All the World's a Stage

DRAMATIS PERSONAE

OKASAN

Owner of the Yanagi tea house

KUBOTA

Counsellor to the Prince of Satsuma

O-BARA

The owner’s adopted daughter, a geisha of the first rank

YUBA

Her pupil

IZUMI

The owner’s adopted daughter, a geisha of the first rank

SEN-CHAN

Her pupil

KINJO

A thief

FIRST ASSASSIN

SOGA

Nicknamed ‘First Sword’, a Ronin who lives in the tea house

SECOND ASSASSIN

FUTOYA

A rich merchant

THE INVISIBLE ONE

The Jyonin of the Sinobi clan

THE INAUDIBLE ONE

A warrior of the Sinobi clan

ACT ONE

The stage is divided into two parts, alternated by rotating it. In one half the scenery is permanent – this is the garden of the tea house and Izumi’s room: in the other half the scenery changes. On the left a little platform or hanamichi is attached to the stage, running out into the hall to approximately the fifth row. Between the hanamichi and the hall there is an empty space. On the right, the Storyteller sits at the edge of the stage throughout the performance, wearing a severe black kimono with crests. He is gently lit by a paper lantern.

Scene one

At the gates of the Yanagi tea house, which are flung open wide in welcome. Lying on a stand at the very centre is a shamisen, or lute, and at one edge there are two pillows: one larger and rather more luxurious, the other smaller and more modest. Quiet music is playing.

STORYTELLER (he strikes a drum lying in front of him with a wooden stick – the sound is a low, quiet rumbling)

Before uttering his final phrase, the Storyteller strikes the drum, and the public streams up onto the hanamichi. Trying to occupy places closer to the stage, the viewers sit down with their backs to the hall. At the front are the trainee geishas – the young woman Yuba and the teenage girl Sen-chan – behind them are the merchant Futoya and the First Assassin (he is dressed like a monk, with a large straw hat on his head) and then the thief Kinjo and the Ronin Soga (in a patched kimono, but with two swords in his belt).

STORYTELLER (he strikes the drum)

Bowing repeatedly, Okasan seats the samurai in the place of honour, and sits down modestly beside him. At the appearance of the guest all the spectators on the hanamichi lean towards him. While a conversation takes place between Kubota and the owner, everyone remains respectfully motionless, with only Sen-chan fidgeting and squirming in her place.

OKASAN Oh, what happiness it is that you, Kubota-san, have not forgotten me, even after so very many years! Ah, of course, I have become ugly and old, but seeing you, I tremble once again in joy.

She covers her face elegantly with her hand, performing the gesture ‘Pleasant Embarrassment’.

KUBOTA Ah, but how could I forget you? Ah, those golden days! But weeping tears for spring is foolish on an autumn day. Yes, we are not as we once were. What once was is now past, and yet it would be strange to be offended at our fate. What a high grandee I have now become, and you are now the owner of the finest of all tea houses. But I have come to you today not in remembrance of the past. I have been sent here on an errand from my prince. His Lordship wishes to choose from among the geishas of the capital one who will be a concubine for his sweet delectation.

Okasan flutters her sleeves elegantly, performing the gesture ‘Great and Joyful Amazement’.

My prince is well accustomed to trusting my judgement. My instructions were to hasten to the capital. Before the prince arrives I must go round all the tea houses and select ten of the very finest geishas. During a presentation he will make his choice of one. For a geisha truly an enviable fate! Think how much money you would receive. And how greatly your establishment’s prestige would be enhanced!

OKASAN I do not dare to dream of such a matchless honour.

My best reward is simply to behold your face.

She performs the gesture ‘Most Profound Gratefulness’.

I shall show you forthwith what brings my house its fame. I shall reveal my treasure, holding nothing back. It was no accident that I ordered the gates to be flung open. My house and my heart are both alike open to you.

She performs the gesture ‘Boundless Sincerity’.

First my daughter O-Bara will demonstrate all her art for you. Do not be strict with her.

She claps her hands.

The owner’s adopted daughter O-Bara appears and walks up onto the stage. She is wearing a magnificent brocade kimono with a scarlet lining. Her tall hairstyle is decorated with slides in the form of butterflies. Her face, as befits a geisha, is thickly whitened. Her movements are precise and bold and every gesture is replete with sensuality.

Yuba gets up and minces to the stage. She bows, hands her mistress a little drum and goes back. The performance begins. O-Bara first dances to fast music, beating out the rhythm with blows on a drum. The geisha keeps her eyes fixed on the guest all the time, demonstrating in every way possible that she is performing only for him.

STORYTELLER (during the dance)

The dance is over. The pupil takes the drum, the geisha sits down with the shamisen and sings in a beautiful, low, slightly hoarse voice, looking at the samurai.

O-BARA (sings)

Kubota listens, swaying his head to the rhythm. Okasan glances sideways at him to see whether he is pleased.

During O-Bara’s performance, the following takes place on the hanamichi.

Kinjo, taking advantage of the fact that the spectators are absorbed in the performance, sets about his thievish business. First he deftly frisks the Ronin beside him: he searches under his belt and in his broad sleeve, and raises the hem of his kimono from behind. But he finds nothing of any value and shakes his head in disgust. He creeps a little farther forward, walking on tiptoe, and sets to work on the merchant. Here he has much better luck. He takes a purse out of the man’s sleeve and a silk pouch and gilded pipe from behind his belt; in the lining of the merchant’s kimono he discovers a secret pocket, from which he fishes out several gold coins.

The geisha’s performance comes to an end. She bows deeply, exclusively to Kubota, and heaves a deep sigh, which is accompanied by the gesture ‘Sensual Agitation’, then walks away to the far side of the stage and sits down there.

KUBOTA (to the owner) What a seductress! I could have watched and watched. I am no longer young, and yet my blood still boiled. The prince will like her even more. Of course, it is embarrassing even to compare her with the princess. For after all, my lord’s wife was chosen by his father, who was thinking, not of beauty, but of profit for the treasury…

OKASAN Will you permit me now to call Izumi? She is in a different style, but also very fine.

