to complete the second feature film in time. Gainax initially proposed to call the work Evangelion: Rebirth 2 but the title was later changed during production. Unlike the big media campaign for Death and Rebirth, there was no special advertising campaign for The End of Evangelion, and promotional activities were minimal. The authors wanted to create a funeral and "bury" Neon Genesis Evangelion; Anno called the work The End of Evangelion to represent the metaphorical death of the Evangelion project; he himself ensured that the work died with his own hands, rather than see its popularity slowly fade away. The feature film was divided into two segments called "Episode 25" and "Episode 26", which are remakes of those in the animated series. Like the episodes of the classic series, the episodes were given a double title; one in Japanese, and one in English. The title of the first segment was initially , a reference to Robert A. Heinlein's science fiction novel of the same name. The staff later opted for "Love is Destructive" or "Air", with the double meaning of "atmosphere" and music. The second episode was given the Japanese title Magokoro wo, kimi ni ("Sincerely Yours"). Following a Gainax studio tradition of titling the final episode of a series from an existing story or feature film, "Sincerely Yours" is a tribute to the film Charly (1968), based on the novel Flowers for Algernon by Daniel Keyes, which was distributed in Japan with the same title. The home video editions of the series also include previews of "Air" and "Sincerely Yours" at each end of the original final episodes. Writing Due to time constraints, the original script for "Do you love me?", the twenty-fifth episode of the classic series, went unused. When it was decided to resume Neon Genesis Evangelion, Anno wrote the script of the "Air" segment based on the unused script. The episode was structured to get as close as possible to the ending the authors originally intended. For the second episode "Sincerely Yours", several narrative lines were added to the original script, deepening the themes already proposed in the final episode of the series. The two endings, film and television, were conceived as conceptually identical; unlike the television conclusion, which focuses on the psychology of the protagonists, the film version addresses the Human Instrumentality Project from an external point of view, whereas in the classic series everything