Okay guys, I haven't even LOOKED at this since last sumer, so please, feel free to tear it apart. Seriously, make fun of me about how bad it is, if you think so. I can take it.
Also, this is incomplete. Probably just a tiny bit into the second act.
FADE IN:
INT. STUDY - NIGHT
SUPERIMPOSE - OSAKA, JAPAN, 1970
The room is bare and dimly lit, with architecture that's
clearly of Asian influence; the walls are made of paper with
dark wooden frames.
EIJI (V.O.)
In the yakuza, there are three
qualities that truly define a man.
Kneeling seiza-style in the center of the room is IJICHI EIJI
(65). The Japanese man is worn out and defeated looking.
Sweat drips from his face, and his eyes look swollen. The
front of Eiji's kimono is open, revealing an elaborate series
of TATTOOS that cover his entire body.
EIJI (V.O.) (CONT'D)
The first, and most important, is
loyalty. Loyalty is the binding
force of the yakuza. Without it, no
family can ever survive.
Eiji lights some incense, then reaches for a wakizashi (a
Japanese short-sword).
CLOSE-UP
of Eiji's right hand; his pinky has been severed at the
second joint down from the tip.
EIJI (V.O.) (CONT'D)
The second quality is respect.
Respect from the community, and
from the average working man, this
is where a yakuza finds his place
in society. By nature we are
outcasts, and only through the
respect of others can we support
ourselves.
Eiji grips the wakizashi with the point facing his stomach.
He takes a long, deep breath, preparing himself to commit
seppuku, an ancient form of ritual suicide.
EIJI (V.O.) (CONT'D)
The final, and most difficult to
grasp, is that of fear. Fear is a
weapon more powerful than any gun
can ever be. It's only when a man
is feared by his enemies, that he
can control and defeat them. Even
if that enemy is himself.
Eiji's hands shake as he holds the wakizashi. He closes his
eyes, nods to himself slightly, and then without hesitation
thrusts the blade towards his bare abdomen.
CUT TO:
EXT. COURTYARD - DAY
SUPERIMPOSE - 50 YEARS EARLIER
The face of a YOUNG Eiji Ijichi (15) fills the frame. His
features are soft and innocent, very different from the
weathered, hardened appearance of the man he will one day
become.
EIJI (V.O.)
My father, he owned a successful
general store in Utsunomiya.
Farmers came from all over the
country-side to buy whatever they
need.
(pause)
We lived a good life.
Eiji is practicing calligraphy in the center of a lavish
courtyard. The garden is decorated with an assortment of
different plants, trees, and flowers. Eiji carefully moves a
brush (held in a no longer pinky-less right hand) in long
strokes up and down the piece of parchment before him.
MALE VOICE (O.S.)
Eiji! Where are you?
Eiji looks over his shoulder to see his FATHER standing by
the back door of the house. He's dressed in a traditional
kimono, and his graying hair is in a top-knot.
FATHER
Come Eiji, there's someone I want
you to meet!
CUT TO:
INT. LIVING ROOM - DAY
In the living room, Eiji's father is standing next to TWO
PEOPLE: An OLD MAN and an attractive YOUNG WOMAN.
FATHER
This is Hisoyuki Kumiai. He is the
chief judge in Utsunomiya.
Eiji's father turns to the YOUNG WOMAN.
FATHER (CONT'D)
And this is his mistress, Takahashi
Oyoshi.
Both KUMIAI and OYOSHI (20) bow to Eiji, who in return bows
noticeably lower.
FATHER (CONT'D)
(to Eiji)
Miss Takahashi will be staying in
our guest house for the summer. I
expect you will treat her with the
same respect as any other member of
our household.
EIJI
Of course. I look forward to the
company of Miss Takahashi.
Oyoshi half smiles, half smirks at Eiji. He's obviously
intimidated by the beautiful woman.
EIJI (CONT'D)
It's interesting that the course of
my life should be changed so
radically due to the presence of
this woman.
CUT TO:
EXT. COURTYARD - DAY
Eiji watches Oyoshi walk around the courtyard, holding an
umbrella to shield her from the sun.
EIJI (V.O.)
I became infatuated with Oyoshi
from the moment I saw. She was the
beautiful woman I had ever seen,
even more so than the geishas in
Osaka.
Oyoshi stops to look at some FLOWERS. She reaches out and
touches one of them gently, then continues walking along. Out
of the corner of her eye she notices Eiji watching her.
CUT TO:
EXT. GUEST HOUSE - DAY
EIJI (V.O.)