Kubota nods and the owner claps her hands.

Izumi appears. She is wearing a muted but elegant kimono of bluish-white with silver embroidery. She moves smoothly, almost weightlessly. Her eyes are lowered. She bows first to the guest, then to the owner, then to the public. Her pupil Sen-chan abruptly gets up, runs to the stage and hands Izumi a fan, after which she takes her time returning to her place.

Izumi begins a slow, elegant dance.

KUBOTA (moved) Oh, such nobility! The patterning of the dance is pure! She is exactly like a willow tree above a quiet river!

SEN-CHAN (very clearly) Did you hear, my sister? He has approved the dance. He likened you to a willow tree above a quiet river!

OKASAN Such naughtiness! Intolerable child! She has not been with us for long. Forgive her, my lord!

Kubota is so entranced by the geisha that he has not heard either the shout or the apologies. Sen-chan comes running back and takes the fan from Izumi, who sits down with the shamisen, plays and sings.

IZUMI

SEN-CHAN (turning towards the auditorium) Did you all hear? Did you hear? Oh, how she sings! In all the world there is no one more beautiful than my Izumi-san!

Yuba nudges the girl in the side with her elbow, and she falls silent. During Izumi’s performance the thief carries on working. After cleaning out the merchant, he moves on to the ‘monk’. Here there is a surprise in store for him. Not having discovered anything in the sleeve, Kinjo lifts the hem of the robe – and sees the gleaming blade of a naked sword. The thief backs away fearfully and takes up a position behind Yuba. He tries to thrust his hand in behind her belt, but, unable to resist, lovingly strokes the firm, cloth-wrapped thigh.

Without turning round, Yuba slaps the unknown rascal on the hand. Kinjo calms down.

Izumi finishes singing. She bows again in three directions, lowers her eyes and walks away to take a seat beside O-Bara.

KUBOTA (loudly) If it were up to me, I would already halt the search! A concubine such as this is the very one we need! Modest, with excellent manners, and so comely! No stain would she inflict on my lord’s honour. And above all, in her one sees that genuine yugen, without which any beauty is but vulgar.

He bows to Okasan and says something to her fervently.

STORYTELLER

KUBOTA Although the prince is learned in the arts, he is still young. It would be good to embellish the performance, to enliven it. I shall let the Yanagi house perform last…

Okasan performs the gesture ‘Undeserved Offence’, but Kubota smiles at her cunningly.

The prince will have had time to grow weary of geishas and their songs and dances.

And then you will present your goods to him. First you bring out the rose (he nods towards O-Bara) in order to arouse him. And then do this: hire a jester or a juggler who is full of fancy twists and tricks. The prince loves acrobats. Let him laugh at some simple spectacle. But then Izumi will come out and he will be transfixed. The vulgar entertainment will provide a superb contrast for appreciating the exquisite pattern of yugen.

STORYTELLER

Okasan, bowing repeatedly, sees the samurai on his way. Everyone there bows low, with their foreheads to the ground; only Soga, as befitting a man of noble rank, does not bow down as low as that.

This is why he is the first to see that as soon as Mr Kubota and the owner of the house are hidden in the wings, the ‘monk’ abruptly straightens up, jumps to his feet, pulling out his concealed weapon, and dashes forward.

All of this happens in an instant.

Sen-chan squeals and grabs the killer by his robe. He stumbles and pulls himself free, but in that second Soga also has had time to get up and bare his sword.

The killer rushes at Izumi with a furious scream, raising his sharp blade. She freezes in horror and puts her hands over her face.

O-Bara nimbly darts out of the way.

The viewers shout and mill around.

But the Ronin moves even faster than the ‘monk’, jumping up onto the hanamichi and shielding Izumi with his body.

A sword-duel ensues, the killer making guttural sounds, Soga remaining silent.

STORYTELLER (beating very rapidly on his drum and declaiming briskly)

Eventually, following a precisely aimed blow from Soga, the ‘monk’ falls dead. The Ronin freezes in the pose of his thrust. Everyone else also freezes motionless: some with their hands over their faces, some with their arms raised in the air.

Scene two

The front section of the stage represents the garden of the Yanagi tea house. This is the basic stage set, which remains unchanged. There is a small, decorative bridge, a young apple tree and a large stone lantern. A little farther back there is a narrow, raised veranda, or engawa, running round a pavilion. At each end of the engawa there are oil lamps, which are lit or not, depending on the time of day. The shoji (the paper walls of the pavilion) can also either be parted or moved together. At the moment they are closed. A light is burning inside and we can see Izumi’s silhouette as she sits there, slowly strumming on the strings of the shamisen. A sad, faltering melody is heard.

Night. The garden is dark.

The Storyteller strikes his drum – Soga walks soundlessly along the engawa and disappears, holding the hilt of his sword in his hand.

STORYTELLER

He beats on the drum.

Kinjo appears. He gazes all around and sees the geisha’s silhouette. He freezes, enchanted by the music.

STORYTELLER

Yuba enters the garden, walking backwards. Bent over double, she is sweeping the path with a broom.

She bumps into Kinjo with her backside. Both of them cry out in fright and turn to face each other.

YUBA Who are you? And how could you have got in here?

KINJO (keeping his presence of mind) Ah, what rare good fortune! Oh, what a lucky man I am!

YUBA (suspiciously) What is it, my good sir, that makes you so delighted! Upon my word, I’ll call the guard this very moment!

KINJO (taking hold of her sleeve) There is no need call the guard. I made my way in here with only one intention – to meet you once again! Today I saw you there beside the stage, close to the gates, and my poor reason was stunned by an insane love. I crept into the garden here by stealth and I am wandering about, bewildered and bemused. I did not think or dare to hope to meet you at this hour!

YUBA (relenting, but still on her guard) My mistress is out of sorts today, she keeps shouting. She has sent me out to sweep the paths in the middle of the night…

KINJO (trying to keep her talking) Did you see that sword fight here today? What a performance! I was absolutely fascinated. I thought at first that it was all in earnest, that at any moment blood would spurt out in a fountain. Hey, hey, a classy trick. It was only a pity that the noble guest left without seeing it, the actors played the deadly fight so deftly.

