Resources:Episode 24 Draft 2 (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"</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? | - 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? | ||
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 32: | 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. | 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 | - All About Kaworu Nagisa interview with Sadamoto | ||
</ref> | </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 1 (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= | ||
| Line 1,801: | Line 1,816: | ||
<font color="#800000">キール</font>: 「諸君、私はここにネルフの解体とエヴァシリーズの凍結を宣言する」 | <font color="#800000">キール</font>: 「諸君、私はここにネルフの解体とエヴァシリーズの凍結を宣言する」 | ||
== | ==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 1 (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" (SECOND DRAFT)
INT. NERV HQ - COMMAND CENTER
Misato stands before Ikari and Fuyutsuki.
MISATO: (Looking shocked) The Fifth Child…… really!?
IKARI: Yes, the fifth candidate will be arriving shortly. Overwrite Second's personal data in Unit 02 with the Fifth's.
MISATO: But, what about Asuka……?
IKARI: We can't keep useless items lying around forever. Send her back to Germany when you have an opportunity. That is all.
MISATO: ……
IKARI: Do you have something to say to me?
MISATO: No…… Excuse me.
FUYUTSUKI: The Fifth Child. He's probably a SEELE spy.
IKARI : He's coming here directly, bypassing the Marduk mechanism.
FUYUTSUKI: They seem to be quite impatient now.
IKARI: Let's watch and wait for a bit. According to the Dead Sea Scrolls there's still one Angel left.
THE LAST ANGEL
A WESTERN-QIN STYLE PAINTING OF A RURAL EUROPEAN LANDSCAPE (ASUKA'S DREAM)
Asuka on her way home from school (age 12), her eyes light up as she runs home.
INT. HOME
Asuka bursts in, a big smile on her face.
ASUKA: Mama! I was chosen! I was chosen as an elite pilot to protect humanity! To protect the world!
She says, placing her bag on the sofa and walking about the house.
ASUKA: It's a secret. But can tell you Mama! Everyone's so nice to me. So it won't be lonely.
But Asuka's mother doesn't respond.
We just hear the voices coming from the TV.
ASUKA: (With a slightly anxious expression) So, it doesn't matter that Papa's not here. We won't be lonely.
Asuka's mother is nowhere to be seen.
ASUKA: Hey, Mama, where are you? Mama! Mama!
Suddenly a THUMP THUMP THUMP! Comes a knock at the door.
MISATO: Asuka! Asuka!
INT. NERV HQ, GEOFRONT, RESIDENTIAL SECTOR ASUKA's ROOM
The door opens with a BAM! Misato crashes in with emergency medical personnel.
MISATO: Asuka……!
Asuka is curled up in a corner of the room, hugging her knees. Her eyes are blank and sunken, her cheeks are hollow, her lips pale. She barely resembles herself.
A male paramedic checks her eyes and tongue with a pen light.
PARAMEDIC: It doesn't seem like she's been eating or drinking. She's very dehydrated. She needs to be hospitalized immediately.
MISATO: Asuka! Do you want to die or something!?
ASUKA: (Crackely) There's no reason for me to be here anymore…… There's no reason for me to go on living……
MISATO: ––
A stretcher is brought in and Asuka is put on it.
INT. NERV HQ - HALLWAY
The stretcher with Asuka on it comes out of room #02.
A bit after, Misato follows.
Misato notices Shinji standing in the hall.
SHINJI: What's wrong?
MISATO: Nothing. Asuka's just not feeling very well. She'll be okay.
SHINJI: Oh……
MISATO: Bye––
And Misato leaves, following the stretcher.
INT. CAGE
Unit 01 submerged in coolant.
INT. UNIT 01 - ENTRY PLUG
Shinji appears to be in low spirits.
SHINJI: (MONO) Nothing…… huh. Misato didn't tell me the truth. I wonder what happened to Asuka. And Ayanami……
Insert –– The Reis in the test tube all look toward us at once.
SHINJI: (Sighing) Mom, what is Dad doing?
Unit 01 doesn't answer.
INT. SPECIAL SOLITARY CELL
Ritsuko is bound in a small room of iron bars.
She's bound by several leather straps, her once commanding expression is nowhere to be seen. It's almost like her soul has left her body.
Thunk, thunk, thunk…… Eventually we hear footsteps coming from the hall.
Ikari's figure appears in the faint light.
RITSUKO: (Still blankly) My cat died…… The one I left in my grandmother's care…… I never really took care of it, but…… all of a sudden…… I'll never see it again.
IKARI: Professor Akagi, why did you destroy the dummy plug?
Ritsuko doesn't respond, she just looks ahead, with a faint smile on her lips.
IKARI: I'll ask again. Why?
RITSUKO: Because you're a shitty lay. Plus, I didn't destroy the dummy system. I destroyed Rei……
IKARI: What?
RITSUKO: Those things aren't human. They're just human shaped objects. So they didn't die. They were destroyed. Rei is just your plaything. I never could became your plaything though……
IKARI: ––
RITSUKO: I wonder, Commander, did you come here because your new toy isn't working out so well? Since a familiar toy is here. Just do what you will. I'll do whatever. But, I'm sure I can't compete with the playful spirit of that doll of yours.
IKARI: You're a disappointment.
RITSUKO: Disappointment……?
Ritsuko suddenly bursts into raucous laughter.
RITSUKO: You never wanted anything to begin with! You wanted nothing from me! Nothing!
Tears spill out, and her laughter suddenly turns into sobs.
Ikari stands there silently.
Gashann! The door closes and the sound of Ritsuko's sobs are cut off.
INT. HALL - DREAM
Shinji stands in front of the elevator.
The door opens.
Rei is inside.
Countless Reis are reflected in the stainless steel.
Shinji and Rei's eyes meet and Shinji is petrified.
INT. SHINJI'S ROOM
Shinji throws himself onto his bed.
SHINJI: ……
EXT. AERIAL VIEW OF TOKYO-3
The city is in ruins from Unit 00's suicide attack during the previous battle.
