What the character says "no" is always there-the scenario technique of "Cowboy Bebop Heaven's Door" [Nostalgic Anime Memoir 85th]
What the character says “no” is always there-the scenario technique of “Cowboy Bebop Heaven’s Door” [Nostalgic Anime Memoir 85th]
Several media outlets, including Deadline and Variety, have reported that the live-action drama “Cowboy Bebop” on Netflix will end in Season 1. In addition, the obituary of Keiko Nobumoto, a scriptwriter who showed outstanding skill in the series composition and script of the original animation, is also lonely for fans.
This time, I would like to take up the movie version of the animation “Cowboy Bebop: The Door of Heaven” written by Mr. Nobumoto and approach the scenario technique.
Let’s briefly explain the outline of this work.
A tank truck falls and burns on the Martian highway, where many people have settled. After hearing the information that an unknown virus seems to have been spread at the scene of the accident, the bounty hunter Spike begins his own investigation. Spike suddenly obtained a mysterious capsule, which contained a nanomachine that could enter the human body and cause death.
Spike confronts him when he learns that a former soldier named Vincent is planning a large-scale terrorist attack on nanomachines. At the same time, Electra, a woman who belonged to the same special forces as Vincent, chases him and tries to stop terrorism.
This case is large in scale, involving the pharmaceutical company that developed the nanomachine, the police, and the military. Aside from Electra chasing Vincent from both her past ties and missions, there seems to be no room for a third party, Spike. Therefore, a character like a madman who draws Spike into the case appears. Rashid played by Mickey Curtis.
A mysterious character that gives a “question” to the spike in the first appearance and an “answer” to the spike in the second appearance
Rashid “I’m looking for a bean shop, you”
Spike “Are there any invisible beans?”
Rashid “Of course. Everything on Moroccan Street. So you came here?”
With that said, Rasheed beckons Spike and guides him to a bean shop that sells a lot of beans. When Spike asks, “Is there a virus?”, Rashid asserts, “It’s not a virus.” But Rashid somehow makes Spike buy a big jar. Inside the jar was a blue spherical capsule containing nanomachines.
Spike, who was searching for a pharmaceutical company, intercepted the communication of Electra he met there and chased Vincent ahead of her. However, Spike is counterattacked by Vincent and is seriously injured for half a lifetime.
The recovered Spike learns that the pharmaceutical company was transporting nanomachines in the guise of macadamia nuts, or “beans,” and heads back to Moroccan Street.
Spike visits the alleys, bean shops, and shops where he bought the jars guided by Rasheed, but for some reason he can’t see Rasheed. When Spike is at a loss and sits on the stairs, Rasheed appears there.
Rashid “Did you find what you wanted?”
Spike “No, I don’t need anything”
Spike asks Rashid why he gave him the nanomachine. Rashid tells Spike that the developers of the nanomachine have escaped from the army and that Vincent and the nanomachine have a relationship. After listening to her story, Spike tries to hit Rasheed and leave, but is surrounded by the army and caught.
In other words, Rashid suddenly appears in front of Spike and asks the “question” to hand over the nanomachine, giving the “answer” when he is defeated by Vincent and visits again.
The length of this movie is 114 minutes. Spike is seriously injured by Vincent around 59 minutes into the movie, almost in the middle. Rashid’s first appearance is around 22 minutes from the start of the movie. His second appearance is around 70 minutes. Appear at the right time before and after Spike’s life is at stake.
The main plot of this movie is not “whether Spike dies or lives”. The fate of a tragic character named Vincent. However, by setting a suspense that “Spike is about to be killed by Vincent” in the middle of the movie and preparing “questions” and “answers” to Spike before and after that, Spike will not be out of the story. I’m devising.
What did Spike, who hit Rashid, have in his right hand? What did he try to pass?
What I would like to pay attention to here is the second appearance of Rashid. As a role in the story, this scene only explains who Vincent is. The reason why Rashid is so familiar with the situation is that he himself is nothing but a developer of nanomachines. Even so, it’s just a scenario setup. Let’s take a closer look.
This scene is set in a long staircase that covers from the top to the bottom of the screen, and the only characters are Spike and Rashid. Since it is dusk, the screen is sunk in amber, giving the impression of a stage play.
Spike walks up to Rashid after his long explanation and offers his right hand, “Give it to the doctor.” As Rasheed looks into him, Spike grabs his right hand and hits Rasheed into the epigastrium. Rashid collapses on the spot, and Spike laughs invincibly, “If we meet again … it’s okay.”
This cut catches spikes with a bust shot over the fallen Rashid. I want him to look behind it. The lamp of the building along the stairs is a blue sphere, just like the capsule that contained the nanomachine.
Perhaps nothing is being held in the right hand of Spike, who offered to give it to the doctor. It’s natural because the purpose is to hit. However, the beaten Rasheed replies, “Let’s do it (let’s give it to the doctor),” as if he had received something.
There are no capsules containing nanomachines in this scene. But the round lamp behind the spikes is definitely there. Capsules continue to exist in Spike, Rashid, and in the minds of the audience. A little metaphorical element on the screen connects us with characters, characters with characters.
Rashid sighs, “The man (the developer of the nanomachine) isn’t here anymore. It doesn’t exist. No one can stop Vincent.” But the developers of the nanomachines will be Rashid himself, and Spike and Electra are desperate to stop Vincent. The audience instinctively thinks that there is something that is said to be “not” in the dialogue. I expect it to be there. The audience is a little leaning forward … Interesting movies make the audience active.
(Sentence / Keisuke Hirota)