At the end of every month, my
father would send me to the guest
house to collect the rent from
Oyoshi. I'd be lying if I said I
didn't look forward to our little
exchanges.
Eiji knocks on the front door a few times and steps back. The
door opens, and Oyoshi is standing there wearing a brightly
colored yukata. The with the money for the rent is already in
her hand. Eiji bows to her slightly.
OYOSHI
Hello Eiji. It's good to see you.
EIJI
It's good to see you too, Miss
Takahashi.
OYOSHI
Please, formalities aren't
necessary. Call me Oyoshi.
Oyoshi hands over the rent money, which Eiji accepts.
EIJI
Thank you, Oyoshi.
OYOSHI
You know, I'd love it if you came
to visit me more often. Kumiai only
comes on Sundays, and he's so old
and boring...
EIJI
I'll make it a point to come some
time.
OYOSHI
Good, I look forward to it.
Oyoshi smiles again, then turns away and goes back inside.
Eiji exhales, releasing a breath he had been holding the
whole time.
CUT TO:
INT. BEDROOM - NIGHT
Eiji is sitting on his knees at a small table. Several pieces
of paper are spread out across the table, and he appears to
be doing some form of arithmetic.
EIJI (V.O.)
I thought about her all the time,
to the point that it stopped me
from being able to focus on the
other things in my life.
Eiji gets frustrated with a problem, angrily scratching out a
mistake and dropping his fountain pen. He sighs to himself
and looks out the window: across the lawn, the light shines
from Oyoshi's WINDOW in the guest house.
CUT TO:
INT. DINING ROOM - NIGHT
Eiji, his father, MOTHER, and younger SISTER, are all
kneeling around a table for dinner. They eat in silence for a
while, until Eiji's father looks up.
FATHER
Eiji, your teacher has informed
that your grades have been slipping
over the past few weeks. Do you
have an explanation?
Eiji says nothing, and after a moment he simply shakes his
head.
FATHER (CONT'D)
This is unacceptable. You used to
be the top in your class! I don't
pay for you to go to school to joke
around, you know.
EIJI
I'm sorry. I will try harder, I
promise.
FATHER
I hope so.
Eiji's father drains a cup of tea. His MOTHER looks up from
her bowl of rice.
MOTHER
(to Eiji)
I noticed you've been talking with
Oyoshi quite a lot.
EIJI
She is lonely, and asked me to keep
her company.
SISTER
(smirking)
Eiji has a crush on Oyoshi!
EIJI
I do not!
MOTHER
Just be careful Eiji. Women like
Oyoshi, they can be dangerous.
Especially when they're connected
with men like the chief judge.
EIJI
Don't worry mother. She's only a
friend.
Eiji shoots a glare at his little sister, who grins at him
mischievously.
CUT TO:
EXT. GUEST HOUSE - DAY
Eiji is standing out front of the guest house. He takes a
deep breath, then knocks on the door.
OYOSHI (O.S.)
Come on in, Eiji!
Eiji opens the door and sees Oyoshi kneeling down by a table
towards the back of the house. She's holding a pair of
chopsticks in her hand.
OYOSHI
I was just having some lunch.
(pause)
Come now, don't just stand there!
Sit down with me.
CUT TO:
INT. LIVING ROOM - DAY
Eiji and Oyoshi are sitting together. On the table beside
them are an assortment of toasted rice cakes.
OYOSHI
So Eiji, how old are you?
EIJI
Why do you ask?
OYOSHI
It doesn't matter, just tell me.
Eiji looks at her suspiciously.
EIJI
I'm fifteen.
OYOSHI
Only fifteen? I would've guessed
you were older.
She reaches over and picks up one of the rice cakes.
OYOSHI (CONT'D)
Now, open your mouth...
Oyoshi smiles as she pops one of the rice cakes into Eiji's
mouth with her dainty fingers. Eiji chews the food quickly.
He's clearly on edge.
OYOSHI (CONT'D)
Do you like me, Eiji?
Eiji waits for a moment, still chewing the food, then nods.
OYOSHI (CONT'D)
I thought so. You're very cute, you
know. For a kid.
This seems to make Eiji angry.
EIJI
I'm not a kid!
OYOSHI
Oh no? Forgive me, it's just I'm so
used to being around the chief
judge, you see.
EIJI
Are you two going to get married?
OYOSHI
No, unfortunately not. Kumiai
already has a wife, and a daughter
too. And she's older than I am!
EIJI
That's a funny thing to do, isn't
it? I mean, to have a mistress
younger than your own daughter?
