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THE TRANRATEQN OF A iAPANEfiE
SHENGEKi PLAY

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1968

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ABSTRACT

BEYOND THE CLOUDS
THE TRANSLATION OF A JAPANESE
SHINGEKI PLAY

by William G. Hall

The purpose of this study is to translate Chikao
Tanaka's shingeki ("new drama") play, ggmg,gg_Hatate
(Beyond the Clouds) into idiomatic English. A repre-
sentative work of one of Japan's leading playwrights, it
is also one of the best known plays of the modern Japanese
- stage. Set in post-war Japan, the play brings an existen-
tialist theme to bear on the unique problems of a war
ravaged society seeking new definitions and new directions.
It is a highly topical play and an excellent example of
the new vitality being expressed in contemporary Japanese
drama.

Prefacing the translation is a brief discussion
of the shingeki movement, the playwright and the play.
This introductory material is designed to provide a
reference point for the play and perhaps an indication
of the vitality of the movement of which it is part..

Though the author's original intentions have

been followed as closely as possible, the translation

itself has been designed to be produced on stage, and is
therefore not meant to be a literal translation of the

Japanese words.

Approved M /L w

BEYOND THE CLOUDS
THE TRANSLATION OF A JAPANESE
SHINGEKI PLAY

by
William G. Hall

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech and Theatre
1968

ACKNOWLEDGEMENTS

The writer wishes to express his sincere appreci-
ation to Dr. Farley Richmond and Dr. James Brandon for
their valuable criticisms and suggestions during the
writing of this thesis. Special thanks are expressed to
Dr. Seok Song of the Department of Linguistics and
Oriental and African Languages for his aid in the process

of translation.

TABLE

ACKNOWLEDGEi ENTS . . . .
TABLE OF CONTENTS. . . .
INTRODUCTIOIE o o o o o 0

Purpose . . . .
Significance of

OF CONTENTS

the study .

Scope and limitations of the study.

Shingeki. . . .
Chikao Tanaka .
The Play. 0 o 0

Production facts.

TRANSLATION

BIBLIOGP APHY . . . . . .

iv

OF KUio uo HATATE (Beyond the Clouds).

iii

iv

INTRODUCTION

Purpose
The purpose of this thesis is to translate Chikao

Tanaka's shingeki ("new drama") play, Kumo 32 Hatate
(Beyond the Clouds)1 into idiomatic English.

Significance _f the Study

For years, the drama of Japan has been represented
in the West by the three extraordinary classical theatre
forms which have developed in that country over the last
five centuries. The brilliant theatricalism of the kabuki:
the mystical elegance of the Egg: the magnificent technique

of the bunraku puppeteers: these are elements which have

 

fascinated theatre scholars and students alike in the time
that Japanese theatre has been known to us. Understandably,
perhaps, the birth and development of a contemporary
Japanese theatre movement has been largely overlooked in
this country.

There is no single book presently available in

English which deals exclusively with the shingeki, although

 

1The text used for the translation is taken from

Tanaka Chikao Gik oku Zenshu, ("Complete Plays of Chikao
Tanaka"5 Vol. 1 (Japan: Hakushisha, 1950).

1

2
a number of short articles and chapters of books discuss
it. Of these, the most important are: Theatre in Japgn,2
which contains the most comprehensive study of the shingeki
movement, its history and its present status, and Japanese
E1123. §_n_g m y; £12 Mali. Egg} which contains a
detailed history of the shingeki movement through 1930,
traced in the context of all Meiji and Taisho drama.

MOst of the cause for the scant coverage of the
shingeki movement and the few translations of shingeki
plays available (about fifteen in number) must be traced
to the nature of the movement itself. Only slightly more
than half a century old, the development of the new drama
has coincided with one of the most difficult periods of
social upheaval in the history of Japan, including the
overwhelming influx of Western artistic concepts and philo-
sophical ideas which began in the Meiji era (1868-1912).
Until recently, the shingeki movement has been primarily
concerned with the production of Western plays in trans-
lation and Japanese imitations of Western dramatic techniques.
It is only since the war that a group of playwrights has
begun to emerge whose dramatic contributions are original

and wholly Japanese. Chikao Tanaka is an important member

 

zJapanese Commission for UNESCO, Theatre ig Japan
(Japan: Ministry of Education, 1963).

 

3Komiya Toyotaka, ed. Ja anese Music nd Drama $3
the Meiji Era (Tokyo: Obunsha, 19E6).

3
of this group and is one of the leading playwrights of

today's shingeki. Kumo pp Hatate is one of his best

 

known works and is an excellent example of the new vitality

of Japanese modern drama.

Scope and Limitations of the Study

Prefacing this translation is a brief discussion

 

of the shingeki movement, the playwright and the play.

This introductory material is not meant to be a complete
study of these subjects, for this would be beyond the scope
of the thesis. It is meant to provide a reference point
for the play and perhaps an indication of the dynamicism
of the movement of which it is a part.

The translation itself has been designed to be
produced on stage and is not meant to be a literal trans-
lation of the Japanese words, though the playwright's
intentions have been observed as closely as possible. Foot-
notes have been introduced to clarify Japanese terms and

customs whenever necessary.

Shingeki

The massive introduction of Western ideas during
the Meiji period and the upheaval which accompanied it
were the source of shingeki's birth and in some ways the
cause of its impeded development into a truly Japanese
form of theatre. Benito Ortolani helps to illuminate the

period when he states:

4

Only a "new" drama could reflect the "new"
predicament of a Japanese society which was
growing closer and closer to the occidental
structure of life: and a "new" drama alone
could mirror the many human problems result-
ing from the painful transition: the dis-
illusion of enlightened intelligentsia, the
merciless power of capitalism, the loneliness
of the individual within mass society, the
disintegration of the peasantry and craftsmen.
A certain messianism characterized the new
drama from the beginning: the promise of
salvation held out to the countless victims of
a social transformation which seemed to dis-
regard basic human rights.

From its beginning with the founding of the Bungei
Kyokai (Literary Association) in 1906, the entire shengeki
movement was marked by a desire to imitate Western plays
and production techniques as closely as possible.5 Few
of the new actors and directors had any first hand experi-
ence with the techniques they were trying to emulate, how-w
ever, and consequently much of what was done in the early
phase of the movement smacked of amateurism; even produc-
tions given by highly competent Kabuki actors appear to
have suffered from inconsistencies borne of ignorance.6

By 1924, however, several of the leading artists

had traveled to the West and observed the workshops of

 

4Benito Ortolani, "Shingeki, the Maturing New
Drama of Japan," Studies i3 Japanese Culture (Tokyo: Sophia
University, 1963), p. I55.

 

 

5Komiya Toyotaka, ed. Ja anese Music an Drama i_,
the Mliji Era (Tokyo: Obunsha, 1956) p. 292.

61bid.

5

Stanislavski and Reinhardt, among others, and returned with
fresh ideas and a new spirit of experimentation. The
Tsukiji Little Theatre company built the first Western
style theater with all the standard technical apparatus,
and began producing realistic drama in earnest. They pro-
duced almost entirely translations of Western plays, con-
centrating on playwrights such as Ibsen, Chekhov and
Strindberg, setting the standard of production and type of
play for years to come.7 The directors of the tsukiji
company looked on their troupe as a kind of laboratory--
a place where free experimentation could take place.
Although it disbanded after only five years as a single
company, this group performed two very important functions
for the future of the shingeki movement. The excitement
it generated in the theatre world insured the continued
interest in productions of the new drama and provided the
impetus for the formation of several new troupes dedicated
to work of high quality. And perhaps the most important
effect was the creation of a core of highly trained and
competent actors and directors with whom the new drama
began to pyramid into a full fledged movement.

While an increasing number of Japanese plays began
to appear during the thirties and early fourties, a clear

indication that the genre was beginning to come into its

 

7Takeshi Kurahashi, "Western Drama in Japan--The
Japanese Shingeki Movement," Japan Quarterly, Vol. 5 (1958)
p. 179.

6

own, the movement was in a state of great flux until 1941,
marked generally by a breakdown in organization and a
splintering of companies. The period ended abruptly when
the government, increasingly concerned with the leftist
element which had entered several of the new troupes, began
to close down their productions. Playwrights who were
not imprisoned were forced to keep quiet as the entire
shengeki movement became suspect. Only one troupe was
allowed to continue to produce throughout the war years--
the Bungakuza, which still operates today.8

At the end of the war, the shingeki enjoyed a
tremendous rise in popularity. The occupation forces
were distrustful of kabuki because of its "feudal spirit"
and encouraged the production of Western theatre. -As
activity in the shingeki increased, it soon became clear
that two very important elements of the pre-war years had
survived intact. The first of these is the spirit of
experimentation emphasized so strongly by the Tsukiji
directors. An interesting phenomenon in relation to this
spirit is the method of financing shingeki productiOns
today.

Because the returns from an average three week

run of a modern play do not provide enough to pay entirely'

 

8Japanese Commission for UNESCO, Theatre lg Japan
(Japan: Ministry of Education, 1963) p. 22 .

7

the cost of production, a fluid situation has developed
whereby shingeki directors are occasionally exchanged
between noh and kabuki troupes for individual productions.
This is not only a source of mutual enrichment between
genres, but also provides a supplimentary income for the
shingeki directors. The actors make a substantial part
of their living by working in television and motion
pictures.9 In this way, the shingeki artists are able
to subsidize their own troupes and gain an element of
freedom for experimentation--they don't have to depend
solely on boxoffice receipts for their financial solvency.
The second element, and perhaps the most signifi-
cant sign of maturity in any living theatre, is the
emergence of original playwrights. While it is true that
much of today's shingeki still consists of the reproduction
of Western themes--either in translation or through
imitation by Japanese playwrights--some notable exceptions
stand out. Two of these exceptions, Junji Kinoshita and
Yukio Mishima, are worth mentioning briefly as examples.
Kinoshita's greatest achievement for the new
drama has been to break through the all powerful realistic

tradition which has bound shingeki playwrights from its

 

9Takeshi Kurahashi, "Western Drama in Japan--The
Japanese Shingeki MOvement," Japan Quarterly, vol. 5
(1958) p. 184.

8

10 In Yuzuru (Twilight Crane), Kinoshita

beginning.
borrowed from the rich sources of Japanese folklore to
produce a highly original work which, while it is pure
fantasy drawn from legend, manages to express a universal
theme: the struggle between materialism and spiritual
values.11

Mishima, a very prolific writer, is perhaps best
known in this country for his Fiyg Medern Npp §1§y§.12
In this volume, Mishima has rewritten and updated five
of the most popular of the Noh dramas. While attempting
to retain some of the haunting, weird quality of the
original plays, he has retold the stories within a con-
temporary framework, restating the universal themes in
modern terms.

While both Kinoshita and Mishima have established
a link with Japan's past in their attempts to make mean-
ingful evaluations of modern Japanese society, the play-

wright Chikao Tanaka has prefered to deal directly with the

contemporary world as he sees it.

 

1OBenito Ortolani, "Shingeki, the Maturing New
Drama of Japan," Studies i3 Japanese Culture (Tokyo:
Sophia University, 1963) p. 174.

ll-Junji Kinoshita, "Yuzuru," Donald Keene, trans.
Playbook (New Directions, 1956).

12Yukio Mishima, Five MOdern Noh Plays (New York:
Knopf, 1957).

Chikao Tanaka

Born in 1906, Chikao Tanaka later attended Keio
University in Tokyo where he joined the Shingeki Research
Laboratory. It was here that he first began to read the
psychological dramas of Paul Geraldy, and became absorbed
in existentialist philosophy.13' He was graduated in 1930
with a degree in French literature.

In 1933, his first play, Ofukuro (hother)Vwas
published, and from that time on Tanaka has been an active
member of the shingeki movement both as a leading play-
wright and as a director. In 1938, he became one of the
founders of the Bungakuza, which continues as one of the
three major troupes today. He remained there until 1954,
when he joined the Haiyuza, considered today the most
influential troupe in shingeki.14 Tanaka is presently
an active member of the Haiyuza.

In well over twenty plays written since Ofukuro
the author has been engrossed by one basic existentialist

15

theme and its variations: man's search for personal

 

13"Tanaka Chikao." Enoeki Hyakka Daijiten ("Complete
Encyclopedia of Theatre") Vol. 3 Japan: Heibonsha, 1960)
p. 517.

14Japanese Commission for UNESCO, Theatre lg Japan
(Japan: kinistry of Education, 1963) p. 233.

15Chikao Tanaka, Tanaka Chikao Gikyoku Zenshu,
("Complete Plays of Chikao Tanaka") Vol. 1 (Japan:
Hakusuisha, 1960) p. 345.

10

identity. His method seems to have been to examine the
problem from every possible angle, varying setting and
character, making each play different by emphasizing a
different aspect of the theme each time.

According to Mineo Mayazaki, the editor of
Tanaka's complete plays, there are three variations of this
central theme which run through all of Tanaka's plays:
1) Is there a God? What is the function of the ego in
relation to the possible existence of God? 2) What is
original sin: the paradox of alternating hatred and desire
of women by the main character in the play. 3) How does
man relate to society? ‘What is the function of the indivi-
dual ego in a changing, disintegrating society?16

While the playwright reexamines these questions
_in play after play, Mayazaki suggests that the three works
which best represent the development of these variations
on the existentialist theme are: Ofukuro (Mether), M5313
pp,Kppi (Head of the Madonna) and Kpmp,pp_Hatate (Beyond
the Clouds).17 In Ofukuro the alternate attraction and
refulsion between man and woman is explored. The story
revolves around a family crisis in which a young man struggles

to free himself from his mother's overprotectiveness and

 

11

thereby gain his sexual independence.18 magi; pp 322;
is set in atomic bombed Nagasaki and is evidently an
attempt to explore the individual's need to establish a
relationship with an entirely new society in a world
which is no longer comprehensible.19

Eggp‘pp Hatate deals with the existence of God,
among other things, and has been called the first Japanese
existentialist play.20 It will be evident in the following
discussion of the play that Tanaka has successfully applied
his knowledge of Western existentialist philosophy to the
expression of problems which are deeply rooted in Japanese

society.