Shinji wanders about the abandoned city, a strong wind blowing through as he stumbles over the rubble.
EXT. ANOTHER AREA
Shinji is walking about, he hears a piano coming from somewhere.
EXT. SCHOOL
The blast has turned the building to ruins.
INT. SCHOOL - GYMNASIUM
A lone boy innocently plays the piano.
He has a shockingly beautiful face.
The boy notices Shinji's gaze and stops playing
BOY: Oh, is someone there?
SHINJI: Who are……? You're not a student of this school are you?
BOY: I'm a transfer student.
SHINJI: Transfer student?
BOY: I brought my transfer papers where the school was supposed to be, but as I suspected, not a soul is here.
SHINJI: Everyone was sent away to Tokyo-2. Both the teachers and students.
BOY: Why are you still here?
SHINJI: I was left behind.
BOY: Haha. Poor thing.
An ominous sound fills the building.
SHINJI: The wind……
BOY: I thought it might have been the sound of spirit voices.
SHINJI: Spirit voices?
BOY: Didn't you know? In the dead of night in the school gymnasium, you can hear voices making merry.
SHINJI: No.
BOY: They say that the spirits of children who aren't done playing leave their bodies as they sleep, and gather in these places.
SHINJI: Huh.
BOY: In the Heian period, they called this flitting out of spirits, "akugaru" which has now become the word "akogareru." {I'm stumped on a good English rendition for this, "akugaru" is like Kaworu says, that whole spirit leaving the body thing, but I guess the fundamental idea here is one's soul being drawn out by some strong desire. The modern word which allegedly derives from it is "akogareru" or "to yearn for" (or admire, but I think yearning fits most here)}
The ominous sound fills the building again.
Shinji looks up at the ceiling, frightened.
It almost seems like we can hear the voices of those children in the sound.
Shinji comes back to his senses and notices that the boy is gone.
SHINJI: (Looking around) ––Hey! Where'd you go!
But the boy doesn't respond.
SHINJI: ……
INT. GEOFRONT, LOBBY OF THE CEILING BUILDING {天井ビル again, whatever that is}
Rei has been awaiting orders.
Shinji comes a bit later, and stands next to her.
REI: ––What?
SHINJI: Uh……
REI: You seem startled. You were looking at me in the elevator.
SHINJI: Not really……
REI: Oh.
And that's when Misato comes in, with someone else in tow.
MISATO: Alright you two, everyone's here. Let me introduce you. This is a new pilot candidate, Nagisa Kaworu.
SHINJI: The Fifth Child……?
Shinji is shocked when he sees him.
He's the boy he saw in the gymnasium playing piano.
MISATO: This is the pilot of Eva Unit 01, Ikari Shinji. And formerly Unit 00's pilot, Ayanami Rei.
KAWORU: Pleased to meet you. I look forward to working together.
REI: (Expressionlessly) Same here.
MISATO: (To Kaworu) If there's anything you need to know about living here, just ask Shinji.
KAWORU: (Holding out his hand). Pleased to meet you, Ikari Shinji.
As they shake hands, he looks intently at Shinji's eyes.
Shinji looks away.
Kaworu smiles when he sees this.
INT. NERV HQ - PLUG TEST ROOM
Three test plugs are submerged in liquid.
Rei, Kaworu and Shinji have their eyes closed.
Slowly and quietly they sink into the interior.
INT. NERV HQ - CONTROL ROOM
The three of them are on the monitors.
IBUKI: #0 is nearing the contamination limit. That's as far as she can go. #1 and #5 can go a bit further.
MISATO: You mean his harmonics are better than Rei's?
IBUKI: They're way beyond Shinji's numbers from before when that happened.
Kaworu's wave pattern comes up on the screen.
IBUKI: Take a look at #5's personal pattern! He shouldn't be compatible with Unit 02, but they're so similar.
MISATO: So he can sync with Unit 01!?
IBUKI: It should be impossible.
MISATO: Did you hear that from Ritsuko…… Professor Akagi?
IBUKI: No…… I was informed about the Fifth's existence though.
MISATO: Estimate his sync rate with Unit 02.
IBUKI: (Calculating) 270%!
MISATO: Could that happen in Unit 02 too……!?
IBUKI: No way, I don't believe it!
MISATO: But it is true. We've gotta accept it, find out the cause.
INT. NERV HQ - TEST SITE
The plug hatches open after the test ends.
After Shinji gets out, he hurries to leave.
Kaworu watches him from behind.
INT. NERV HQ - PUBLIC BATH
Shinji taking a bath.
We hear the door open and close.
Kaworu's slender figure appears out of the steam.
KAWORU: You always head off before everyone.
Shinji averts his eyes from Kaworu's naked body.
KAWORU: I wonder, are you avoiding me?
SHINJI: I'm not avoiding you or anything.
KAWORU: You're such a liar. You totally are.
SHINJI: You should have told me you were the Fifth Child.
KAWORU: That's my line. I didn't know you were the Third. ––Are you mad about that?
SHINJI: Not really.
KAWORU: Is it always like this? Like, kinda tense?
SHINJI: Tense?
KAWORU: Both Lieutenant Katsuragi and you.
SHINJI: A lot of stuff has happened. Before you came, Mr. Kaji and Ayanami, they……
KAWORU: What happened to the First?
SHINJI: Uh…… Nevermind.
KAWORU: Tell me.
SHINJI: I don't want to talk about it.
KAWORU: Oh, so it's confidential.
SHINJI: ……
Kaworu enters the water.
KAWORU: But, it's made you pretty timid when it comes to human contact.
SHINJI: I've always been like this. If I don't know someone, we can't betray or hurt each other.
KAWORU: But isn't that kind of lonesome?
SHINJI: That's just how it is. I was born this way. I can't change. I hate that about myself so much. To be honest, I want to scream and run away from myself.
KAWORU: But I always hear you saying that you mustn't run away.