YUBA What actors? I’m still shaking even now. It was our enemies who tried to kill Izumi yet again!

KINJO Your enemies have tried again? What do you mean, I do not understand…

YUBA Probably you’re not from hereabouts. Why, it’s the talk of all the town that our Izumi has a secret enemy. This is the third time he has sent a man to kill her. But every time she is saved by Soga-san. He is a homeless samurai, with no wealth but his sword, and he is boundlessly devoted to her, like a faithful guard dog. Being a famous geisha is no easy fate. The love of men can sometimes be quite dangerous. Some admirer, spurned by Izumi, must be seeking his revenge for the insult that he has suffered.

KINJO You geishas are so cruel! A beauty such as you can pierce a man’s heart like an arrow, but you care nothing. It’s wrong to dance and sing your songs to us and then pretend to be a touch-me-not.

YUBA Well, I am not a geisha yet. I’m only learning to be one, although my mistress thinks I do not have an ounce of promise.

My lady O-Bara knows all about men, and no one could call her a touch-me-not. She tells me that lady Izumi arranges everything herself. That in this way she wishes to acquire scandalous fame, to be on everybody’s lips. That her faithful Ronin, the fearsome Soga-san, deliberately hires tramps and vagabonds, and then he kills them, the unfortunate fools. For after all, he knows them all by sight. And with his skill, why it’s nothing at all to slice some blockhead hireling into shreds. And all this means a double profit for the mistress: the geisha’s fame increases, and the bold warrior’s fame spreads far and wide.

KINJO Oh, but that monk did not look like a simpleton. His swordplay was quite glorious, he was clearly a master.

YUBA All that’s none of our business. But why don’t you tell me where you are from and what your name is?

KINJO Call me Kinjo. I dare not reveal my family name to you until I know that our feelings are mutual, that your response to my passion is love and we have become one. I am the young heir to a trading house and it would be indecorous for me to blacken the honour of my father’s firm.

STORYTELLER

Kinjo starts embracing Yuba. She does not resist very strongly. They put their arms around each other passionately.

Kinjo feels inside Yuba’s belt, glancing over her shoulder. He hides a tortoiseshell comb and little mirror in his sleeve and then cautiously removes a beautiful slide from her hair.

At the same time Yuba feels behind the belt of her passionate admirer. She discovers a thin purse and rummages in it.

The young woman stamps her foot angrily and tries to free herself.

Suddenly Soga appears at the end of the engawa. He jumps down without making a sound, runs over to Kinjo and grabs him by the collar.

SOGA Who is this here with you, girl, answer me! Do you dare to bring your lovers here to the Yanagi?

YUBA (embarrassed) Why, no indeed, my lord! This is my own dear brother, who has come to visit me. We have not seen each other for so long…

The Ronin brusquely searches the frightened Kinjo, taking the stolen items out of his sleeve: the little mirror, the slide, the comb. Yuba throws up her hands in outrage but says nothing. Failing to find a weapon, Soga loses interest in Kinjo.

SOGA Well, so he is your brother. I couldn’t give a damn. But just mind now, you fidget: keep quiet here, do not disturb the peace!

He disappears as silently as he appeared.

YUBA You villain! You rogue! You’re a thief and a scoundrel. Some fine merchant you are, when all your wealth is a mere two farthings!

She pounds him on the chest with her fists. Kinjo chuckles.

KINJO Well look at that! The she-devil has rummaged in my purse! And I didn’t even notice! What skilful hands!

YUBA Well, I may be a she-devil, but I am not a thief! I did not take your things, but you have stolen mine.

KINJO A fine reason that is for pride! If you would like to know the truth, the thief’s lot has no equal in this world. I am freer than the wind. No one can order me around. The whole world is my booty. I am a true king among men!

But there is still one thing that vexes me: I live all alone in the world.

I am a king, but with no queen my rule is wearisome. Come and be my companion. The two of us will go away together!

There is no guile in what I’m saying to you now. You are astute and nimble, and you have a pretty face. Together as a couple we would do great things…

He leans down to her and whispers in her ear. She turns away again, but then starts listening. His arms embrace her once again.

STORYTELLER

The lovers merge into a kiss. And then Kinjo takes Yuba by the hand and leads her into the depths of the garden. The moment they disappear from the stage, a black figure emerges from behind a stone lantern. This is the Second Assassin, who was hiding there. He takes a small crossbow out from behind his back, sets a bolt on the string and aims at the silhouette of Izumi playing on the shamisen.

But as suddenly as the previous afternoon, Soga appears on the engawa. He leaps down and runs the Second Assassin through with a single thrust. The assassin screams and falls.

The sound of music breaks off. We see Izumi get to her feet.

Soga puts his sword back in its scabbard and drags the body under the veranda.

STORYTELLER

Izumi opens the partitions: seeing Soga, she relaxes and moves the shoji wide apart. We can see the inside of her room. It is carpeted with straw mats and decorated with flowers. At the centre there are two low tables. The shamisen is lying on one and a large lacquered casket with drawers is standing on the other.

IZUMI Ah, it is you, my glorious, my priceless guard. I thought I heard a shout.

SOGA It was a night bird. Everything here is calm. Lie down and take some rest. I shall be here on watch.

IZUMI (shivering) I cannot think of sleep tonight! Who is this savage enemy whose sole wish is to see Izumi killed?

SOGA I have asked you, I have questioned you: try to recall the men whom you have spurned.

IZUMI But how can one recall them all? They are just like a swarm of flies. They buzz and pester: ‘Be mine, be mine!’ They do not understand that true yugen entices but then slips away, that it cannot be clutched. I have no need of men’s embraces or of oaths. There is no man in all the world whom I shall love.

Soga listens, hanging his head. Izumi’s voice softens.

Only you, dear friend, have proved able to understand me. And yet at the beginning you too begged for love. But you are noble-hearted and for you it is enough that I value your true nobility and devotion.

She gestures to invite the Ronin up into the house. As he enters, he parts the shoji even wider and leaves them open. They sit down: Izumi in front of the casket, in profile to the hall, Soga facing her.