The play

The search for identity-~Tanaka's existential
problem-~in Kpmp pp Hatate can be identified on two differ-
ent levels: within the dialogue, and within the structure
of the drama. Throughout the text of the play, the topic
of conversation constantly boils down to the question: who
or what am I? Shingefuji asks, "What are you?" Futaba
recites a poem and asks, "Is that me?" Hideko asks, "Who

am I to want more?" Junnosuke asks, "Who am I" repeatedly.

 

18Benito Ortolani, "Shingeki, the Maturing New
Drama of Japan", Studies pp Japanese Culture (Tokyo: Sophia
University, 1963) p. 183.

19"Tanaka Chikao," En eki Hyakka Daijiten ("Complete
Encyclopedia of Theatre") Vol. 3 Japan: Heibonsha, 1960) p.517.

ZOIbid.

12
The answer is never given.

The story concerns Junnosuke, a doctor who
joined the army as a private during the war and became
wounded in action. The wound he received in the back of
the head has injured a nerve which affects sexual potency.
Under the threat of possibly life-long crippling effects
from this injury, he is in a state of extreme mental
anxiety. The nurse who cared for him in the hospital,
Futaba, has returned home with him to work as a nurse in
his office and keep watch over his state of mind. She
has also fallen in love with him.

In the beginning of the play we see Futaba, who
has gone through two marriages unsuccessfully, flirting
innocently with an X-ray machine salesman. In this scene,
the first of a series of similar dramatic devices is used
by the author to create an affect of unstable or unclear
relationships between the characters. This device is
particularly effective in a Japanese play, because of the
highly structured system of social relationships in Japan,
a system in which one is almost always clear as to his
social position in relation to other people. From the
very beginning then, these relationships are thrown into
confusion. Shigefuji the salesman questions the true
nature of Futaba's association with the doctor, implying
that it is not what it seems to be. We also learn that

the old doctor, Gijun, who is Junnosuke's father, is not

13

what he had seemed to Futaba: a kindly old gentleman.
His relationship to his first wife and to his ex-mistress
Hideko are highly suspect.- Hideko is presently seen lying
on the bed, suffering from morphine withdrawal and in
great pain.

In the next scene we are introduced to the second
dramatic device used to create confusion about the real
state of things. In this case, it is the state of
Junnosuke's mind. From apparent normalcy at his first
entrance, the doctor goes through a series of abrupt
changes of mood: extreme rage, vengeance, remorse, cynicism,
relief and calm. The juxtapositioning of these scenes
with little or no dramatic preparation for the changes
seem to convince us of Junnosuke's imbalance due to his
anxiety over the injury-~until the final scene when he
says that he has been acting out each of these moods:
that he was not only aware of what he was doing, but was
doing it deliberately! The effect is that we are no
longer sure of Junnosuke's real state of mind. Has he
really been deceiving Futaba--is he still doing so?_ Or
has this entire sequence of events been part of his own self-
deception? This is calculated on the part of the playwright,
however, for it is precisely that uncertainty which is
the topic of the play.

As the play progresses, each relationship is

scrUtinized and found wanting. Hideko sympathizes with

l4
Futaba for her hard life and offers to adopt her--to give
her money. It becomes clear, however, that what she
really wants from Futaba is a shot of morphine to alleviate
her withdrawal symptoms. We also learn that Shigefuji,
in spite of his joviality and pretended concern for Futaba's
way of life, was in fact intending to sell her into prosti-
tution. Then, in a tense scene, Junnosuke switches roles
with his old army sergeant, harrassing him mercilessly,
trading the well-being of the sergeant's child for personal
revenge. Suddenly, he turns the relationship over again,
debasing himself to an extreme that embarasses everyone
present.

Finally, as Junnosuke's relationships to his
family and Futaba unfold in the last scene, we see the
underlying cause of his struggle with identity. He explains
that as a boy, conscientious and dutiful, he once gave in
to a natural urge to sexual curiosity towards Hideko, then
his father's nurse and mistress. Ashamed of what he had
felt, he was too afraid of his father to bring his feelings
out into the open. The experience was repressed but it
festered in his mind, making him constantly aware of the
falseness of personal relationships. This awareness
carries through into his adulthood and, though he leads
a normal life on the surface, he finds himself unable to

establish meaningful contact with other human beings. His

15
feelings for Futaba he dismisses, believing he has simply
used her.

Having tried to live his life according to his
own values, which are the only values that he recognizes
as real, Junnosuke finds that he is still unable to attain
peace or find happiness. He concludes sadly that if man
is basically evil and suspicious, as he seems to be, then
perhaps the only way to happiness is not to search--not
to stir the muddy waters of the soul.

The character of Futaba provides a contrast to
Junnosuke's pessimism, for she believes in the essential
goodness of all people. She prefers, however, to set her
sights of happiness beyond the real world--"beyond the
clouds" as it were, and away from the twisted values of
society. She suggests the existence of God as an answer
to the guidance that Junnosuke seeks in finding himself.
He rejects that answer as too simple,21 however. The
play ends with no solution, the characters adrift in an
incomprehensible world.

Though Tanaka's existentialism is conceived
within the context of contemporary Japanese society, it
is universal in its implications. For Junnosuke rejects

the idea that the war itself is the cause of his limbo

 

21"Tanaka Chikao." Engeki Hyakka Dai'iten
("Complete Encyclopedia of Theatre") Vol. 3 (Japan:

Heibonsha, 1960) p. 517.

16

state. It is incidental. The playwright points out that
the war is simply an external pressure, under which
Junnosuke "still believes that his own ego . . . is the
absolute basis for freedom."22

By applying his understanding of existentialist
philosophy to the changing conditions of Japanese society,
Tanaka is able to portray the problems of his countrymen
in a meaningful dramatic statement. The originality of
the context in which he poses his argument does not detract

from its application to people everywhere.

We
32mg gp‘figpgpg was first performed by the Bungakuza
in 1948, and the text was published in the periodical
Gekisaku the same year. A highly successful production,
it did much to establish the Bungakuza as an important
company after the war.23 It was again produced in 1958,

in another successful production, by the Haiyuza.

 

1968 22Unpublished letter, from Tanaka, February 18,

23Japanese Commission for UNESCO, Theatre ip Japan
(Japan: Ministry of Education, 1963) p. 234.

B E Y O N D T H.E C L O U D S

A play

by
CHIKAO TANAKA

l7

CHARACTERS : 1

Junnosuke Tsuypki, a doctor
Gijun Tsuypki, his father, also a doctor

Futaba, a nurse
Hideko Ono, once a nurse, now a morphine addict
Ser eant Kawamoto, an ex-soldier

Mr. Shi efu'i, a medical supplies salesman

 

1The names and other Japanese words are pronounced
as in Italian: The vowels are pure. (a is ah, e is eh,
i is ee, 0 is oh, and u is 00.

18

l9

§p§pps IT Is THE OFFICE OF THE DOCTORS TSUYUKI. THE

STAGE IS SEPARATED INTO TWO AREAS: THE EXAMINING ROOM
AT STAGE RIGHT, AND THE DISPENSARY AT STAGE LEFT. A
WHITE CURTAIN FORMS A PARTITION BETWEEN THE TWO AREAS,
BUT IT Is PULLED BACK AT PRESENT.

HALF OF THE UPSTAGE WALL OF THE EXAMINING ROOM IS
TAKEN UP BY A LARGE OPAQUE SLIDING DOOR, BEHIND WHICH
IS THE WAITING ROOH. AGAINST THE SOLID HALF OF THIS
WALL Is A BED, AND ABOVE THE BED HANGS A MEDICAL CHART
SHOWING THE GERM CYCLE RESULTING FROM UNSANITARY FERTILI-
ZATION OF CROPS.1 DOWNSTAGE OF THE BED IS A CLASS
DOOR WHICH OPENS INTO A CORRIDOR LEADING TO THE FAMILY
QUARTERS. FURTHER DOWNSTAGE IS A LARGE DESK AND SOME
CHAIRS.

THE UPSTAGE WALL OF THE DISPENSARY IS HALVED FROM
LEFT To RIGHT. THE UPPER SECTION 13 GLASS, WITH A
PHARMACIST'S WINDOW IN THE CENTER, NOW OPEN. A SMALL
BLACKBOARD HANGS ABOVE THE WINDOW. THE LOWER SECTION
IS WOOD, AND TWO HARD PACKED STRAW MATS, EACH 3 BY 6 FEET
ARE SPREAD ON THE FLOOR WITH A SMALL DESK AND A BRIGHTLY
COLORED CUSHION ON TOP OF THEM. DOWNSTAGE LEFT Is A

 

1A series of pictures showing crops fertilized with
human excrement, vegetables on the table, people eating
them, the germs involved, and the effects of the diseases
resulting.

20

LARGE MEDICINE SHELF.

THROUGH THE DISPENSARY'S GLASS SECTION, WE CAN SEE
THE WAITING ROOM.AND THE ENTRANCE LEADING OUTSIDE. AN
OLD SOFA IS VISIBLE THROUGH THE SLIDING DOOR, WHICH IS
OPEN. SHIGEFUJI IS NOW SITTING ON IT WITH THE BLACK
BOX OF HIS PORTABLE X-RAY MACHINE BESIDE HIM. ON THE
BED, HIDEKO LIES FACING AWAY FROM THE AUDIENCE. OCCASION:
ALLY SHE GIVES A LOUD GASP.

FUTABA, IN A WHITE NURSES UNIFORM, IS MIXING
MEDICINE WITH MORTAR AND PESTLE.

TIME: IT IS EVENING, SHORTLY AFTER THE WAR.

SHIGEFUJI: (GIVES A LARGE YAWN).

FUTABA: Sorry to keep you waiting for this.

SHIGEFUJI: I don't care about the medicine. I'm waiting
for your answer. Hrs. Tsuyuki.

FUTABA: Why do you insist on calling me Mrs. Tsuyuki?

SHIGEFUJI: Well who the devil are you then? You know
what they're saying in the village.

FUTABA: Pooh.

SHIGEFUJI: You can't just pooh it. Look, now I can't
just sit around here and watch a girl like you grind
medicine! God, what a waste! I mean it . . . . You
don't know your own value.

FUTABA: Oh? And what do you mean by that?

21

SHIGEFUJI: A beautiful woman like you? Come on now, you
know what I'm talking about. I've been a lot of places
. . . nearly every doctor's office in the country. And
I haven't found another woman like you anywhere. Oh,
maybe your mouth is just a wee bit big for such a
pretty little face, but . . .

FUTABA: Come on, now, you're teasing me again . . . (SHE
FINISHES GRINDING THE MEDICINE, AND BEGINS TO WRAP IT)1.

SHIGEFUJI: Here you are in this dumpy little provincial
clinic . . . oh, the Doctor cleaned it up a little when
he got out of the army . . .

FUTABA: Was it worse before?

SHIGEFUJII Was it! It got to look just like the gig
Doctor. Old . . . dirty . . . sure wasn't sanitary.
FUTABA: (GIGGLES) The old man is home! He's inside . . .

SHIGEFUJI: Huh? Oh, don't worry about it. He's deaf.
(HE STEPS INTO THE EXAMING ROOM, SPEAKS TO HIDEKO) And
how do you feel today, Madam? Comfortable? (SHE DOESN'T
ANSWER) (HE CROSSES INTO THE DISPENSARY AREA) Nowhere
else to go around here, I guess. The only other doctor
in this area is old man Doi . . . so what can you do?
Have you ever seen him? He's gotten so bad now he can't

even give a shot without his hands shaking all over the

 

1Medicine is often ground on the spot, then wrapped
in small sheets of rice paper. The ends of the paper are
then twisted to complete the packaging.

22
place. He's no good with the stethoscope, either.

FUTABA: (HANDS HIM THE WRAPPED MEDICINE) Here. It's
one day's.

SHIGEFUJI: (NONCHALANTLY) Of course, this might be
nothing more than socium bicarbonate . . . (TAKES IT
FROM HER) Nope . . . old man Doi can't hear a damn
thing. Stethoscope doesn't do him a bit of good.

WITHOUT TURNING TO HIM, FUTABA SITS ON TOP OF THE
DESK AND BEGINS TO TURN THE PAGES OF A LARGE BOOK.
SHIGEFUJI RUDELY SEATS HIMSELF DIRECTLY IN FRONT OF HER.

SHIGEFUJI: You know, what really makes me puke is when I

. think of old Tsuyuki pulling in all that money the way
he did.

FUTABA: Mr. Shigefuji, I'm sure men like you turn a
pretty good profit. What do you get . . . after one of
these machines are sold and paid for? Pretty good
markup, I bet.

SHIGEFUJI: Ah, but you see I'm not treacherous the way
the old doc is. In the first place, he's a real talker.
I mean, it's a national crisis, the way these old
geezers work! Here all the young men are going off to
fight the war . . . while all these old bastards have
the gall to complain that they're having to flog them-
selves on--as a public service! Bah! Brrr . . . (HE
PRETENDS TO HAVE PALSIED HANDS, TREMBLING LIKE AN OLD

MAN)

23

FUTABA: The old doctor is an earnest man. Perhaps somewhat
affected . . . just a little.

SHIGEFUJI: Yeah . . . he makes an awful lot of noise
proving how important and "earnest" he is. But off in
secret . . . he used to pull some pretty dirty tricks.
Well, you know what morphine is, wholesale . . . You
know he used to squeeze fifteen, twenty times that out
of people., Talk about mark up! That's what they used
to say before the war ended. You know, it hasn't been
very long since you got here, Futaba. You just haven't
had time to find out how really rotten the old son of
a bitch is.

FUTABA: People have weaknesses. They can't do anything
about it. It's almost as if their kégma were forcing
them to do things . . . like it was something left over
. . . something they'd done in a previous life.

SHIGEFUJI: Oh, that's hogwash. Come on, don't tell me
you're sympathetic to the old man . . .