SHINJI: I figure, if I'll get reborn as a new person when I die, I don't mind if I do.
KAWORU: I dunno about that. You seem to be a person who values yourself above all else.
SHINJI: ……
KAWORU: (Abruptly) Let me see your hand.
SHINJI: Huh……?
KAWORU: Your left hand.
Kaworu takes Shinji's left hand and examines his palm.
Shinji is startled when he notices several scars on Kaworu's wrist.
KAWORU: You have callouses on your finger tips.
SHINJI: It's from playing cello.
KAWORU: Cello?
SHINJI: I play a little.
KAWORU: How lovely.
Kaworu gripping his left hand.
Skin touching skin……
Badump, badump, Shinji's heart pounds wildly.
SHINJI: Sorry…… I need to get out……
He says, letting go of Kaworu's hand and leaving the bath.
Shinji's heart pounds even harder.
He staggers to his feet.
Shinji faints.
WIPE OUT
INT. NERV HQ, RESIDENTIAL AREA - SHINJI'S ROOM
Shinji realizes he's lying on his bed.
Kaworu is looking down at him.
KAWORU: You awake?
SHINJI: ……
KAWORU: You passed out. You really scared me when you collapsed.
SHINJI: Sorry…… for being such a bother.
KAWORU: You must be tired. I'm sure. So much has happened.
SHINJI: Yeah. A lot has happened……
Kaworu notices the cello in the corner of the room.
KAWORU: Is that yours?
SHINJI: Yeah.
KAWORU: It's a nice cello.
SHINJI: It was my mother's.
KAWORU: Oh, I know. We should play together. You on cello, me on piano. I'm sure it'll calm you down. It must be suffocating being trapped underground, just doing Eva tests all day.
SHINJI: But, I don't think my cello playing is as good as your piano. I'm embarrassed.
KAWORU: It'll just be for fun. Plus, what do we have to be embarrassed about at this point?
Shinji remembers his disgraceful behavior, and his pale face turns bright red again.
KAWORU: Is there a piano somewhere around here?
SHINJI: I think there should be one in the lounge.
KAWORU: I have a startup test with Unit 02 tomorrow. Let's go tomorrow after that. Promise?
SHINJI: Okay.
KAWORU: Well, I should be going.
SHINJI: Good night.
KAWORU: Good night––
Kaworu's face slides toward Shinji's.
Kaworu gives Shinji a kiss.
Shinji doesn't refuse him, he notices how naturally he accepts it.
Feeling strangely calm, he looks up at the ceiling light.
SOMEWHERE IN THE GEOFRONT
Misato confiding in Hyuga.
MISATO: (Looking up from some papers) ––Dead Sea Scrolls!?
HYUGA: Yeah. I tried investigating the Fifth like you said, Ms. Katsuragi, but as I was digging, I found something strange in an unexpected place.
MISATO: So you're saying the Angels are mentioned in the Dead Sea Scrolls?
HYUGA: Not just the Angels. But Adam, the Second Impact and the Human Instrumentality Project even.
MISATO: (Scanning over the end of the document) So there's one Angel left……?
HYUGA: It seems like the higher ups knew already.
MISATO: The commander?
HYUGA: Not just him, but the assistant commander and even Professor Akagi too. Nerv's predecessor organization, Gehrin seems to have been based on the scenario detailed in these Dead Sea Scrolls.
MISATO: ……
HYUGA: Seems like we both got ourselves tangled up in some ridiculous organization, huh?
Hyuga hands Misato some more documents.
HYUGA: Here's my research on the Fifth Child. There's nothing suspicious in his history. Before he came, he had some contact with the committee, but there are no traces of it being organized. It seems like a lot has happened in his family life. Well, I guess he's just a pretty boy who's experienced much misfortune.
MISATO: Just your type, huh. {whaa, Hyuga's a homo?}
HYUGA: Jeez……
Misato flips through the pages of the documents and her face grows dim when she sees something.
HYUGA: What is it?
MISATO: His birthday……
HYUGA: (Looking over at the document) ––?
MISATO: It's the day of the Second Impact……
INT. NERV HQ - PILOT'S LOCKER ROOM
Kaworu is changing.
He clicks the switch on his wrist and the plugsuit conforms to his body.
Kaworu gazes at his wrist for a bit.
INT. NERV HQ - TEST SITE #7
The voices of the operators come and go over the intercom.
They're preparing for Unit 02's activation test.
INT. NERV HQ - HALLWAY
Kaworu heads out having changed.
Rei is waiting for him.
REI: (Handing over a card) Here. It's a flow chart of today's startup test. Please look it over, including the times.
KAWORU: Thank you.
Rei and Kaworu's fingers touch ever so slightly as he takes it from her.
Their expressions change as if they've both realized something.
KAWORU: So that's what Ikari meant……
REI: ––
KAWORU: You're just like me. I think I have a better idea of what I'm supposed to do now.
REI: Just who, are you……?
KAWORU: (Without answering) Well, bye.
And he leaves.
Rei watches him walk off.
INT. UNIT 02 ENTRY PLUG
Kaworu inside.
IBUKI'S VOICE: Commencing Unit 02 activation test.
INT. CONTROL ROOM
Misato, Ibuki and the operators are at their stations.
IBUKI: Initiating first connection phase. All main electric circuits connected.
OPERATOR A: Electric connections complete. Initiating activation system.
OPERATOR B: Operation voltage at critical in 0.5……0.2……breakthrough.
INT. UNIT 02 ENTRY PLUG
OPERATOR A'S VOICE: Initiating connection between pilot and Unit 02.
OPERATOR B'S VOICE: Circuits open.
INT. HALLWAY
Shinji watching the activation test from the window.
ANNOUNCER: Absolute border* in 0.9, 0.7, 0.5, 0.4, 0.3…… {*絶対境界線 - sorry, I don't remember how most of the technobabble terms translate 'officially,' so I'm kinda bullshitting through these parts}
INT. NERV HQ - TEST SITE #7
Unit 02 tears off its restraints and begins to struggle.