SOGA I behaved absurdly, as if I wished to crumple and pick the flower, not to admire it. I look at you and I am happy. When you are here, my life is full. I would serve such perfection for an entire lifetime.

Izumi raises the lid of the casket – there is a mirror in it. The geisha looks sadly at her whitened face.

IZUMI ‘An entire lifetime’ is short for a geisha. When beauty fades, there is no more perfection, merely a dried-up leaf… When a net of wrinkles creeps across this skin, I shall not wait for long – I have sworn to myself. What good is life when all the Beauty in it fades away? For that, here in my casket, I keep this (she takes out a sharp stiletto and looks at it). A quick blow, a little pain, and my flower will be cut. I will not let it wither, I will not betray yugen!

SOGA What kind of talk is this! You are only twenty years old. Believe me, there is another beauty in this world. It comes in place of corporeal beauty, if you have walked your path through life beautifully…

IZUMI (in a frivolous tone, putting the stiletto back) Yes, you are right, it will not soon be thus. Youth will continue for another five or seven years.

The Storyteller strikes his drum.

The geisha’s expression changes, her voice trembles.

Ah, how could I forget? It slipped my mind completely: some other person’s hand wishes to cut my flower…

She turns in fright towards the garden, as if it conceals some invisible danger. Soga also turns, setting his hand on his sword. They both freeze motionless.

Scene three

A deserted temple. Night. In the background there is the vague form of a large statue of the Buddha.

The Storyteller strikes his drum. Futoya enters, looking round nervously. He is holding a small but heavy sack in which something is jingling.

He waits, glancing around and shuddering at every rustle. Every now and then there is a peal of thunder and a flash of lightning.

STORYTELLER

The Storyteller strikes on his drum and lightning flashes.

VOICE OF THE INVISIBLE ONE (a rumbling sound, it is hard to tell where it comes from) I am here, now we can get straight down to business. It must be important, if you have asked to meet with the Sinobi.

Futoya almost jumps up in the air in surprise. He does not know which way to look. In the end he speaks to the statue.

FUTOYA Yes, yes, a most great need has brought me here to you. I simply cannot kill a certain person. Four times have I sent assassins to her. Wandering samurais and intrepid bandits… But alas, the woman is well guarded. I cannot manage this without the help of the Sinobi.

THE INVISIBLE ONE What is her name? When? And how much? This is all that I need to know.

FUTOYA Her name? Izumi, a geisha. When? There is one difficulty here. It would be best not to carry out this commission straight away, but only at the moment when I give the signal. In the garden of the Yanagi tea house there is a little apple tree. I will break off one of its branches to show when the time has come…

THE INVISIBLE ONE Aha, a delayed commission, requiring readiness to act at any moment. That is a contract of the highest class of difficulty.

FUTOYA (hastily) Your go-between informed me of your charges. And I have brought the sum – this is exactly one thousand ryo.

He holds up the sack, but does not know how to hand it over.

THE INVISIBLE ONE And did the go-between tell you that, once having placed a commission, you can never cancel it? Such is our ancient law: those who have been condemned must die.

FUTOYA (bowing) Why would I cancel the request, if I have paid the money?

THE INVISIBLE ONE Put the sack at the statue’s feet. Our contract is concluded.

The Storyteller strikes his drum.

Futoya places the sack at the feet of the statue and backs away.

THE INVISIBLE ONE My finest warrior will fulfil your request. ‘Inaudible One’ is the name that I myself have given him.

FUTOYA (timidly) I have been told that it is usual for you to give a certain item in place of a receipt…

THE INVISIBLE ONE Yes, my jade dragon. I have a dagger with a dragon on the hilt – the symbol of my rank. You must return the sacred talisman to me when our contract with you has been fulfilled.

FUTOYA How shall I know to whom to give it?

THE INVISIBLE ONE My messenger will show you a dagger with a blade like a snake.

A single drumbeat. The beam of a spotlight illuminates the statue of the Buddha. We see a hand thrust out from behind it, holding a long dagger with a sinuous blade like a snake. The other hand unscrews the pommel from the handle and tosses it to the merchant, who picks up the jade dragon, presses it respectfully to his forehead and bows. The beam of light goes out.

THE INVISIBLE ONE But know this, merchant Futoya, you are responsible for this token. If it is lost, you will pay for it with your life.

The merchant freezes in a pose of horror. A simultaneous drumbeat and flash of lightning. Darkness.

Scene four

The garden in front of Izumi’s pavilion. The shoji are closed. Okasan is sitting on the engawa, with her adopted daughters beside her. At the sides are the pupils Yuba and Sen-chan, holding large fans in their hands. The sun is shining brightly. It is hot.

Soga is peeping out from round the corner. As always, he is on the lookout.

STORYTELLER

The Storyteller strikes his drum. Everybody starts moving: the ladies and the pupils with the fans; Soga, who appears and disappears by turns.

The Inaudible One walks out onto the stage. He is not dressed in a kimono, but in a close-fitting black leotard painted with jester-like varicoloured stripes. His face is completely covered by a silk mask with a foolish face drawn on it, the mouth stretching from ear to ear. He is carrying a bag with his props. The Inaudible One walks over to Okasan with a waddling, clown-like gait. Sen-chan giggles and puts her hand over her mouth.

With the gesture of a conjuror, the Inaudible One produces a paper rolled into a tube, seeming to extract it from the very air, and holds it out to the owner.

STORYTELLER

Okasan shrugs and shows the letter to one of her adopted daughters, then to the other. She gestures for the show to begin.

The beam of a spotlight rises and illuminates a tightrope stretched above the stage. The Inaudible One takes a rope with a hook out of his bag, deftly casts it onto the tightrope and clambers up in a jiffy. He walks along the tightrope, acting the fool, pretending that he is about to fall off at any moment. He starts juggling with knives that he takes out of his belt. The spectators watch admiringly. Sen-chan forgets to wave her fan and squeals in delight.

STORYTELLER

The acrobat jumps down and hands the owner another sheet of paper.