OYOSHI
Funny? I call it ridiculous. But I
can't complain
(pause)
Can I tell you a secret, Eiji?
EIJI
Of course.
OYOSHI
Promise not to tell anyone?
EIJI
I promise.
Oyoshi leans towards Eiji, putting her lips so close to his
ear that they're nearly touching.
OYOSHI
(whispering)
I don't actually like Kumiai at
all, I'm only with him to get away
from home.
She stays leaning towards Eiji, holding the moment, then
backs away. Eiji clear his throat before talking.
EIJI
Well, why don't you leave him and
run away somewhere on your own?
OYOSHI
I don't have any money of my own or
I would, trust me.
EIJI
Find someone to go with you,
someone with money.
OYOSHI
You mean someone like you?
Eiji looks down in shame.
EIJI
I wish I could, but unfortunately I
too lack money of my own. I wish I
could get away from here. I'm tired
of this life. And of school.
Everything's so boring.
Oyoshi smiles, looking at Eiji with interest.
OYOSHI
Perhaps one day you will.
CUT TO:
EXT. COURTYARD - DAY
Eiji is standing with his father and sister, watching Oyoshi
go down the road on a RICKSHAW with Kumiai.
EIJI (V.O.)
At the end of the summer, Oyoshi
left and went to live with the
chief judge in Osaka.
Oyoshi looks at Eiji over the side of the rickshaw, with her
long black hair blowing in the wind.
EIJI (CONT'D)
Before she left, she said she'd
write to me as soon they arrived in
Osaka.
(pause)
I waited for almost three months
before a letter came, and when it
finally did, there was no address
on it.
As Eiji watches the rickshaw go down the road, he sees a
LOTUS FLOWER fly out from Oyoshi's hair. The flower is
carried off by the wind, circling round and round until it
lands near Eiji. He walks over and picks it up.
CLOSE-UP
of lotus flower.
EIJI (V.O.) (CONT'D)
That was when I decided to go Osaka
and find her.
CUT TO:
INT. LIVING ROOM - DAY
Eiji's father is drinking a cup of saké by the window. Eiji
is kneeling before him.
EIJI
I ask permission to go to Osaka to
work.
FATHER
Osaka? This is a rather sudden
decision, Eiji. May I ask why?
EIJI
I'm already failing my grade, and I
find myself unmotivated to do
better. I've grown tired of
Utsunomiya. I wish to go out in the
world and make money for myself.
Eiji's father is silent for a moment as he considers Eiji's
proposal.
FATHER
Well, I see no reason why I
shouldn't allow you. It will be
good for you to support yourself
for a while and deal with some real
responsibility.
(pause)
However, if you do go, then tough
as things get, don't come back here
complaining. Understand?
EIJI
I understand, and thank you for
allowing me to go.
Eiji's father nods graciously and finishes his saké.
FATHER
Your uncle Akira owns a coal depot
in Fukagawa.
I'm sure he will have some work for
you to get started with.
CUT TO:
INT. TRAIN - DAY
Eiji is sitting by the window in the passenger car of a
train. He watches as the cityscape of Osaka becomes visible
on the horizon. The buildings are still quite small,
especially in comparison to the giant smokestacks from the
industrial parks in the distance.
EIJI (V.O.)
I had been to Osaka once before
when I was eight, but even since
then the city had grown
substantially.
Near one of the harbors along the Onagi river sits the
NAKAGAWA COAL DEPOT. There's a small building nestled in the
corner of the lot, with giant mounds of coal sprinkled all
around it. The mounds are taller than most of the buildings
in the area.
SUPERIMPOSE - TOKYO, 1916
CUT TO:
INT. OFFICE - DAY
Eiji's uncle AKIRA (53) is sitting behind a large mahogany
desk. He's small and imposing, and is dressed in a black
suit. A sign of western influence. Eiji stands before him,
looking down.
AKIRA
Well Eiji, I certainly have a lot
for you to do here. But I warn you,
you'll be working hard and I can be
a tough boss, so I'll accept
nothing less than your best effort.
EIJI
I understand, Uncle. Trust me, I
didn't come all the way here to
slack off.
Akira makes a sound somewhere between a grunt and a chuckle.
AKIRA
I'm sure you didn't. If you're
anything like your father, then you
should be a hard worker. Why, when
he was your age, he was moving over
a hundred pounds per trip!
EIJI
(surprised)
Did he really do that?
AKIRA
Oh yes. Quite the man your father
was.
(pause)
Not like me. I was always the
brains of the family!
Akira bursts out laughing in an obnoxious, phony sort of way.