INT. CONTROL ROOM
IBUKI: Contact suspended!
OPERATOR C: It's not working, we can't control Unit 02!
IBUKI: Isolate all circuits! Cut the power!
INT. NERV HQ - TEST SITE #7
The [umbilical] connector is shot out of the socket.
Unit 02 begins to destroy the walls.
INT. HALLWAY
The ceiling is crumbling.
Shinji hurriedly escapes.
INT. CONTROL ROOM
MISATO: Another berserker!?
IBUKI: No, it's not berserk. It's moving according to the pilot's wishes!
INT. ANNOUNCEMENT AREA {like wherever the PA system mics and shit are I guess}
A warning alarm sounds.
HYUGA: (Into the mic) We've detected and AT field from Unit 02 in test site #7!
INT. CONTROL ROOM
MISATO: No way. You mean he's an Angel!?
INT. HALL
SHINJI: No! That's a lie!
INT. ANNOUNCEMENT AREA
FUYUTSUKI: A humanoid Angel!
IKARI: So SEELE held the joker themselves.
INT. NERV HQ - TEST SITE #7
Unit 02 has destroyed everything it could [in the area].
And then it breaks through the wall and leaves.
INT. CONTROL ROOM
MISATO: It's heading for Dogma!
INT. ANNOUNCEMENT AREA
A spot on the screen is flashing to indicate where Unit 02 broke through.
AOBA: Unit 02 is heading for the underground structure.
FUYUTSUKI: You're going to allow an Angel to enter Dogma again?
IKARI: Sortie Unit 01 immediately. Prevent [the Angel] from entering Terminal Dogma at all costs.
INT. CAGE
Shinji runs along the catwalk.
Rei is standing at the hatch, already in her plugsuit, trying to get into Unit 01's entry plug.
SHINJI: ––Ayanami!
REI: I'll go.
SHINJI: Why?
REI: Because you have feelings for him. {she uses あこがれる, I only mention this because Kaworu brings up the word earlier}
SHINJI: ––
REI: You won't be able to dispose of him will you?
SHINJI: I'm the pilot of Unit 01……
Shinji pushes Rei aside and opens the hatch.
INT. CENTRAL DOGMA
Unit 02 moving down.
INT. CAGE
Unit 01 sortieing and heading underground.
INT. ANNOUNCEMENT AREA
Misato, Ibuki and the others return.
HYUGA: Unit 01 has departed.
MISATO: Will Shinji make it in time?
HYUGA: It's 50-50 at this point.
MISATO: (In Hyuga's ear) If worst comes to worst, we'll have to destroy everything. We can't let it affect the rest of the world.
HYUGA: I don't mind, if it's with you.
MISATO: Thanks.
Hyuga, calmly as ever, plugs in the key for the self-destruct switch.
INT. CENTRAL DOGMA
Unit 01 is descending at immense speed.
INT. UNIT 01 ENTRY PLUG
SHINJI: (Frantic and angry) Damnittt!
INT. CENTRAL DOGMA
Unit 02 descending.
Finally, Unit 01 catches up.
INT. UNIT 01 ENTRY PLUG
SHINJI: You betrayed me! You betrayed my feelings! You betrayed me just like my father!
INT. CENTRAL DOGMA
Unit 01 pulls out its prog knife.
Unit 02 follows suit, accepting the challenge.
They fight viciously hand to hand with the knives.
The blades cross repeatedly, discharging plasma, sparks fly.
INT. ANNOUNCEMENT AREA
Everyone holds their breath watching the Evas fight.
INT. CENTRAL DOGMA
The two Evas finally reach the bottom.
A wall crumbles, revealing Adam.
INT. UNIT 01 ENTRY PLUG
The crucified upper body of the seven-eyed giant.
The bizarre, objet d'art makes Shinji flinch for a second.
INT. ANNOUNCEMENT AREA
MISATO: Shinji!
INT. CENTRAL DOGMA
Without hesitation, Unit 02 slices Unit 01 with its blade.
Unit 01's prog knife pops off and falls into the sea of LCL.
INT. UNIT 01 ENTRY PLUG
SHINJI: ---!
INT. CENTRAL DOGMA
Unit 01 and Unit 02 do battle in front of Adam.
But, Unit 02 throws away its prog knife.
It vanishes into the sea of LCL.
KAWORU: The Eva series. Born of Adam, a being you should have stayed away from. But you Lilin used it and survived. I don't understand it.
Unit 02 stops moving.
The entry plug comes out slowly and Kaworu gets out.
INT. UNIT 01 ENTRY PLUG
SHINJI: You tricked me? Were you just using me?
KAWORU: That's not it at all. I think it was a wonderful thing that I got to meet you. I've reached my destination. I have no intent to continue fighting. I never wanted to quarrel with you in the first place.
INT. CENTRAL DOGMA
Kaworu before Adam.
KAWORU: Once I touch this monster, the path of humanity will close.
INT. UNIT 01 ENTRY PLUG
SHINJI: The path of humanity?
KAWORU: Yes, the path of human evolution. But, it really doesn't matter either way to me. You're the only one who can end my life. If it's by your hand, I couldn't be happier, even if it means my death. I do feel a little regretful that we didn't have a chance to perform together though.
SHINJI: Let's go back together. We'll do it together. I got up early this morning to practice a bit even.
INT. CENTRAL DOGMA
KAWORU: I'm sorry, but I can't. I can feel something stirring inside me. I think it's my instinct.
INT. UNIT 01 ENTRY PLUG
SHINJI: ……
KAWORU: Hurry!
INT. CENTRAL DOGMA
Kaworu suddenly turns and dives toward Adam.
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.
Blood flows from Unit 01's hand, trickling down.
Finally, Shinji's screams fill the huge room.
INT. ANNOUNCEMENT AREA
MISATO: ……
Hyuga removes the self-destruct key.
FUYUTSUKI: It's over.
