All language subtitles for Intimacies.2012.Ryûsuke.Hamaguchi.Part.1.en

LM

LM

T

Btobte

"That's private."

"So you've been writing.

"It's old."

"Where've you been recently?"

"What'll you do?"

"About what?"

"Are you moving in or not?"

"This won't happen again.

"Do you regret it?"

"Doesn't matter."

"This just won't happen again."

"We'd be nothing
more than roommates."

"What's the rent?"

"70,000 yen."

"Any other rules?"

I'd like to move in."

"When?"

"Next month, April 1st."

"You better not be fooling me.'

"You better not be fooling me."

Don't worry, no jokes.

"I'm hungry

"Wanna go out?"

"Can I shower?"
"Sure.'

"Get me something?"
"Okay.

"Where're you going?"

"Kobeya near the station."

"Something sweet."

"There's the Yurakucho Line
and lots of convenient stores."

"It's accommodating."

"It's official then."

"Thank you."

Okay.

Can you hear how
you're saying your lines?

I see you're trying to punch
what you're saying strongly.

But what you're emphasizing
is different from what I want.

"So you've been writing"
punches it.

"So you've been writing."

"So you've been writing."

Hear the difference?

We're asking you to
punch what Mikki couldn't.

Aren't we?

"So you've been writing.

"Where've you been recently?"

"Is it okay?"

"Is it okay?"

"Do you regret it?"

But your emphasis, Watanabe,

So you've been writing.

"Where've you been recently?"

"Where've you been recently?"

"Is it okay?"

"Do you regret it?"

It changes everything.

A small voice is trouble.

Your performance gets lost.

Show you're finished
with your dialogue.

Show your turn's done to indicate..

Standing may have confused you.

Sit, sit down.

Let's go again.

Forget emphasis and pass the dialogue.

And listen.

Practice listening,
not speaking.

Change at the transition.

When Mamoru says, "70,000 yen."

Get hurried and...

Don't wait.

The dialogue will escape you.

"Any other..."

"Any other... rules" stutters.

If your tempo is off, fine.

Don't get freaked out.

Don't align yourself by timing.

The dialogue, not even that...

Your words normally do
have some kind of rhythm.

Maybe try focusing on that more.

Deliver each line firmly and clearly.

Let's go.

Ready.

Start.

"That's private."

So you've been writing.

"It's old."

"Where've you been recently?"

"What'll you do?"

"About what?"

"Are you moving in or not?"

"Is it okay?"

SONY

"I don't usually talk with so
much passion about politics.'

SONY

"I can see why people find
Governor Ishihara appealing."

"The gruff and irresponsible remarks."

"His unique insistence
is very charming.'

"I'm just saying"

"there are more idiots than not."

"It's all majority decision.'

"What's a student know?"

"You're pigeonholing me as a student."

"You're just a part-timer."

"I was nice for Kayoko's sake."

"You're what?"

"Some kind of poet?"

"Get a real job."

"Nobody cares about you."

"You part-timer."

"Stop."

"You too?"

"What?"

"Just leave."

You were so angry.

During this?

This video is more confusing.

I think video is quite honest.

It might be.

Video's different from the acting.

It felt more intense at the time.

That's true.

As always.

Watching versus doing.

Will it ever be the same...

That's an actor's ego speaking.

"That guy pisses me off."

"That's why I hate women."

Akira's amazing here.

I wasn't acting so I wouldn't know.

Acting in this was great.

The performance came easy
without having to think.

Let's go with this cast.

You mean I'd act too?

I wrote it for you.

What?

Nothing.

I'm always acting,
but I end up unsure.

I wanted someone else this time.

This is the best cast.

The best cast...

I was right.

We shouldn't cast ourselves.

We means me either?

The play would be too
gritty if we were to act.

Wouldn't it?

You really mean me.

No, both of us.

The play wouldn't be worse
if we were to act in it.

The script's best part will get lost

What do you mean?

The subtlety.

The frailty.

That's what makes it good?