OKASAN (reading aloud) ‘And now permit me to show you the Hoo bird. The wings of the phoenix burn but they are not consumed. I know a magical gesture, with which the fierce element of fire can be subdued.’

The Inaudible One shows them an impressive trick. He takes a pair of jester’s bird’s wings out of his bag and attaches them to his sleeves. Then he takes an oil lamp that is lit from the engawa and pours oil onto his ‘wings’. He makes the ‘magical gesture’, squats down comically and spreads out his arms. Then he strikes one finger against his knee, and the finger bursts into flame. He runs the flaming finger along one ‘wing’, and then the other, and they flare up. The conjuror spins round on the spot, fluttering his burning ‘wings’. Everyone gasps in horror.

At this point the Storyteller explains how the trick is managed.

STORYTELLER

Sen-chan repeats the magical gesture.

OKASAN (in a pleased voice) Well now, this will do for us. You are hired, Nobo-ji. Until the performance you will stay here in the Yanagi. Please, Soga-san, show the actor the way to the servants’ wing, he can settle in there.

Soga walks up to the conjuror and looks him over suspiciously. He pulls the knives which the Inaudible One used for juggling out of his belt and keeps them.

SOGA No carrying of weapons is allowed here. Especially since you are far too skilful with your knives. My heart mistrusts your jeering grin, my lad, and I shall keep a sharp eye on you. Why are you standing there? Come on now, follow me.

The Ronin leads the Inaudible One off the stage.

The owner gives a sign to the pupils and they open the shoji. The owner and her adopted daughters walk into Izumi’s room and sit down. Okasan gestures for the pupils to go. They leave with a bow, and then Sen-chan runs off, hopping and skipping.

OKASAN Well, now I feel assured for the performance. This wibble-wobble monster will provide the perfect foil for your ardent appeal, O-Bara, and for your style too, Izumi. Kubota is our ally. He thinks that you, Izumi, will catch the prince’s fancy. But the prince’s taste may differ from the servant’s. The call of the flesh, as we know, is stronger in the young, and I think it is quite possible he might choose you, O-Bara. If anyone knows men, I do! And let me tell you frankly, it is all the same to me which of you triumphs and is chosen for the prince’s concubine. I love you both, my daughters. May this great prize not go to someone else’s house… But then, you have no rivals in the entire capital. I know that one of you is destined to win this victory.

O-BARA In a rich princedom I would shine bright as a star! No, not a star, the sun! And I would soften the prince with my rays, softer than wax. I would take charge of all Satsuma in a trice. What a great dream! If only fate would grant me this good fortune! I would be forever grateful to you, my mother!

OKASAN And what say you, Izumi?

IZUMI I am resigned to karma. If I had my way, truly, I would live here for ever. But a geisha is not entitled to choose her own fate. Since you have decided that there is more money to be made by handing me over to a man, then so be it.

OKASAN Could that be resentment I hear in your voice? As if I were selling you to some ugly old man or a filthy merchant! The prince of Satsuma is young and handsome, so they say. Perhaps with him you will know the joy of love. And then you will be grateful to Okasan and fate.

IZUMI I have heard many times about the joys of love. And I have sung songs of them for my audience. But what they are, I have no wish to know. All men bore me and I do not believe in love.

OKASAN You are wrong not to believe. Love does exist in this world. To be precise, there are only three loves. One love is earthly. And all, whose spirit is bowed down low to the surface of the earth, are in its power. Such people are at least nine out of ten. Sinful and sordid, but sweet is this kind of love.

Then there are those who are seduced by hell. I call their poisoned love ‘infernal’. It is an igneous potion that burns away the soul, leaving nothing, and vanishes in black smoke.

And sometimes, although rarely, one may find another kind of love. It captures those souls that aspire aloft, therefore the poets call it heavenly. But its time is not long, like the flight of a butterfly. Or the flight of a comet, tracing its luminous path across the sky once in two hundred years…

IZUMI A comet is alone, it has no need of anyone. Ah, if I could fly through life like a comet! The flight may not be long, but what great beauty!

O-BARA Love? A comet? Oh really, this is comical to hear, I say, soar across the sky or go down into hell, but squeeze out everything this life can give. A miraculous, luscious fruit has fallen straight into our hands. We must squeeze out the juice, every last drop!

OKASAN (with a sad sigh) Both of you, my daughters, are renouncing love. But here it is for karma, not for us, to choose. Heavenly, earthly or infernal love: the path is set out and we cannot turn aside.

All three women freeze in various poses. Okasan folds her hand together in Buddhist style and closes her eyes; O-Bara raises one hand to adjust her hairstyle; Izumi sits there with her head elegantly lowered.

ACT TWO

Scene one

O-Bara’s room, brightly lit and richly decorated, with predominant tones of gold and scarlet. When the stage is revealed, we see two motionless figures. They are O-Bara and a man wearing a straw cloak and a hat pulled forward over his eyes. They are sitting facing each other and leaning forward – as if they are whispering. The room is dimly lit.

STORYTELLER

He strikes his drum. The light in the room becomes brighter and the figures start moving.

O-BARA (impatiently) Take off that hat and look me in the eyes. And speak more clearly, I can hardly hear you! Have you settled this business, as you swore to recently? I relied on you and hope my trust was not in vain.

The man removes his hat and cloak. It is Futoya.

FUTOYA (in a low voice, after glancing round) You know, I feel uncomfortable shouting about this. I have arranged it all just as you wished. Now all you have to do is give the sign. When you decide the time has come, break a branch off the apple tree. I have done all the dirty work alone. The horror I went through, God only knows. They could have finished me, those savage brutes. I contacted that rabble only out of love for you.

O-BARA And this one also fancies he should talk to me of love! I thought you more intelligent than that, Mr Futoya. You and I love money. We love strength and power. And we shall leave the nonsense and the sighing for the others. And if on this occasion you have taken a great risk, you have your own reasons for that. You know that if I tame the prince, then all trade with Satsuma will fall into our hands. And spilled blood – surely I do not need to explain this to you – will bind us together for ever, more firmly than any glue.