Eiji forces himself to laugh as well.
AKIRA (CONT'D)
Anyway, I've set you up to stay
with a friend of a mine. He's and
old fellow, and quite lonely. I'm
sure he'll enjoy your company.
EIJI
What's his name?
AKIRA
Tokuzo Haruki. He lives just down
the road, in the old shack with the
bonsai maple out front.
(pause)
He will be expecting you.
CUT TO:
EXT. TOKYO STREET - DAY
Eiji stands in front of a small, worn down SHACK, with a
leather bag hanging over his shoulder. Just as his uncle
Akira said, there's a tiny bonsai maple growing in the yard.
As Eiji approaches the front door, the sound of Okinawan folk
music can be heard coming from inside the house. Eiji knocks
on the door once, causing it to open ajar slightly.
Cautiously, he enters.
CUT TO:
INT. TOKUZO'S HOUSE - DAY
The inside of the shack is tiny and just as beaten up as the
outside. It's sparsely furnished, though the walls are
adorned with an assortment of old photographs and paintings.
Eiji also notices a small stand holding two swords: a katana
and a wakizashi. Both weapons are handmade and appear to be
very old.
At the far side of the house, TOKUZO HARUKI (67) is hunched
over a table with his back to Eiji, chopping up fish with a
cleaver. Next to him, a gramophone is playing music loudly.
EIJI
(yelling)
Mr. Haruki!
Tokuzo continues to chop the fish; he doesn't seem to have
heard Eiji.
EIJI (CONT'D)
(yelling)
Hello? Mr. Haruki!
Yet again, the old man is oblivious to Eiji's presence. Eiji
moves a bit closer to him.
EIJI (CONT'D)
(yelling louder)
Mr. Haruki!
Suddenly, Tokuzo spins his body around with a speed that
defies his age. In a flash he HURLS the cleaver straight at
Eiji, who just manages to duck in time. The cleaver sinks
itself several inches into the front door (a good twelve feet
away).
TOKUZO
(angrily)
Who are you?
EIJI
I'm Ijichi Eiji, my uncle Akira
sent me here to stay!
Tokuzo looks at Eiji very intently. Neither of them speak,
but the Okinawan folk music continues to play. Finally,
Tokuzo's face splits into a grin.
TOKUZO
(laughing)
Forgive me, I was simply expecting
someone much younger!
He reaches over to turn the music down. Eiji still looks
slightly shaken.
TOKUZO (CONT'D)
I don't often get visitors, you
see. Let alone a house guest!
Tokuzo's grin grows even wider. He seems to be genuinely
pleased with Eiji's arrival.
EIJI
I can't thank you enough for
allowing me to stay at your home,
Mr. Haruki. And I promise not be a
nuisance.
TOKUZO
Ah, call me Tokuzo. And trust me,
if anything, it will be I that is a
nuisance to you.
Tokuzo chuckles, then looks to Eiji's leather bag.
TOKUZO (CONT'D)
Come, come, let me show you to your
room.
CUT TO:
INT. EIJI'S ROOM - DAY
The door to Eiji's room flies open, with Tokuzo and Eiji
looking in. To say the room is small would be an
understatement. Almost the entirety of the floor space is
taken up by a tiny mattress and a small bedside table. The
only light comes from a dirty window above the bed.
TOKUZO
It's small, I know. If you'd like,
we could move the mattress into the
front area.
EIJI
No, no, this is just fine. I'll
only be sleeping in here, after
all.
TOKUZO
(nodding)
Well then, I'll leave you to unpack
your things.
Tokuzo pats Eiji on the shoulder, then goes back to chopping
up the fish. Eiji closes the door gently and sits down onto
his bed. The Okinawan folk music begins to play again.
Eiji reaches into his leather sack begins removing items;
clothes, shoes, a book, a pocketwatch, several hundred yen,
and small piece of folded up silk. Eiji unfolds the cloth to
reveal the LOTUS FLOWER from Oyoshi's hair, though by now it
has wilted slightly. Eiji looks at it with a determined look
in eyes.
CUT TO:
EXT. COAL DEPOT STORAGE YARD - DAY
EIJI (V.O.)
When my uncle said that I'd be
working, he sure wasn't kidding.
The storage yard is crawling with WORKERS of all ages. The
majority of them are carrying armfuls of coal from the giant
piles and loading them onto a large wagon.
Amongst them, Eiji is struggling to handle a load less than
half the size of what the other workers are carrying.
EIJI (CONT'D)
At first I was working with the
other labourers, moving loads of
coal from one place to another. But
I was slow, and couldn't carry a
whole lot.