FUTABA: Sure I do. I'm . . . sympathetic with everybody.

SHIGEFUJI: (EXAGGERATEDLY) Oh, that's great! And who's
supposed to depend on you?

FUTABA: What do you mean? Why not?

SHIGEFUJI: I mean if you feel that way about everybody . . .
then how is anybody supposed to depend on you to feel
anything . . . special? For one person, I mean?

FUTABA: (LAUGHS) I don't suppose they can.

24

SHIGEFUJI: Well, what about the young doc?

FUTABA: Here we go again.

SHIGEFUJI: Come on now. You're no innocent young thing
. . . you can level with me. What's the deal with you
. . . really?

FUTABA: Listen. He's my patient!

SHIGEFUJI: Patient!

FUTABA: That's right. And I'm his nurse.

SHIGEFUJI: Come on, now, you're talking to me in circles.
YOu already told me you aren't going to marry him. But
if that's true, how come . . .

FUTABA: All right. So I'm fOnd of him. Yes. I am.

SHIGEFUJI: Uh huh! I suppose you've kissed him then . . .

FUTABA: (PETTISHLY) Oh, you're a monster! I hate you,
Shigefuji!

SHIGEFUJI: (LAUGHING) Well, who knows . . . the old man
is an expert doc. So maybe the son's got the talent.
Even if he does seem like such a jittery little guy.

FUTABA: He has a nervous temperament.

SHIGEFUJI: He has something! Listen, don't you think he's
got a sinister look in his eyes?

FUTABA: Who? The old Doctor?

SHIGEFUJI: No, the young chief.

FUTABA: You think so?

SHIGEFUJI: Just when I think he's talking normally . . .

gentle as can be, you know? . . . suddenly he starts to

25
shout. Like a regular dictator. I mean, he wasn't
the friendliest guy in the world before the war . . .
but since he got out he's funny. Nervous . . . jumpy.
He just doesn't fit the doctor image.

FUTABA: Do you think there's anything else . . . different
about him? Besides that?

SHIGEFUJI: Well . . . looks like he's in a state of nervous
exhaustion, that's all. Got that old look, you know.
But that's probably because he's got you to look after
and . . . It's pretty bad, you know . . . dragging a
pretty girl like you out here, into this . . .

FUTABA: (TO HERSELF) Nervous exhaustion . . .

SHIGEFUJI: You aren't listening. I mean it. Nothing good
is going to come out of your being in this dump. I
didn't know the dead wife, but they say he threw her
out in the snow. She had to spend the whole night out-
doors.

FUTABA: Who threw her out? The old doctor?

SHIGEFUJI: Yeah, she just got on his nerves a little bit,
you see. I guess she finally went over to Ono's place
. . . (INDICATING HIDEKO) and _s_1‘_1§_'_§_ the one who went
and put herself at the old man's mercy!

FUTABA: He's really terrible when he gets angry. He must
be a very hard man.

SHIGEFUJI: And she was the next one. (INDICATES HIDEKO)

The owner of a restaurant. You'd better be careful you

26
don't do a repeat performance.

FUTABA: Repeat performance?

SHIGEFUJI: Playing leading lady, like her. See it? End
up just like that.

FUTABA: Well thanks anyway, but however desperate I may
get, I'll never be to the point where I'm thinking of
taking morphine to escape it all. I don't know though
. . . Sometimes I do think I'd like to try it . . . just
to see what it's like, I mean . . .

SHIGEFUJI: Well here, let me give you a shot now . . .

FUTABA: No! Heavens, no.

SHIGEFUJI: (LAUGHS) It isn't quite so easy in her case.
(LOWERING HIS VOICE) God, just look at her.

HIDEKO: Aahhh. (GROANS, TURNS OVER WITH A DEEP SIGH)
Nurse.

FUTABA: Yes, Mrs. Ono?

HIDEKO: Hasn't he come back yet?

FUTABA: No, not yet. Any time now.

HIDEKO: Soon? Oh . . . (GASPS)

SHIGEFUJI: Well, it's too bad about you. You'll come
around some day. You'll find out the way things really
are around here. .But by that time, it'll be too late.
You'll already be a prisoner of his house. I mean it.
See her? If you're ever going to get away, the time to
go is nOw. Why don't you listen to me . . . I'm only

saying this for your own good.

27

FUTABA: What do you mean, "the way things really are
around here?"

SHIGEFUJI: Just ask her. (GESTURES TO HIDEKO, LOOKS
MEANINGFULLY) Other things too, you know . . . for
instance, what kind of money are you making here?
Salary?

FUTABA: Salary? No, I . . . ,

SHIGEFUJI: See what I mean? Don't you get anything?

FUTABA: Just spending money . . . that's all I asked for.

SHIGEFUJI: Hah! ‘Not even enough to keep you in soap, I
bet, huh? Just because you didn't ask for much doesn't
mean he should use that as an excuse. That's just
plain exploitation, whatever the excuse! You probably
do everything around here . . . right? Laundry . . .
dispensary . . . and the kitchen . ...

FUTABA: That's right. But I enjoy the cooking.
SHIGEFUJI: Then there's the extracurricular duties during
the night . . . whoops, I guess I shouldn't mention
that. Just generally gyggything, right? Look, Futaba
. . . what does . . . what does that make you? I mean,

what kind of existence is that?

FUTABA: My, aren't we the philosopher today!

SHIGEFUJI: I'm telling you the facts! There are a million
nurses who have done that . . . gave themselves completely,

thinking their doctor would marry them. And they came

28
to nothing but misery for it. It just ruined their
lives for nothing. (LOOKS IN THE DIRECTION OF THE BED)
Isn't that right, Mrs. Ono?

HIDEKO: How long are you going to hang around here? If
you want any of your kind of business, you're going to
have to go out and get it. You're not enticing anybody
here. Futaba isn't your kind of woman . . . Or do you
still have some phoney promises up your sleeve?

SHIGEFUJI: (EMBARASSED) Hey . . . ah . . . Listen, you
can't talk to me that way . . . watch your mouth. I'm
leaving tomorrow. Tomorrow . . . (TURNS TO FUTABA)
Anyway . . . I was going to say that if you're the wife
of the house, then you ought to be treated with some kind
of dignity. Hell, it looks to me like you're no better
than a nurse around here.

FUTABA: I am a nurse! And if I . . . become his wife . . .
then I'll still be the same person. I'm not going to
change.

SHIGEFUJI: That's right. And look at you . . . here you
are in a little mountain village, around all these
people who don't even know whether they're alive or
dead. How can you live around here year after year?
You won't be able to stand it. There are no movies at
all. And you don't have a single friend here. See?

There's absolutely nothing here to stimulate you.

29

FUTABA: I've been stimulated. I don't need that kind of
thing any more.

SHIGEFUJI: Go ahead and believe that, but don't try and
test it for too long. Your face tells me what you
really need.

FUTABA: What do you mean?

SHIGEFUJI: Look at your hair . . . all put up and pretty.
Enough perfume to tickle a man's nose from here. (MOVES
TO HER) Your whole appearance tells me what you need.

FUTABA: (PULLS AWAY FROM HIM)

SHIGEFUJI: Your whole body is crying out for something!

FUTABA: For what?

SHIGEFUJI: You want a man. (LAUGHS)

FUTABA: (SHE ALSO LAUGHS, CARELESSLY)

SHIGEFUJI: Come on, now, you're not fooling anybody.

FUTABA: Am I really so easy to see through?

SHIGEFUJI: Won't you marry me? I mean it. I just want
to get you out of here, for your own good. Come away . . .

FUTABA: And what do.I have to do for you?

SHIGEFUJI: Well . . . just . . . tell me something. Don't
keep me in suspense. Tomorrow, I won't be here.
Tomorrow.

FUTABA: You seem to have forgotten what I told you befOre.
I explained it clearly . . .

SHIGEFUJI: About your having a kid?

3O

FUTABA: Yes . . . and I have debts.

SHIGEFUJI: What is it . . . two thousand . . . three
thousand? I have that right here in my pocket. (THRUSTS
HIS HAND INTO HIS POCKET)

FUTABA: So you want to make me your second mistress? Or
is it number three?

SHIGEFUJI: Come on, now . . . I'm not kidding! I just
want you out of here. Someplace like . . . Osaka. To
Osaka. That's what you really want. Some place like
Osaka or Tokyo . . .

FUTABA: I'm a very extravagant girl.

SHIGEFUJI: Yeah . . . I know.

FUTABA: I also have a lover.

SHIGEFUJI: The doctor?

FUTABA: No.

SHIGEFUJI: No! Wow, this little need of yours takes a
lot to feed it. Here you are trying to get to the altar
with one hand, and taking another lover with the other. .

FUTABA: I know. It's terrible, isn't it?

SHIGEFUJI: (LAUGHS) You talk like it was nothing at all!
(PAUSE) Han, you are different. I can't figure you
out. You aren't even real. You're like . . . grasping
at a cloud . . .

FUTABA: (SERIOUS) Yes . . . yes, that's it! Only, it's

. . . beyond the clouds.

31

SHIGEFUJI: Beyond?

FUTABA: Far, far beyond the clouds.

SHIGEFUJI: What do you mean?

FUTABA: Well it's . . . I'm not sure. From a poem.

SHIGEFUJI: Yeah, real poetic. Well anyway, you'd just
better quit trying to be his wife. It's the only kind
thing to do.

FUTABA: What do you mean?

SHIGEFUJI: It's not a game you're playing. You're going
to end up killing the man.

FUTABA: But how did you . . . (TO HERSELF) No, you
couldn't know . . .

SHIGEFUJI: Of course I know! If you make love to that
poor, skinny guy, he won't last half a year! You're
too much for him!

FUTABA: Fr. Shigefuji! You forget yourself.

SHIGEFUJIF Sorry. Sorry.

FUTABA: Tell me, what do you think is the . . . destiny
of a woman . . .?

SHIGEFUJI: You mean, To Be or Not To Be . . .? I haven't
thought about it.

FUTABA: That's not the kind of destiny I mean.

SHIGEFUJI: What then?

FUTABA: A woman's life is . . . well . . . not to help
wear down a man's life, but instead . . . perhaps to
enrich it.

SHIGEFUJI: Oh, and what does a woman do to enrich a.

man's life?

FUTABA: Oh, I'm sure I don't have the answer. (LAUGHS
GRACEFULLY)

SHIGEFUJI: No, come on . . . you must have some idea.
What can she do? What . . .

SUDDENLY Th SEE IS A BANG AS THE DOOR OPENS.
FUTABA STOP 3 LAUGHING AND GOES INTO THE WAITING
ROOL. IT IS JUI ENOSUKE, RETURN NG FROh A HOUSE-
CALL.

FUTABA: Ah, you're back. (TAKES HIS HAT AND BAG)

JUNNOSUKE: What were you laughing about?

FUTABA: Oh, Er. Shigefuji has been very interesting, as
usual.

JUNNOSUKE: (KNCTS HIS BROWS IN A FROWN)

SHIGEFUJI: Heh heh heh, well what do you say, doc? I've
got to be on my way tomorrow, so this is the very last
chance for you to get your hands on one of these little
beauties. You've got to do it now. (POINTS TO THE
LACE IINE) This one right here . . . this machine has
just got to be bought. Has to go. Just has to go.

JUNNOSUKE: (POINTS TO THE WOODEN SIGN OVER THE DOOR WHICH
SAYS, "DO NOT ENTER WITHOUT PERLISSION.")

SHIGEFUJI: Now listen, doctor, I don't have to tell you
about this little baby. You know what I mean . . . Just
having the name "K-ray machine" in your office will give

your patients confidence, just like it does to patients

33
all over the world. All doctors need one of these.
So, even if it seems like a bit too much for the pocket-
book to handle right this minute, just think of all
those patients who . . .

JUNNOSUKE: My father never depended on machines. "The
finger and the ear are the greatest tools of science."
That's what he says.

SHIGEFUJI: Come now doctor . . . a young man like you,
giving the "evil spirits" argument?

JUNNOSUKE: That's not what I said. To think we can
solve everything with science is a mistake . . .

Because human knowledge hasn't reached that point yet.

I don't judge my father's behavior as a human being . . .
But I respect that kind of self-confidence in his own
abilities as a doctor. Besides, I don't need that

thing. I've refused it from the very beginning. But
for some reason you keep pestering me about it. Why

is that? I suspect that you don't come here to see

me after all. You have different motives, perhaps?

SHIGEFUJI: (LAUGHS) You must be in a bad mood today, doc.

JUNNOSUKE: By the way, the other day I made out a
government order for some anesthetic, and there was
some missing. Did you take it?

SHIGEFUJI: Huh? That's a pretty bad thing to joke about . . .

JUNNOSUKE: It was diasethelene, and two grams were missing.

34
I understand it's good money. (PAUSE) Well, if it
wasn't you . . . (LOOKS AT HIDEKO)

SHIGEFUJI: You keep it in the dispensary? Ah, well, no
wonder. That'll never do. Can't trust the nurses
these days. (TO FUTABA) Excepting you, of course.
Just you.

FUTABA: Oh . . . (LOOKS UP AT THE BLACKBOARD) Mr. Nagai
wanted you to come over as soon as you got back.

JUNNOSUKE: Nagai . . . of Nita?

FUTABA: Yes. He can't sleep because of the pain in his
hip.

SHIGEFUJI: Oh yeah . . . he has arthritis . . .

JUNNOSUKE: You shut up.

SHIGEFUJI: Oops . . . (DIPS HIS HEAD IN MDCK REPENTANCE)

JUNNOSUKE: Not again . . . Did you tell him I was coming?

FUTABA: I'm sorry. I didn't mean to, but it's not far
from here, and . ...

HIDEKO: (SHE HAS LIFTED HER HEAD UP AT THE SOUND OF THE
DOCTOR) Doctor . . . oh . . . doctor . . .

JUNNOSUKE: Oh, are you still here?