I think so.

The most delicate parts would vanish.

I don't know.

You don't?

You're directing so figure it out.

I'm asking because I have.

Your stop.

Your stop.

I'll rewrite it if you want 8
and you choose the cast.

8
You're sure?

8
We talked about..

8
You're sure?

8

8

8
I will cast Mikki and Aya

8

t 8
Okay?

8

8

8

8
Do what you want.

D5CF7C

D5CF7C

Welcome.

What'll it be.

Beer please.

Here.

I'm blood type A.

But I'm not nit-picky.

Everyone says I couldn't be A.

You're organized.

Right, you caught me.

You really did.

That's funny.

A gathering.

A blood competition.

Competition?

You'll compete?

What events?

I couldn't win.

I couldn't either.

You'd give up.

Typical strategy for type B.

Rely on someone else.

You're pretty tough.

I love competition.

A fighter.

At heart.

Are you outspoken?

Of course.

I don't worry if what
I say hurts feelings.

I'm direct about things.

Whatever people think.

It is what it is.

And your boyfriend?

Let me think....

Yeah, he is type A.

Is he powerful?

Or not really?

Once he blows his top...

That's like me.

Scary.

Maybe he's holding back
until he blows.

Bood type A people tend to do that.

I wonder why I fight with him.

Good question.

We do disagree.

All the time.

Do you yell?

You mean me?

Sometimes.

It's too much trouble so I mope

He is the one pouting?

To you?

What I want to say,
I'm not good at saying.

I can't really communicate it.

Though, I don't have any problem
going up against other people.

But fighting with him...

You okay?
- Yeah.

Not again.

From: Reiko Sawamura
Subject: (None)
Message: Didn't you see me butt-head?

Message: The demo song was due yesterday,
but I'd like more time.
I'll find the melody soon.

Diagram of words.

Words are a train imaginations ride.

All throughout Japan,
imaginations travel.

Route maps of who we are.

Each one of me.

An imagination boarding and exiting.

Like at each and every station.

Stopping at all small stations

are words like local trains.

Expediting our work

are words like express trains.

For only those in the know

are words like rapid trains.

Stopping at only the
most word-packed stations

are also words like bullet trains.

Message: Look on the desk.

There is coffee left.

Heat some up if you'll be up all night.

Thanks.

414

You mean don't sleep and read this.

Ticket up.

Here.

Words also race in underground darkness.

Arriving and departing subway to subway,
are wicked imaginations.

Sometimes peaking their
faces above-ground,

passing through building valleys,

when the sun bursts forth trying
forcefully to join the high-rises,

imaginations scrunch their brows.

Sometimes delivered with speed,

words seem convenient
and important things.

Nevertheless,

what is truly important

is that imaginations exit
at the correct station,

and board the correct word next.

This alone matters.

Therefore,

from convenience of the diagram,

overflowing express trains

and desolate local trains,

which depart simultaneously,

move in unison for a single moment.

Imaginations riding the express

often watch the local with longing.

As 2012 connects Tokyo Metro
Fukutoshin and Tokyu Toyoko lines,

what was once disjointed

may connect this and that.

These are my imaginations.

Parenthetical.

February 3, 2011.

Doutor Coffee in Musashi-Kosugi.

Parenthetical.

What is this?

- Hi.
- Hey.

Done?

Yeah.

You look worn out.

I'm fine.

Hey, did you hear about the war?

What war?

North Korea's shooting again.

take_bay

take_bay
bit.ly/m15bMa

opakan890221
The
satoko nomura

opakan890221

satoko_nomura
http://bit.ly/izQcZC

take bay
kiritanon

kiritapon
kiritapon
-wwww

kiritapon dtLwwwww http://bit.lv/BAHpk
opakan890221

387
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gj http://bit.ly/9qY
tommie0719

This "the north bursts first" got me.

This looks pretty bad.

Yeah, it does.

OF STA

43,858 SOUTH KOREA ATTACKS
NORTH KOREA

43,858 SOUTH KOREAATTADKS
NORTH KOREA
North Koraa Bombe Saunh
MacBook Pro

43,858

KOREANC
1217
MOSCOW
RT.COM
43,858

KOREAN
SUICIDE RATE AMONG AN
43,858

MacBook Pro

Many Missing After North Korean Attack
MacBook Pro

I'm home.

Did you see this?

Let me sleep.

War.

I know.

I'm the one who emailed you.

You stink.

I stink because I work on my feet.

You're heavy.

You're too light.

Get off and let me sleep.

I read your script.

It's good.

I saw that in your email.

It suits them.

It's amazing.

Is it?

I'm disappointed about
losing Ishihara's part.

It was causing too many problems.

With momentum too.

I also liked your poem about the trains.

Give me a break

I liked them all.

Astral projection.

Astral projection.

Sorry, I'm sorry.

My feet are cold.

Yeah, yeah.

BIO

Message: Here's it is. Tell me if it is not right.
I'll be in the studio Wed/Sat
if you want to complain.

minmin

utti10
@ryou_miyata

mori_kana

shunishi

kentaroutakeshita
?

Intimacies Casting

Mamoru-

Kunio Mikki

Kayoko- Aya Ito

Kayoko - Aya Ito

Yukie - Urara Tezuka

Shinnosuke - Taro Nakamura

Noboru - Akira Nishijima

Etsuko - Akiko Katori

Waiter 1 - Kensuke Hayashi

Waiter 2 - Hideo Watanabe

+8
Waiter 2 - Hideo Watanabe

Waiter 2 - Hideo Watanabe

That's that.

Good morning.

All right...

I'm sure some are surprised.

Ryo and I will devote
ourselves to directing.

More specifically
Ryo is writer and art director.

I will direct.

Tentatively..

Tentatively, that's the plan.

The script changed substantially.

Ryo wrote all night.

We'll look at all these changes
as we read through it.

Let's start with stretching.

Tezuka, loud voice.

Yeah, I'll do my best.

Just feel it.
I will.

Relax and squat.

Relax and breath.

Let the strength out.

Is something wrong?

Am I right for this?

I chose you because you are right.

We've got a month.

It seems distant and soon.

Didn't you want to play my part?

You're right for it.

The new script's written for you.

You're both worried about
where you are weak.

So you're losing confidence

What do you mean weak?

I just mean areas you
don't like about yourself.

Weaknesses, ugliness..
ugliness is wrong.

Whether it be a quiet voice
or slow responses.

Your weakest points are
your strongest weapons.

I wrote the script that way.

Hmm, what?

You cast our weaknesses?

This time we did.

"I work at a baking factory."

"You know,"

"I've started to feel I may
never have my own stories."

"I have nothing myself."

"Or maybe I do but
people don't expect it."

"For some reason,

"I just hate pitying myself."

Oh?

Oh?
BUXD

Don't oh me.

I was worried.

didn't hear you ring.

You guys okay?

Paju is pretty far north
in Korea, isn't it?

None of it's affecting us.

There's an American base.

That's dangerous.

I wouldn't know.

Where's the wife?

She's shopping.

Isn't it a crisis situation?

Yeah, but we gotta
shop for food to eat.

Coming-home?

It's not as bad here as you think.

Japan isn't as safe as
you think it is either.

You might be right.

Oh, she's back.

It's Mikki, Mikki.

takao mik

Good afternoon.

Good evening.

sakao mik

Hello!

I'm Mikki's brother.

And sister-in-law.

Mom and Dad are worried.

Call them.

I will sometime soon.

Soon?

Anyway, I gotta go.

What's "take care"?

Say "annyeong".

Good bye!

Peace out.

Peace out.

Bye

Your brother?

Glad you connected.

Peace out...

How cute.

A new side of you.

Perfect.

Sorry.

I need some new tape.

Some new tape for you.

Let's go.

It's unsettling to look there.

I'll forget who's talking.

Let's turn so it's easier
by facing each other.

Ready.

"Coffee."
- "Latte."

"Thank you.

"That's/everything.

"Make sure.

"It's fine.

"Here's yours.

'I think that's everything

"A dryer, underwear, pajamas,
better not check here."

"I loaned you this?"

Sorry for stuff like this
'Better Explanations' book.'

"I kinda see now.

No, no, no.

Can you look ahead to talk?

I can't look at her?

Once you look,
but start with each other.

I want the interaction at first.

After that, look ahead.

I want to see your faces.

"I was getting flowers."

"Sorry."

"It's okay, Dad'll like these."

"Zoshigaya Cemetery is big for Tokyo."

"Almost there."

"Do you read Soseki?"

"Is it the gigantic one?"

That's Soseki's grave."

Don't worry about it.

If Kayoko moves when saying,
"Zoshigaya Cemetery is big for Tokyo,

Mamoru will get stuck.

You'll struggle if you're unsure.

Oh, okay.

Watch what I did.

"Usually late Sis?"

"I was getting flowers.

"Sorry."

"It's okay, Dad'll like these."

"Zoshigaya Cemetery is big for Tokyo."

"Almost there.

"Is it the gigantic one?"

"That's Soseki's grave.

"Have you read him?"

"The last half of Kokoro."

"My textbook had it."

"Sanshiro is good.
Mineko's the protagonist."

"The novel shows that men
have never understood women."

"Why would I enjoy that?"

What you did wasn't good.

Mikki will lose confidence.

We can't handle him so carefully.

You've been rehearsing to
play Mamoru up until now.

And Mikki has been rehearsing
to play Shinnosuke.

You shouldn't try to make him
act in a way that only you can...

Wait, hold on.

That's how I feel.

That anyone can act the way I can.

What about work?

Can we keep talking?

We can but I don't know what about.

All right, let's talk.

Confidence's confidence

Thinking you can change
others is arrogant.

Let them shatter if they're so fragile.

That will show them.

Inflating confidence
wrongly is pointless.

You get confidence from others.

Confidence given can be taken.

So you take the confidence
we gave them.

People just need to trust themselves.

What-can someone do?
- I do agree.

You already-have confidence

I didn't always have it.

I know you didn't at first.

So I respect you.

Quit that.

People don't see you that way.

You've always been strong to them.

So you steal confidence.

That is not my fault.

That is not my fault.

It's trust in yourself, in others.

Isn't that what's important?

Isn't that what's important?

We can't wait around
for their confidence.

Thinking you can change
people is arrogant.

- I'm arrogant?
- Yes.

Left like this, our play
will have no substance.

No substance?

You told them.

They have to understand that their worst
and weakest parts are the most valuable.

Isn't that the point?

They've gotta put in the work.

Of course they do.

The problem though is you.

Me?

You don't trust anyone.

Everyone knows you don't.

Oh, really?

- Thanks for talking.
- Sure.

Don't change my dialogue.

Then it's up to you.

Change my dialogue, I'll end you.

Interview Session!

Rules

Start with: "Are you not me?"

"No, I am not."

Am I not you?

No, you are not.

Then who are you?

Well, who are you?

Who do you think I am?

Are you not you?

Do you...

Do you ever feel like you?

Have you ever felt that?

That I am me?

Like...

Do you feel different?

I feel like my ideas are different.

I don't feel I am me

people around me might think so.

They may be right in seeing that.

Wouldn't those people tell me?

That I am me?

They just might.

Do you like being with people?

I like being around people.

I don't mind being alone.

I don't like it.

You wouldn't choose to be alone.

When you're by yourself or
when you're with others,

do you act different at all?

I guess a bad thing is that
I'm influenced easily.

That isn't bad though.

It may be both good and bad.

For example,

if everyone hates someone,

if they talk about it

I get the same feeling strangely

Do you resist that at all?

I don't resist anything.

I don't resist in that regard.

l'm not really good at
expressing my opinion.

It's weird.

I'm happy if everyone else is.

I don't really think about it.

I mean I think about it,

but I don't let myself buy into it.

I'm scared when I think about it.

People might not understand
even if I said something.

I am very scared
they'd brush me off.

Does anything

scare you?

What do you think?

Something must.

Something scary.

Sure.

What?

Well, Ryo.

He took off for six months once.

I never asked what he was doing.

That...

If that were to happen again.

That really is what scares me.

You're honest.

This is a secret between us.

Who do you trust the most?

Trust?

Who do you think would never betray you.

My brother probably.

What makes you think he wouldn't?

Because, he saved my life.

We went to the ocean as kids.

couldn't swim.

He's two years older.

My brother's a great swimmer.

I went out into the ocean.

Suddenly, something hit my inner tube.

A wave caught me.

I started drowning.

I grabbed onto my brother tightly

I really did.

Then my brother began
getting pulled under too.

For some reason,
I was strangely calm.

Why?

Why didn't he pull away from me?

If he would've...

He could have..

swam by himself.

I thought I was gonna die

I refused to let go.

It was our dad.

He noticed and saved us both.

The funny thing is,

it wasn't that deep.

Maybe about up to my dad's neck.

He was so angry at my brother.

But that experience,

at least for me,

was something awesome we'd shared

What about it was?

Even if life-threatening,

there are people who risk
themselves for others.

There are.

Ever since then,

I always wonder

if I could be someone like that

to someone else.

What a great story.

What a great story.

What a great story.

What's the next question?

Don't wanna talk?

I don't see why I should.

You know the show
opens in 2 weeks?

I know nothing about you.

Why do this?

Just because.

Not knowing me isn't a problem.

But I want to know.

You know that you don't know.

I think I'm fine with things as is.

Why do you...

always protect yourself?

Why are you so scared?

I don't know.

Why do you try to act so cool.

Do you think you're cool?

Of course not.

Why can't you be yourself?

I don't want to be with
anyone enough to change.

You tell people to do things
but you don't do it yourself.

You told them weakness was their weapon.

So why hide yours?

Why manipulate them?

Yukie and Kayoko's acting is unnatural.

Like they're rehearsing.

Why?

Why's everyone try to change me?

To be around you.

Nobody can stand you otherwise.

Why only me?

Why don't you change?

Sit down.

30 minutes hasn't passed.

Sit down.

That's the rule.

Stay until the end.

I'll change.

If you want me to.

What's wrong?

The song is fantastic.

You can talk to me.

To do what I want to,

I know that I have to change.

I don't know how I should.

Or what I should?

You can't change them.

You understand?

That's how things go.

It's not that I want him to change.

I like him just the way he is.

But,

for him to accept himself as he is
means that he has to change.

Japan should not go and get involved.

Japan renounced war in
Article 9 of the Constitution.

We don't have military capabillities.

Deploying Self-Defense Forces
goes against this proclamation.

It comes down to that.

Japan says the Self-Defense Forces
don't contradict Article 9.

I think their military capabilities do.

The capabilities of the
the Self-Defense Forces do.

They're militaristic.

My reluctance is because of that belief.

So I don't think they should go.

Interesting.

What do you think Hayashi?

What if there were no security treaty?

Just Article 9.

If that were the case,

should Japan go?

I guess I would ask myself
if we should go.

I would probably come up with an answer.

My desire not to go would
be the deciding factor.

So I'd say we shouldn't.

The decision to go surpasses the law
if we take our emotions into account.

The question becomes whether you
yourself would participate in the war.

Then you have a vested interest.

That changes things.

I don't want anyone to go.

Nobody should.

Consider things today.

If the Self-Defense Forces
were to be deployed,

their families wouldn't want
them to have to go.

More than the reality of
the Self-Defense Forces,

we don't want people
we know deployed.

I couldn't stay in Japan
if they got involved.

It could be quite damaging.

We'd hate that.

Aya brought up the problem of going
as the Japan Self-Defense Forces.

The discussion itself sounds horrible
Aya brought up the problem of going
as the Japan Self-Defense Forces.

The discussion itself sounds horrible.
That's because of Article 9
in the Constitution you said.

That's because of Article 9
in the Constitution you said.

What if you consider it
at an individual level?

My mother is from Hiroshima.

I heard a lot about war from my
grandmother who experienced it.

My mother also grew up
learning about real war.

My mother also told me
quite a bit about the war.

I'm sure that has influenced
my own perception about war.

I would fight tooth and nail
to stop anyone from going.

Absolutely.

The discussion's shifted.

Isn't this an issue that
is pretty close to us?

The problem is about whether you
would join the Self-Defense Forces.

I am not sure whether women would go.

I bet some would want to.

For example...

3 months to 1 year based on their experience.
For example...

3 months to 1 year based on their experience.
For example, there are people who
wouldn't go because they don't want to.

J weeks inDusan and successrur Canuidates wi
3 months to 1 year based on their experience.
For those who want to go,

For those who want to go,

or for those people around
us who would go,

we can't just abandon
this problem lightly.

International Peace Keep Organization (IPKO)

International Peace Keep Organization (IPKO)
it seems most everyone has
some experience with this.

it seems most everyone has
some experience with this.

What do you think?

Let's pass over to Mikki.

An email about volunteer soldiers
is getting around a lot lately.

VELAND

That seems reasonable.

Still,

the Self-Defense Forces
should not get involved.

It's unconstitutional.

Korea wouldn't accept
Japan's assistance.

But If it's up to the individual,

they should have the right to go.

No one should stop them.

I think this is one way to resolve
all of the differing opinions.

You really slipped out of that question.

Mall

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Several Japanese Missing After Paju Explosion

I will lecture today.

Understanding what people are
really afraid of is difficult.

We avoid our fears unconsciously.

Our real fears are not understood
unless we are truly confronted by them.

Humanity is programmed for evasion
the moment we detect pain or suffering.

Past pains instill our fears.

Fears are created by pain in our
childhood as was stated.

This is because the self
of a child is unprotected.

That is to say,
the self is truly vulnerable.

Trestir

Damage to the softest, most brittle
areas does not heal over a lifetime.

Fears may be the coating to assists us in
avoiding subsequent harm to these areas.

What would dispose of
this overprotective nature?

restir

Trestir
When will we say we're okay?

Drustir
rhee

Trestir
To obtain what we truly desire,

how can we come to say what
must or must not be protected?

Let us look at an example.

Excuse me.

Excuse me.

I've got to get to work.

Okay, goodbye.

Crusling

There is a story we can turn to.

Preesting

Jrusting
Please imagine this.

A tribe with old customs is
somewhere in the world today.

This tribe uses bungee jumping to
determine who is to be the leader.

Youths bungee jump
from a cliff in unison.

This is the custom.

The custom is unique in that

the youth to hesitate most,
the youth to jump last,

in other words, the biggest coward
is selected as the next tribal chief.

Jrustin

None of the youths know this.

Jrustin
verfeel

They understand this custom
as a type of coming-of-age ritual,

Frustin
erfeel

or as a ceremony to celebrate
the youths entering adulthood.

Trustin
veer feel

Furthermore, the tribe is
unaware of the world's size.

Pruslin
feeli

srustin
They believe their
village is the world.

Trustin
fourfeel

The most cowardly in the village
is the most cowardly in the world.

Getting the most cowardly person
in the world to bungee jump

is a problem of how to go about it.

Jrestin
oerfeel

The solution of the tribe was
to ensure absolute safety.

Frustin
verfeel

The lifeline is strong and
a cushion is in place if it breaks.

Trustin
erfeel

The cushion is soft and covers
a large area to prevent injury.

Freestin
verfeel

Under these conditions,
the brave youths jump one after another.

breestin
rheel

Treestin
It almost seems too easy,

they jump without
hesitation to be an adult.

Each jump is met with cheers.

One youth never jumps no
matter how much time passes

Why won't the boy jump?

He can't help considering "what if."

P ustim

ustim
The boy does trust
the people of the tribe.

P.stim
Yet the boy cannot
imagine what will happen.

He considers the possibility of wind
smashing him into the cliff walls.

.stim
Suddenly, the boy is ready to jump.

The boy is much more afraid of
losing the tribe's trust than jumping.

Their chief approaches the
boy seeing the hesitance.

Crusting

rusting
The chief says,
"You don't have to jump.

ntima
The chief promises the tribe will not
refuse the boy whether he jumps or not

Crusting

"You should only jump
if you see merit in jumping."

"You may leave now if
you see no merit in jumping."

The chief explains.

The boy considers retreating.

He may be able to delight the tribe who
waits for him to jump with bright eyes.

But how much value is their delight
versus maintaining his own existence?

How much merit is there in jumping?

The boy learns he is the biggest coward

in the village and in turn the world.

The boy knows he is safe and trusted.

He is still unable to choose to retreat.

Yet he cannot jump

Embarrassment and misery
bring tears to his eyes.

He falls to his knees crying.

This is when inspiration struck.

Wouldn't jumping prove to everyone
in the world that anyone can be brave?

Everyone can be brave if the
biggest coward in the world is.

Proving this would in fact be more
valuable than saving his own life

Realizing this, the boy jumped.

The tribe exploded in cheers.

The boy was selected as chief
for his inspired reasoning

This is our example.

The spirit of the boy...

They're not nuclear.

They're not?

The North thinks they do
so they make threats.

The issue is who uses
weapons of mass destruction first.

Why can't they simply drop the bomb?

Korea or America could.

Korea has renounced nuclear weapons.

It'd be better to just blow them up.

It's bad for Japan if they don't.

If everything was coming to an end
that'd be their honorable defeat.

North Korea isn't trying to win the war.

They're trying to secure
their place globally.

That's what they're after.

Isn't it pretty clear who will
win and lose this war?

There's no escape if dropped.

Everybody's going to die.

They would.

- Don't laugh.
- Sorry.

What would happen?

Would there be a draft?

They'd have to change the constitution.

But if, in that case,

I would totally run away.

Right?

It's just way too much.

SMIE

Having to kill or even die,
I couldn't do it.

No way.

Nobody could.

Like Southeast Asia...

Mikki.

Stop it.

Mikki.

Mikki.

I'd kill all of you
if that happened.

I'd kill a person for each deserter.

What's with you?

quit.

Stop it.

I'm done.

I'm going to Korea.

You're quitting the role?

The theater?

What else?

I'm joining up to fight.

The ship leaves from Shimonoseki.

Not another for a month.

What about us?

You figure it out.

You are serious?

Some country.

Some war.

This is more important.

Then you play my part.

I don't care.

Ryo.

Get it together.

What's with you guys.

You and I...

we're in this together.

You and I, we're the same.

I value what's important too.

Nobody,

nothing,

can change that.

I'm sorry.

Promise me.

No matter what,

remember this.

What you're about to do,

don't think it won't affect us.

Whatever happens.

All of us,

we believe you are connected
to what we are doing, Mikki.

So,

whatever your choice,

don't think you chose alone.

Got it?

I understand.

I didn't know.

Anything.

I wanna hold you.

I'm too shy.

J.55

1.02

08

What about work?

I called in.

That's smart.

Where were you?

Thinking about what to do.

- Where?
Gusto.

Any bright ideas?

We can shut down or postpone?

And if we postpone?

Play the part.

No way.

I'd only have ten days.

Go ahead and hit me.

Go ahead and end me.

How long?

How long until you talk?

Whenever.

Can I ask something?

You're bad at questions.

Am I?

Asking to ask puts people on edge.

Does it?

I wanna relieve tension.

You're bad at it.

You

and I,

why are we together?

Do I have to answer?

Not if you don't want to.

Is it about hurting me?

You don't have to worry about that.

Those two things,

they aren't that far apart.

I don't say things because
I don't want to hurt you.

That's sorta flattering.

And sorta sad.

I guess it is.

It's because I love you.

What is love?

The desire to be together.

That's not an explanation.

Love can't be explained.

Yet you ask me anyway?

I said you didn't have to tell me.

I don't hate being with you.

We have good times.

Isn't that enough?

I'm not saying my
feelings are uncertain.

I don't know.

Are you uncertain?

No.

Believe me.

I can't.

The idea of emotions is
already something uncertain.

Is it really?

A feeling starting out as uncertain
evolves to become certain, doesn't it?

I don't know.

You don't?

Wasn't acting like that?

I've never...

started something I was uncertain about.

You're lying about that.

Why?

If you aren't lying,
you must simply be lucky.

You gotta understand that.

Quit forcing it on others.

I'm forcing it on people?

I think of you

as an amazing person.

You saying that.

That doesn't make me happy.

I don't just think about the things
that would make you happy.

Oh.

Why isn't...

Why isn't love enough?

I wonder why.

The direction were heading
is even the same.

This isn't your fault.

This isn't your fault either.

One more thing.

I like reading your writing.

I read.

I learn.

I learn what you're thinking about.

I have to disagree.

You can't know me from my writing.

There's no other clues about you.

Those aren't my words.

My writing is not what I'm thinking.

You mean...

I've taken them.

Don't misunderstand me as plagiarizing.

I go into the depths.

Where thoughts fall.

I pick them up.

Where's the depths?

Night.

They fall in the night.

I gather them up.

Which means they aren't my words.

They really aren't.

That's right.

All I do is rearrange everything.

Diagram of words.

Yeah, that's right.

Words are a train imaginations ride.

All throughout Japan,

imaginations travel.

Route maps of who we are.

Each one of me.

An imagination boarding and exiting.

Like at each and every station.

Stopping at all small stations

are words like local trains.

Expediting our work

are words like express trains.

For only those in the know

are words like rapid trains.

Stopping at only the
most word-packed stations

are also words like bullet trains.

Words also race in underground darkness.

Arriving and departing subway to subway

are wicked imaginations.

Sometimes

peaking their faces above-ground,

passing through building valleys,

when the sun bursting forth trying

forcefully to join the high-rises,

imaginations scrunch their brows.

Sometimes

delivered with speed,

words seem convenient
and important things.

Nevertheless,

what is truly important

is that imaginations exit
at the correct station,

and board the correct train next.

This alone matters.

Therefore,

from convenience of the diagram,

overflowing express trains

and desolate local trains,

which depart simultaneously,

move in unison

for a single moment.

Imaginations riding the express

often watch the local with longing.

As 2012 connects

Tokyo Metro Fukutoshin

and Tokyu Toyoko lines,

what was once disjointed

may connect this and that.

These are my imaginations.

Parenthetical.

February 3, 2011.

Doutor Coffee in Musashi-Kosugi.

Parenthetical.

Did you really write that at Doutor?

Of course not.

That's what you call
technique or rhetoric.

I'm shocked.

Do you like night
better than day?

Yeah, I do.

I just don't like sunlight.

Oh.

You know,

I take this road home from work.

At this time of year,

the first train you take,

right when it passes,

night begins to break.

I wonder if you've seen it.

I want to show you if you haven't.

I haven't.

I like daybreak.

I also like the night.

The night brings daybreak.

Oh.

For some reason,

I feel like something
important is delivered.

What is it...

...that's important?

Time.

Time with you.

Time without you.

So all the time.

I'm glad.

That's the first question
you've ever asked me.

What?

What?

Really?

True...

I'm sorry.

10 days later.

Thank you for joining us today.

We have a few requests
before the performance.

Please turn off devices with noises or
lights such as cell phones and watches.

Please do not eat, drink, or smoke.

This performance is scheduled
to run for 2 hours and 10 minutes.

There will be no intermissions so
please do what you need to now.

The performance will begin shortly.

The performance
will begin shortly