Eiji's grip in the coal slips, and he drops most of the load
onto his feet. One of the other workers, a bald man named
WATANABE, laughs at Eiji.
WATANABE
Smooth move there, kid!
Eiji shoots a glare at him, but says nothing.
EIJI (V.O.)
Before long, uncle Akira realized I
was only losing him money. And so
he gave me a different job.
CUT TO:
EXT. COAL DEPOT STORAGE YARD - DAY
Eiji is leaning against a coal filled wagon with a clipboard
in his hand and a pile of short BAMBOO STICKS by his side.
EIJI (V.O.)
When the workers would drop off a
load , they'd hand me a bamboo
stick called a mambo. Then I'd
write a line by their names on the
sheet.
One of the WORKERS drops his load of coal into the wagon and
pulls a mambo from his waistband. He tosses it to Eiji, whom
catches it places it down next to other ones.
EIJI (V.O.) (CONT'D)
The point of this was to keep a
record of how much coal each man
moved. This way, my uncle would be
able to tell how much money he was
making per worker.
(pause)
I was basically responsible for
deciding if a worker was being
efficient or not. Because of this,
I earned a little more respect from
the older man.
Another worker drops off a load of coal; this time, it's
younger man with handsome, chiseled features and a
brilliantly BLUE EYES.
EIJI (V.O.) (CONT'D)
One of the workers that seemed to
especially like me was this guy
named Shinoda Kenkichi. People
called him "Angel-Eyes".
Kenkichi hands his mambo to Eiji and smirks.
KENKICHI
Don't work yourself to hard there,
Eiji. You might hurt your hand from
all that writing.
EIJI
Very funny. You better watch
yourself or I'll mark you down as
incompetent.
The two of them chuckle together before Kenkichi heads off to
get another load.
EIJI (V.O.) (CONT'D)
Maybe it was because he was only
three years older than man, or
maybe it was just fate, but
Kenkichi and I really became
friends.
CUT TO:
INT. TOKUZO'S HOME - NIGHT
Eiji and Tokuzo are kneeling at a table together, eating rice
and sukiyaki.
TOKUZO
So, how do you like it?
EIJI
It's delicious. You're quite the
chef!
TOKUZO
(grinning)
Yes, I once owned a sushi bar back
in Okinawa. I went through four
different chefs before I decided
just to do it myself!
(pause)
It took awhile to get good, but I
taught myself.
EIJI
Well then, you're certainly a good
teacher.
After Eiji finishes his meal and shifts from kneeling a
position and sits Indian style. He pats his stomach. Tokuzo
continues to eat slowly.
As Eiji looks around the room, he studies some of the
photographs posted onto the walls; in particular, one of an
OLDER MAN dressed in traditional samurai armor.
EIJI (CONT'D)
(pointing to photo)
Tokuzo, who's the man in that
picture is?
TOKUZO
Ah, yes, that would be my father.
His name was Mizuno.
EIJI
Was he a samurai?
TOKUZO
Indeed, and one of the last, at
that. Though I suppose he was a
ronin longer than he was a samurai.
EIJI
Ronin?
TOKUZO
A masterless samurai.
Tokuzo takes a large gulp of tea.
TOKUZO (CONT'D)
You see, towards the end of the
last century, as the old ways began
to die out, many samurai ended up
without a master.
(pause)
They became loners, wandering the
countryside, doing what they could
for food and money while still
trying to serve their community.
Many of them became gamblers.
EIJI
They sound like the yakuza to me.
Tokuzo grins at Eiji.
TOKUZO
You're pretty sharp for a kid, you
know that? It's true though, in
many ways, the yakuza are the
modern descendants of the samurai.
After all, they do follow the way
of the warrior.
EIJI
You're talking about Bushido?
TOKUZO
Indeed. Just look at the seven
virtues: honor, respect, courage,
loyalty, benevolence, rectitude,
and honesty. These were the
foundation of the samurai's way of
life, and anyone who calls himself
a true yakuza should follow them as
well.
Tokuzo nods to himself proudly, then goes back to his food.
Eiji sits quietly as he considers these concepts.
CUT TO:
EXT. COAL DEPOT STORAGE YARD - DAY
Eiji is walking around the storage yard. He's alone, and
appears to be looking for something.
EIJI (V.O.)
After few months, I began to notice
that sometimes around midday, all
of the workers would just
disappear. I never paid much
attention to it, until one day I
found out what they we're doing.