HIDEKO: (HAIR DISARRAYED, PANTING, SHE IS BARELY ABLE
TO PROP UP THE EXPOSED UPPER HALF OF HER BODY WITH BOTH
HANDS) Yes. . . I'm still here. Yesterday's shot
didn't seem to have any effect at all, doctor. And

that price . . . that was outrageous, doctor . . .

35

SHIGEFUJI: Ha ha. (LAUGHS, GIVING FUTABA AN "I TOLD YOU
SO" LOOK)

JUNNOSUKE: What's funny? If you've finished your business
here, then you can leave.

SHIGEFUJI: Yes sir! Well, Futaba, I leave tomorrow.

But I'll be back next month. Be thinking about what
I said today. All right? Until then . . . (STARTS
TO LEAVE) Well, Hrs. Ono, you managed to outstay me.

HIDEKO: Oh, did you make a sale?

SHIGEFUJI: Not much of one.

HIDEKO: So you're going to make another pitch for her
when you have more money, is that it?

SHIGEFUJI: This woman: Pretending to sleep, and all the
while, she was listening! (LAUGHING, HE EXITS WITH
THE x-RAY MACHINE)

JUNNOSUKE: What was it he said today?

FUTABA: Oh, he didn't say anything.

JUNNOSUKE: Now listen to me, Futaba . . .

HIDEKO: Doctor, this evening I want something that really
works.

JUNNOSUKE: I've already stopped your shots.

HIDEKO: Oh no! It feels like I'm dying . . . since

yesterday.

JUNNOSUKE: If you really want to cure this disease . . .

instead of just thinking how. you can get by each moment

36

. . . Like I told you before, I can get you into that
national asylum they're going to set up, and you can
get some proper treatment.

HIDEKO: Yes, of course. I will . . . but just until
then . . . please give me one shot. Just for today.
That much is all right, isn't it?

JUNNOSUKE: It's always "just for today." (TO FUTABA) Get
me some vitamin . . . some camphor.

FUTABA: Yes, of course. (GOES TO THE DISPENSARY CABINET)

HIDEKO: No . . . I . . .

FUTABA: How many vials?

JUNKOSUKE: Two or three.

FUTABA: All right.

HIDEKO: Oh . . . Futaba . . . please . . . he'll listen
to you if you ask him for me, too. Please . . .

FUTABA: There's a national law now that says we can't
give any more shots of morphine, or of any narcotic . . .
(HANDS THE VIALS TO JUNNOSUKE) There.

JUNNOSUKE: Let me see . . . I can't really walk to Nita
without boots.

FUTABA: No, I don't think so. The road to Nita is still
pretty muddy. Very.

JUNNOSUKE: Even my old army boots would be ruined on
that road . . . and that's the only pair I have.

HIDEKO: Oh doctor . . . I'm so bad . . .

37

JUNNOSUKE: Damn it, they give farmers a boot ration. I
don't know why they don't give them to doctors too.
Country doctors, anyway.

FUTABA: Yes . . .

HIDEKO: If it's money you want, I'll get it. No matter
how much. Just give it to me . . . please. Or fish
from the restaurant . . . or beef! I can bring it. I
won't tell anyone! Please, you've got to save me.

JUNNOSUKE: I said no, and that's the end of it. If
you want these vitamins, you can have as much as you
like. (HE CHECKS HER BLOOD PRESSURE)

HIDEKO: What right have you to be cold-hearted! Oooohhh
. . . I'll do anything you want . . . I can bring you
any woman you want . . .

JUNNOSUKE: Don't talk nonsense. Why don't you go home
and go to bed, right now.

HIDEKO: I'll probably die.

JUNNOSUKE: Bah!

FUTABA: Really, Mrs. Ono, they've banned the use of any
narcotics. ,You don't want the doctor to do anything
criminal.

HIDEKO: Oh, that's just the story released for the public.
Didn't you give me three or four vials just yesterday?

JUNNOSUKE: 'Yes, and it was these vitamins. Besides, even

if I wanted to, we haven't got any in the house. So . .

38

HIDEKO: Look, doctor, I'm not just a casual patient, in
one day and never seen again, am 1? I've been knocking
around this office since the old doctor's time. And
I didn't become a patient here because I wanted to
either. Or because of some quirk of fate! If you
really look back into the causes . . . I . . . you can
find my own shame . . . I know . . . But all the same,
you can . . . well . . . there's no point in exposing
all the old things. But you have to think of your
father's part, too. He's got his own shame . . . but
there's no reason to bring it all up again . . .

JUNNOSUKE: What are you saying about my father? What
did he do?

HIDEKO: (LAUGHS MALICIOUSLY) He didn't do anything.
Nothing at all. I . . . please . . . I don't think
you have any right just to kick me out in this condition.

JUNNOSUKE: No right? 'Why not?

HIDEKO: Heh heh heh . . . You've turned out to be a very
mean young man. Acting as if you don't already know
all about it!

JUNNOSUKE: I don't know what you're talking about, and
that's why I asked. Now, I'm very busy, so . . .

HIDEKO: You want me to talk about it . . . in public?

JUNNOSUKE: (DOESN ' T ANSWER)

HIDEKO: You know, the more you strike the rug, the more

dirt comes out . . . for everybody concerned.

39

JUNNOSUKE: You're making all this up.

HIDEKO: I don't have to make anything up! Look . . .
I only want one shot . . .

JUNNOSUKE: All right, then ggnlg_tell me. I don't care.
Do whatever you want, because whatever you do, I'm
not going to give you a shot.

HIDEKO: Ooohhh . . . God, what a change there is in you . . .

JUNNOSUKE: Change? Nonsense.

HIDEKO: How can you be so cruel to me in front of someone
else? You never acted this way before. I'm in such
pain . . . but you don't care. You don't remember.

Are you really abandoning me now? Oh god . . . what am
I ever going to do from.now on . . . (SHE BEGINS TO CRY)
Oh, how can you throw me out like this? It's too much
Oh . . . it's too much!

FUTABA: Mrs. Ono, listen . . . there really isn't any of
that kind of medicine. The government took it all.
They bought every bit there was.

HIDEKO: All of it? Ah, there's some tucked away back up
on that shelf in the corner of the dispensary. (CHUCKLES
KNOWINGLY) In the upper corner. I know. It's up
where you can lock it up . . .

JUNNOSUKE: Yes, yes, I know. When you used to plunk.
yourself down over there and stick the needles into
yourself, that's where it was. You used it pretty freely

in those days.

4O

HIDEKO: What do you mean I used freely? The old doctor
taught me how to do it.

JUNNOSUKE: That's not true. He never did that.

HIDEKO: He did too! It's the truth. And then one day
he gave me my own key . . . gave me a key . . . But
quietly . . . didn't tell anyone . . . just to me . . .
quietly . . .

JUNNOSUKE: Because he trusted you.

HIDEKP: Hah! (TO HERSELF) Foolish, foolish girl. He
was setting out bait . . . for a stupid, silly innocent
girl. Just like saying, "Go ahead, try it yourself."

JUNNOSUKE: That's Sheer nonsense.

HIDEKP: Blood is thicker than water. You have to stick
by your father.

JUNNOSUKE: (TO FUTABA) Don't listen to what the old woman
says. In the old days, that room was perfect for
secret hiding places . . . morphine and cocaine . . .
medicines of that kind . . . But it's all changed now.
At least, everything is in the process of changing.

HIDEKO: It hasn't changed a bit! (SHE GOES TOWARD THE
DISPENSARY) It's always been a dark, clammy room. I
even tried to make it a little brighter . . . used to
have a flower in a vase here . . .

JUNNOSUKE: (GENTLY, BUT WITH PRIDE.) Look at hgg.
(GESTURING TO FUTABA) This one. That's the change

around here.

41

FUTABA: Who me?

HIDEKO: Who? You mean Futaba has taken my place?

JUNNOSUKE: That's right! Do you understand?. Do you
understand what I mean?

HIDEKO: What did she do? Futaba, what happened?

JUNNOSUKE: You don't understand. She's cheered up your
room, that's all. She's cheered up the whole house!
She's brought a little life, a little joy. And I am
going to marry her! (HE IS TRIUMPHANT).

FUTABA: Oh, but I . . .

HIDEKO: Is this true?

FUTABA: I had no such idea . . . I mean . . .

HIDEKP: Futaba, do you know what's being rumored about
you in the village?

JUNNOSUKE: I won't tolerate that! I'm not going to let
them spread their cheap gossip any more.

FUTABA: Their gossip doesn't matter. I've lived through
it before. I've had nothing but gossip all my life.
But . . .

HIDEKO: If it's only gossip, it doesn't matter. But
listen to me, Futaba . . . (SHE STOPS OCCASIONALLY, IN
PAIN) What happens . . . what about ten years from
now? What this young fella is saying now sounds just
like what I heard from the old doctor ten years ago.

The same words . . .

42

JUNNOSUKE: Hrs. Ono . . .

HIDEKO: No, you be quiet this time, and let me finish,
please. Oh, Futaba . .'1 what I'm saying is that it's
too late to start fooling yourself. I was the same as
you. I fell into the old doctor's trap while I was a
nurse . . . and I served for thirteen years in this
dungeon . . . this room was like a deep hole . . .
without seeing any sunlight . . . because we had to be
secret . . .

JUNNOSUKE: Rubbish! That's absurd!

HIDEKO: I'm saying this for her sake!

FUTABA: It's different, Mrs. Ono. In my case, it's
different.

HIDEKO: What's the difference? Men only think about
themselves. As long as it feels gOod to them, then
they don't care about a woman's discomfort. They don't
care. That's the way men are.

JUNNOSUKE: Crap! Mrs. Ono's little legend has no meaning
for us. Now you slink off to your dark hole and shut
up, you hear? And listen! Because Ehig is the way it
is. The reason it's so dark and damp in here is that
women like you sit on the tatami for thirteen years,
rotting. Like a toad rotting! You're a parasite, just
sitting, right there! This place stagnates . . . it's

like the bottom of an old swamp . . . and it's because

43
of you! That's the truth! And I'm through! I have
no more patience! You don't know how much I suffered,
having to face you every day . . . after you . . . It's
too much! I've had enough! I've gone through too”
much to put up with that any more.

FUTABA: What's the matter? You mustn’t get agitated this
way!

JUNNOSUKE: No, no, I'm all right. Nobody knows what hell
I went through in that war, but it's over now. And the
army . . . which I hated so much, is gone now too.
Everything is in the process of changing. Like you
just said. And even I have to change. Right? Well,
I'm going to climb up out of the swamp and show you.
Because I'm not afraid of you now. I'm absolutely
through with that. I've had enough. I'm making my
own decisions.

HIDEKO: But why are you mad at me, my little one? Your
face is so red . . .

JUNNOSUKE: And please stop calling me by your cute little
names. I am not your "little one"! Now, I've got to
go and make a house call.

HIDEKO: But I never did anything. I could only do what-
ever the Doctor told me to do. (SHE SITS DOWN NEAR THE
ENTRANCE).

JUNNOSUKE: Exactly! That's just why I don't like you.

44
Now, I'm leaving, so get out of the way, please. hove.

HIDEKO: (SHE LOOKS DOWN AT THE FLOOR, GASPS) Please . . .

JUNNOSUKE: By the way, I have something to say to you,
Futaba. I don't want you having people like that
Shigefuji character in here from now on. If nothing
else, don't let me walk in on your private little
jokes. I don't want to hear you . . .

FUTABA: (SHE STARTS TO SAY SOMETHING.)

JUNNOSUKE: No, I'm not listening to any excuses! What
the hell did you think you were doing? You know what
kind of man he is . . .

FUTABA: But I . . .

JUNNOSUKE: I just hope you'll be a little more discreet
from now on . . .

FUTABA: (WHEELS AWAY FROM HIM AND COVERS HER FACE)

JUNNOSUKE: How do you think I felt, seeing you behave
that way?

FUTABA: I didn't think you would interpret it that way.

JUNNOSUKE: I only know what 1 saw! It didn't look much
like business! (TO HIDEKO) And I don't want to hear
from you! (MOVES AS IF HE WILL SHOVE HER)

FUTABA: Well, I'll be leaving soon anyway, won't I?

JUNNOSUKE: If you want to go, then go. Whatever you want.
(TO HIDEKO) Get out of my way.

HIDEKO: (CLINGING TO HIM) You musn't go. Wait . . . If

I've hurt your feelings, forgive me, please, my little

45
one. Listen, I have some of that whisky you like so
much . . . right here. (SHE TAKES THE BOTTLE OUT OF
HER KIRONO AND HER CIGARETTES FALL TO THE FLOOR SPILLING
FROM THE PACKAGE.)1

JUNNOSUKE: I don't need it. Get out of my way.

HIDEKO: No . . . I'm begging you . . . begging, see?
Like this . . . (SHE IS ON HER KNEES IN AN ATTITUDE
.OF PRAYER) Please . . .

JUNNOSUKE: Aaah! (HE SHAKES HER LOOSE)

FUTABA: (CRIES OUT) Oh!

THE NOMENTUM OF THE SHAKE THROWS HER TO
THE FLOOR WITH A CRASH. SHE LAYS FACE DOWN IN
THE SAME POSITION. WE CAN SEE HER SHOULDERS
HEAVE DEEPLY AS SHE WEEPS. JUNNOSUKE PUTS ON
HIS SHOES AND LEAVES QUICKLY, LOOKING AS IF HE
WERE FLEEING SOMETHING.

FUTABA: Mrs. Ono, shall I see you home?

HIDEKO: (FINALLY RAISING HER HEAD) Oooh . . . I guess I
made quite a ruckas, dear. Are you disgusted with me?

FUTABA: No no, of course not. Mrs. Ono . . . do you
think I behaved shamefully with Shigefuji?

HIDEKO: You!

 

1The Japanese Kimono sometimes has a pocket inside
the lapel where things can be carried. Objects are also
carried in the sleeve.

46

FUTABA: You don't have to hide it if it's true.

HIDEKO: No, no no. You're just a little too . . .
friendly. These mountain people are very restrained,
you see . . . and your kind of openness is a little
strange here.