IKARI: Yes. But, now the real battle begins.
INT. SOMEWHERE - HUMAN INSTRUMENTALITY PROJECT
The committee is gathered.
KEEL: We've just confirmed the elimination of the AT Field. Adam's children, the Angels are all destroyed. The only remaining Angels are us, humanity. The promised time has come, for when we shall entrust our souls to Lilith and purify this filthy world.
MEMBER A: But before that, we should do something about this troublesome pimple on our face. {oh why can't I remember the English idiom for this}
MEMBER B: Ikari Gendou.
MEMBER C: He's been using his position as commander to turn Nerv into his personal property.
MEMBER D: We have clear evidence that he's been diverting from the plan.
KEEL: Gentlemen! I hereby declare Nerv dissolved and the Eva project suspended.
Original Japanese
新世紀エヴァンゲリオン 第弐拾四話「最後のシ者」（第弐稿）
○（F・I)ネルフ本部・司令公務室
碇、冬月の前に立つミサト。
ミサト: 「（驚いた様子で）フィフス・チルドレン・・・・・・ですか！？」
碇: 「ああ、５人目の適任者がまもなく届く。弐号機のパーソナルデータはセカンドからフィフスに書き換える」
ミサト: 「では、アスカは・・・・・・？」
碇: 「役に立たぬものをいつまでも置いておくわけにはいかぬ。適当な時期にドイツに送還してくれたまえ。話は以上だ」
ミサト: 「・・・・・・」
碇: 「何か言いたいことがあるのか」
ミサト: 「いえ・・・・・・。失礼致します」
冬月: 「フィフス・チルドレン。おそらくゼーレのスパイだな」
碇: 「マルドゥック機関を通さず、直接送り込んで来た」
冬月: 「やつらも相当焦っているな」
碇: 「しばらく様子を見るさ。死海文書によると、まだ最後の使徒が残っている」
「 最 後 の シ 者 」
○秦西名画のごとき欧州の田園風景（アスカの夢）
学校帰りのアスカ（１２歳）が目を輝かせ、家に向かって駆けて行く。
○家・中
喜色満面のアスカが飛び込んでくる。
アスカ: 「ママ！ 私、選ばれたの！ 人類を守るエリートパイロットなのよ！ 世界一よっ！ 」
と鞄をソファーに置き、家の中を歩き回る。
アスカ: 「誰にも秘密なの。でもママにだけ、教えるわね！ いろんな人が親切にしてくれるわ。だから、寂しくなんかないわ」
だが、ママからの返事はない。
つけっ放しのテレビの音声が聞こえてくるだけだ。
アスカ: 「（少し不安な表情になり）だから、パパがいなくなっても大丈夫。寂しくなんかないわ」
どこにもママはいない。
アスカ: 「ねえママ、どこにいるの！ ママ！ ママ！」
いきなりドンドンドンドン！ とドアを叩く音がINする。
ミサト: 「アスカ！ アスカ！」
○ネルフ本部地下・居住区域・アスカの個室
バーン！ とドアが蹴破られ、ミサトと救急医療班の数名が飛び込んでくる。
ミサト: 「アスカ・・・・・・！」
アスカは部屋の片隅に膝を抱えて座り込んでいる。目は虚ろで落ち窪み、頬の肉は削げ、唇は白く変色し、まるで別人のようだ。
ペンライトでアスカの瞳孔の反応や舌の状態を確認する救急医療班の男。
医療班の男: 「水も食料も摂ってなかったようですね。ひどい脱水症状を起こしています。至急、入院が必要です」
ミサト: 「アスカ！ あんた、こんなことして、死ぬ気！？」
アスカ: 「（かすれて）もう、ここにいる理由はないもの・・・・・・私が生きていく、理由もないわ・・・・・・」
ミサト: 「——」
ストレッチャーが運ばれ、アスカはその上に乗せられる。
○同・廊下
02の部屋からアスカを乗せたストレッチャーが運び出される。
やや遅れて、ミサトが出てくる。
ミサト、廊下にシンジが立っているのに気づく。
シンジ: 「どうしたの？」
ミサト: 「何でもないわ。アスカの調子がちょっと悪くなっただけ。大丈夫だから」
シンジ: 「そう・・・・・・」
ミサト: 「じゃあ——」
と、ストレッチャーの後を追い、去って行く。
○ケイジ
冷却液に浸かっているエヴァンゲリオン初号機。
○初号機・エントリープラグ
塞ぎ込んだ様子のシンジ。
シンジ: 「（MONO）何でもないわ・・・・・・か。ミサトさんは本当の事を教えてくれない。アスカ、どうしちゃったんだろ。それに綾波・・・・・・」
インサート——一斉にこちらを向く、試験管に入ったレイたち。
シンジ: 「（ポツリと）母さん、父さんは何をしているんだ？」
何も答えない初号機。
○特別単独監房
薄暗くて狭い鉄格子の部屋にリツコが拘束されている。
幾筋もの革の紐で雁字搦めに捕縛されているその姿は、かつての凛然とした面影はなく、まるで魂の抜け殻のようだ。
コツ、コツ、コツ・・・・・・、やがて廊下から靴音が聞こえてくる。
仄かな明りに浮かび上がる碇の姿。
