The End

Original screenplay by Abbas Kiarostami

The characters in order of appearance: Akiko Nagisa Hiroshi Takashi Noriaki Young Woman, 20 years old Young Woman, 21 years old Man, 50 years old Man, 75 years old Young Man, 24 years old

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We can hear the muffled sound of a man's voice. Even if I could see you for just two minutes How do I switch it off? Akiko hangs up and says to the taxi driver:

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

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

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

AKIKO Who is this?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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AKIKO Yes, yes If it's no trouble.

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

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It was Darwin who founded the theory, and then Durkheim developed it for

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

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

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

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

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

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

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

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

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

NORIAKI What are you doing today? AKIKO Nothing.

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

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

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

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

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

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Which was? AKIKO Almost three years ago.

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

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

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

39

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

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

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

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

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

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

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

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

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

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

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

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

AKIKO What happened?

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

AKIKO But you said she was lovesick? TAKASHI

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

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

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

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

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

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

The End

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