FUTABA: Shigefuji said that too. I guess I must like to
hear about myself, because . . . But I wonder why he
go so . . . mean, suddenly.

HIDEKO: You never know what people like that are thinking.
I don't like him . . . because I don't know what he
really thinks, beneath the surface. He just turns me
cold when he stares at me with those eyes . . . just
turns me to stone! Even so, he was always polite to
me before. He always did what I asked. This is the
first time. I don't know why he's this way now.

Wait, . . . Of course. You must be the reason . . .

FUTABA: You think so? Don't you think it has something
to do with his father? I mean . . . what was it that
he did that . . . was so bad?

HIDEKO: No, nothing! Nothing! (VERY ASHAMED) There
wasn't anything. I thought he'd give me a shot if I
said that. Just to get the shot.

FUTABA: I see.

HIDEKO: Listen, honey, everybody is out to get something
from you, so be careful, will you please. Like that

Shigefuji character . . . I know he seems to be selling

 

47
medical supplies, but he's a different kind of salesman,
too. And you're the commodity.

FUTABA: I thought there was something a little funny
about him.

HIDEKO: Funny? He's a pimp. (PAUSE. SOFTLY) Honey, has
the old man done anything . . . has he . . . bothered
you?

FUTABA: No, he's very courteous to me.

HIDEKO: Yeah, he's real nice at first. But just remember,
he tormented his first wife to death. Oh, and she was
such a gentle person.

FUTABA: If anybody treated me like that, it would be
just the excuse I'd need to run away.

HIDEKO: But you already know about it? And she put up
with it for the sake of the child. Oh, she was so good.

FUTABA: No, no, not any more. Everyone seems so unhappy
in this house. I don't think I can . . .

HIDEKO: It's facing the wrong direction! If you don't
build your house to face the east, You've got to expect
nothing but sorrow. It has to face the right direction,
that's all . . .

FUTABA: Hmm. I wonder how long I can stand it.

HIDEKO: The young doctor is making very big talk about
marriage, is that right?

FUTABA: Marriage? No, it's nothing like that.

48

HIDEKO: Then you shouldn't stay so long in his house.

FUTABA: I know . . . I want to go somewhere far above
the sky . . . hmm? Well, anyway . . . I like him.

HIDEKO: My little one?

FUTABA: He's very sweet sometimes . . . so honest . . .
almost like a child. Then he says something so rough
. . . just like he did then . . . and I'm so dis-
appointed.

HIDEKO: Hah. That's the way they are. That's men.

FUTABA: Yes. I suppose I'm the fool for expecting more
. . . and being disappointed. But I'm lonely.

HIDEKO: Listen, you keep saying you're fond of him . . .
but you won't get married. Have you decided what you’re
going to do?

FUTABA: Hmm? Oh, the whole thing is very strange. I'm
just doing . . . what I'm doing. I'm his nurse, and
I can't be anything more. When I'm through . . . being
a nurse . . . then I might go somewhere else. Or I
might stay. I can do anything I want.

HIDEKO: What do you do? I mean . . . what's your job?

FUTABA: What? See, I'm a nurse! (DISPLAYS THE UNIFORM
SHE IS WEARING.)

HIDEKO: Uh huh?

FUTABA: That was the agreement from the very beginning.
I'm a nurse . . . and I can't be anything more than

that to a patient. I came here with him so that I

49
could care for his sickness . . . to calm his nerves.
Hah' I haven't done that! Don't you think he's been
a little . . . strange, these last few days?

HIDEKO: Well, I thought he was jealous about that
Shigefuji, but now that you mention it . . . he has
been pretty irritable. Do you think he's still sick?

FUTABA: I can't say he's completely well . . .

HIDEKO: What's wrong with him, anyway? His head?

FUTABA: (NODS)

HIDEKO: What's wrong with his head?

FUTABA: It's a strange case . . . They don't know if
there's any brain damage or not. They can't tell.

HIDEKO: He looks healthy.

FUTABA: Yes, . . . but he's so depressed.

HIDEKO: Oh, yes, well, he's always been like that. Even
in the old days, when he was a child . . . he was like
that.

FUTABA: But then, that's not normal either. . .

HIDEKO: Yes. Then there must be something wrong . . .

FUTABA: Mrs. Ono, how do you feel? Are you sure you
feel well enough to talk like this?

HIDEKO: Aah.

PAUSE
FUTABA: I wonder . . . is there something about men that

they can't live alone?

 

SO

HIDEKO: (LAUGHS) Why do you ask?

FUTABA: Because, if it's true . . . and if the man feels
that way . . . But surely there are couples all over
the whole world who find out that they can't have
children! But to find out clearly whether or not you
can, before you're married . . . it's impossible.

It's just impossible.

HIDEKO: What in the world are you talking about?

FUTABA: That's his sickness . . . or what's wrong with
him. Not knowing if the injury affected his . . . if
he's able to have children. We don't know. And once
the woman finds out for sure . . . does she continue
to stay by his side . . . no, no, that's not the question!
Whether or not to leave doesn't matter . . . but whether
he will be happier knowing. Knowing for sure that he
can't, rather than just going on . . . not knowing.

HIDEKO: I don't get it. Oh! You want his baby . . . is
that right?

FUTABA: (SUDDENLY) Yes, oh yes! I do. Yes. If I had
his child, he would be so happy. I would prove that he
wasn't sick any more! But if it's no use . . . I wish
I knew. Oh, I wish I knew for sure.

HIDEKO: Yes . . . but what do you want to find out . . .
Futaba?

FUTABA: Hmm? . . . But even if he finds out . . . then

what happens? What becomes of me? I'm not really . . .

 

51
involved . . . and yet . . . Why do I always get myself
into these situations, I wonder. I just dive right in
. . . without anybody's help. I don't know . . . (PAUSE)
God, why can war do such a cruel thing! It's so un-
necessary! If you can develop such a horrible problem
with so tiny a wound . . . it's just chance! Wouldn't
it have been better if he'd just been completely blown
up to begin with? (PAUSE. SHE STANDS UP, LOST IN
THOUGHT. SHE BEGINS TO HUM A SOFT TUNE, IMPROVISING
THE MELODY.) "The days and the months pass . . . but
they suspect you, helper, because you don't belong . . ."
HIDEKO: Hmm? What . . .
FUTABA: When I was in high school, I never fell below
third in the class . . . but not because I was smart.
I just had a good memory. "An autumn wind will blow
in the tidings of a broken and lonely world . . ."
(SHE BEGINS TO TAKE OFF HER UNIFOR}. SHE HAS WESTERN-
STYLE CLOTHING UNDERNEATH.)

 

"Can no one tell me why this is so?

For my thoughts turn on the sadness of the
evening clouds

And run

Beyond, beyond the clouds.

I want to go somewhere

Far above the sky,

And leave my wasted body behind me."

IS that me?

52
(SHE GOES INTO THE DISPENSARY AND GAZES

AT THE LITTLE MIRROR ON TOP OF THE DESK.)

HIDEKO:
FUTABA:
HIDEKO:
FUTABA:
HIDEKOI
FUTABA:
HIDEKO:
FUTABA:
HIDEKO:
FUTABA:

HIDEKO:

Futaba, . . .

Yes . . .

Do you have any barbiturates?
Yes.

That'll do. It'll have to. Will you?

Will I what?

You can give me a shot.

Oh, please!

Anything will do. Please give me something. (GASPS)
Are you . . . really suffering?

Would I lie to you? How can you think I would?

(SHE GIVES AN ANGUISHED LOOK.)

FUTABA:

off work now.

me about shots any more.

HIDEKO:
FUTABA:
HIDEKO:

that .

hurts

FUTABA:

HIDEKO:

I'm harping . . .

I'm terribly sorry, Mrs. Ono, but I can't. I'm
Please, go on home now, and don't ask I
(SHE BENDS OVER HIDEKO'S SIDE.)
Oh, when did you change skin . . .?

Just now. I

Oh, my, you look such a lady when you dress like

. . not at all like an old nurse . . . Aah, it
Come on now, and I'll see you home.

Honey, listen . . . I don't want to sound like

but do you really trust your young

doctor?

53

FUTABA: I trust everybody . . . right off. Just
naturally. But then, my feelings change back the other
way just as easily. (SHE TITTERS.) Aren't I silly?

I wonder if men think of me as a . . . nice little
toy, because of that.

HIDEKO: Don't you want to be happy? Why don't you come
home with me?

FUTABA: I've been used by people enough, Mrs. Ono.

HIDEKO: No, no, come with me and I'll adopt you as my
daughter.

FUTABA: Adopt me . . . You aren't serious . . .

HIDEKO: Listen, . . . just look at me. This old frog
has saved 50,000 yenl. . . and that's the new currency,
too. And don't worry about my husband, either . . .
he does whatever I say. What do you think? Don't you
really want to come with me?

FUTABA: Are you sure, Mrs. Ono?

HIDEKO: I'm sure. I'm sure. I don't think you're so
silly. I think deep down, You've got a very gentle
heart . . .

FUTABA: Should I go? I do need some money . . .

HIDEKO: (LAUGHS) Well, at least you're honest.

FUTABA: If I had money . . . maybe I could open a little

restaurant . . . very chic. And I could have a garden

 

1There are 360 yen to the dollar.

54
. . . with lots of tulips.

HIDEKO: What do you want tulips for?

FUTABA: I'd export-them.

HIDEKO: Export!

FUTABA: But, it's ridiculous. Don't pay any attention
to me. Whatever you plan for me, I'd probably change
my mind later. I dream a lot, but when it comes down
to reality, . . . it never works out.

HIDEKO: Poor Futaba, . . . such a hard life . . .

FUTABA: It's always my own fault.

HIDEKO: I understand you . . . have a child.

FUTABA: I gave it away.

HIDEKO: What? Don't you love it?

FUTABA: No, no, I don't.

HIDEKO: Oh. Of course, I don't understand, because I've
never had one of my own. But, . . . why don't you
love it?

FUTABA: Because it's the child of someone . . . I detest.

HIDEIO: Ah. Is that it. Yes, I see. I see.

FUTABA: I'm all alone. There is no one. How can I
live with a baby? How could I? I can't!

HIDEKO: But your husband . . . Oh! (EHBARASSED, SHE SAYS
QUICKLY,) Yes, of course, you told me. (SHE BEGINS
TO PICK UP THE CIGARETTES WHICH HAD FALLEN OUT AT
JUNNOSUKE'S EXIT. SHE LIGHTS ONE FOR HERSELF.) Would

you like a drink?

55

FUTABA: (SHAKES HER HEAD. HIDERO PUTS HER CIGARETTE
OUT NERVOUSLY.) During the time of the air raids . . .
it was so terrible . . . I Stayed in the Hachiman shrine.
In a great, tall, wide room, . .. I was alone. I
had my child there . . . all alone. Ry nurse--she was
very fat--She was afraid to climb the stairs. (SHE
LAUGHS) That was funny. In the Shinto pavillion . . .

HIDEKO: Then you became a nurse.

I

FUTABA: Po, . . . then I married again.

HIDEKO: Poor honey, . . . men just won't leave you alone.

FUTABA: But he . . . he's got an older woman. She was
always spying on us.

HIDEKO: Oh, no! Not really!

FUTABA: Even now . . . I still don't know why I married
a man like that. What kind of woman must you think I
am? But, how can I tell you about myself? What is
purity? To be . . . unsullied? What does it matter

what outer shape you take, as long as your feelings

 

are . . . pure? If your heart is good, what else is
important? But then, how could ygg know that about
me unless I had a glass body?
HIDEKO: Glass? Glass?
FUTABA: He used to be . . . "busy." So I would go out
on maneuvers . . . carrying mud, digging holes for him,

. . . and I would come home completely worn out, . ..

56
and there they would be, sitting over the kotatsu1
exchanging drinks and winks with each other. All warm
and clean. Then I would go into the kitchen--gloomy,
horrible place, . . . and they had eaten all the food.
But I had to eat, or die. I choked on their leftover
rice . . . and my own tears falling into it . . . I
ate it . . . (SHE IS KEEPING). While they sat drinking
sake . . . in the warm . . .

HIDEKO: Oh, poor honey . . . so sad! . . .

FUTABA: Sad, . . . yes. It went beyond sadness . . . It
was so damn sad, it was funny! Beyond belief.

HIDEKO: Oh, my! Oh God! Oh, oh.

FUTABA: After that, I got a job at the hospital. And
then came the year the war ended. It was horrible.
People were brought in, one after another, with arms
and legs torn off . . .

HIDEKO: I hear it was very bad . . .

FUTABA: And there were soldiers, too.

HIDEKO: Ah . . . the soldiers . . .

FUTABA: Then one day, they brought in a soldier who had
caught a bomb fragment in the back of his head. He

was only a private, . . . but he knew so much. He

 

1A Japanese fireplace. Set in the middle of the
floor, it is covered by a blanket, and people sit around
it with their legs under the blanket.

57
knew all about diseases. He was a doctor.

HIDEKO: Ah, Ehgg was the doctor . . .

FUTABA: The wound wasn't deep. The piece of shrapnel
came out easily in surgery, . . . but just by chance,

. . . it hit a nerve back there . . . or might have . . .
and it's possible that he can't . . . be a whole man
. . . the rest of his life. (WITH A DEEP SIGH OF RESIG-
NATION,) That's all there is. Who am I to ask more,
anyway?

PAUSE

HIDEKO: Futaba, . . . how old are you?

FUTABA: That's the end of the story. Let's keep it here,
shall we? Well, I have to study now, so . . . (SHE
PICKS UP HER BOOK.)

HIDEKO; What are you studying?

FUTABA: I want to become a midwife.

HIDEKO: Oh, no, you can't. It's too much for you.
(HIDEKO'S BREATHING BECOEES HARSH.) You couldn't
do that kind of thing.

FUTABA: Too much? For me? There was someone once who
became a midwife . . . and later she was a member of
congress.

HIDEKO: You want to be a member of congress? Bah!-

FUTABA: (LAUGHS)

HIDEKO: Oooh . . . it hurts! I'm choking! (SHE GETS UP,

TOTTERING.) A needle . . . a needle, please! I'll do

it myself.