FUTOYA (sighing) All this is true, in our souls you and I are twins. I have not simply thrown away a thousand golden coins. I count on earning my costs back many times over. But still, it is a bitter thought that we shall part. God willing, you will become the prince’s concubine. You will transform him into a tame monkey. (Oh, you know very well how to do that, you have no equals there.) But I shall never lie in your embrace again…

O-BARA You are intelligent, strong and mature. Exactly as I am. You and I both know how much an embrace is worth.

FUTOYA Tell me then, O-Bara, how much is it worth?

O-BARA Enough of this, we know the true value of embraces. They are bought and sold easily. He who does not know this is more stupid than Izumi.

FUTOYA Then tell me this. I have condemned Izumi to death for the sake of profit, I feel no enmity for her. But it seems that as soon as Izumi’s name is mentioned, you turn black in the face from hatred.

O-BARA (furiously) I hate that haughty air she has! That rotten yugen of hers is like a bone stuck in my throat! Tell me, who needs a beauty that cannot be touched and seen? But there are fools walking this earth who prefer languid Izumi to me! No, I do not understand! I cannot understand this! And what I cannot understand…

FUTOYA (joining in)… You must destroy. Ah, poor Izumi. And the prince is no more than an excuse for all of this. If not for him, you would have found some other reason.

O-BARA Are you going back on your word? Do you pity her now?

FUTOYA Whether I pity her or not is idle talk. Under the Ninja laws the commission cannot now be rescinded. Consider her already dead.

O-BARA (with a pensive smile) Then I shall wait a while before I break the branch. It will be my great pleasure now to watch the fool. Breathing in the gorgeous aroma of Izumi’s hair, I shall smell the stench of carrion.

FUTOYA Since you have mentioned carrion, there is one little hitch that bothers me. To warrant the completion of our deal, their Jyonin gave me a secret token, which I have to keep safe. And if it should be lost, consider me a dead man. Here it is, a dragon made of jade, it has been burning a hole in my bosom… (he takes out the little figure). Let me tell you what I am afraid of. The accursed Sinobi are guileful and cunning. What if they should decide to steal this token from me?

O-BARA What for? I do not understand.

FUTOYA I have sworn to answer for the safety of the token. They will come and ask me: ‘Where is the jade dragon? Pay us either with your life or with all your fortune.’ Where can I run from them? They will beggar me completely. A cunning trick like that is well within the customs of the Ninja. But you are not known to them. Our liaison is a secret. So take the dragon now and hide it well.

Futoya hands the jade dragon to the geisha. O-Bara takes the token that the deal will be completed. They both freeze in this pose.

Scene two

The garden in front of Izumi’s pavilion. The lanterns on the engawa are not lit. The Inaudible One is standing on the apron of the stage in a strange pose: his hands are held out in front of him, clutching several wooden knives. Soga is standing equally motionless on the edge of the engawa. Sen-chan is sitting beside him.

STORYTELLER

He strikes his drum.

The Inaudible One starts moving – juggling the wooden knives. Sen-chan claps her hands. Soga steps down off the veranda and walks resolutely towards the juggler, who shows him that the knives are made of wood. But it is not the knives that interest the Ronin.

SOGA Listen, my friend, I do not like you. You may fool the women, but you don’t fool me. Take off your mask. I want to see what kind of face you have, perhaps this is some trick.

The juggler makes clownish gestures to explain: This is impossible, my face is disfigured!

Nonsense! I have seen many terrifying faces. With no nose and no eyes, hacked by a sword…

He tries to take the Inaudible One by the shoulder, but the juggler deftly dodges away. This is repeated several times. Soga begins to lose his temper.

Hey, brother, I’m not going to play jokes with you. How would you like to feel some solid punches?

Izumi comes out of the pavilion onto the engawa and watches. At this moment, taking advantage of the fact that no one is watching her, Sen-chan goes over to a lantern and starts pouring oil on her sleeves.

IZUMI I beg you, Soga-san, do not torment him. To live in this world with no face is a hard fate.

A brave man who has not been broken by the worst of all misfortunes is deserving of respect.

She touches her own face and shudders.

Sen-chan repeats the ‘magical gesture’ that the Inaudible One performed before his trick with fire.

SOGA I do not teach you how you should dance and sing, my lady. Do not teach me how to keep guard…

SEN-CHAN (she strikes a spark with a flint, sets tinder alight and shouts) Look, everybody, look! Having performed the magical gesture, I too shall demonstrate the phoenix bird to you!

She sets fire to her kimono and it flares up. Izumi screams in despair. Soga freezes in uncertainty. Only the Inaudible One does not lose his head. He dashes to the little girl, tears the kimono off her with his bare hands and flings it to the ground. The little girl cries in fright, but she is unhurt. The Inaudible One has fallen to his knees, doubled up in pain, and pressed his burned hands to his chest, but has not uttered a single moan.

Soga and Izumi dash to Sen-chan.

IZUMI Ah, what have you done! You silly thing, are you all right?

SOGA (examining the little girl) A miraculous rescue! There are no burns at all. But if the Inaudible One had reached you a moment later, you foolish child, you would have burned up like dry grass.

Izumi hugs her pupil close and the Ronin walks over to the Inaudible One and looks at his hands.

But this one is in a bad way… Terrible burns. With these injuries he cannot perform. Okasan will be upset now. And I feel sorry for the lad. He acted so bravely. What a fine thing to do!

Everybody freezes: Izumi and Sen-chan hugging each other; Soga with his hand on the Inaudible One’s shoulder; the Inaudible One with his head lowered.

Scene three

A room in the tea house that has been set aside for the juggler. Paper partitions. A floor covered with straw mats. No decorations and no furniture, apart from a low table on which the items required for his tricks are laid out. Standing on a bench in the corner is a tub with water for washing.

The Inaudible One is sitting on the floor, hanging his head, with his hands, bound up in rags, crossed on his forehead. He is motionless.

STORYTELLER

He strikes his drum.

