
- ↑ (April 25, 1996; at GAINAX)
- ↑ Episode 1, for instance, took six months to be only written, but in later episodes this become far more constrained, to about 5 months for the middle episodes. In contrast, Episode 24 took three weeks after its definitive draft was decided, while Episode 26 took three days.:
When Anno thought of Eva, he wanted to create an anime that would surpass "Gundam" and "Yamato." However, he became dissatisfied with his early ideas. The script for the first episode took half a year to complete. He was stuck after that, so he wrote episodes 5 and 6, and then came back to episode 3. He felt he had to go beyond regular TV anime in developing realistic characters in episodes 3 and 4. However, the first six episodes left the staff drained and feeling weighed down by the heavy mood, so he felt it necessary to lighten the feeling of the series for episodes 7, 8, and 9. This early stage of production took 4 or 5 months in total; the storyboards were done in two months. However, the schedule became more and more constrained. The series was only finished thanks to the supreme efforts and talents of the staff. Episode 26 was completed in only three days. Episode 24 was put together almost entirely by Masayuki alone in the space of three weeks. Second June Interview - ↑ Anno and the rest of the Gainax team had been pushing production of the various episodes up closer and closer to the deadlines issued by their TV station, to the extent that they were actually biking episodes over to the broadcast center on Beta tape only minutes before the broadcast time77. This was tolerated, because Eva had some of the highest ratings of any show ever - until Episode 24. Episode 24 arrived at the station so late that it couldn’t even be watched before being broadcast - it was slapped in a Beta drive and transmitted directly, without being reviewed by any staff at the station. Episode 24, you’ll recall, is the Kaworu episode, which aside from the homosexual overtones (probably not actually an issue), ends with, er, a pop. Bear in mind that this was broadcast in a 6.30pm weekday slot on Japanese national television. The network went apeshit - it may have been in silhouette, and he may have been technically non-human, but you can’t show a 14 year old popping his 14 year old friend’s head off at 6.30pm on TV, even in Japan. Gainax, and Anno specifically, were accused of deliberately holding back the episode to prevent the network from seeing it before broadcast - and the network staff demanded to see the storyboards for the next two episodes. - Rob Fahey
- ↑ Incidentally, aversion to gore also motivated Toji not getting killed, at the request of the producer.
- ↑ Jinken: You only look at the superficial aspects of the story, and towards the end, the character Kaworu Nagisa appears. I was watching the movie as a regular person, and I was wondering why this character appeared at the end of the movie. Did you think about the fans who came in for the yaoi? Anno: Not really, I didn't think that much about it. Jinken: I thought that Kaworu Nagisa was a character for commercialization, like Saint Seiya. Is that not the case? Anno: Actually, I had planned for him to appear a little earlier. I didn't have any intentions to go that far, but I did intend on having a bishounen [the little boy controlled by the cat]. Jinken: On the contrary, it made him a very memorable character, though. Anno: If the planned relations had worked out - the plan was that the ‘unconscious Shinji-kun’ would be Ayanami Rei, the Shinji-kun who appears on the surface would be Ikari Shinji, and the ‘ideal Shinji-kun’ would be Nagisa Kaworu-kun. [Kaworu was] supposed to be an ideal male but when I tried putting him together he was just a strange fellow (laughs). That was something of a lack of capability on my part. - 2000 December Anno: Interview ‘with a member of Waseda University for the purpose of “character study.