58

Anything at all . . . please, . . . a

needle . . . needle . . . (SHE FALLS BACK ON TO THE BED.)

FUTABA STARTS TO RUSH TO HER, AND THE STAGE

LEFT GLASS DOOR OPENS QUIETLY. GIJUN, UNSHAVEN,

SLOPPY, ENTERS. HIS FACE IS EXPRESSIONLESS.

GIJUN: Hideko. Hey, Hideko.

HIDEKO: Who is it?

GIJUN: he.

HIDEKO: The Doctor . . .?

GIJUN: You don't feel so good?

HIDEKO: Can't you see for yourself?

GIJUN: (HE GOES TO HER SIDE AND WHISPERS INTO HER EAR.)

HIDEKO: Do you really have some?

GIJUN: Yeah.

HIDEKO: (JOYOUSLY) Give it to me . . . do it now!

GIJUN: (GRUNTS, WHISPERS INTO HER EAR AGAIN.)

HIDEKO: (SHOCKED) What! At your age!

GIJUN: No?

HIDEKO: (GASPS)

GIJUN: Well, if you don't want to . . . (HE GETS UP)

HIDEKO: No, . . . wait! You can do whatever you want.

GIJUN: (TO FUTABA) A needle . . . and some distilled
water.

FUTABA: A needle?

GIJUN3' Mine's rusted already.

FUTABA:

What do you want to do with it?

59

GIJUN: Needle, woman! And distilled water!

FUTABA: (INTINIDATED) There, . . . in the desk. There
are some new ones in the left hand drawer . . .

GIJUN: Go get it.

FUTABA: Yes, sir. (SHE GETS THE FLASK OF DISTILLED
WATER FROM THE SHELF, THEN GOES INTO THE EXAMINING
ROOM AND TAKES A HYPODERHIC NEEDLE OUT OF THE DRAWER)
Here. Needle . . . distilled water. ‘

GIJUN: Good. (HE TAKES BOTH FROM HER, THEN HOLDS THE
NEEDLE UP TO THE LAMP AND LOOKS AT IT. HE GRINS, THEN
LAUGHS. AS HE LEAVES, TO HIDEKO) Are you coming?

HIDEKO: Yes; (SHE GETS UP AND FOLLOWS HIM, STAGGERING)

FUTABA STARTS TO FOLLOW THEM, CHANGES HER
MIND, AND CORES BACK INTO THE CENTER OF THE
ROOM. SHE OPENS HER BOOK.

FUTABA: (READING) "The symptoms are as follows:
Circulation is often impaired; the pulse becomes weak;
blood pressure falls markedly. The patient may become
less sensitive to touch. He becomes retiring, avoiding
people whenever possible. He may get excited or resent-
ful at petty, unimportant things, or he may retreat
into sullenness with no apparent motive. His thirst
for alcohol becomes insatiable. If the wound is in the
front part of the lobe, the patient often turns senti-
mental; if in the back, he is calm or dull, and often

becomes sexually impotent . . ." Sexually impotent . .

6O

GIJUN'S VOICE: Don't put it on the tatami! I said not to
put it there!

HIDEKO'S VOICE: All right!

FUTABA STOPS AND LISTENS FOR A MOMENT.
HEARING NO MORE, SHE CONTINUES READING.

FUTABA: Injury to the front part . . . sentimentality,
injury to the back . . . calm, dull . . . sexual impotence.
Impotence . . .

HIDEKO'S VOICE: I told you, not there!

GIJUN'S VOICE: (SHARPLY) This is fine! Right here!

HIDEKO'S VOICE: That's where he stuck me yesterday! You
can try it as many times as you want, but it's not
going to go in . . . ow! It won't go in! It's gotten
tough on that arm! It's like leather . . .

GIJUN'S VOICE: I said don't move!

HIDEKO'S VOICE: I warn you . . . that needle's going to
snap . . .

GIJUN'S VOICE: Shut up.

HIDEKO'S VOICE: Please don't talk to me in that tone
. . . Your hand is shaking so much . . . ow! It hurts!

GIJUN'S VOICE: Shut up . . . It went in!

SUDDENLY, THE FRONT DOOR OPENS. AS FUTABA
IS ABOUT TO STAND, KAWANOTO COMES INTO THE ‘
ENTRANCENAY. THOUGH WE CANNOT YET SEE HIM, HE
IS WEARING ARMY FATIGUES AND SHOULD BE CARRYING

A LANTERN.

61

KAWAHOTO: 'Scuse me . . . Is the Doctor here?

FUTABA: (OPENS THE PHARMACIST'S WINDOW) Yes?

KAWAMOTO: Listen. My boy--He was playing all day, and
healthy and everything . . . He was okay till just
tonight. After supper, he got real tired. Kinda mopey
. . . and it looks like he's got a pretty high fever.

FUTABA: I'm sorry, but the Doctor is gone right now . . .

KAWAHOTO: Damn! Naybe I shoulda gone to Doc Doi's after
all. Will he be gone long?

FUTABA: He's gone towards Shinda, so it shouldn't take
long . . . He ought to be back very soon. Are you
new here?

KAWAHOTO: Yeah. my house is on the other side of the
river. I know it's a little far, but old Doi is old,
see, and he ain't too good either. So I come here.
Boy, I don't know what to do now, though! This is bad.
It don't look like a regular stomach ache, see. Looks
like something else.

THE FRONT DOOR OPENS AGAIN.

FUTABA: Ah. (GOES TO MEET JUNNOSUKE)

KAWAHOTO: Sorry to bother you. It's my boy . . . He
got real weak-like . . . and he looks like he's got a
big fever.

JUNNOSUKE: How much is it? The fever . . .

KAWAHOTO: Oh, it was hot . . . even to the touch.

62

JUNNOSUKE: Where are you from? Do you live near?

FUTABA: He says he lives across the river.

KAWANOTO: Sorry it's so far . . .

JUNNOSUKE: Across the river. I've already made two house
calls tonight. I just got back. I get tired too, you
know. (CLOSES HIS EYES)

KAWANOTO: (HE IS HALFWAY THROUGH THE DOOR NOW) I know
it's hard to ask you like this, but . . .

JUNNOSUKE: How old?

KAWAHOTO: Who, me? How old . . .

JUNNOSUKE: (GLANCES AT HIM SHARPLY)

KAWAHOTO: Oh, the kid! He's six. Look, I'm awful sorry.
But please don't wait til tomorrow. You gotta come
tonight.

FUTABA: Please go. I know you're tired, but . . .

JUNNOSUKE: Doctor Doi is on the other side of the river.

KAWANOTO: Bah! Old man Doi is . . . (SUDDENLY) Hey!
Aren't you Private Tsuyuki?

JUNNOSUKE: That's right. (HE IS STRUGGLING TO CONTROL
HIHSELF)

KAWAMOTO: (DELIGHTED) Hey, I was right! I'm Sergeant
Kawamoto!

JUNNOSUKE: Sergeant Kawamoto . . .

KAWAMOTO: What luCk, hey old buddy? Hey Doc, you'll

come now, won't you? Please? (HE GETS NO ANSWER)

63

(TO FUTABA Before the end of the war, we was in the
same squad. Like brothers, you know?

FUTABA: Is that right?

KAWANOTO: Boy, I never dreamed the old Doc here would
be Private Tsuyuki! No more rank nowadays, huh? We're
all the same now! (LAUGHS) Wait a minute, though. If
you was a Doctor, how come you didn't apply for a
medical commission?

JUNNOSUKE: (VAGUELY, SPEAKING T0 NO ONE IN PARTICULAR) I
don't know any Sergeant Kawamoto . . .

KAWAMOTO: What! What do you mean? You shouldn't put
me on. Say, I used to slap you around pretty good . . .
Don't you remember? Lots of times. You got it because
your gun maintainance was no good, remember? You used
to put it back together backwards! And then you got it
because you didn't yell loud enough. All you guys got
it . . . You was too soft. Boy, it was a real job
training you guys, too. Remember? Slapping was the
only way to teach you guys some real discipline. I
mean, it wasn't just you-~the whole company got it.
Five or six of you guys got the slap each day, so
everybody had it in the end. If one guy messed up,
then the whole company took the rap. Remember? ,Hey!
Waita minute . . . The old Doc's cicada was the master-
piece, though, right? (LAUGHS) Yeah, you were good

at that!

JUNNOSUKE:
KAN A} 10 TO :
JUNEOSUKE:
KAWAHOTO:
JUNNOSUKE:
KAWAIvl'O TO :
JUNNOSUKE:
KAWAKOTO:
JUNNOSUKE:

KAWANOTO:

64

(HE HAS LOST PATIENCE AND EXPLODES Kawamoto!
Huh!

Now ygu do the cicada!
What, me?

That's what I said.
What the hell for?

Do the . . . (LAUGHS)

Never mind why, just do it!

'(DOESN'T RESPOND)

When I say do something, I mean do it now!

But you . . .

JUNNOSUKE: You do that, and I'll make your house call.

KAWAHOTO: Aw, come on, this is dumb.

JUNNOSUKE: What's the matter . . . Can't you do it?
Can't you?

KAWAMOTO:

you want,

I don't want to . . . Look, I'll do anything

but ... . not that. I mean . . . I ain't gonna

do that . . .

JUNNOSUKE:

here.

FUTABA:

(LIGHTS A HATCH FOR HIE.

(SLCWLY, DELIBERATELY) Then I'm staying right

(HE TAKES OUT HIS CIGARETTES

SOFTLY ,) What ' s the

matter with you?

JUNNOSUKE:

Nothing. I just think I'll stay around here

for now . . .

PAUSE

KAWAKOTO:

If I do it, will you come? If I do this . . .

65

JUNNOSUKE: I'll go.

KAWAMOTO: All right, I'll do it. (HE COMES INTO THE
ROOM, THEN HESITATES)

JUNNOSUKE: Put a move on, will you.

KAWAMOTO: Where do you want me to do it?

JUNNOSUKE: (POINTS TO THE VERTICAL SUPPORT AT THE ENTRANCE
DOOR)

KAWANOTO: (GRASS THE SUPPORT WITH BOTH HANDS)

JUNNOSUKE: With the feet, too.

KANANOTO: (EOLLONS JUNNOSUKE'S DIRECTIONS, TAKING UP
AN INSECT-LIKE POSITION PART WAY UP THE SUPPORT) How's
that?

JUNNOSUKE: Chirp.

KAWAMOTO: Aw no, Doc . . . That's enough, isn't it?

JUNNOSUKE: Do the sound!

KAWAMOTO: "Then."

JUNNOSUKE: Louder!

KAWAROTO: "Heen."

FUTABA: (GIGGLES)

JUNNOSUKE: Go on.

KANAHOTO: "been. Ween. Meen."

JUNNOSUKE: Well, that's a pretty pitiful cicada, isn't
it? No, you can't lower your feet! That's better.
Now, lets hear some more chirps. More. Good ones!

KAWAMOTO: "Meen-meen-meen."

66

FUTABA: (DOUBLES UP WITH LAUGHTER)

JUNNOSUKE: The summer cicada gives this kind of chirp:
(HE DELONSTRATES, GIVING A HIGH PITCHED, EELODIOUS
QUALITY TO THE CHIRP. BUT IT SOUNDS SOTEHON CRUEL,
ALSO) Now, lets hear it.

FUTABA: (STOPS LAUGHING SUDDENLY) That's enough. Stop
it please. You stop it too, hr. Kawamoto, please.
JUNNOSUKE: (IGNORE HER, BRUSHES HER HAND AWAY) I said

you can't take your feet down.

KAHAROTO: Look, I can't take this any more.

JUNNOSUKE: What? Does the ciCada speak in human words?
Huh? All right, say, "I can't take this any more," in
cicada. In cicada-ese.

KANAROTO: "been. himimeen."

JUNNOSUKE: Put more in it. Let's hear it like a song.

Y WALOTO: (LUSICALLY) "Keen! himimeen, minimeen!"

FUTABA: Oh God, please stop it now! I hate it! I hate it!

KANALOTO: (LOSING STRENGTH, HE BEGINS TO SLIDE SLOWLY
DOWN THE SUPPORT, KEEPING HIS FACE HIDDEN AGAINST IT)

JUNNOSUKE: Are your guts in a Vice? Huh? You know the
feeling now? You understand what it's like to perform
like a trained monkey? With people looking on, falling
over each other laughing at you? You feeling it now?
You get it? And you g2 know why! Just because your

salute wasn't quite right!

67

FUTABA: All right! That's enough, then . . . so please .

JUNNOSUKE: Wait a minute. . . not yet. We haven't done
the dog bit yet. The begging dog.

KAWANOTO: (STANDS UP, HIS EXPRESSION BETWEEN AN IDIOTIC
SMILE AND A TOTAL BREAKDOWN)

FUTABA: Stop! I mean it! If you go on with this, I
will leave this house. I can leave this house right
this minute! Doctor, you're not doing this because
you're sick. You're just a dirty coward. You're
mean! You're disgusting . . . You . . . ohhh, bastard!
(SHE CANNOT GO ON, BREAKS DOWN CRYING ON THE BED)

JUNNOSUKE: Do you . . . really think that? (SUDDENLY,
HE LEAFS TO KAWAMOTO'S SIDE) Sergeant Kawamoto . . .
Why are you just crying like that, silently? Why
don't you gay something? It's your turn! Now you
order me to do something! Play like a dog! Come on,
order me to do the begging dog. Like you did in the
old days . . . in the company. (SHOUTING) Private
Tsuyuki, make like a dog! Hup! (HE GOES INTO THE
ENTRANCEWAY IN DOUBLETIKE, AND RETURNS WITH ONE SHOE
IN HIS MOUTH. CARRYING IT BY THE LACES, HE CREEPS
INTO THE ROOM ON ALL FOURS)

KAWAHOTO: (AGHAST) Hey, what the hell's going on?. What
are you doing, doc?

JUNNOSUKE: Bow wow! I have borrowed your shoe, bow wow!