リツコ: 「（放心した様子のまま）猫が死んだの・・・・・・おばあちゃんの所に預けていた・・・・・・ずっとかまっていなかったのに・・・・・・突然・・・・・・もう会えなくなるのね」
碇: 「赤木博士、何故、ダミープラグを破壊した？」
リツコは答えず、薄笑いを浮かべたまま、目の前を見つめている。
碇: 「もう一度聞く。何故だ」
リツコ: 「あなたに抱かれてうれしくなくなった、から。それに、私が壊したのはダミーではないわ。壊したのは、レイ・・・・・・」
碇: 「何だと」
リツコ: 「アレは人間じゃないわ。人の形をしたモノ。だから死んだんじゃないの。壊れちゃったの。レイはあなたの玩具。もっとも私もあなたの玩具には変りなかったけど・・・・・・」
碇: 「——」
リツコ: 「司令が来たのは新しい玩具の調子が悪かったせいかしら。ここには馴染んだ玩具がありますからね。好きにしたらどうです。何でもしてさし上げますよ。あのお人形さんほど遊び心地はよくないでしょうけど」
碇: 「君には失望した」
リツコ: 「失望・・・・・・？」
突然、堰を切ったようにゲラゲラ嗤い出すリツコ。
リツコ: 「最初から何も望んでなかったくせに！ 私には何も！ 何も！」
ボロボロと涙が零れ、嗤いはいつしか嗚咽に変わっていく。
黙って立ち去っていく碇。
ガッシャーン！ ドアの閉まる音が、リツコの泣き声を遮断する。
○ホール（夢）
エレベーターの前に立つシンジ。
開くドア。
その奥にレイ。
ステンレスの壁面が無数のレイの鏡像を映し出している。
レイと目が合い、硬直してしまうシンジ。
○シンジの部屋
パッと、ベッドから跳ね起きるシンジ
シンジ: 「・・・・・・」
○第３新東京市・全景
先の戦いにおける零号機の自爆で、第３新東京市は壊滅状態となっている。
風の吹き荒れる中、瓦礫を踏みしめ、ゴーストタウンを彷徨するシンジ。
○一角
歩いていたシンジ、どこからかピアノの音が聞こえてくるのに気づく。
○第壱中学校・外観
爆風で廃墟と化している。
○同・体育館
一人の少年が、無心にピアノを奏でている。
ぞっとするような美貌も持ち主だ。
少年、シンジを見ているのに気づき、演奏を中断する。
少年: 「何だ。人がいたんだ」
シンジ: 「君は・・・・・・？ この学校の生徒じゃないよね」
少年: 「転入生さ」
シンジ: 「転入生？」
少年: 「この学校にはいるつもりで転入届を持って来たんだけど、案の定、人っ子一人、いやしない」
シンジ: 「みんな第２東京に疎開しちゃったよ。先生も生徒も」
少年: 「何で君は残ってるの？」
シンジ: 「置いてきぼりにされたんだ」
少年: 「ハハハ。かわいそうに」
その時、建物全体が不気味な響きをたてる。
シンジ: 「風だ・・・・・・」
少年: 「僕はまた、魂の声が聞こえて来たのだと思った」
シンジ: 「魂の声？」
少年: 「学校の体育館て、真夜中になるとはしゃぎ声が聞こえて来るって知ってた？」
シンジ: 「ううん」
少年: 「まだ遊び足りない子供たちの魂が眠っている体を抜け出して、集まって来るからだって」
シンジ: 「ふうん」
少年: 「平安時代には、魂がフラフラ出歩くことを ”あくがる” と言って、それが今の ”あこがれる” の元の形なんだって」
再び建物全体が不気味な響きをたてる。
シンジはおびえたように天井を見上げる。
そういえば、その共鳴音が子供たちの声にも聞こえてくる。
シンジ、ふと我に返ると、少年がいないのに気づく。
シンジ: 「（辺りを見回し）——君！ 君！」
だが、少年の返事はない。
シンジ: 「・・・・・・」
○ジオフロント・天井ビルのロビー
先に待機しているレイ。
シンジが遅れて来て、横に並ぶ。
レイ: 「——何？」
シンジ: 「え・・・・・・」
レイ: 「驚いてたようだったから。エレベーターで私を見て」
シンジ: 「別に・・・・・・」
レイ: 「そう」
そこへミサトが誰かを伴って、やって来る。
ミサト: 「二人とも、揃っているわね。紹介するわ。新しく来た、パイロット候補。渚カヲル君よ」
シンジ: 「フィフス・チルドレン・・・・・・ですか」
その彼を見て、驚くシンジ。
学校の体育館でピアノを弾いてた、あの少年だ。
ミサト: 「エヴァ初号機パイロットの碇シンジ君。零号機のパイロットだった綾波レイさん」
カヲル: 「はじめまして。よろしく」
レイ: 「（無表情なまま）こちらこそ」
ミサト: 「（カヲルに）ここでの生活でわからないことがあったら、シンジ君に聞いて」
カヲル: 「（手を差し伸べ）よろしく。碇シンジ君」
握手しながら、じっとシンジの目を見る。
シンジ、目をそらしてしまう。
その様子を見て、微笑むカヲル。
○ネルフ本部・テストプラグ実験場
水溶液のプールに浸かっている3つのテストプラグ。
目をつぶっているレイ、シンジ、カヲル。
ゆっくりと静かに、インテリアが沈み込んでいる。
○同・制御室
モニターされている3人。
伊吹: 「0番、汚染区域に隣接。限界です。1番、5番にはまだまだ余裕があります」
ミサト: 「彼のハーモニクスがレイを上回っているというわけ？」
伊吹: 「アレが起こる前のシンジ君の数値をもはるかに越えています」
モニターに映るカヲルの波形パターン。
伊吹: 「5番のパーソナルパターンを見て下さい！ 互換性のないはずの弐号機と酷似してます」
ミサト: 「弐号機とのシンクロが可能なの！？」
伊吹: 「システム上、ありえないはずです」
ミサト: 「リツコから・・・・・・赤木博士から聞いていた？」
伊吹: 「いえ・・・・・・。フィフスの存在については知らされていましたが」
ミサト: 「弐号機と接続したときの予測シンクロ率を積算してみて」
伊吹: 「（積算して）270％です！」
ミサト: 「弐号機にもアレが起こるっていうの・・・・・・！？」
伊吹: 「まさか、信じられません！」
ミサト: 「でも真実なのよ。事実をまず受け止めてから、原因をさぐって」
○同・実験場