As Eiji rounds the corner of a particularly large coal heap,
he spots numerous WORKERS all hunched together in a ring
gambling.
One of the workers spots Eiji, and a look of panic strikes
his face. He jumps up and yells. Many of the workers also
jump up, and several of them start to run away.
Watanabe sees that it's Eiji and laughs.
WATANABE
Relax everybody, relax! It's only
Eiji.
Some of the workers groan, others simply laugh it off.
EIJI
What are you all doing back here?
Watanabe flicks a die into the air and catches it expertly.
WATANABE
We're just having some fun here.
Shove off now, this is no place for
youngsters. And don't go ratting to
your uncle about us...Here, take
this.
Watanabe hands Eiji two sen, and just as the latter is about
to leave, Kenkichi approaches him.
KENKICHI
Eiji, wait a moment. I've got an
idea.
Kenkichi points to the largest nearby coal heap.
KENKICHI (CONT'D)
See that heap there? Why don't you
do us a favor and sit up there
while we play. You know, keep a
look out for anybody coming. What
do you say?
EIJI (V.O.)
I felt like this was my chance to
prove myself to other workers, and
then show them that I wasn't just a
kid, even if I wasn't actually
gambling with them.
EIJI (CONT'D)
Sure, why not?
Eiji begins to climb the heap of coal. It's easily over 30
feet high, and is taller than the majority of the buildings
in the area.
KENKICHI
Oh, and Eiji, if you see anyone
coming, don't yell. Just toss a
piece of a coal down to us.
EIJI
What if I accidentally hit someone?
KENKICHI
Don't worry about it, okay?
CUT TO:
EXT. COAL DEPOT STORAGE YARD - DAY (LATER)
Eiji is sitting a top the heap of coal, looking rather bored.
He peaks down below, watching the works laugh and joke as
they gamble. He sighs to himself, then turns back to keeping
watch.
As Eiji sits there waiting, his eyelids begin to droop. Just
as he's about to drift into sleep, he spots his UNCLE coming
around the side of a pile of coal. With him is an older
looking MAN wearing a kimono.
Eiji quickly grabs a rather large piece of coal and hurls
down towards the men. Unfortunately, his aim was off, and the
lump of coal crack Watanabe right on the head.
WATANABE
Ow-!
One of the WORKERS puts his hand over Watanabe's mouth,
muffling the involuntary yell, and instantly all of the men
scram in different directions.
Eiji tries to climb down the pile of coal as quickly as he
can, but he loses his footing and tumbles the rest of the
way. He lands hard onto the ground, but manages to stand just
his uncle rounds the corner.
AKIRA
Eiji! What are you doing out here
all alone?
Eiji, dirty and bruised, stumbles for answer.
EIJI
I, uh, I was just...
AKIRA
Never mind that! Come, there's
someone I want you to meet.
Eiji limps slowly toward Akira and his companion.
AKIRA (CONT'D)
This is Murumatsu Katashi. He's a
business associate of mine, and a
member of the Dewaya clan. I was
just showing him around the
property.
MURUMATSU (40) is well-built and sturdy looking. He has a
wise but imposing aura about him.
EIJI
(bowing)
It's a pleasure to meet you, Mr.
Murumatsu.
MURUMATSU
I've heard many things about you
from your uncle. He says you're
quite the hard worker.
AKIRA
It's true! Eiji hasn't disappointed
me yet.
EIJI
I try my best.
MURUMATSU
Then what more can you ask for,
right?
Murumatsu looks Eiji up and down, the nods to himself.
MURUMATSU (CONT'D)
You know Eiji, you've got the look
of a gambler. Have you ever
considered joining the yakuza?
Eiji's face goes blank. He never even considered such a
thing.
EIJI
Well, I-
AKIRA
Eiji? A yakuza?
(laughing)
I'm afraid not, gambling isn't in
the Ijichi family blood. I learned
that the hard way!
Murumatsu grins at Eiji.
MURUMATSU
Hm, perhaps I was mistaken. My
senses aren't what they used to be.
The result of too much sake, I dare
say.
AKIRA
Hah! Catches up to us all someday,
doesn't it?
(pause)
Well, we best let Eiji get back to
work.
Eiji bows again to Murumatsu.
EIJI
It was nice meeting you.
MURUMATSU
(bowing)
And the same to you. I look forward
to us meeting again someday.
As Murumatsu follows Akira to leave, he gives Eiji a strange,
almost knowing nod, then turns and walks away.
EIJI (V.O.)
Indeed, Murumatsu and I would be
meeting sooner than I think either
of us expected.