The Inaudible One jumps up and mimes a pantomime of despair: he dashes randomly around the room, trying to find a way to take his life. He tries to take something out of a sack, but his hands will not obey him. He picks up the rope on the table, but he cannot form a noose. Finally he falls face down on the floor and rolls about in silence, beating his head against the mats.

STORYTELLER (continuing)

The Inaudible One lifts himself up and crawls on his knees to the tub. An idea has occurred to him: he can drown himself! He lowers his head into the water and remains in that pose.

STORYTELLER (continuing)

He strikes his drum.

IZUMI’S VOICE (coming from behind a partition) Will you permit me to enter your room? Can you hear me? I have come to visit you! May I come in?

The Inaudible One’s body starts shuddering convulsively, but he does not change his pose. The shoji slide apart. Izumi is there, seated on her knees.

STORYTELLER

Izumi gets up, hurries across to the Inaudible One and touches him on the shoulder. In his surprise he straightens up abruptly. His mask is soaked right through and clinging to his face.

IZUMI Permit me to remove your mask and wash your face. I swear I will not look if that is painful for you.

He shakes his head furiously and backs away.

Very well then, I won’t. That is not what I came here for… I am so grateful to you for saving Sen-chan! (She bows deeply to him.) In the garden I was completely numb with fear, I could not say a single word.

He looks at her without moving. A furious fire glitters in his eyes.

I expect you feel distressed because your hands will not allow you to take part in the performance. But there is a certain cure for all burns. My father was a healer, I inherited a chest of potions and ointments from him, and one of them is a miraculous soothing balm. In a single hour it can make burns close over and help heal up the skin. In just a day or two your hands will be as dexterous as they ever were. I only ask you, please, to follow me.

She walks to the way out, looking round at the Inaudible One. He watches her but does not move from the spot.

STORYTELLER

Izumi freezes on the threshold, holding out her hand to the Inaudible One. He starts getting up and also freezes.

Scene four

Izumi’s room. The shoji are opened wide. The Inaudible One is sitting on a mat, with his hands bound up in snow-white bandages. Sen-chan is there beside him. There are refreshments on the table.

Sen-chan tries to thrust chopsticks holding a rice ball in through the opening in the mask for the Inaudible One’s mouth.

SEN-CHAN How disobedient you are. My lady told me to take care of you and serve you everything. While the soothing balm is healing your burns, I must be your hands. Come on, open your mouth!

The Inaudible One turns away.

SEN-CHAN Don’t you want to eat? Then I’ll eat it myself.

She eats the ball of rice and carries on talking with her mouth full.

Why don’t I loosen up your shoulders and your neck? Sometimes I give lady Izumi a massage like that.

She jumps up, sits behind him and starts giving him a massage. He tries to move away, but she won’t leave him alone.

For you I will do anything you want! Just let me know! Since you saved my life, I am yours for ever. And if the balm doesn’t help to heal your hands, then I’ll be your hands and I’ll never leave you. You’ll stay with us and live here as our guest. I’ll do as I am told by my lady and by you. Where could you go, with no hands and no tongue? But here I’ll put your clothes on, and take them off, and feed you.

The Inaudible One shudders at this prospect.

No one in all the world is kinder than my Izumi-san, and no one is nobler than you. What more could I want? What happiness it will be to serve you both!… But have I worn you out? Do you want to lie down?

Izumi comes out onto the engawa. She is wearing an elegant kimono and holding a fan in her hand.

IZUMI I won’t be in your way here, will I? Let the soothing balm take effect and I’ll carry on practising my dance.

Sen-chan sits down with the shamisen. Slowly and painstakingly, sometimes making mistakes, she accompanies Izumi in her dance. The Inaudible One watches Izumi without taking his eyes off her.

STORYTELLER

Izumi stops dancing and goes over to the Inaudible One.

IZUMI I think an hour must have gone by now. So let us take a look and see if my secret balm has helped you as it should. Please, let me have your hand… That’s right, thank you. And if it hurts, let me know straight away.

She cautiously unbandages one hand and examines it, nodding in satisfaction. She unbandages the other one.

There now, that’s a quite different matter. But there is still some redness and the swelling has not yet gone down completely. Now I’ll give you a sleeping draught to drink. A healthy sleep will complete the course of healing.

She prepares the potion. The Inaudible One looks at his hands in amazement and wriggles his fingers.

STORYTELLER

IZUMI (handing him a cup with a bow) Here, drink this please, and soon you will fall asleep. And I shall stay with you awhile and watch over your sleep.

(To her pupil.) And you go and run around for a while. With your character you won’t be able to sit still in any case. You will start squealing and fidgeting, and we don’t want that. Nobo-ji-san must sleep soundly now.

The little girl bows and goes out. The Inaudible One hesitates and does not take the cup.

Ah, it must still be painful for you to hold it. Let me give you the medicine to drink myself.

She gently takes the Inaudible One by the neck and raises the cup to his lips. He shudders and squeezes his eyes shut. He pauses again, then drains it all.

STORYTELLER

Izumi lowers his head onto the pillow, which is a wooden support. The Inaudible One instantly falls asleep, his chest rising and falling smoothly. The geisha sits there, looking at the sleeping man.

STORYTELLER

Izumi sits down in front of the dressing table, raises the lid of the casket and looks into the mirror. The sleeping man is left behind her back.

IZUMI (in a low, agitated voice) Yugen is always invisible! Beauty remains concealed! To tear away its veil means only to destroy the mystery. A beloved with no face! That is true yugen! Here my imagination can create the world’s loveliest face, a magical face! I shall love him! Yes, it is decided: we shall be such a couple as the world has never seen. I the best of women and he the best of men. I fine, he finer still, as dream is finer than reality. Anybody can easily see me. But his beauty shall be revealed to me alone!

Suddenly the Inaudible One gets up and walks out of the room. Izumi does not notice.

We women are corporeal creatures, weak and timid. Thus nature’s female Yin created us. My chosen one shall be fearless and disincarnate. A true man is a disembodied Spirit! My face will wither, but an ethereal Spirit is eternal. He is the very one I need!

She looks round abruptly and sees that the sleeping man has disappeared.

Truly he is incorporeal… And, truly, like a Spirit… Could he have heard my words and run off in embarrassment?