テストが終わり、プラグのハッチが開く。
出て来たシンジは、そそくさとその場から立ち去ってしまう。
シンジの背に視線を送っているカヲル。
○同・大浴場
浴槽につかっているシンジ。
戸の開閉音。
湯煙の中にカヲルのなよやかな肢体が浮かび上がる。
カヲル: 「いつも先に行っちゃうんだね」
シンジ、カヲルの裸体から目を離す。
カヲル: 「僕のことを避けているのかな」
シンジ: 「避けてなんかないよ」
カヲル: 「嘘だ、避けてる」
シンジ: 「フィフス・チルドレンなら、そうと言ってくれたらいいのに」
カヲル: 「それはこっちのセリフだよ。君がサードだなんて知らなかった。——そのことを怒ってるのかな」
シンジ: 「そうゆうわけじゃないけど」
カヲル: 「いつもそうなの？ 何かギスギスしている」
シンジ: 「ギスギス？」
カヲル: 「葛城３佐にしても、君にしても」
シンジ: 「いろいろあったんだ。君の来る前に。加持さんのこととか、綾波のこととか・・・・・・」
カヲル: 「ファーストがどうかしたの？」
シンジ: 「ううん・・・・・・何でもない」
カヲル: 「言えよ」
シンジ: 「言いたくない」
カヲル: 「守秘義務ってやつか」
シンジ: 「・・・・・・」
カヲルも湯の中に入る。
カヲル: 「でも、それだと臆病になっちゃうね。人と触れ合うことが」
シンジ: 「もともと僕はそうだから。他人を知らなければ、裏切られることも、互いに傷つくこともないもの」
カヲル: 「それって、寂しくない？」
シンジ: 「仕方ないさ。そうゆうふうに生まれついたんだ。自分を変えることはできないよ。僕だって、そんな自分が嫌で嫌でたまらないんだ。本当は叫び声を上げて、自分から逃げ出したいんだ」
カヲル、シンジの左の掌を取り、じっと見る。
シンジはカヲルの手首に幾筋もの傷が残っているのに気づき、ドキッとなる。
カヲル: 「そのくせ、逃げちゃだまだと自分で言い聞かせてるんだね」
シンジ: 「死んで別の人間に生まれ変われるなら、死んだっていいとも思っている」
カヲル: 「それはどうかな。君は何よりも自分を一番大切にしている人だから」
シンジ: 「・・・・・・」
カヲル: 「（唐突に）手、見せて」
シンジ: 「え・・・・・・？」
カヲル: 「左手」
カヲルに握られた左手。
触れ合う肌と肌・・・・・・。
どくん、どくん、とシンジの心臓の鼓動が激しくなる。
カヲル: 「指先の皮が固くなってる」
シンジ: 「チェロの弦のせいだよ」
カヲル: 「チェロ？」
シンジ: 「少し、弾いてるんだ」
カヲル: 「それは素敵だ」
シンジ: 「ごめん・・・・・・僕、もう上がるから・・・・・・」
と、カヲルの手を解き、浴槽を出る。
さらに高鳴るシンジの胸の鼓動。
ふらつく足元。
シンジ、スーッと気が遠くなっていく。
（Ｗｉｐｅ Ｏｕｔ）
○ネルフ本部・居住地域・シンジの個室
シンジは自分のベッドに横たわっているのに気づく。
カヲルがシンジを見下ろしている。
カヲル: 「気がついた？」
シンジ: 「・・・・・・」
カヲル: 「のぼせちゃったんだね。倒れた時はびっくりしたよ」
シンジ: 「ごめん・・・・・・厄介をかけちゃって」
カヲル: 「疲れてるんだね。きっと。いろいろあったろうから」
シンジ: 「うん。いろいろなことがあった・・・・・・」
カヲル、部屋の片隅においてあるチェロに気づく。
カヲル: 「これ、君の？」
シンジ: 「うん」
カヲル: 「いいチェロだ」
シンジ: 「母さんの形見なんだ」
カヲル: 「そうだ。一緒に音楽をやろうよ。君がチェロで、僕がピアノで。きっと気持ちが和らぐよ。こんな地下基地に籠りっぱなしで、エヴァのテストばかりじゃ息がつまってしまう」
シンジ: 「でも、僕のチェロは君のピアノほどうまくないから、恥ずかしいよ」
カヲル: 「気晴らしにやるんだからさ。それに、もう恥ずかしいことなんかないはずだよ」
シンジ、自分の醜態を思い出し、青白かった顔が再び赤みを帯びる。
カヲル: 「ここにもピアノはあるんだろ？」
シンジ: 「たしかラウンジにあったはずだよ」
カヲル: 「明日は弐号機の起動試験がある。それが終わったら一緒にやろう。約束だよ」
シンジ: 「うん」
カヲル: 「じゃ、僕はそろそろ」
シンジ: 「おやすみ」
カヲル: 「おやすみ——」
カヲルの顔がスーッとシンジの顔に近づく。
カヲル、シンジと口づけを交わす。
シンジ、拒むことなく、自然に受け入れる自分に気づく。
妙に冷静な気持ちになって、天井の明りを見ている。
○ジオフロントのどこか
密談しているミサトと日向。
ミサト: 「（書類から顔を上げ）——死海文書！？」
日向: 「ええ。葛城さんに言われて、あのフィフスの身辺を洗ってみたんですが、糸をたぐるうちに、思いもかけないところで妙なものが出て来ましたよ」
ミサト: 「その死海文書には、使徒のことが記されているというの？」
日向: 「使徒だけではありません。アダムのことも、セカンドインパクトのことも、人類補完計画のことも」
ミサト: 「（書類の終わりの方に目を通し）残る使徒はあと一体・・・・・・？」
日向: 「このことは上もご存じのようですね」
ミサト: 「司令が？」
日向: 「司令だけではありません、副指令も、赤城博士もご存じのようです。ネルフの前身組織であるゲヒルン設立は、この死海文書に基づいたシナリオだとか」
ミサト: 「・・・・・・」
日向: 「お互い、とんでもない組織に身を投じてしまいましたね」
日向、別の資料をミサトに渡す。
日向: 「こちらはフィフスに関する調査資料です。来歴に関しても、何ら怪しいところはありません。こちらに来る前に、委員会との接点はありますが、オルグされた形跡はないようです。家庭的にはいろいろあったようですがね。ま、どこにでもいる薄幸の美少年というわけです」
ミサト: 「あなた好みのネ」
日向: 「まったア・・・・・・」
パラパラと資料をめくっていたミサト、あるところを見て、顔色が曇る。
日向: 「どうかしましたか？」
ミサト: 「この子の生年月日・・・・・・」
日向: 「（資料を覗き込み）——？」
ミサト: 「セカンドインパクトがあった日よ・・・・・・」
○ネルフ本部・パイロット専用更衣室
着替えているカヲル。
手首のスイッチで、シュッとプラグスーツがフィットする。
しばし自分の手首を見つめるカヲル。
○同・第７実験場
行き交うオペレーターたちのアナウンス。
弐号機の起動試験の準備が進んでいる。
○同・通路
着替えを終えたカヲルが行く。
前方で待っているレイ。
レイ: 「（カードを渡し）これ、今日の起動試験のフローチャート。時間まで目を通しておいてくれって」
カヲル: 「ありがとう」
受け取る時に、カヲルとレイの指先が、ほんの少しだけ触れる。
お互い、何かに気づいたように、表情が変わる。
カヲル: 「碇君の言ってたことって、これか・・・・・・」
レイ: 「——」
カヲル: 「君は僕と同じなんだね。僕が何をすべきかも、ほんの少しわかりかけてきた」
レイ: 「あなた、一体、誰・・・・・・？」
カヲル: 「（それに答えず）じゃ、さよなら」
、去って行く。
その後ろ姿を、いつまでも見ているレイ。
○セントラルドグマ
を下降していく弐号機。
○ケイジ
地下へ向けて出撃する初号機。
○発令所
ミサト、伊吹らが戻っている。
日向: 「初号機、発進しました」
ミサト: 「シンジ君、間に合うかしら」
日向: 「勝算は五分五分ですね」
ミサト: 「（日向の耳元で）いざという時はここごと葬り去るしかないわね。地球全体を巻き添えにはできないもの」
日向: 「いいですよ、あなたと一緒なら」
ミサト: 「ありがとう」
日向、あくまで淡々と、自爆スイッチのキーを差し込む。
○セントラルドグマ
物凄い勢いで駆け降りて行く初号機。
○初号機・エントリープラグ
シンジ: 「（必死の形相で）チクショーーッ！」
○セントラルドグマ
を下降していく弐号機。
やがて、それに初号機が追いつく。
○初号機・エントリープラグ
シンジ: 「裏切ったな！ 僕の気持ちを裏切ったな！ 父さんと同じに裏切ったんだ！」
○セントラルドグマ
プログナイフを抜く初号機。
弐号機もナイフを抜き、応戦する。
プログナイフ同士で激しい格闘が展開される。
二つのプログナイフが幾度も合い、プラズマを放ち、火花を飛ばす。
○発令所
固唾を飲んでエヴァ同士の戦いを見守っている一同。
○セントラルドグマ
遂に底にたどりついてしまう２体のエヴァ.
壁面が崩れ落ち、アダムの姿があらわになる。
○初号機・エントリープラグ
磔にされた７つ目の巨人の上半身。
その異様なオブジェに一瞬のひるみを見せるシンジ。
○発令所
ミサト: 「シンジ君ッ！」
○セントラルドグマ
弐号機がすかさず初号機に斬りかかる。
弾け飛ぶ初号機のプログナイフ、ＬＣＬの海に落ちていく。
○初号機・エントリープラグ
シンジ: 「——ッ！」
○セントラルドグマ
アダムを挟んで対峙する初号機と弐号機。
だが、弐号機は持っていたプログナイフを放り捨てる。
ＬＣＬの海に消えていくナイフ。
カヲルの声: 『エヴァシリーズ。アダムより生まれし、忌むすべき存在。それを利用してまで生き延びようとするリリン。僕にはわからないよ』
活動を停止する弐号機。
エントリープラグがせりあがり、中からカヲルが出て来る。
○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。君と出会えて、とてもよかったと思っている。僕は目的地についた。もう戦うつもりはないよ。もともと争うつもりもなかったんだ』
○セントラルドグマ
アダムを前にするカヲル。
カヲル: 「僕がこの化け物に触れると、人の道は閉ざされる」
○初号機・エントリープラグ
シンジ: 「人の道？」
カヲル: 『そう、人類の進化の道だ。でも僕にとって、そんなことはどちらでもいいことだ。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、こんなに幸福なことはない。一緒に楽器を演奏できなかったのが、少し残念だけど』
シンジ: 「このまま、二人で帰って、一緒にやろうよ。今朝、早起きして、少し練習したんだ」
○セントラルドグマ
カヲル: 「ごめん、できない。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。それは僕の本能なんだ」
○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。
○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カヲルを掴む。
ぷちゅ。
初号機の掌の中から血が溢れ、ＬＣＬに滴り落ちている。
やがて、シンジの絶叫が巨大な空間に響き渡る。
○発令所
ミサト: 「・・・・・・」
自爆のキーを外す日向
冬月: 「終わったな」
碇: 「ああ。だが、本当の戦いが始まるのはこれからだ」
○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、ＡＴフィールドの消滅が確認された。アダムの子供である、使徒はすべて滅んだ。残った最後の使徒は我々人類だけだ。リリスに魂を宿し、不浄な世界を浄化する、約束の時は来たのだ」
委員A: 「その前に、目の上のたん瘤を何とかせねばならん」
委員B: 「碇ゲンドウ」
委員C: 「総司令の地位を利用してネルフを私物化した」
委員D: 「奴がシナリオを踏み外そうとしていることは、これまでの事例によっても明らかだ」
キール: 「諸君、私はここにネルフの解体とエヴァシリーズの凍結を宣言する」
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.