CUT TO:
EXT. DOWNTOWN TOKYO - DAY
Eiji and Kenkichi are walking down the road together. The
area of Tokyo they're in is old and clearly impoverished.
EIJI (V.O.)
In return for helping the other
workers hide their gambling,
Kenkichi took me to the red-light
district for a little fun.
As they walk down the road, Kenkichi stops peers down small
alleyway.
KENKICHI
This is it.
Eiji follows his friend down the alley, which leads to a
small tea-house. A fair number of tattered little shacks are
lined up so close together they're practically touching. Eiji
and Kenkichi enter the tea-house.
CUT TO:
INT. TEA-HOUSE - DAY
The inside of the tea-house is dingy and claustrophobic.
Aside from an ELDERLY MAN behind a counter, the place is
empty.
ELDERLY MAN
Back again Kenkichi? Don't you have
anything else to do?
KENKICHI
Hey, I don't come here that often!
Besides, it's not for me today
anyway.
(gesturing to Eiji)
It's for him.
The elderly man looks Eiji up and down suspiciously.
ELDERLY MAN
Is he trustworthy?
KENKICHI
Of course he is! Do you think I'd
bring him here if he wasn't? Don't
be rude. It's his first time as it
is.
Eiji shoots a glare at Kenkichi, whom simply grins.
ELDERLY MAN
Oh it is then? In that case, I've
got the perfect woman for you.
CUT TO:
EXT. ALLEYWAY NEAR TEA-HOUSE - DAY
Eiji follows the elderly man down the alley, past several of
the old shacks, until he stops at one begins knocking loudly.
ELDERLY MAN
Hey, Machiko! I've got a customer
for you!
MACHIKO (O.S.)
(muffled)
Send him in!
INT. SHACK - DAY
The elderly man swings the door open, revealing an almost
entirely empty interior. The only thing there is a white
quilt spread over the tatami, on which MACHIKO (23) is
sitting. The girl has pale skin and her hair is messy, but is
still attractive none the less.
MACHIKO
My, he's a young one isn't he? What
a nice surprise!
Eiji grins slightly, looking embarrassed.
ELDERLY MAN
Well, I'll leave him to you now.
But don't go thinking it's all
right to tire yourself out for the
rest of the day just because he's
young.
MACHIKO
Oh, get out of here. You talk too
much!
The elderly man turns and shuts the door, leaving Eiji alone
with Machiko. The woman looks at him for moment, then pats
the ground next to her.
MACHIKO (CONT'D)
Come, sit down here. How old are
you?
EIJI
Sixteen.
MACHIKO
Oh, you are young!
Eiji sits down next to Machiko. He obviously feels awkward.
MACHIKO (CONT'D)
You've never done this before, have
you?
Eiji shakes his head. Machiko smirks, then begins kissing him
feverishly. She pushes him down onto his and straddles his
waist. Eiji watches in slight shock as she undoes her sash,
revealing her naked, perfectly curved body.
MACHIKO (CONT'D)
Read to have fun?
CUT TO:
INT. SHACK - DAY (LATER)
Eiji and Machiko move in unison with each other under the
sheets. Eiji is breathing heavily, and Machiko moans with
pleasure. Suddenly, the mood is interrupted by someone
knocking on the door loudly.
MACHIKO
Ignore it...
The two of them continue, but before long the knocking starts
again, this time even louder.
MACHIKO (CONT'D)
(yelling)
Okay, okay, I can hear you!
ELDERLY MAN (O.S.)
You've had exactly thirty minutes!
MACHIKO
(yelling)
So what?
ELDERLY MAN
So you've got another customer! Can
I open the door?
MACHIKO
(yelling)
No you cannot! Who's the customer?
Is he a regular?
ELDERLY MAN
No, it's the gentleman's first time
here.
MACHIKO
(yelling)
Well what about me? I'm human too!
Why can't I take my time with a
decent looking man once in a while?
Tell him to wait!
ELDERLY MAN
The gentlemen is standing with me
here right now.
MACHIKO
What d'you take me for, huh? How
many customers am I supposed to do
in one day?
EIJI
Uhm, maybe I should go...
MACHIKO
Oh no you don't!
Machiko wraps her body tightly around Eiji's.
MACHIKO (CONT'D)
(yelling to the elderly
man)
Have him go wait by the tea-house,
will you? We'll only be a bit
longer.
ELDERLY MAN
How long?
MACHIKO
A half hour.
ELDERLY MAN
A half hour? Do you think he can
wait that long?
Machiko rolls her eyes.
MACHIKO
You can tell him that if he doesn't
want to wait, then he can just go
fuck himself instead!
They wait for a moment, until they can hear the mens'
footsteps leading away from the shack.
MACHIKO (CONT'D)
Finally! Sorry about that, he can
be real pain the ass sometimes.
Now, where were we...
CUT TO:
EXT. STREET OUTSIDE OF TEA-HOUSE - DAY
As Eiji emerges from the alleyway, looking slightly dazed, he
spots Kenkichi leaning against a wall, smoking a cigarette.
Kenkichi sees him and grins.
KENKICHI
Damn, it's about time! No woman
there has ever spent that much time
with me. She must've really took a
liking to you, eh?
EIJI
Yeah, I think she did actually. Not
sure why...
KENKICHI
Hey, don't be modest. It won't get
you anywhere.
(pause)
Anyway, I've got to be going. I
just wanted to make sure you got
alright, and also to ask you
something.
EIJI
What's that?
Kenkichi looks around them, making sure no one is nearby.
KENKICHI
(lowering his voice)
Listen, have you ever considered
being a gambler?
EIJI
No, but people seem to keep asking
me that for some reason...
KENKICHI
Listen, I've been working on a
midnight boat for the last few
weeks-
EIJI
A midnight boat?
KENKICHI
Yeah, you know, boats where people
gamble at night...you have heard of
a midnight boat, haven't you?
EIJI
Yeah, of course...I just...
KENKICHI
Well, anyway, I've been doing some
work there for awhile now, and I'm
about to start full time. I'll be
quitting my job with your uncle by
tomorrow, most likely.
EIJI
Quitting? You can't quit! You're
the only guy there that even talks
to me!
KENKICHI
Listen! The guy who runs it, his
name is Murumatsu. He knows your
uncle. He says you two have even
met once before.
EIJI
Yes, I remember.
KENKICHI
Well, I've put in a good word for
you, and I think he'll give you a
chance there. Are you interested?
EIJI
I don't...I don't know...
KENKICHI
Alright, well, if you decide you
want to, be in front of the Tomioka
Fudo shrine at eight o'clock this
evening. Now, I've got to get
going.
Kenkichi turns and begins walking away.
EIJI
Hey, Kenkichi! Thanks for...
(jerking head towards
alley)
You know.
KENKICHI
No problem!
Eiji watches him leave, then turns and looks around; first at
the sky, then the city around him, then at his own hands.
They're covered in scratches and blisters, all calloused and
dirty from working at the coal depot.
EIJI
I knew that I didn't really want to
work at my uncles coal depot, and
for whatever reason, the life of a
gambler seemed to keep calling me.
Thus, I found my decision to the be
easy one.
CUT TO:
EXT. TOMIOKA FUDO SHRINE - NIGHT
Eiji is standing in front of the shrine, looking all around
him somewhat nervously. It's dark, and there doesn't seem to
be anyone around, until...
VOICE (O.C.)
(whispering)
Psst! Hey, over here.
Eiji turns his head in the direction of the voice and sees a
small ginko tree, behind which a MAN is half-hidden. He peers
around the tree and looks at Eiji.
MAN
Are you Eiji?
EIJI
I...yeah, I am. Who are you?
MAN
Kenkichi sent me here to get you.
Quick, follow me.
The man turns and begins walking away fairly quickly. Eiji
has to jog to keep up with him, and to ensure that he doesn't
disappear in the darkness. Before long they come to a canal,
where a small rowboat is floating almost motionlessly. If it
wasn't for Kenkichi waiting there, it would practically have
been invisible.
KENKICHI
So, you decided to come, did you?
You made the right choice. Come on
aboard.
The man that lead Eiji there jumps down into the boat. Eiji,
however, hesitates.
EIJI
This boat is pitch-dark!
KENKICHI
Of course it is, how else do you
think we'd do business? Come along
now, don't be a woman about it.
Eiji jumps down, making the boat rock slightly. Kenkichi sits
him down next the cargo.
KENKICHI (CONT'D)
Keep it down now, we don't want
ourselves getting caught.
Kenkichi and the other man begin rowing the boat out into the
darkness. Eiji sits there quietly, watching. The only noise
is from the paddles moving through the water.
There are countless other boats on the canal, most of them
lit up with a lanterns, though a few have electrical
lighting. Kenkichi and his coworker begin to move their
rowboat towards one of them: a reasonably small and dimly lit
barge.
KENKICHI (CONT'D)
This is it here.
The rowboat taps the side of the barge gently, and the three
men climb aboard.
CUT TO:
