The End

Original screenplay by Abbas Kiarostami

The characters in order of appearance:

Akiko
Nagisa
Hiroshi
Takashi
Noriaki

Young Woman, 20 years old

Young Woman, 21 years old
Man, 50 years old
Man, 75 years old
Young Man, 24 years old

Interior, night, bar.

Wide shot. Customers seated at various tables. At the back of the room, a narrow corridor
leading to the toilets. In the foreground, edge of shot, a table is occupied by five young girls
and a young man. Other men and women, youngish or middle aged, are sitting at other tables
around the room. This shot is seen from the point of view of Akiko, who is whispering into
the telephone:
AKIKO
No, don't start again No, no. Why bring this up again?...
Why would I lie to you?... I'm telling you, Why would I lie to
you?... I already explained all that Yes, I did Yet now
you're interrogating me again You do this every time I told
you I was with Nagisa You don't believe me?
At the nearby table, a young girl with dyed red hair pricks up her ears upon hearing her name
pronounced by her friend. She subsequently pays closer attention to the conversation being
carried on by the young woman whose face we have not yet discovered.
AKIKO
It's not my fault if you're paranoid. That's your problem
Nagisa reacts to Akiko's beckoning and comes to sit opposite her, on a chair on the back of
which a man's jacket is draped.
AKIKO
Hold on, Nagisa wants to talk to you.
Nagisa reaches out towards the camera and takes the phone from Akiko's hand.
NAGISA
Hi, you okay? Sure haven't seen you a lot of late Yeah, that's
right I suggested to Akiko several times that we have a drink
together, but you never show Sure, whenever you like See
you round Take it easy
She raises her eyebrows with an air of annoyance, hands the phone back to Akiko and rejoins
her friends at the table where she was seated.
AKIKO
Reassured now? I told you I was in the Riviera, but you don't
want to believe me You're so paranoid I can't, I gotta study
for my exams Well, no I have to see my grandmother You
know she's in town If she'd been with me, I'd have handed you
over to her so she could reassure you too I really have to see
her Are you crazy, what's got into you? She came all this way
to see me I might have dinner with her No, I told you, I have
to see her alone Perhaps she'll tell me a few little secrets
No, you can't come. Some other time No, listen that's
enough Dont start again! I told you, in the Riviera! What?
What on earth for? What are you on about?...

She suddenly gets up, enters shot, brushes against Nagisa's shoulder in passing and crosses the
room heading for the corridor at the back. There, she crosses paths with a tallish, somewhat
portly man, wearing a white shirt and black pants, with who she seems to exchange a few
words. He's coming out of the men's toilets. She heads into the women's toilets. The man
walks towards the camera, stopping en route near a table in the corridor to exchange a few
words. One of the women pulls up a chair and insists that he sit down. He continues to talk
standing up until she manages to convince him to take a seat. Akiko emerges from the toilets
somewhat worried looking, walks towards the camera, then exits from shot. She has regained
her seat. (As it is a fixed shot, we do not see her.) Nagisa notices her concern and goes to sit at
her table.
NAGISA
What's up?
AKIKO
I messed up.
NAGISA
What do you mean?
AKIKO
He asked me where I was, I said the Riviera.
NAGISA
Yeah, I heard
AKIKO
He asked me who with, I told him I was with you.
Nagisa nods.
AKIKO
He asked me to into the restaurant toilets and flush the toilet. I
did so, and then I said to him: "Okay, reassured now?" And then
he asked me to count the tiles on the toilet floor!
NAGISA
The tiles?
AKIKO
Yeah, to tell him how many there were!
NAGISA
That's crazy.

AKIKO
He wanted to know where I was. And now he knows I'm here.

NAGISA
What a bastard!
AKIKO
And what's more, I think he heard Hiroshi's voice.
Hiroshi gets up from the corridor table and heads over to them. Nagisa gives him her seat
opposite Akiko.
NAGISA
You've only yourself to blame. You give in to his every whim.
Hiroshi sits down, takes a pair of reading glasses out of his jacket pocket, and switches them
with the sunglasses he's wearing.
HIROSHI
So, have you thought it over? As if that telephone gives you the
time to think
AKIKO
No, that's not it
NAGISA
Listen, I don't want to interfere in your private life, but you're
just making yourself suffer. When a relationship gets to that
point, it means it's already on the rocks. Not to mention how
tricky it is for both of us
AKIKO
It's not my fault, it's really complicated for me.
HIROSHI
It's nobody's fault, neither yours nor that poor sucker's. I
understand him. There are things you have to make clear from
the start. You have to set limits and if one or the other oversteps
them, you end it.
AKIKO
But
HIROSHI
Last time we spoke, you said all couples have such issues But
it has to be more than that. In a healthy relationship, one doesn't
have those kinds of problems, or at least not so often You've
been getting yourself into this kind of state for as long as I've
known you But this is not the time to talk about all that
He wipes his glasses in a corner of the table cloth, pops them back on and continues:

HIROSHI
There aren't 101 solutions. You've just got to take it upon
yourself and break with him. And I'm saying that for your own
good.
AKIKO
I know.
HIROSHI (with a change of tone)
So, what are you going to do?
AKIKO
I've got to make him understand that he makes me suffer too
much
HIROSHI
I mean this evening.
AKIKO
I already told you, I can't go. I've got my exam tomorrow, I've
got to revise at least a bit. And I'm exhausted into the bargain, I
was swotting all night.
HIROSHI
In my time, we used to say, the night before the exam, you rest.
Revising the night before, it tires you out and jumbles up what
you already know.
AKIKO
The problem is, I don't know anything.
HIROSHI
Of course you do, you know lots of stuff. Now, you've got to stop
revising and be content to rest, to live.
AKIKO
Some life!
HIROSHI
It's the one you've chosen. You've got to take responsibility for
your profession.
AKIKO
But tonight, I have to go see my grandmother
HIROSHI
Stop inventing excuses. This evening has been planned since last
Monday. You already knew you'd have an exam the next day,
no? I made a commitment, and I have to honour it. After all,

there are rules we ought to respect in our profession, don't you

think?

AKIKO
Sure, but how was I to know that my grandmother would show
up from Nara today? Here, have a listen.
She hands her cell phone to Hiroshi who puts the earphone into his ear to listen to the
voicemail message.
AKIKO
She's so cute It wasn't at all planned. She just turns up out of
the blue. I don't know where she managed to find my cell
number. She left me five messages She's been wandering
around Tokyo since this morning, and she's taking the night
train back. I'll have to at least go and have dinner with her.

Hiroshi listens to the message with one ear and Akiko's intermittent remarks with the other,
then he hands her back her phone.
AKIKO
That was her last message. She left four others since this
morning.
Hiroshi pour some wine for her, then serves himself, and answers her in a sweet and indulgent
tone:
HIROSHI
I understand you perfectly. Her too. But you know she'll never
be happy with such a brief meeting. She says she will be, but it's
not true. If I were you, I wouldn't go She'll just think it's a
wrong number.
AKIKO
I called my uncle once from this number, but I'd be surprised if
he were the one who gave it to her.
HIROSHI
Anyhow, seeing you in a hurry will frustrate her even more. And
it'll be awkward for you too. So, let's get back to business
He finishes his glass and concludes with firmness:
HIROSHI
You have to go.
AKIKO
I can't.

HIROSHI
You have to go and see him tonight. You have no choice.
AKIKO
Just send Nagisa.
HIROSHI
It's you he wants.
AKIKO
I can't.
HIROSHI
Remember the last time I wanted to send you to Fujioka, and
you told me you didn't feel like going?
She nods.
HIROSHI
I accepted, I didn't insist, right? You know I'm considerate and
that our relationship isn't just professional.
She nods.
HIROSHI
But this time, it's different. You already postponed once. I've run
out of excuses. He's a respectable man, we are all indebted to
him, we can't tell him no.
AKIKO
He has that much power?
HIROSHI
His power is his personality. That's why we don't have the
choice.
AKIKO
What difference does it make to him whether it's me or Nagisa?
HIROSHI
Me too, I'm curious to know. But we'll only find out once you've
been. If I'm insisting, it's because it goes beyond the usual
context. He's an important man, and if he asks me for
something, I have to do it for him. I promise you won't regret it.
AKIKO
He's a politician?

HIROSHI
I already explained to you last time Go and you'll understand.
Stop asking questions. Have a few drinks, you'll sleep like a log
in the taxi, and in an hour you'll be there. It's already getting
late, I said you'd be there at eight.
Hiroshi's telephone rings, he goes outside to answer it. Akiko drinks the remaining wine in
her glass and asks Nagisa to pour her another. Nagisa takes the bottle off the neighbouring
table and serves her another glass which she drinks dry. She takes her bag, gets up, makes her
way around to the neighbouring table, says something into Nagisa's ear, grabs the half empty
bottle and leaves. Hiroshi finishes his telephone conversation, hails a cab and pulls a piece of
paper with an address on it out of his pocket. Akiko totters down the steps of the bar entrance.
Hiroshi opens the rear door of the cab, she climbs in. He tells the taxi driver the name of the
neighbouring town to go to and hands the little piece of paper to Akiko.
HIROSHI
Give me a call as soon as you arrive. And don't drink too much.
Have a little nap. You've got an hour ahead of you.
Akiko watches him without the slightest reaction. Hiroshi pays the fare to the driver. The taxi
gets under way. Akiko is leaning against the door. She looks out the window at the passing
landscape and takes a swig from the bottle from time to time. She activates her cell phone to
listen to her grandmother's messages. The first had been left at 10 AM that morning from the
train.
FIRST MESSAGE
My dear Aki, it's me grandma. I'm calling you from the train. I'll
be arriving at 10:30 in Tokyo. I know I shouldn't have come on
the spur of the moment, but the number I had, wasn't answering.
I got this number from someone who wants to remain
anonymous, so I won't tell you their name. Well, I might tell you
when I see you. I just hope it's the right number and you get this
message. I'm arriving at 10:30 in Tokyo and I'll call you then
I'm calling from the phone of a gentleman who was kind enough
to lend it to me I'll call again when I arrive in Tokyo, but I
don't want to bother you. I booked a return ticket tonight on the
eleven o'clock train. Your grandfather is by himself, so I have to
get back. Call you in a bit
SECOND MESSAGE
Aki darling, I hope you got my first message. The one I left you
from the train. I've just arrived. I'm in Tokyo. I'm on the first
bench in front of gate 15. You should find me without any
problem. Just above the bench is a big poster of a lady wearing
a really low-cut blouse and a long skirt she's standing in front
of a bridge You can't miss her. It's the first thing you see when
you enter. Just in front of gate 15, there's a telephone booth and
a bench. There's also a man playing the accordion non-stop.

You'll hear him as soon as you arrive. It'd be nice if we could

have lunch together.

As she speaks the sound of the accordion and the noise of trains can be clearly heard in the
background.
THIRD MESSAGE (young girl's voice)
Hi Akiko, just to say that I took your lecture notes by mistake
I'm really sorry. I don't know where you are , but
Akiko goes to the next message.
FOURTH MESSAGE
Darling it's two o'clock. I'm calling you from a restaurant. I left
the station to come and have a soup here. There was only fast
food in the station and I felt like having a soup. If only you could
be here now to share it with meI'm just opposite the station.
You only have to cross the square, five minutes walkIf you've
arrived, meet me here. If not, once I've finished my soup I'll
hurry back to the same spot, to the same bench. Hope to see
you
FIFTH MESSAGE
I'm back in the station, at the same spot. Darling, I've just seen
your photo on a sticker in this phone booth. It's odd, this photo
looks like you, but at the same time, it isn't you. What I mean is,
it has your traits, but not your expression. On the photo, you're
winking and you have your mouth open. And you're smiling. It
even has a phone number on it. I called the number and a man
answered. He wasn't very nice and he had a funny accent. He
said I'd got the wrong number So I'd no other choice but to
call you back on this number. In fact, it was Nagisa's mom who
gave me this number. She's very concerned about her daughter,
whereas I'm not in the least worried about you. I know you're an
intelligent girl and that you know what you're doing. I want you
to know, that I haven't come to lecture you. I just wanted to see
you, as I really miss you. There's another photo in this booth.
The girl looks a lot like Nagisa, only she has red hair. I don't
think it's her. Her mother wanted to hear from her. I've lots of
things to tell you. About Miko, Michiko, Atsuko, Hiroki So
much has happened I have to tell you all about it. You must
come. It's four o'clock. I've so many things to tell you
SIXTH MESSAGE
Hello. My name is Aki Matsuda. I'm calling from the bank about
your credit card. The problem still hasn't been settled. We also
sent you an e-mail on the subject but got no answer. I would ask
you to come to the main branch office, during opening hours,
before the holidays Thank you.

10

SEVENTH MESSAGE
Aki darling, it's seven in the evening. I'd lain down on the bench
and I fell asleep. I can hardly believe that I slept for two hours
I dreamt that I was telling your grandfather that I'd returned
empty-handed. How could I have slept for so long? I guess I'm
tired, I didn't get a wink of sleep last night. Your grandfather
doesn't stop coughing. And, I had to get an early start. I'll call
you back. Sorry
EIGHTH MESSAGE
I'm sorry for pestering you like this, darling. But I don't have
much time left. I'll have to be getting back soon. I'm still on the
bench in front of gate 15. Even if I don't manage to see you, I
can't tell your grandfather. He tried to dissuade me from coming
out of the blue. He said it wasn't good to just turn up
unannounced. I know that, but I had no other choice. I miss you
so
NINTH MESSAGE
Darling, I'm beginning to lose hope. All I can do is call again
and leave more messages. I don't even know if you're getting
them. I guess you're not. Otherwise, I don't know why you'd hear
my voice without coming to see me. After all, I'm the one who
brought you up. I went to a lot of trouble for you. I'm not saying
that to complain, I know we have a good relationship. It's just
that I miss you. And it's not true that I don't worry about you. It's
half past eight and I'm still waiting on the same bench.

TENTH AND LAST MESSAGE

Darling, it's almost nine o'clock. I guess I won't be seeing you
this evening. I'm in front of the station and I'm taking the last
train for Nara at 10 PM. If your grandfather wasn't alone, I'd
have spent the night in this hotel opposite, and tried my luck
tomorrow. I'll spend my last few minutes waiting here at the
statue beneath the "LG" signYou might get this message at the
last minute. I'll stand in a spot where you're sure to see me, if
you comeExcuse me Sir, what's this statue called?... The
statue

We can hear the muffled sound of a man's voice.

Even if I could see you for just two minutes
How do I switch it off?
Akiko hangs up and says to the taxi driver:

11

AKIKO
Can we go via the station square?
DRIVER
The station square? That's not at all on route. We're heading
west and that's south.
AKIKO
Is it far out of our way?
The driver doesn't answer.
AKIKO
Go via the station and I'll pay you the difference.
He takes a left and continues on his way. Akiko reads her text messages.
DRIVER
Station square.
Akiko looks up from her telephone, her eyes seeking out her grandmother. She spots the "LG"
sign overlooking a statute, beneath which she can make out the frail silhouette of her
grandmother standing there stock-still.
AKIKO
Can you go around the square again in the right hand lane?
The driver tries to change lanes, but it's difficult because of the traffic. He does however
manage to slip into a middle lane which offers a closer view of Akiko's grandmother, whom
the young woman fixes with her gaze.
AKIKO
Could you drive a bit slower please?
She stares at her grandmother's face, but just as they are passing her another car overtakes
them and robs her of this precious vision. She asks the driver to go round one more time.
AKIKO
Could I ask you to move further to the right and to go round
once more?
The car moves into the right hand lane thus offering Akiko a better view. What's more,
without her having to ask, the driver drives at snail's pace along the right hand edge of his
lane. He lets her observe in detail the pale wrinkled face of her grandmother holding a big gift
wrapped package in her arms scanning the horizon for her grand-daughter, who is in fact
passing under her very nose. Akiko sighs heavily.
AKIKO
Thank you very much, we can go now.

12

She finishes the bottle in one, and stretches out on the back seat of the car.
Exterior, night.
Wide shot, succession of roads leading to the highway on the outskirts of the city.
Interior, night, taxi.
DRIVER
What part of Koganeishiare are you going to? North, south,
east, west? It's just, I need to know
The driver's question remains unanswered. He glances in the rear-view mirror and sees but the
long slender legs unveiled by the now up ridden skirt. He notices the little slip of paper in her
hand. He pulls up by the side of the road and inches the piece of paper from the fingers of the
young girl, fast asleep. He reads the address, adjusts the rear-view mirror on Akiko's legs and
sets out anew. He reverses and takes a road to the side, which leads into the forest. Several
shots in succession show the driver's point of view along this forest road. Then, he arrives in a
small deserted town. He begins to look for the address. He heads along a boulevard. The
neighbourhood is poorly lit, he can barely make out the numbers on the buildings. He finally
pulls up in front of a bar, the light from which is illuminating a section of the pavement. He
turns towards his passenger, still deeply asleep. he gets out and heads in to the bar.
Interior, night, bar
The driver enters and holds out the address to the owner, who, behind his counter, is settling a
customer's bill. He orders a beer from the bar tender. The customer is an old man of around
eighty. He is tall and thin, with a distinguished air and a pleasant face. The bar-owner glances
at the address and without the slightest remark hands the slip of paper to the customer. The
old man reads what's written.
TAKASHI
Yes it's my address. Where is she?
DRIVER
Are you Mr Takashi?
TAKASHI
Yes, I was waiting
DRIVER
Well, she's here. She fell fast asleep in the car I'm not sure we
can wake her.
They both move towards the glass entrance door. The driver puts his glass on a table and
slumps down into a chair, tired out. Takashi, carrying a bag of groceries, looks out the door
towards the taxi.
TAKASHI
Take your time, finish your beer and let her sleep..

13

DRIVER
She slept all the way.
Takashi points upwards:
TAKASHI
I live just above. The entrance is around the side. No hurry,
drink your beer and send her up whenever. It's the second bell.
Takashi leaves the bar. He stops momentarily and looks over in the direction of the taxi, then
slowly approaches it and leans over towards the rear window. Then, he turns for home. The
camera follows him. He opens his hall door, and leaving it ajar behind him, enters a large
apartment and heads towards the kitchen. He places two bottles of water he has bought in the
fridge and a few packets of handkerchiefs and table napkins in the cupboard. He goes into the
living room and heads over to the large bow window which overlooks the street. View of the
taxi from above. The driver opens the door for the passenger to get out. He helps her and
points to the building where she is to go. Takashi observes the scene from behind the window,
shadowed against it. Akiko tries to give money to the driver who refuses. Again he indicates
the street and the apartment on the floor above. Akiko heads for the side street and leaves
Takashi's field of vision. The old man moves away from the window and heads for the hall
door which he has left ajar. He listens carefully to make sure she has entered and when he
hears the door closing below, he withdraws. He tries to appear busy, tidying the things on the
sitting room table. Akiko presents herself at the hall door, hesitatingly.
AKIKO
Am I in the right place?
TAKASHI
Yes, welcome.
She leans against the doorway, still half asleep. She glances around, decides to enter and
closes the door behind her. He comes over to her and lays a pair of slippers at her feet. She
moves towards the window, lays her bag on an armchair and begins to scrutinize the objects
in the room as if she were visiting a museum.
TAKASHI
You're very late. I expected you at eight.
She doesn't answer, totally absorbed in her mission of observation. Takashi sits on a chair and
looks at her in turn. She goes over to the window, looks out, walks around the curve of the
window and heads for the opposite wall, which is lined with bound books. Certain books in
particular draw her attention. Takashi's gaze lingers on her gracious as yet slipper-less gait,
with an air both attentive and tender. She comes to a coffee table covered with old silverframed pictures of various sizes what seem to be family photos. She brings each of these
before her sleep-filled yet curious gaze, examining them carefully before putting them back in
place.

AKIKO
Who is this?

14

Takashi turns his chair towards her

TAKASHI
Who?
She holds out the frame to him, towards the camera. The portrait is not visible from afar.
TAKASHI
Her name is Mika.
AKIKO
I asked who she was.
TAKISHA
I told you, it's Mika.
This answer seems to draw Akiko's attention to the old man for the first time. She sizes him
up with her gaze, punctuated with a long yawn, then repeats in turn the name "Mika". Her
eyes are drawn to another portrait. She grabs the frame.
AKIKO
And her, who is she?
TAKASHI
Her name is Mariko.
AKIKO
I asked who she was.
TAKASHI
Mika's mother.
Akiko yawns once more and puts the picture back down.
TAKASHI
Like a coffee?
Akiko raises her eyebrows with a dubious air and mutters "Mika's mother". She moves closer
to Takashi, seated at his desk. She stares at the picture hanging just above him and asks him,
without as much as a look:
AKIKO
And you, who are you?
TAKASHI
My name is Takashi.
AKIKO
I asked who you were.

15

TAKASHI
Mariko's husband and Mika's father.
AKIKO
And you live alone?
TAKASHI
So it seems.
She turns towards the books and after a moment's silence, asks him straight out:
AKIKO
Read all these books?
TAKASHI
Most of them, yes.
AKIKO
If you've read them, why do you keep them.
TAKASHI
Some are reference works.
Akiko begins to stroll around the room anew heading for another painting hanging near the
entrance.
AKIKO
A book already read is like a woman already screwed, no point
in keeping it.
Takashi looks at her in astonishment, without a word.
AKIKO
A customer said that to me once. Can I see the other rooms?
TAKASHI
Be my guest.
She enters the corridor leading to the other rooms thus leaving Takashi's field of vision. He
gets up and heads over to the bar in the corner of the sitting room. He glances over at the
corridor and proceeds to put some music on. He takes two glasses out of the cupboard.

TAKASHI (with raised voice)

Like some wine?
His voice is muffled by the sound of the toilet flushing. He pours the wine, places the glasses
and a few snacks on a tray and heads towards the corridor. From the threshold of the bedroom

16

door, he sees that Akiko has lain down on the bed. He puts the tray down on a low table in
front of the TV which is showing a sumo wrestling contest. The sound is muted.

AKIKO
Sorry, I'm exhausted.
He sits down on the chair and looks at her.
TAKASHI
I was expecting you for dinner. I'd laid the table for you.
AKIKO
Yes, I saw, a very pretty table.
I must admit, one isn't used to being spoiled like that.
TAKASHI
Who is "one"? For me, you, is you.
AKIKO
And who am I, me?
TAKASHI
You are Akiko. Akiko Matsuda.
AKIKO
I'd never have believed you were in this game.
TAKASHI
Which game?!
AKIKO
I don't know what you do in life, but I know you're a big hit with
Hiroshi.
TAKASHI
What do you mean by "game"?
AKIKO
Oh nothing, just teasing You're so polite you make me ill at
ease.
TAKASHI
How is that?

AKIKO
I don't know what I have to do.
TAKASHI

17

You don't have to do anything.

AKIKO
Then why did you ask for me to come?
TAKASHI
In any case, not so that, barely arrived, you'd hop into bed with
me. Not like you just did. My company isn't that boring.
AKIKO
I'm sure it isn't. But I didn't come for that. And I'm sure I could
well appreciate your company if I don't fall asleep, that is.
Sorry, but I'm very tired.
As she speaks, she removes her clothes, one piece at a time, chucking each item onto a chair
to the right of the television. The old man is troubled by this game of seduction and by the
young girl's naked body. His gaze no longer lingers on her, his facial expression is a mix of
embarrassment and childish glee. He regains his composure by drinking a little of his wine.
TAKASHI
Don't you want a little wine?
AKIKO
Sorry, but I can't sleep in my underwear. I'm so sleepy. I drank
too much already.
The last piece of lingerie thrown falls on the ground. He picks it up and places it on the pile of
clothing.
TAKASHI
I've no plans tomorrow. You can sleep in for as long as you like.
AKIKO
I'd love to. But I have to go to the university. I have an exam.
TAKASHI
Which university?
AKIKO
Keio.
TAKASHI
It's right nearby. It's closer to here than to Tokyo. Barely a halfhour's drive on the highway.
AKIKO
I'd die for a lie in.
TAKASHI
Well, sleep then.

18

AKIKO (with a cheeky air)

With you.
TAKASHI
I told you that I had no intention of
AKIKO
You think it's you who decides?
She slides over to the other side of the bed and holds out her hand to him.
TAKASHI
Sure you don't want some wine?
AKIKO
I'm already drunk.
He takes her hand and approaches the bed. The camera remains focused on the TV, a chair on
either side. On screen, the bout is over. Two new wrestlers are ready, the referee gives the
signal to begin.
AKIKO
You like Sumo wrestling?
TAKASHI
Kind of I was watching that while I was waiting.
AKIKO
But now I'm here, instead of looking at me, you're still
captivated by the Sumos.
TAKASHI
I find them very interesting.
AKIKO
Really? In what way?
TAKASHI
For example, their total focus on victory. The only thing they
have in mind is to oust their opponent from the mat, or to floor
him.
AKIKO
It's the same in all combat sports.
TAKASHI
Yes, but for Sumos, there are no weight categories. It's solely a
matter of strength. They're totally free to train and to eat
without limit to increase their strength.

19

AKIKO
And what do they eat?
TAKASHI
Mainly soup. Meat, fish, vegetables. The tactic "two steps
forward, one step backwards" comes from them.
AKIKO
And sexually?
TAKASHI
That, I don't know. I know that some are married.
AKIKO
One of my girl friends slept with one of them, and she said
they're a really good lay.
TAKASHI
In what way?
AKIKO
That, she didn't say. But given that this girl is a good lay herself,
she enjoys it with everybody! I tried to persuade Hiroshi to send
her in my stead tonight, but
TAKASHI
It's you I wanted to see.
Akiko doesn't react to this little admission, but continues:
AKIKO
I'd like to try one myself. Must be pretty good.
TAKASHI
Indeed.
AKIKO
I said to Nagisa "You're lucky to be alive after having one of
them on top of you." And she replied: "He didn't have to get on
top of me!" She loves doing kinky stuff. You should see her
sometime, you'd really enjoy her.
Takashi doesn't answer.
AKIKO
Hey there still looking at those guys? Hello, I'm here!
He switches off the TV with the remote. He joins her. Blurred reflections of their bodies on
the blank screen. Fade to black.

20

The fade-in opens onto a shot of a stunning road-scape, a quasi dreamlike vision accompanied
by music which, having climaxed in the previous scene, has become more laid back. It is
perhaps the point of view of Takashi, behind the wheel of his car. Akiko is in the passenger
seat, absorbed in a book. Takashi keeps one eye on the road while glancing down at the book
sitting on Akiko's lap. He's taking a short-cut, a winding road that leads to the university,
where he comes to a halt. Akiko raises her head.
AKIKO
Already?
TAKASHI
I took a shortcut..
AKIKO
You seem to know your way pretty well
TAKASHI
I drove this road every day for thirty years.
AKIKO
What for?!
TAKASHI
I used to teach here.
AKIKO
What did you teach?
TAKASHI
What you're learning in your book.
AKIKO
So, you know all this by heart?
TAKASHI
I'll wait for you.
AKIKO
It may take a while.
TAKASHI
I'm in no hurry. I'll fold this back (he points to the back of the
seat) and have a little nap while I'm waiting.
Akiko gets out of the car, she turns to face him.
AKIKO
Sorry, but what's your surname?

21

TAKASHI
Dohi.
A young man leaning against the wall watches Akiko as she gets out of the car. At the
entrance to the university, he blocks her passage. Takashi too is watching her, and he
witnesses the scene. He can make out from their body language that the young man is
questioning her in an aggressive manner while she is putting up a blank wall. She barely
answers and tries to make her way inside. Takashi, afraid they will come to blows, sits upright
in his seat. In the end she manages to slip past him. The young man nervously approaches
another student and asks for a cigarette. Takashi losing interest in the scene, folds back his
seat and stretches out. He closes his eyes for a few moments until a rapping of a ring against
the window makes him start. It's the young man, who has come to ask for a light, trying to
calm his nerves.
NORIAKI
Can I borrow your cigar lighter?
Without even looking at him, Takashi switches on the ignition, engages the cigar lighter, and
then passes it to him through the half open window. Noriaki lights his cigarette, hands the
lighter back to him and mutters a vague thank you that Takashi doesn't even hear. He steps
backwards. Takashi gives up on his nap and adjusts his seat-back upright. Noriaki returns to
lean against the university walls, keeping one eye on Takashi who avoids his gaze. He stamps
out his cigarette and comes back over to the car, approaching the passenger side window.
Takashi lowers it slightly.
NORIAKI
Excuse me, but might I know who you are?
TAKASHI
May I know why I should answer that question?
NORIAKI
You don't have to answer. It's just a simple question, no need to
take it badly.
TAKASHI
Then let me return your simple question. Who are you?
Noriaki opens the door, sits into the car and holds out his hand.

NORIAKI
My name is Noriaki.
TAKASHI
I'm Takashi Dohi.
NORIAKI
Who are you to Akiko?

22

Takashi, disconcerted, answers with a long, somewhat revealing silence.

TAKASHI
Who would you have me be to her?
NORIAKI
Not her father Maybe her grandfather Her grandfather?
But she told me it was her grandmother who had come to see
her. I was dying to meet you
TAKASHI
But you haven't told me your relationship to Akiko.
NORIAKI
Oh, right, sorry I'm Akiko's fianc. Last year, we I I
insisted that she introduce me to you, but she always found
excuses not to. She told me you were having trouble with your
knee By the way, how is your knee?
TAKASHI
Much better, thanks..
NORIAKI
So, as I was saying, I really insisted that she introduce me, so
we could make the whole thing official
TAKASHI
You mean getting married?
NORIAKI
Yes. Personally, I feel that Young people today don't give
enough importance to the family, they take it all far too lightly
But for me, family is really essential.
It is clear that Noriaki is not very highly educated and is awkwardly trying to speak in a
formal manner.
TAKASHI
Don't you think it's a bit early for marriage?
NORIAKI
You know, I'm not as young as I look.
TAKASHI
How old are you?
NORIAKI
Twenty four. You wouldn't think so, eh? I've been around
TAKASHI

23

So what do you do in life? Have you finished your studies?

NORIAKI
No, to be honest, I quit studying to start working. And now most
of my friends with diplomas are unemployed, whereas I'm doing
pretty well. They come knocking on my door when they can't
make both ends meet
TAKASHI
What's your profession?
NORIAKI
I'm a mechanic. And I have a small share in a garage. These
days, you can't hope to make good as a simple employee. And I
do other things on the side that pay pretty well. But I don't rely
too much on that side It comes and goes.

TAKASHI
But you know the work issue is secondary. Don't you think it's a
bit early, both for her and you, to decide to get married? Don't
you feel you lack experience?
NORIAKI
I don't think girls need experience in order to get married, and
me, I've been around. I've met enough women in my life. I don't
want to boast, but even though I'm only 24, I have at least ten
years experience with women. Young, not so young, every class
and background I can tell you I've known quite a range. And
now that I've chosen one, I'm sure I'm not mistaken.
TAKASHI
Yet earlier on, I didn't find you very loving together
NORIAKI
Yes, unfortunately... But as you know, even better than me, when
you love each other, you squabble That's how it is for
everyone, there's nothing you can do about it. You mustn't take
that too seriously. When things haven't been made clear, they
can get a bit muddled at times. But it's no big deal. My
grandfather used to say, when you've found your better half,
there's no point in complicating things. There's no point in nitpicking, otherwise you risk ruining the chance of a lifetime. But
you're right, we're both still young. No doubt about it.
Especially me, it'd be better for me to wait a bit. One is never
done learning about women. One can never know enough about
how to handle them. They're so damn complicated! In fact, I
think I'm in a hurry to get married because I'm afraid of losing

24

her. I know I'll never find another girl as good as her, as

intelligent

TAKASHI
Why would you lose her, if all's well between you?
NORIAKI
Well because, sometimes we have problems How can I
explain I kind of have to go into detail It's a bit private, but
what matter That way you'll understand, and you'll agree that
I'm right Sometimes, we have trouble understanding one
another there are kind of misunderstandings between us and
instead of clearing them up, she lets things go She digs herself
into a hole and once she's cornered she says to me: "Who do
you think you are? My husband?" See what I mean? But at the
same time, I understand her I mean who am I to demand
explanations For example last night her phone was on
voicemail from eight onwards. It's only normal that I ask her
why. And she doesn't answer! She gives me some lame excuse
about a charger Would you believe that? I mean who'd
swallow that? And this morning she still wasn't picking up! And
every time she's lost for an answer, she says: "Who do you think
you are? My husband?" You understand?

TAKASHI
Yes, yes, I understand
NORIAKI
So, my only resort is to marry her. That way, I'll have the right
to ask her questions. As you well know, it's a jungle out there.
And she's such a pure, innocent girl And to be quite honest, I
don't think the studies she's doing are going to open her eyes to
society. I mean, what do they learn in there? (he points to the
university) Nothing. A pile of outmoded ideas from some foreign
book, which have nothing to do with the society in which we
live. I mean, I'm all for her studying, but I wonder if she learns
anything useful from it all Do you think studying is going to
teach her about life, about people? You know far more than me
about the society in which we live. And for a beautiful, nave girl
like her all alone in this big citywhere all kinds of stuff goes
on with no one to look after her Do you realize the risks
she's running? Personally, it scares me. And that's why I want to
marry her, so as to help her. It'd be good for her to have to
explain herself to a husband. And for you, far away, it'd give you
peace of mind. Don't you think?
Takashi listens in silence, without any visible expression of judgement.
Noriaki continues.

25

NORIAKI
We were talking last night, and all of a sudden, she hangs up on
me. What for? It's only normal that I expect an answer. A
convincing one. I'd barely begun to grill her, when she comes
out with this story about a charger. And when I make it clear
that I'm not going to swallow it, she replies: "You're not my
husband!" You see what I mean?
TAKASHI
Sure. But I wonder what would happen once you were married,
if she didn't give you an answer, or a convincing one Did you
ask her?
NORIAKI
She couldn't do that! She could no longer tell me I'm not her
husband. She'd be obliged to give me a convincing answer!
TAKASHI
And if she didn't?
NORIAKI
She'd have no right not to. She'd be my wife
TAKASHI
I know she'd be your wife. But don't you feel that these days
women often give such kinds of answers to their husbands?
NORIAKI
What kinds of answers?
TAKASHI
Pretty unconvincing ones.

NORIAKI
I dunno But in theory, they shouldn't. It's their duty as wives to
give a convincing answer They have no right to drive the man
who loves them up the wall!
TAKASHI
You're quite right That's why I'm saying to you that you
haven't sufficient experience to get married.
NORIAKI
What experience? To let someone lie to your face without
flinching? Is that what you call having sufficient experience?

26

TAKASHI
Sufficient experience not to ask questions when you know you
won't hear the truth.
NORIAKI
But that's impossible !
TAKASHI
Difficult, but not impossible.
NORIAKI
Can you do it?
TAKASHI
I don't intend to get married.
NORIAKI
Of course. You already have
TAKASHI
Yes But things have changed since then.
That's what you've got to understand.
NORIAKI
That, I can understand. So, forget it
TAKASHI
Well then, forget it.
NORIAKI
Sorry, I meant
TAKASHI
I mean, forget the idea of marriage.
NORIAKI
But I love her!
TAKASHI
I didn't say not to love her. I'm saying don't marry her if you're
not able.
NORIAKI
But what you're saying just doesn't hold up! I shouldn't marry
the one I love because I ask questions?!
TAKASHI
That's not what I'm saying

27

NORIAKI
Yes it is, you're saying I shouldn't ask questions
TAKASHI
Then, I take back what I said. Let me put it another way. It's true
that it's difficult not to ask questions. So ask questions, but let
yourself be convinced by the answer, whatever it is.
NORIAKI
Let myself be convinced by an idiotic response that stinks of
lies?! How is that possible?
TAKASHI
Even if you're not convinced, you can pretend.
Takashi's tone of voice is exactly that of a teacher trying to explain a simple lesson to a dunce.
NORIAKI
Well, what you're saying doesn't convince me in the least. I can
hardly believe my ears.
TAKASHI
My intention is not to convince you, it's just to tell you what I
think. Anyone who wants to commit to living in a couple has to
understand this essential condition. It's the rule
NORIAKI
If it's the rule, then it's also valid for women.
TAKASHI
Not so sure.
NORIAKI
You wouldn't have a slight tendency to take your granddaughter's defence?
TAKASHI
You know, I consider you every bit as much my grandson. I'm no
more her grandfather than I am yours. I'm just telling you that
these days, that's how things are. You're free to accept it or not.
I'm merely giving you my opinion.
NORIAKI
But it's not fair!

28

TAKASHI
From an individual standpoint, I agree, it's very unjust. But from
a historical standpoint, it's different. We're living in a period of
transition, a kind of limbo, that's how it is
NORIAKI
Put yourself in my place. Could you bear living like that?

TAKASHI
I'm not asking you to have to bear anything
NORIAKI
No, you're just trying to get rid of me. Akiko has been telling you
things about me
Suddenly, the passenger door opens. It's Akiko, dumbfounded to see Noriaki seated beside
Takashi who with total aplomb asks her to climb into the back. Akiko hesitatingly opens
the rear door of the car and before she even gets time to open her mouth, Takashi addresses
her with a broad smile:
TAKASHI
I heard you told Noriaki that your grandmother was visiting. So
now, I'm your grandmother?
Noriaki looks around sheepishly, like a lame attempt at reconciliation.
NORIAKI
I thought you spoke to me about your grandmother yesterday.
Am I mistaken?
Akiko, totally thrown, just looks at him, lost for words.
TAKASHI (rushing to her aid)
Who cares who's mistaken. What matters is that you had the
good fortune to meet the grandfather instead of the
grandmother!
He tries to give Akiko a reassuring glance in the rear-view mirror.
TAKASHI
And now darling, where do you want me to take you?
Akiko, who hasn't yet regained her composure, seeks in vain to answer.
Takashi continues:
TAKASHI
Like to go to a bookshop?
Akiko nods in reply and stammers:

29

AKIKO
Yes, yes If it's no trouble.

NORIAKI
And if it's no bother, maybe I can hitch a ride to the next
crossroads I'll get out there.
Takashi starts the car.
TAKASHI
Sure. And how did your exam go?
He looks at her in the rear-view mirror.
AKIKO
Not too bad. It could have been better, but
TAKASHI
But?
AKIKO
I wasn't very focused.
Noriaki turns around..
NORIAKI
I'm sorry. I wasnt well. I had a bad night and a bad day
yesterday a stupid fight.
Akiko shows not the slightest reaction to his words.
NORIAKI
I'll tell you later.
TAKASHI
What was the exam subject?
AKIKO
There was a question on the theory of evolution That's
Durkheim, right?
TAKASHI
No, it's firstly Darwin
AKIKO
Great And I said it was Durkheim
TAKASHI

30

It was Darwin who founded the theory, and then Durkheim

developed it for

AKIKO
No, don't tell me! I'd rather not know. Leave me the illusion that
I may have succeeded. My day has started badly enough as it
is
In the wake of this exchange, a silence descends. All three are lost in their thoughts, until
Noriaki breaks the silence:
NORIAKI
That belt sounds worn. Can't you hear how it's screeching?
TAKASHI
Yes
NORIAKI
It's been making that noise since Nara?
TAKASHI
I didn't really notice.
NORAIKI
And you intend to drive back like that? It ought to be changed.
Otherwise it might give up the ghost at any minute. If you like,
pull over for a sec and I'll take a look at it.
After a slight hesitation, Takashi pulls over to the side of the road. Noriaki hops out and goes
to open the bonnet creating a brief moment of intimacy between Akiko and Takashi. Akiko
wants to grasp it to say something, but Takashi urges her to silence by placing his index finger
on his lips. The he lays his hand on hers. Noriaki closes the bonnet and gets back into the car.
NORAIKI
That belt has had it. It won't last more than a few kilometres. If
you've got time, we can stop by my garage (he insists on the
"my") and I'll replace it.
TAKASHI
Would it take long? I'm We're kind of in a hurry.
NORIAKI
It'll be quick, ten minutes at the most.
He pulls his phone out of his pocket and makes a call.
NORIAKI

31

Hi, how's it going? Tell me, do we have one of those little drive
belts for a Nissan Micra? Go and check, and if we don't, send
Akio to get one at Fuhito's. Okay?... Right away!
He wants that his boss-like tone be heard.
NORIAKI
We'll be there in ten minutes Or even better, call Fuhito
directly and tell him to send us a messenger Just tell Naoki to
call. Is he in today? Is he there? Naoki is he there? How is
he? His face?... Oops Well he was asking for it. Hand him
over to me.
Hello? Hi, how's it going?... Listen, buddy, it's not my fault.
Do you realize what you came out with?... No, that's not at all
what you said No, that's not how you said it And even if it
was In all honesty, is that the kind of thing you say to a
buddy? Especially in front of others! No, if it had been just that,
I wouldn't have flown off the handle Yeah, but imagine it was
true! You'd want to be really stupid to say it in front of others
It's just not funny, get it?... But in any case, I'm sorry. I'll see
you in a bit You know sometimes, we just lose control
Yeah, I told Masato to ask you to call Fuhito to tell him to send
us a little drive belt or a set, for a Nissan Micra. Okay, ciao.

He turns towards Takashi, slips his phone into his shirt pocket and continues:
NORIAKI
When people are plain dumb, there's really not much you can do
about it I was working in the pit. He comes to see me with this
photo, hiding it in his hand, and he says to me"Guess who?"
I couldn't see, so I answered: "Akiko?" Whereupon, he removes
his hand and I see it's a phone sex advert.
Out of his pocket he pulls a photo of a winking, smiling girl. He shows it to Takashi, then to
Akiko. He goes on:
NORIAKI
Look at the shape of her face, her smile, her teeth, her
expression, her charm It's a pretty good likeness But he
shouldn't have shown it to me! I mean, she's my fiance! I don't
know what came over me, but I just whacked him smack in the
mush I was beyond myself All the more so, because she was
driving me up the wall
He rips the photo to pieces and puts them in his shirt pocket.
NORIAKI
Take a left here , please.

32

Akiko and Takashi have remained totally impassive. Takashi simply mutters a "Well, I
never!" to bring the young man's story to a close, while stealing a glance in the rear-view
mirror. A silence descends and lasts until they arrive at the garage, a few streets further on.

Garage, interior, day.

A big yard, in which numerous vehicles are parked, a hive of activity, of mechanics and
customers. Takashi's car enters the repair zone. Noriaki climbs out with great self-assurance
and strides across the garage floor. He heads over to a tall guy who's sporting a black eye.
He attempts an affectionate gesture, but the other guy pulls back.
So Noriaki heads over to another mechanic with whom he strikes up a conversation. Akiko
settles a little deeper into the rear seat. The scene is filmed from Akiko and Takashi's point of
view, from inside the car.
TAKASHI
The size of him to actually thump that giant?
AKIKO
He's a third dan in taekwondo.
TAKASHI
And you like that?
AKIKO
Like what?
TAKASHI
The fact that he's a fighter.
AKIKO
I dunno.
TAKASHI
What do you like about him?
AKIKO
The same thing as I dislike.
TAKASHI
And where did he find that photo?
AKIKO
It dates from two years ago. Hiroshi supposedly had them
removed. I don't know how he came across it. I guess there are
still a few booths with stickers up. My grandmother saw one
too
TAKASHI

33

Well, I never
In a corner of the garage, Noriaki is in deep discussion with a customer and a mechanic. A
motorbike arrives. Its rider hands a packet to Noriaki who opens it. He pulls out two belts and
proceeds to examine them. Then he comes over to Takashi's car, in the company of another
mechanic.
NORIAKI
Can you open the bonnet?
Takashi opens the bonnet, which creates a more private space for the continuation of his
conversation with Akiko.
TAKASHI
You didn't tell me what you liked about him.
AKIKO
Yes I did.
TAKASHI
You told me it was also what you hated.
Akiko brings her index finger to her lips to indicate that this is not the ideal place for having
this conversation.
TAKASHI
Why don't you come and sit in the front?
AKIKO
I'm fine here.
Noriaki approaches the window.
NORIAKI
Why stay in the car? You could get out and have a coffee while
you're waiting. It's going to take a few minutes.
TAKASHI
No, we're fine here, thanks.
A fairly new car, in comparison to Takashi's, enters frame and stops. Its driver, a middle-aged
man, gets out and heads for the back of the garage. He seems to be looking for someone. He
retraces his steps. Suddenly his gaze meets Takashi's and he begins to walk over in the
direction of his car. He exchanges a few words with Noriaki. Their conversation seems
friendly, but remains inaudible from inside the car. Their discussion seems to be of a
mechanical nature. Then, the man comes over to Takashi's window and addresses him.
CUSTOMER
Hello.

34

TAKASHI
Hello.
CUSTOMER
You don't know me, or rather you don't remember me. I was
your student a the police academy.
TAKASHI
The police academy?!
CUSTOMER
Thirty years ago. I took a course in sociology, and you were my
professor for a year.
In the course of this exchange, Noriaki heads over to the coffee machine in the far corner of
the garage, beneath the worried gaze of Akiko.
TAKASHI
That's right, I did teach there for a year, but I have hardly any
recollection of it
CUSTOMER
Of course. Given the number of students you must have had, you
can't remember every face Can I invite you for a cup of
coffee?
TAKASHI
No, thanks just the same. So then, what do you do now?
Noriaki comes back towards the car and then exits frame.
CUSTOMER
I quit the police. Didn't suit me. I went out on my own
TAKASHI
Very good.
CUSTOMER
And by the way, I really liked your last book. I'm still very
interested in delinquency, but on a more personal basis.
A young man arrives with two coffees on a tray for Takashi and Akiko.
NORIAKI
Can you switch on the ignition?
Takashi places his cup on the dashboard and switches on the ignition.
CUSTOMER
Very nice to meet you again.

35

He exits from shot. Noriaki closes the bonnet and approaches the driver's window. In his hand
he is holding a new belt and a used one. Takashi gets out and Noriaki shows him the worn
belt.

NORIAKI
Just as well we changed it. It was about to give up the ghost.
TAKASHI
Thanks a lot.
NORIAKI
It was the least I could do. Keep the other one in the trunk as a
spare, it might come in handy if the other were to break en
route Are you heading back today?
TAKASHI
Yes.
NORIAKI
A pity you couldn't have stayed for lunch.
TAKASHI
Some other time.
NORIAKI
Could I ask you for your phone number?
TAKASHI
Unfortunately, I don't have a cell phone. But if you leave me
your number, I'll call you.
Noriaki hands Takashi his visiting card, then goes to the rear window to speak to Akiko who,
totally on edge, has listened to the entire conversation.

NORIAKI
What are you doing today?
AKIKO
Nothing.

NORIAKI
Maybe we could have lunch together after the bookshop? I'd like
to talk to you.
Without even waiting for Akiko to answer, he checks his watch, then sticks his head in the
front window to address Takashi.

36

NORIAKI
I was really delighted to meet you. I hope that thanks to you we
can settle our little problems, which maybe aren't that serious
after all.
TAKASHI
Let's hope so.
Takashi tries in vain to pay Noriaki for the two belts and the repair.

NORIAKI
We've planned to lunch together at the bookshop caf. I'd be so
happy if you could join us. I'll be there at one.
He withdraws his head and looks at Akiko.
NORIAKI
Meet you at one at the cafeteria.

Takashi reverses. Noriaki, seen from Akiko's point of view, waves them goodbye, then heads
over to speak to the customer.
AKIKO
I'm a bit worried.
TAKASHI
Why?
AKIKO
That's why. (she indicates Noriaki and the customer). I'd be very
surprised if that guy doesn't tell him that he's your former
student and that Noriaki doesn't tell him that you're his fiance's
grandfather.
TAKASHI
I see. And did you tell him your grandfather's profession?
AKIKO
He knows almost everything about me.
TAKASHI
And what is your grandfather's profession?
AKIKO
He's a simple fishermen.

37

Takashi is lost in thought. As they leave the garage behind, Akiko slips from the back into the
front passenger seat.
AKIKO
And you told him you were my grandfather?
TAKASHI
No, he just presumed it. I even told him I was no more your
grandfather than I was his. I didn't tell a single lie. However, I
can understand that all this could get a bit awkward if you
intend to continue your relationship with him. But there's not
much we can do about it now.
AKIKO
I don't intend to stay with him.
TAKASHI
Well, you don't seem very determined to break up.
AKIKO
True.
TAKASHI
You fear him or you still love him?
AKIKO
I fear him and at the same time I don't know I'm not sure I
love him In fact, I think he scares me. Whenever I'm with him,
I totally lose my self composure..
TAKASHI
Yes, I couldn't help noticing that your decision to have lunch
together was pretty one-sided
AKIKO
I was feeling quite uneasy
TAKASHI
How long have you known him?
AKIKO
From the start.
TAKASHI
What start?
AKIKO
From when I arrived in Tokyo.
TAKASHI

38

Which was?
AKIKO
Almost three years ago.

TAKASHI
What did you like about him?
AKIKO
I already told you; what I now hate. I think at first, I needed his
strength His ridiculous physical strength!

TAKASHI
You think that today physical strength is still a decisive factor?
AKIKO
No. It's just symbolic. But what now I hate, every time we go out
together, is to see him spoiling for a fight.
TAKASHI
With you or with others?

AKIKO
It starts with others and ends up with me.
The car pulls up in front of the bookshop.
TAKASHI
In any case, you can count on me as a grandfather.
AKIKO
Thank you.
TAKASHI
Have a nice day.
Akiko gets out and heads into the bookshop. Takashi drives off home. He parks in front of
the building entrance. He gets out, opens the door and goes inside.
Interior, day, building stairwell
Takashi opens his letter box. A little mail and some adverts. He climbs slowly up the stairs
and enters his apartment.
Interior, day, apartment
He enters and goes to sit down on the chair by his desk. He opens the letters one by one. He
speed reads them and tosses them with indifference into the waste paper basket. He gets up
and heads towards the little dining room. The table set for yesterday evening's dinner is still

39

intact: the plates, the candlesticks, a vase full of flowers. He takes the vase, changes the water
for the flowers, and then places it in front of the window. He waters the plant in a corner of
the room. He takes a plastic container of soup out of the refrigerator. He pours a little soup
into a bowl, which he then places in the microwave. He takes advantage of the few minutes'
wait to tidy the house. The soup is ready. He places it on the table, sits down on a chair and
begins to eat, along with a toasted slice of white bread. The telephone rings. After three rings,
the answering machine kicks in. He listens to the message.

MESSAGE
Hello Mr Dohi, this is the printer's and we're calling you as we
have a problem with a passage in your text. We tried calling
yesterday evening, but we weren't able to leave a message. We
also called your editor, but no answer. Could you please call us
back? Thank you.
A few minutes later, the phone rings again. He hears a woman's voice speaking indistinctly
and seemingly in tears. He slowly realizes that that the voice is that of Akiko and dashes to
the phone to pick up.
TAKASHI
Hello? It's you?... What's going on? Where are you?... I didn't
understand Okay, don't move, I'll be right over.
He hangs up and rushes out of the apartment. He careers down the stairs at a pace surprising
for a man of his age and jumps into his car. He speeds through the streets and arrives near the
bookshop and scans the horizon for Akiko. In an adjacent deserted street, he spots the young
girl sitting on the ground up against a tree. He pulls up beside her and gets out.
Akiko, her mouth covered with a bloodied handkerchief, gets up. Takashi helps her into the
car. They drive back home without a word. They climb the stairs, enter the apartment. He sits
her down on an armchair and goes to get the first aid kit. Akiko's upper lip is swollen and
bloodied.
TAKASHI
Open your mouth and let me see.
She's reluctant to open her mouth. It hurts every time he barely touches her face.
TAKASHI
Let me see. Maybe we should go to the hospital to get some
stitches.
She shakes her head.
TAKASHI
Just the same, I have to see
He tries to raise her upper lip to examine the wound, but she refuses to remove her hand from
her mouth.

40

TAKASHI
Please, make a little effort. Let me see what's wrong. I can't just
stand here and watch you suffer.
She doesn't answer, continues to suffer and refuses to remove her hand. Takashi resorts to
tenderness and humour in an attempt to relax her a little. While preparing a dressing he quips:
TAKASHI
You know the story of the baby elephant who got beaten up?
Akiko, who is not in the mood for joking, shakes her head. Takashi continues, imbibing a Qtip with some antiseptic.
TAKASHI
He arrives home in tears. His mother says to him: "Let me see
your tooth", but he refuses. She doesn't even ask him who hurt
him, as she already knows. She just wants to help him, to dress
his wound. But this little elephant, who is as stubborn and
uncooperative as you, doesn't want to know, so he plants his
trunk across his closed mouth. And the mother elephant is not
strong enough to undo it.
Akiko, who decidedly has not the heart to laugh, attempts a stiff smile. The telephone rings,
the answering machine kicks in, we hear the voice of an oldish man.
MESSAGE
Hello Takashi, this is Kido. Listen, I'm calling you because the
printing works got in touch to say that
Takashi goes and picks up the phone, then returns to the spot where he was.
TAKASHI
Hello Yes, fine and you?... Yes, everything is fine
Yes, I know. They left me a message but I was busy, I didn't get
to call them back No, go ahead, tell me I'm busy, but I'm
listening
KIDO
In fact, they have two problems. The first concerns chapter 10,
page 132.
TAKASHI
Sorry, I don't get it. What exactly is the problem?
KIDO
I think it's a missing word or sentence.
TAKASHI
I'm busy. Can I call you back?

41

KIDO
Sure, but they've been waiting since yesterday evening. The
printing run is being held up. But it's nothing much, I'm sure you
could spot it right away. I have the text right here in front of me,
on my screen. If I read it for you, you'll understand immediately.
TAKASHI
Go ahead, read it for me. I'll put you on speaker-phone.
KIDO
First, like I said, it concerns chapter 10, page 132, on worldweariness.
TAKASHI
Yes
KIDO
So, it's line one, two, three, four, five, six, seven. On line
seven, it reads: "Man would try his bungling hand"
TAKASHI
Read from the beginning of the quotation, so I can get the gist.
KIDO
Okay. So, it begins: "Our destiny in this life is to be brought to
the highest pitch of world-weariness. He who when brought to
this point can insist that it is God who has brought him there,
out of love, has passed life's examination and is ripe for
eternity." Full stop. "It was through a crime that I came into the
world, I came against God's will. The offence, which even
though it makes me a criminal in God's eyes, is in a sense not
mine; it is to give life. The punishment fits the crime: to be bereft
of all lust for life, to be led to the extremity of world weariness."
Are you still there?
TAKASHI
Yes, I'm listening.
KIDO
"Man would try his bungling hand at God's handiwork, if not to
create man, at least give life: You'll pay for this all right, for
only by my grace is the destiny of this life world-weariness, only
to you who are saved do I show this favour of leading you to the
highest pitch of world weariness." Do you follow?
TAKASHI
Yes, but where's the problem?
KIDO
We haven't come to it yet.

42

TAKASHI
Well, where is it? Read me the passage with the problem!
KIDO
It was you who asked me to read from the beginning!
TAKASHI
There are beginnings and beginnings. Go on
KIDO
We're almost there. It's coming up.
TAKASHI
Go ahead, I'm listening.
KIDO
"Most people these days are so spiritless, so deserted by grace,
that the punishment simply isn't Lost in this life, they cling to
this life, out of nothing they become nothing, their life is a
waste." I think that after "isn't" there's a word, or part of a
sentence missing. As it stands it doesn't work.
TAKASHI
Yes, I think you're right. But like I said, I'm busy I'll have to
check the source. And I can't do that now. I'll call you back
around four or five And you can fill me in on the rest then.
KIDO
Okay. Masato is here. He has a question for you. He wants to
know why you chose this book.
TAKASHI
Say hello for me. Tell him that
KIDO
He can hear you. I'm on speaker phone.
TAKASHI
I'll explain to you when I see you.
MASATO (his voice more distant)
Why on earth are you tackling Kierkegaard? It's not exactly
your cup of tea
TAKASHI
Let's talk about it sometime. Are you well?
MASATO
Fine. But I haven't seen you for ages.

43

TAKASHI
I'm good too. I'll call you.
KIDO
So I'll expect to hear from you before five.
TAKASHI
No worries, I'll call you. Bye.
He hangs up. Akiko has taken advantage of this conversation to go the bathroom to check out
her mouth wound in the mirror.
She dabs the blood with a handkerchief, but the cut reopens almost immediately. She stops
looking at the wound and her gaze lingers on her dark rimmed eyes. She notices a little
pimple has emerged on her chin. At the same time, she lends an attentive ear to Takashi's
telephone conversation. Once he has hung up, he comes over to the bathroom door. Akiko
breaks away from the mirror and emerges. They go back into the sitting room. She sits down
on the armchair and at last lets herself be treated.
TAKASHI
Open your mouth wider a bit more It's alright, nothing
too serious. I'm going to put a little of this on it (he shows her
the bottle). It'll sting a bit, but it helps it to heal quickly.
While Takashi is tending to her, a tear trickles from the corner of Akiko's eye. She tries to
hide it by wiping it away.
TAKASHI
Does it hurt?
AKIKO
Not really
TAKASHI
You're lucky it's bleeding. Otherwise, you'd have had a more
painful bruise, which would have taken longer to heal. This way,
in a couple of days, you won't notice a thing. I even think it lends
you a certain charm. You know, like those women who have
their lips injected You haven't eaten?
AKIKO
No.
TAKASHI
I have a little soup that'll be just right for what you've got. If you
can manage to swallow some
Akiko shakes her head. Takashi finishes his first aid, plants a kiss on her forehead, helps her
up, leads her into the dining room and sits her down at the table.

44

TAKASHI
You see, without knowing it, I actually prepared this soup for
you for lunch today, not for dinner last night. It would have been
a shame for you not to have enjoyed this pretty table, no?
Akiko nods her head. Takashi heats the soup and places the soup tureen on the table. The he
heats his own half bowl of soup and puts it on the table too. He sits down opposite her and
begins to eat. Akiko sits immobile, tears continuing to trickle down her cheeks.

TAKASHI
Eat a little soup.
AKIKO
I can't.
TAKASHI
Try to swallow a few small spoonfuls, from the side of your
mouth. No need to chew. Hold on, I'll go get you a little spoon.
He gets up, goes to fetch a small spoon from the cutlery drawer in the kitchen, returns and sits
down beside her.
TAKASHI
Here, open your mouth a little open up that's right on the
side, see? Open again See? It works. Now take the spoon and
keep eating like that, a little at a time
He gets up and returns to his seat opposite her. Akiko eats her soup in little spoonfuls and
dabs the corners of her mouth and her eyes with the napkin.
TAKASHI
Are you in pain?
AKIKO
No, I'm okay.
TAKASHI
Then why are you crying?
Akiko shrugs her shoulders, lays her spoon down in her bowl and dries her eyes.
TAKASHI
You don't feel like talking? I know there's nothing I can do for
you, nothing in any case I can do for your pain, but talking
could help to ease it. If you'll accept me as your friend, then talk
to me, it'll do you good.

45

The floodgates of her tears open. She hides her face behind her napkin and cries in silence.
The phone rings, the answering machine kicks in, Takashi leaves the room to go answer.
MESSAGE
Mr Dohi, I'm calling from the printer's. I left you a message a
little earlier
TAKASHI
Yes? Hello Yes, I spoke to my publisher. I'm sending him the
corrected version for five o'clock Yes Yes, he told me Yes,
he explained the whole thing Right Okay, goodbye.
He hangs up and returns to the table. Akiko has calmed down and is stirring her soup gently
with her spoon, lost in her thoughts. So much so, that she doesn't even notice Takashi's return.
TAKASHI
So what do you see in your soup then?
She startles.
TAKASHI
Feeling better?
She nods her head in silence.
TAKASHI
Still don't want to talk to me?
AKIKO
I've nothing to say.
TAKASHI
Well then at least eat your soup. Want me to heat it up a little
for you?
AKIKO
No, its fine.
TAKASHI
Not hurting as much?
AKIKO
It's okay.
TAKASHI
On the inside, I mean. Your aching heart. Don't want to tell me
about it?
Akiko remains silent and stirs her soup. Takashi continues to talk while eating his.

46

TAKASHI
Know the story of the snake?
AKIKO
What snake?
TAKASHI
The snake who is down in the dumps.
AKIKO
No.
TAKASHI
One day, a snake goes to see his buddy. And his buddy notices
that he's down in the dumps. So he asks him what the matter is.
And the snake replies: "Nothing" So the other snake says to
him:" I know theres nothing I can do for you, but I think itd do
you good to tell me what happened. The depressed snake says
that hes love sick. His buddy asks him to tell him all about it.
The snake, who was stirring his soup without eating it, begins
his story. He says: Remember that girl who used to hang
around on the corner? That girl or that boy? That boy is
better His buddy asks: What boy? The depressed snake,
whos in fact a girl, replies (He changes his tone of voice) In
fact, how are snakes called?

AKIKO
How are snakes called?!
TAKASHI
I mean, between themselves. They must give each other names,
dont you think?
Akiko shakes her head, smiling.
TAKASHI
She says: You know that snake, who was very handsome, very
majestic?" In fact she didnt even know her lovers name.
Id already been alone for two years (He changes his tone
of voice once more) In fact, how long do snakes live?
AKIKO
I have no idea.
TAKASHI
So, she says: I was sick of being alone, and there was no
reason why all snakes should be the same, so perhaps that one
was different. So I began to watch him from afar every day, to

47

think of him every night, and even before Id actually met him, I
was already in love with him.
Eat your soup, itll get cold. In fact, it already is. Shall I heat it
up for you?
AKIKO
No, its fine.
Takashi loses himself in thought, checks his watch and resumes:
TAKASHI
What was I saying?
AKIKO
That shes fallen in love.
TAKASHI
Who?
AKIKO
The snake!
TAKASHI
Oh, right. By dint of admiring him from afar and thinking of him
so often, she fell in love with him from a distance. And then one
day, she decided to approach him and declare her love. She
recounts: "One morning, I woke up, showered and dolled myself
up, I slipped on my prettiest boots and my snakeskin coat and I
dived in headfirst. I went right up to him." And you know what
happened?

AKIKO
What happened?

TAKASHI
What do you reckon?
AKIKO
He spurned her?
TAKASHI
No.

AKIKO
But you said she was lovesick?
TAKASHI

48

Right.
AKIKO
He didnt believe in her love.
TAKASHI
No, not that either.
AKIKO
He wasnt handsome.
TAKASHI
Not really... He was a garden hose.
AKIKO
A garden hose?
TAKASHI
Yep.
AKIKO
Well I never...
Akiko plunges into a deep silence, hardly the usual reaction to the conclusion of a funny
story. She eats her last spoonful of soup. Takashi rises and clears away her bowl.
TAKASHI
Want me to reheat you a little more?
AKIKO
No, Im not hungry anymore. That was a pretty sombre tale you
just told.
TAKASHI
True.
AKIKO
I can never manage to laugh at such stories.
TAKASHI
Such stories are not meant to make people laugh,
but to make them think.
AKIKO
It made me think of me.
Takashi places the dishes in the sink and continues:
TAKASHI
You can rest up a little, if youve nothing to do.

49

AKIKO
I have nothing to do.
TAKASHI
Go lie down on the bed and have a little sleep. I have a little job
to do and an e-mail to send before five oclock.
AKIKO
I dont want to sleep.
TAKASHI
Then come and lie down on the couch. If you like, you can share
your thoughts with me.
He goes to fetch her and walks her over to the couch, near the window. He helps her to lie
down, placing two cushions beneath her head and goes to get a light blanket from the
bedroom that he very delicately lays over her.
TAKASHI
There you go. Have a little rest and Ill get down to work. If you
like, you can tell me what the story inspired in you.
He goes to sit at his desk opposite her and turns on his computer.
AKIKO
A certain resemblance.
TAKASHI
What resemblance?
AKIKO
Between that snake and me. Ive often fallen into the trap of
falling in love from afar, only to get closer and discover that the
person is not at all as I imagined.
TAKASHI
I understand. But I think its a trap that you set for yourselves.
When I say "you" I mean everyone. They say that love is the
product of a misunderstanding. Love is born out of
misunderstanding. When its resolved, when two beings
understand each other, love vanishes. And I feel that happens
more especially to women.
AKIKO
I dont understand.
TAKASHI
What I mean is...

50

AKIKO
Would you mind passing me my handbag? I dont have the
strength to get up.
Takashi takes her bag from the armchair and brings it over to her. She takes out a book, opens
it and places it over her face.

TAKASHI
What I means is that you are young and that you still have time
to make mistakes.
AKIKO (her book on her face)
Can I ask you a question?
TAKASHI
Go ahead.
AKIKO
Why did that man at your publishers say that Kierkegaard
didnt seem to be your cup of tea?
TAKASHI
Because I only like Japanese tea.
AKIKO
No, but seriously.
TAKASHI
I dont know... Ill ask him next time I see him.... And Ill tell you
if I see you....
AKIKO
You dont intend to see me again?
TAKASHI
Thats not what I said. What have you read by Kierkegaard?
AKIKO
Works of love and then, Judge for Yourself. And what you were
reading over the phone, wasnt that from his Journal? I havent
read it, but Ive heard excerpts on the radio.
TAKASHI
Exactly. They are notes he made in his journal two months
before his death. They attempt to prove that the despair he had
so often described ended up getting the better of him. And with
regard to that friend of mine, I doubt that he knows as much
about Kierkegaard as you do. His remark was probably inspired
simply by the few lines he heard my publisher read aloud.

51

AKIKO
But you said youd ask him.
TAKASHI
I will.
AKIKO
And next time you see me, youll tell me.
TAKASHI
Of course.
AKIKO
So, youll see me again.
The doorbell rings. Takashis surprise shows he wasnt expecting anyone. He gets up and
heads over to the interphone fitted with a screen. Akiko removes the book from her face, and
looks at Takashi in fright. He has difficulty in masking his reaction to the silhouette he
recognizes on the screen.
AKIKO
Who is it?
TAKASHI
No one.
He returns to sit down at his desk. After a moment's silence, he opens a book and lays it down
near his computer. He opens a document on screen so as to compare the two texts. He visibly
lacks concentration. The doorbell rings anew. His gaze looks over to the interphone.
Akikos gaze turns to him. They dont speak. The doorbell rings for the third time, at length.
Takashi looks at Akiko. She pulls back the cover nervously and sits up. Long silence. He
turns the pages of the book in feigned calmness while observing Akiko out of the corner of his
eye. He goes to the window and scans the street below taking care not to be seen.
AKIKO
Has he left?
TAKASHI
Lie down.
He returns to his desk. He begins to type a text. The camera remains focused on the computer
screen, in total silence.
TEXT
"It was through a crime that I came into the world, I came
against God's will. The offence, which even though it makes me
a criminal in God's eyes, is in a sense not mine; it is to give life.
The punishment fits the crime: to be bereft of all lust for life, to
be led to the extremity of world weariness. Man would try his...

52

The sound of an explosion. A window smashed by a rock. The window above the couch
where Akiko is lying. The couch is spattered with shards of glass. Akiko ducks her head
beneath the cover.

The End

53