Yae Noguchi is a single mother working as the only female taxi driver in her company, Keisei Transportation.

Her teenage son Tsuzuru is an aspiring musician who lives with his father, as the two are divorced and only visits Yae once a week.

Harumichi Namiki is a security guard of the Northern Lights Building, who has a troubling relationship with his fiancée, Tsunemi.

Harumichi uses a two-way radio to intercept signals from various taxi drivers, hoping one of them is Yae's, and constantly listens on a daily basis.

Taking Tsuzuru's advice, Yae accepts Outaro's invitation to a date, unaware that Harumichi came by at Keisei Transportation to see her.

Yae picks up Uta and drives her to the airport where she plans to audition for a dance company in Tel Aviv, Israel.

Later, Harumichi jogs at a local park where he sees a poster of Mars being the closest it has been to be observable from Earth.

After looking at Mars and gazing in the night sky, Yae turns down Harumichi's offer for a taxi ride and walks to a nearby vending machine.

The two then share a drink together and Tsuzuru opens up on how he wishes his father could appreciate his music, but instead pushes him to pursue a medical career.

On Yae's last day of being Harumichi's personal driver, he invites her to the top of Mount Tengu where they ask each other about their high school lives.

After her shift ended late evening, Harumichi picks up Yae at Keisei Transportation and they talk and walk outside together until dawn.

Back in 2010, Harumichi finishes his required therapy sessions with Tsunemi, after which he asks her out on date, which is the start of them becoming a couple.

With her memories restored, in 2019 Yae returns to Hokkaido to dig up a time capsule from 2001 that she and Harumichi buried with the plan to excavate in 2011.

Yae looks at all the items that remind her of Harumichi, among them the bookmarked train ticket, and a letter encased in a cigarette packet.

Later, Uta tells Yae she is going back to Tel Aviv to be part of a world tour with the dance company.

Phil Harrison from The Guardian wrote that "it’s tasteful, idealised and at times, a little antiseptic: romance as designed by Marie Kondo".