Osaka Tales

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: