m ompanies (five productions). The most f lifetime by profession ple sk Dru one-act play by professional companies was Gokishobd, 1994), p. 141. 1s 12-14 for a detailed account of Mishima’s experience iyt-za in 1950, 5.See Introduction, pas directing The Lighthouse at ‘THE CHARACTERS Kurokawa Yukichi (65), an electrical goods manufacturer Kurokawa Isako (30), Yakichi's second wife Kurokawa Noboru (25), Yakichi’s only son by his first marriage, an econom ics major at a universit xurokawa Masako (19), Noboru’s younger sister, a mision school stadent Yakichi’s daughter by his first wife Chiba Junko (20), Masako's friend SETTING ‘A second-floor room in a hotel on the island resort of Oshima, 300 miles south of Tokyo. Mid-April, from 11 p.m. to past midnight. NOBORU: MASAK ig fo her cards) Of course you're not. You didn’t sleep a all last night on the boat, and then after we got here you slept al after- noon. ... IF you really want to sleep so much, do what Dad does—drink down five boitles of beer in a row. What a strange old guy Dad is Grinks before meals, then gargles with beer when he’s done, then drinks down the beer he’s been gargling. I'm surprised he hasn’t taken to using beer to wash his face. (She looks at NOBORU.) Noboru, why didn’t you cirink anything this evening? NOBORU: I just dict feel like drinking, MASAKO: (Turni :) Why no NOBORU: I just ke it. MASAKO: Well, you get what you deserve, and now you can't sleep. But if you don't get a good night's sleep you won't be able to climb Mos her MASAKO: Yes, just a little. That’s why the two of them are fast asleep now, from the bale He looks around the roo NOBORU: Do you know where my binoculars are? MASAKO: Your “war crimes” binoculars? They're in the suitcase, (NOBORU goes to the suitcase, then looks back.) NOBORU: What's that you just said? MASAKO: War crimes. After all, they are a parting gilt from the navy, aren't they? NOBORU: Yeah. (He MASAKO: (Wit NOBORU: The lighthouse. MASAKO: (Looking outside) You can see it fine from here. And even if you look through binoculars, at night what's there to see but ing more curious) What are you looking at? (She stands up cl d goes her brother.) Show me too. Come on, let me see. abit, okay? MASAKO: No, let me see. Let me see. NOBORU: (Har 1e binoculars) You can see heaven through these, so take a good, long look. (He si ‘a chair and because those binoculars have seen so many men dying. MASAKO: You liar. You can’t see anything. (But ) Just the lighthouse. All I can see is the light in the light- Oh look, it's gone dark. ... Now it’s on again. . . . But it doesn’t seem as bright as it does from the ocean. Oh, I’can see a