68
(AS HE BARKS, THE SHOE FALLS TO THE FLOOR. HE PICKS
IT UP IN HIS TEETH AGAIN.)

KAWAHOTO: (LOOKING AROUND FOR ELP) Hrs. Tsuyuki!

FUTABA: Oh! (SHE COVERS HER FACE HOPELESSLY)

JUNNOSUKE: Bow wow. Heh heh eh . . . (WITH A SILLY GRIN)
Hey, Sergeant. I . . . ah . . . gave you a pretty bad
time back there a minute ago, huh? So this is my
turn, see? That makes us even up, OK? You wouldn't
hold a grudge would you? You wouldn't kill me? Please
. . . I'm not worth killing. There's no point in
killing a worm is there? I'm just a weak man. No
matter how much I try to be strong, I just can't be.
And besides, I'm just mean and cowardly . . . So please
forgive me. Won't you? Please? Won't you forgive
me, please?

KAWAHOTO: (EHBARASSED AND FRIGHTENED AT THIS SCENE) Hrs.
Tsuyuki, I . . . what . . .

FUTABA: (SIGNALS WITH HER EYES AND NODS HER HEAD AT HIE)

KAWAMOTO: Huh? What do I . . .

FUTABA: (COMES TO KAWAHOTO'S SIDE AND WHISPERS IN HIS
EAR)

JUNNOSUKE: (CRAWLING AROUND IN CIRCLES) Bow wow!

KAHAEOTO: Huh? (LISTENS, NODS) Oh! Ah, I get it.

Yeah . . . Okay, if you say so. (TURNS TO JUNNOSUKE)

I forgive you! I forgive you!

69

JUNNOSU<Es Oh, you do? (HE STANDS UP) Oh, thank you!
God, I'm so relieved! I was afraid . . . Futaba,
I'm just what you said I was. You were right. I'm
really a horrible man, aren't I? I'm useless. Just a
drone. Just a waste of food. Worthless to everybody
. . . (HIS FACE APPEARS DELIGHTED).

FUTABA: HELPS JUNNOSURE TO HIS FEET AND SLOWLY GUIDES
HIM TO THE BED) There's a good boy, now . . . Come
on, and you can lay down, right here. That's right.

UNNOSUKE: (CHILDLIKE) Can I? Is it all right if I
sleep here?

FUTABA: Yes, it's all right. It's all right. There . . .
(PUTS HIE TO BED AND COVERS HIM WITH A BLANKET)
Mr. Kawamoto, I'm sorry. I know you're worried about
your son, but as you can see, the doctor is too weak
to go.

KAWAMOTO:',(NODS)

FUTABA: Please go now. You'll have to go to Dr. Doi's.

KAWAHOTO: Yes of course. I . . . I feel sorry for him.
I guess this is what comes out of it . . . War, I mean.
Busts up everything. (STARTS FOR THE FRONT DOOR, LIGHT-
ING HIS LANTERN)

FUTABA: Er. Kawamoto, please don't talk to anyone about
this.

KAWAHOTO: Huh?

7O

FUTAB ! Please. I beg you . . .

KAHAHOTO: Ch . . . Yeah, sure. I won't tell anybody.

I mean, it was pretty rough, having to go through all
that back there. I mean I put up with it, see . . .
because it's all part of the war. You know what I mean?
Everything is screwed up now. It's part of the war,
see? It's our punishment. We bought it. You just
gotta look at it that way when things like this come

up. (EXITS ON HIS LAST LINE)

FUTABA: Goodby. (AS HE LEAVES, SHE GOES QUICKLY TO THE
BED) Well, are you calmed down a little bit?

JUNNOSUKE: Ummmmmm.

FUTABA: I'm sorry for what I said earlier. There was
no excuse for . . . that kind of language. Forgive me.
Can I get you some medicine?

JUNNOSURE: I don't need any.

FUTABA: That man said that all this . . . turbulance . . .
that it's ourpunishment because of the war. There's
no reason for you to be punished . . . my doctor. You're
one of the Victims. That's what I think. Your injury
. . . the one to your head has healed. But the injury
to your heart, your mind . . . That hasn't healed at
all. All it takes is a reminder of those horrible
times, and it opens up again. You just become like
one obsessed . . . obsessed by a persecution complex.

And when that happens . . .

7l

JUNNOSUKE: Yes? Then . . .

FUTABA: In order to fight the fear--to conquer that
terrible fear-~Even if you are a good, kind person,
you become obsessed, you do terrible things--In order
to conquer it. Isn't that right?

JUNNOSUKE: (DOESN'T ANSWER)

FUTABA: (EAGERLY) That's right, isn't it? You're not a
terrible person. You are a 322g man. Perhaps you
were too good a human being. And that's why you've
reacted so violently. Don't you think so?

JUNNOSUKE: (DOESN'T ANSWER)

FUTABA: Well, let's not worry about it. Forget about it.
Forget all those things . . . Everything that went
before. Let's cheer up, and we can start over again.
(SHE WIPES HIS TEARS) And get stronger. You Egg
stronger. You have to be tough in this world! And
you can be just as aggressive as you want to be.

JUNNOSUKE: I don't know whether I'm happy or not. Here
I am, crying all over the place . . . like a baby
being cradled in his mother's arms! Whatever might come
to me right now, I'd take it meek as a lamb, no reser-
vations. 1y ego has suddenly . . . disappeared. I'm
empty. I don't know who I am. I'd follow anybody--
just tell me what to do, and I'll follow without question.

It's funny. I felt the same kind of . . . dreaminess

72
that I did in the hospital, when I lay there . . .
my head in your lap like it was a pillow . . . for-
getting all feeling of time. No past, no present,
no future. And you used to sing to me, often, just
above my head. The song about "Beyond, beyond the
clouds . . ."

FUTABA: (JOYOUSLY) Oh, yes! That's it. Yes, that's
what it is. How wonderful just to relax, just give
in completely. Like a child in my arms . . . I love
to hold you like this, too. Just to be quiet and to
look at the world without hurrying. It isn't such
a terrible place then, is it? Oh yes, I want you to
keep thinking that way. Gradually you can make your-
self more and more confident . . . And then, pretty
soon your sickness won't be there at all, and . . .

JUNNOSUKE: What . . . My sickness?

FUTABA: Hmm? Here . . . (SHE REALIZES THAT SHE HAS
EADE A I-tISTAKE)

JUNNOSUiE: Oh, so that's it! You've been comforting me,
oh so sweetly, because I'm sick!

FUTABA: No no, I don't mean that you're sick . . .

JUNNOSUKE: Well I'm not sick! What did you do, pull
down Dr. Shoku's lecture on psychiatry and read it
behind my back? '

FUTABA: Oh!

73

JUNNOSUKE: You were going to study me! Hah! Too
bad . . . (SNEERINGLY) Because I ain't sick, see!

FUTABA: All right, if you're not sick, why were you
pretending to be a dOg?

JUNNOSUKE: That? (LAUGHS) That was pure dramatics!

FUTABA: Dramatics?

JUNNOSUKE: Yes, dramatics. I completely fooled you
with my little play! And that wasn't the only time,
either. Everything I do is part of the performance.
You see what I mean? You look flabbergasted. (LAUGHS)
You don't believe me? Okay, just sit there for a minute
and I'll explain it to you. All right? Now, the back
of my head was wounded; there is no doubt about that.
It's clear, unmistakable--a scientific fact. Not
ambiguous, like having a mental disease. But my
concern after that was what effect it would have on
my . a . sexual capabilities. Impotent. Right? And
we still don't know whether or not I'll be able to have
children.

FUTABA: (TURNS HER FACE AWAY)

JURNOSUKE: Well, that's that. But it doesn't have any-
thing to do with what we're talking about . . . This
is a problem within myself--my own ego . . . and it
doesn't have anything to do with the war. You're
blaming the poor war for something it had nothing to

do with. The problem was there first. And there isn't

74
any question about my being sick. I can show you a
detailed, accurate self-diagnosis that proves clearly
and simply that I am healthy of mind. (LAUGHS ROCK-
INGLY) But then, you wouldn't want to believe that
without question, would you? You wouldn't want to
take my word for it right off. That would be foolish.
Now listen. What I did to Sergeant Kawamoto was simply
the satisfaction of a little revenge. And what I did
after that was nothing more than a show of vanity. Hy
self-respect demanded that I cleanse myself of what
I did by getting down in it myself. See? (PAUSE) Well,
what do you think? You can see that I'm able to talk
about this calmly, cooly. Where is the sickness in
my mind?

FUTABA: Now doctor . . . Is it self-respecting to get
down and imitate a dog?

.JUNNOSUKE: Yes! I just told you why. I want you to stop
treating me like a patient. There's no reason to be
tolerant and sweet . . . I'm not sick! I want you to
get past that idea and get to know the real me. And
I mean my true self--not the one I've been performing.

FUTABA: I have a feeling you're scolding me. It frightens
me.

JUNNOSUKE: Why? There's nothing to be afraid of.-

FUTABA: All right, then. What about the Junnosuke Tsuyuki

75
who's sitting beside me right now? Who is he? Which
one is performing? I think that you are what you are
. . . That's the way it should be, isn't it?

JUNNOSUKE: What do you mean, I am what I am?

FUTABA: I don't know, I . . . It's just a feeling. It's
too hard to explain.

JUNNOSUKE: Why is it so hard? I think that you . . .
You're a woman. You're honest. You can see things
clearly, objectively. That's why I had you come home
with me from the hospital.

FUTABA: No, I'm just a woman . . . no more than a
woman.

JUNNOSUKE: No, I don't agree. (GRASPING HER SHOULDERS)
When I sit by your side, you make me feel cleansed of
my . . . of my dirtiness. That's the kind of person
you are. You . . . you make me into a defenseless
child. That's all I am around you. And yet at the
same time, my ego completely rejects that feeling. So
what do I do? Balanced in mid air like this . . .
Who am I? Tell me who I am--sitting here, chattering
away like this . . . Help me. Tell me. There isn't
anyone else I can turn to. I am 0 ening myself up
completely-~in front of you--showing you everything.
I leave it up to you. I

FUTABA: No, you don't. You're not showing me everything.

76

JUNNOSUKE: What do you mean? After all I've told you?
Don't you know what that took How can you . . .

FUTABA: I understand how much it took. But if you really
leave it up to me . . . Would you leave this house, if
I asked you to?

JUNNOSUiE: Leave the house? This house?

FUTABA: Yes. Get away from your father and Hrs. Ono.
All of your troubles originate in this house.

JUNNOSUKE: But . . . (PAUSE)

FUTABA: Well? What do you say?

JUNNOSUYE: (DOESN'T ANSWER)

FUTABA: By doing that, you can really begin to open
yourself up, and . . .

JUNNOSUKE: And if I did, would you open yourself up to
me also?

FUTABA: Yes.

JUNNOSUKE: Truly?

FUTABA: Truly. Yes!

JUNNOSURE: (SUDDENLY EHBRACES HER) Oh. . . uh . . .
(HE IS MAR NG STRANGE eOUNDS IN THE BACK OF HIS THROAT)
But . . . but if it turns out that my fears come true
. . . Once you realize that we won't be able to . . .
that I can't . . .

FUTABA: (HUGS HIE TIGHTLY) Don't be so pessimistic!

You're stronger! You're getting stronger!

77

JUNNOSUKE: Once you know it for sure, you'll leave me!

FUTABA: I won't! Trust me.

JUNHOSUKE: (TSASS HIMSELF LOOSE No no, I can't! You
still see a sickness! You don't understand what I
am! You're not with mg!

FUTABA: Oh! How can you say that still!

THEY LOOK AT EACH OTHER, AND SUDDENLY WE
HE.R THE VOICES OF HIDEKO AND GIJUN FROH TYE

OTHER ROOM.

.8

HIDEKO'S VOICExv (AS IF SHE WERE BEING TICKLED AND IS
NO LONGER ABLE TO CONTAIN HERSELF) Stop that!

Don't . . . (SHE GIGGLES Don't . . .

GIJUN'S VOICE: Ssh! Be quiet!

HIDEKO'S VOICE: (LAUGHS)

JUNEOSUKE: Hideko!

FUTABA: (SPEAKING QUICKLY) Don't go in. Let's leave
them alone . . . please. Then we can leave this place.
Let's get out of this house and go far away. Anywhere--
far away, so no one will know where we are. Please.
There's no other way.

JUKNOSUKE: I can't do it.

FUTABA: Why? Why can't we?

JUNNOSUKE: I can't . . . abandon my father.

FUTABA: But . . . I . . . well then, maybe our relation-

ship is ended already.

78

JUNNOSUKE: Why?

FUTABA: Because your first thought isn't with me. It's
with . . .

HIDEKO'S VOICE: Leave me alone! Stop it now . . .
(LAUGHS)

GIJUN'S VOICE: Come on . . . let's do it. Come . . .
come . . .

JUNNOSUKE: (STANDS ABRUPTLY. AS ’E RUSHES INTO THE ROCK
WHERE THE VOICES ARE COMING FROR, HE SAYS OVER HIS
SHOULDER,) It's not ended!

AFTER JUNNOSUKE LEAVES THE ROOE, WE HEAR
HIDEKO'S VOICE CALL CHEERFULLY, "Ah, my little
one, have a cup!" GIJUN AND HIDEKO ARE DRINKING

SAK'. WE HEAR JUNEOSUKE SCREAE, "Get out!"

P}

TflERE ARE VIOLENT SOUNDS OF CROCKERY BREAKING.
HIDEKO SCREAES. FUTABA STANDS UP AT THIS POINT,
LOOKING VERY ANXIOUS. IT BEGINS TO SOUND AS IF
THE WHOLE ROOM IS BEING TURNED OVER. HIDEKO
FLEES ONTO THE STAGE. SHE IS DRUNK.

GIJUN'S VOICE: Stop making such an uproar! Come on, sit
down, now. We can straighten this out if we just talk
about it. Come on, now, calm down. Listen to me . . .

HIDEKO: Oh God, it was terrible! I thought I would be

killed! Oh! Terrible . . .

"U

JUNNOSUKE A FEARS AT THE DOOR. HE IS

GRASPING A BOTTLE, UPSIDE DOWN. HIDEK SHRINKS

79
BACK IN FEAR.

HIDEKO: What did I do to you, my little one? I didn't
do anything!

JUNNOSUKE: Shut up! By God, if you ever come back here
again . . .

HIDEKO: Listen, my little one . . . The old_Doctor--
he gave me the right medicine. See? {e had it hidden.
Hidden away!

JUNNOSUKE: RECOGNITION) Ah! So that's it . . . (THE
BOTTLE DROPS FROE HIS HAND)

HIDEKO: Oh, it works wonders. It feels so good. (GIGGLES)
The old man doesn't know his age, thought. He still
wanted to do it with me . . . (GIGCLES

JUNNOSUKE: Get out! Go on, go home! And don't come
back! I lose everything I have because you're
here!

FUTABA: No no, this woman isn't the thing that's wrong.
It's . . . the house. It's this house.

JUNNOSUKE: No it's not. It's something else. It's not
this . . .

HIDEKO: Yes, it is the house! That's it. It faces the
wrong way. It's in the wrong direction. Well. I'm
going home. I'll sleep like a log tonight! Futaba
. . . Aren't you coming to my house? To plant some

tulips? (SHE BEGINS TO LEAVE)

80

JUNNOSUKE: Wait! (HE GRASS HOLD OF 'ER LEEVE) Forgive
me! Please forgive me!

HIDEKO: (BEWILDERED) What . . . what's the matter with
him? What is he . . .

JUNN'SUKE: I should have said these wOrds to you ten
years ago. It's my fault that you . . . I caused
you to become depraved. FOrgive me. Just tell me
that you forgive me, please!

HIDEKO: (AFRAID) flhat did I do?

JUNNOSUKE: No no no, I'm the one who did wrong! It's
me! I'm afraid of you! It's me who is at the bottom
of the swamp. It's not you. I'm afraid of you! I'm
afraid of myself! Please help me! Say you forgive
me, and save me!

HIDEKO: (CONFUSED) Futaba, what . . .

FUTABA: Now now, doctor . . .

JUNNOSUKE: Can't you see that I'm apologizing to you?
Just say that you'll forgive me . . . Just a word!
If you won't say it . . . I can't be saved! I'll
never be saved! What am I going to do! (HE IS
NEARLY HYSTERICAL) It's all a play! I'm still acting!
I'm still in the play! Acting my whole life! I can't
stand it! I can't stand it! (HE BENDS DOWN TO THE
FLOOR, WAILING)

HIDEKO: Oh! I see what you mean . . . He's still not

81
well. Here. (POINTS TO HER HEAD)

FUTABA: Listen, Hideko . . . Something happened ten
years ago. Were you lying to me?

HIDEKO: Ten years ago? But . . . I don't know what it
could be. I don't remember . . . Oh . ... Wait. Is
that what he means? Oh, no! But that was nothing!
That kind of thing happens all the time, to little
boys. Oh, dear, I didn't care about that! I even
forgot it happened. Oh now, come my little one. (SHE
GOES TO HIE) Here here . . . You shouldn't carry on
like this. You musn't sit on the floor crying like
that. (SHE TAKES HIE IN HER ARMS AND, WITH FUTABA,
HELPS HIE OVER TO THE BED) Oh my, isn't he heavy . . .
ugh . . . here.

JUNNOSUKE: (CONFUSED STILL) hrs. Ono, I . . . I'm sorry
for shouting at you. Inexcusable. I . . . I made a
spectacle of myself and . ... Stupid. I . . . I've
had it. No good. I don't make any sense. There's no
hope any more. I'm just no good. There's_no hope . . .
(HE TRAILS OFF)

PAUSE

HIDEKO: It looks like he's quieted down now.

FUTABA: Yes. I think everything is going to be all right
now. i

HIDEKO: Listen, honey. I've gone off and left the place

82
open. It's been an awful long time. Do you think I
could leave . . .

FUTABA: Yes, of course. Please do go. I'm sorry . . .
HIDEKO: (SHE TURNS TO LEAVE) Nell, you just can't build
a house facing this direction. It's the wrong way.
How many times have I told the doctor that? You see?
This front door . . . it just isn't right. Everybody
knows it's the wrong direction. It has to face east.

I've said it . . . Well, goodby dear . . . (SHE TRAILS

OFF AS SHE EXITS)
AS HIDEKO LEAVES, FUTABA FOLLOWS HER AND
CLO ES THE DOOR. GIJUN ENTERS, NEAKING THROUGH
THE DOOR. HE GLANCES AT THE BE .
GIJUN: Hasn't the newspaper gotten here yet?

FUTABA: What did you say?
GIJUN: Uh. Nothing. Looks like she's gone already, huh?
Well . . . (HE EXITS
FUTABA FLIPS A SWITCH AND THE WAITING ROOM
LIGHTS GO OUT. SHE GOES TO THE BED. PAUSE.
FUTABA: (LOOKING DOWN AT JUNNOSUKE, SUDDENLY SHE BEGINS
TO SHAKE HIE BY THE SHOULDERS) Everything! I hate
everything now! Everything disgusts me! What is
truth? Reality? Honesty? What is it all worth?
What good is it? It's just something in your own mind,

and it only lasts while you're alive. Keaningless! And

83
I can't even build a dream of my own! Why can't you
believe me yet? Why don't you hear anything I say?
(PAUSE) Hell, say something!
PAUSE

JUNNOSUKE: It's a quiet evening.

FUTABA: What . . . what?

JUNNOSUKE: I said the evening is quiet.

FUTABA: (DOESN'T RESPOND)

JUNNOSUKE: Just let me finish. There's one more act
to play. Just the leading character . . . no partner
this time . . .

FUTABA: Yes, alone! Alone to the end!

JUNNOSUKE: Yes, I guess it does look like the end. And
then you'll be free to go anywhere you want to. I'm
. . . sorry. I know it's been hard for you. But I
want you to listen. (PAUSE _ It was a quiet evening--
a warm one. It was the last warm night of spring.
There, wasn't that an eloquent line? I crept . . .
quietly . . . into the room where she was sleeping.
I sneaked over, very silently . . . and she was asleep,
just as I expected. How am I playing it? Pretty good?
A little broad, maybe.

FUT‘BA: What happened then?

JUNFOSUKE: Then . . . Now, remember that I had no intention

of doing anything. I wasn't going to rape her, or

84
anything like that. I . . . I just wanted to touch

her there. To see what it was like. Just curiosity.

Ff!

U ABA: (uUuJiQ OUT LAUGIH ’G)

JUIINOSUKE: What's the matter?

FUTABA: (S OLE‘IJLY) No. I'm sorry I laughed.
JUL.OSUAL: (CL OSES HIS EYES, SPEAKING SADLY) I tried
to touch her there, but she groaned and moved . . .
maybe she said,"don'tP She brushed my hand away.

I . . . I was only fifteen. (HIS JOCL LAR LAbwLI HAS
DISAPPEARED) Then I came back to this room and knelt
down . . . I clasped my hands in the air as if I were
praying repentance. I don't know why I did that. Or
why I felt that way . . . praying 0, when I wasn't a
Christian, or anything else. I never had so noble a
thing as belief in God. The point is that I was

just . . . taking the easy way out. Dramatics.
Getting out of facing what I had done. Acting the
feeling! And I knew it right then. I thought, what
kind of man would do this? Who would be so hypo-
critical at such a moment? And suddenly I was knocked
over with what I was doing. Going through the motions--
motions that didn't have anything to do with me. It
struck me like a hammer! And from then on, I was two
people. he . . . and the actor.

FUTABA: (CA? \ES SE3 HIS HEAD SOFTLY)

85

JUNNOSUKE: God, it was bitter to see Hideko then, day
after day. I never looked at her. I kept my eyes
away from hers. If I had been nearly as overwhelmed
by what I had done . . . I mean, truly sorry, I could
have asked her frankly to forgive me. And I could have
been saved. I could have found myself. But I wasn't.
I didn't. I was stubborn. I struggled to save myself.
Set my own rules . . . create my own values . . .
forget about what had happened. Ignore it. I . . .
How do I describe myself then? I was proud, arrogant,
stuck up. It was pathetic. I tried to ignore it
and keep myself busy. I tortured myself--anything to
make up for it without admitting it. Expiate myself.
But God, it tormented me! I couldn't stand it! I
knew! The second me, the one who split off--the actor--
he watched as I went through all the daily habits.
Eating, sleeping, sitting at my desk at school . . .
he helped me put on great airs of importance. All
those years . . . and somehow I became a doctor like
my father. But it was all a play. I was weak, but I
pretended to be strong. I felt inferior, but I wanted
to stand in the front of the crowd. I had a strong
sense of responsibility, but I was totally inept. I
even went into the army as a private . . . with my odd

sense of justice. Just a play. It didn't help at all.

86

FUTABA: Junnosuke . . .

JUNNOSUNE: The swamp . . . isn't in Hideko, or my father
either. It's in me.’ In the depths of my own mind.
That's where every man's essence is . . . and I . . .
have a swamp. It's my own. And I . . . I'm quiet now.
kaybe if I can just stay still . . . maybe I won't
stir it up. haybe the water will clear someday.

That's all that's left. (SIGHS DEEPLY) Nell. My
curtain line was eloquent . . . in spite of myself.

FUTABA: No, Doctor. You've just been so obsessed with
this . . . you think that you have a bad character . . .
essence, you said. I don't believe that. That's not
the way people are. You're a good man. An honest man.
And you're strong after all, aren't you? You . . .
oh, it's no use. I can't say it so that you'll believe
me, or understand.

JUNNOSUKE! You don't need to pretend with me now. Now's
the tine when it ends. My one man drama is over.
Thanks to you. I know it's been silly to make you
go on with this . . : but let me play it to the end.

I beg you. I'm content to leave it as it is.

FUTABA: Are you? Yes, I suppose you feel best all alone.
But that leaves me alone too. With nothing more . . .
(LAUGHS SADLY)

JUNNOSUKE: No, that isn't what I mean. I won't make you

go. o o

87

FUTABA: Then why do you continue to act it out? For
what purpose?

JUNNOSUKE: (DOESN ' T ANSWER)

FUTABA: To impress some audience? Or do you mean that
you're your own audience?

JUNNOSUKE: Yes . . . that's it. But I'm quiet now.
Don't stir it. Don't . . .

FUTABA: Oh, God you're cruel! (BEGINS TO UEEP) You're
terrible . . .

JUNNOSUiE: You're crying . . . no, don't. It's no use.
This is my . . . happiness, I guess. You weren't
really a part of it. I just . . . I . . . used you.
So don't you see? That's what I mean. That's what
I am. Mean . . . cowardly. Ly essence. That's all
it is . . .

FUTABA: No! Human beings are good! Beautiful and kind
. . . the essence is good. They are that way. And
you talk about yourself as if . . . Oh, I don't know.
It's odd. . .

JUNNOSUKE: Uh huh . . .

FUTABA: People start out good. It's when they become
proud-~when they try to fit themselves into some
standard, or try to squeeze themselves into somebody
else's value system, or put themselves above it. Or

when they try to be better than somebody else . . .

88
That's when things get twisted. That's when the mean,
twisted things, the disgusting things begin to creep
into the mind.

JUNNOSUKE: Yes . . . yes, that's right.

FUTABA: And if that's true . . .

JUNNOSUQE: But you have to do something. If you just
let yourself go, if you never decide, then you're
just following along in the flow of the stream. You're
nothing. You don't mean anything. Unless there were
some kind of absolute--some kind of ultimate values to
guide you through the stream. If you only have your
own ego, then you have to let it lead you.

FUTABA: What do you mean by an absolute? What would it
be? What kind of absolute?

JUNNOSUKE: That's it, isn't it? That's the vanitye-the
pride that twists things. Thinking that you can describe
it, or define it. If it's absolute. But if you don't
. . . then what do you do in the middle of a world where
you sit trembling, not knowing? Who is going to pick
me up? Who is going to save me? Who is going to head
me in the right direction? How will I know?

FUTABA: It's gotten a little chilly, hasn't it? (SHE
STANDS UP. CASUALLY,) Perhaps it's God. Probably.
(WITHOUT A TRACE OF ANXIETY) He would be greater than

human beings . . . absolute. (SHE G‘ES INTO THE

89
DISPEI‘QSAHY , TAKES THE ’ELLOZJ SEIEATER OFF A NAIL AITD
PUTS IT ON)
JUI‘INOSUIZE: God!
FUTASA: Doctor, how do you like my sweater? It's a

pretty color, isn't it. Is it becoming?

CURTAIN

9O

BIBLIOGRAPHY
Books and Articles

Japanese National Commission for UNESCO, Comp.
Theatre in Japan. Japan: Linistry of Education,
1963.

Kinoshita, Junji. '"Yuzuru" (Translated by Donald Keene).
Playbook--5 Plays for a Tew Theatre. Norfolk,
Connecticut: New Directions, 1956.

fiishima, Yukio. Five Eodern Noh Plays. New York:
Alfred Knopf, 1957.

Ortolani, Benito. "Shingeki: The Faturing New Drama of
Japan," Studies in Japanese Culture. Tokyo: Sophia
University, 1963.

Takeshi, Kurahashi. "Western Drama in Japan-~The Japanese
Shingeki Theatre," Japan Quarterly, Vol. 5, 1958.
9p. 178-185.

"Tanaka Chikao." Engek; Hyakka Daijiten ("Complete
Encyclopedia of Theatreflx Vol. 3 Japan: Heibonsha,
1960.

Tanaka, Chikao. Tanaka Chikao Gik oku Zenshu, ("The
Complete Plays of Chikao Tanaka"; Vol. 1. Japan:
Hakusuisha, 1950.

Toyotaka, Komiya, ed. Japanese Kusig and Drama in the
Keiji Era. Tokyo: Obunsha, 1956.

 

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