She grabs her head in her hands.

The shoji slide open and Sen-chan glances in.

SEN-CHAN A man has come to see you. He wants to talk to you. His face is hidden, and he did not give his name…

IZUMI His face is hidden? He has come back to me! Nobo-ji, come in! Why did you go away?

SEN-CHAN No, my lady Izumi, this is a different man. And from his dress, he looks like an important samurai.

The samurai enters, wearing a straw hat pulled low in front of his face. He gestures impatiently for the pupil to leave. She bows respectfully and disappears. The samurai walks into the room and closes the shoji behind him. He responds to the geisha’s bow with a curt nod, then sits in front of her and removes his hat.

KUBOTA I hope the girl did not recognise my voice. I would not want any loose talk about my visit.

IZUMI You, Mr Kubota? What an unexpected visitor! Ah, to what do I owe this most singular honour?

She bows again, even lower.

KUBOTA Having arrived in Edo, the prince has ordered the presentation of the geishas to be held forthwith. Tomorrow he must attend at court, but on the day thereafter he summons all of you to visit him.

Izumi bows and performs the gesture ‘Joyful Anticipation’.

I advised him to take special notice of a geisha from the Yanagi tea house.

Izumi bows and performs the gesture ‘Boundless Gratitude’.

I said that she is elegant and she, alone of all of them, embodies true yugen.

Izumi bows and performs the gesture ‘Oh, Undeserved Praise’.

I told him that you combine nobility with delicacy of soul and heavenly beauty.

Izumi bows and performs the gesture ‘Pleasant Embarrassment’.

Now I am almost certain of his choice, but even so a vague disquiet troubles me. I know His Lordship. He is overly susceptible to the influence of others, credulous and passionate. The concubine who moves into our castle will win instant control of his heart and thoughts. The princess is no hindrance, she is dull of mind and year after year gives birth only to daughters. And if the concubine should bear the prince a son, nothing will shake her domination. It is appalling to consider what might happen if the prince should bring some shrewish vixen back from Edo.

Izumi performs the gesture ‘Delicate Commiseration’.

I have gathered all the finest geishas of the capital, but you alone are worthy to become the prince’s concubine.

Izumi bows and performs the gesture ‘Respectful Doubt’.

Are you afraid of life in foreign parts? I shall help you, and you will quickly settle in with us in Satsuma. As reliable allies, we shall be able to protect the prince from errors.

Izumi bows and performs the gesture ‘Oh, Your Wisdom is Boundless!’

But first we must make quite sure that no chance is left to your rivals. I have made a most thorough study of my good lord’s tastes. Remember what I tell now: the prince’s favourite dance is ‘The Babbling Brook’.

Izumi nods.

Wear something very simple, a kimono with no glamour. Lower the neckline and reveal your elbows. His Lordship has always been a great admirer of an elegant female neck and elbows that are white.

Izumi raises her arms and her sleeves slip down, revealing her elbows. Kubota nods his head in admiration.

I see you grasp advice at the first telling. I have no need to fear the outcome of this presentation.

He gets up and they exchange bows. Kubota puts on his hat and leaves. Izumi is left alone. She presses her hands to her temples and sways slightly, like a willow tree in the wind.

In the garden the Inaudible One appears, concealing himself from Izumi. He watches her.

STORYTELLER

O-Bara walks into the garden, strolling under a parasol. She stops in front of the blossoming apple tree, as if in admiration of its beauty. The Inaudible One hides deeper in the shadow.

Izumi notices O-Bara and throws up her hands.

IZUMI Ah, my sweet sister. Please, come over here! I need to tell you something urgently!

O-Bara walks up into the pavilion and sits down facing Izumi. They start to talk. The words cannot be heard, but the gesturing is eloquent: Izumi speaks passionately. O-Bara listens agitatedly, every now and then bowing as a sign of gratitude.

STORYTELLER (commenting on their conversation)

O-Bara tugs the neck of her kimono down excessively and pulls her sleeves almost right up to the shoulders. Izumi nods: Yes, yes, that is exactly right.

The geishas embrace elegantly, without allowing their cheeks to touch, in order not to spoil the layer of ceruse.

O-BARA Izumi, my dearest one! Oh, this is such a happy day! It is a bitter thing for me, competing with my sworn sister! Withdrawing before the battle, you have conquered me. Never could I have expected such nobility!

IZUMI No, this is not nobility. But I have realised that the lot of a concubine leaves my heart cold. You would be better suited to this destiny, and I prefer to keep my freedom.

The geishas embrace once again, and O-Bara cautiously removes a teardrop from her eye with a napkin. She bows and leaves, closing the shoji behind her. Stepping down into the garden, she stops in front of the apple tree and looks round at the pavilion.

O-BARA Thank you for passing on those hints. Now I know everything I need to be quite sure that I shall hook this golden fish. But I shall be even more certain of success if I compete alone from the Yanagi house of tea. The other rivals do not worry me at all, but you, my sweet Izumi, must now be on your way to the next world.

With a furious gesture, she breaks off the most beautiful branch of the apple tree and walks away, waving it in the air.

The Inaudible One emerges from the shadows at the other side of the stage and watches her as she leaves.

ACT THREE

Scene one

O-Bara’s room. At one side a paper lantern is lit. At the centre the branch of the apple tree is displayed in a gilded porcelain vase. O-Bara is touching up her make-up. Yuba is sitting beside her, handing her mistress little jars, brushes and creams. They both start moving after a single drumbeat is heard. O-Bara is in a wonderful mood. She sings, every now and then glancing at the branch.

O-BARA (after a pause) And who is this rascal?

YUBA What do you mean, my lady?

O-BARA Who is your lover? Come on now, tell me.

YUBA Ah, what are you saying. I swear to you, no one…

O-BARA Oh, come on. I do not believe in oaths. But I can always tell from the eyes and a hundred different signs if someone has a lover, and if she does – whether he is good. I see that yours knows how to bring you joy. But I am curious about where he appeared from. Ah, you’re blushing, you fool. But what cause is there here to feel embarrassment?

YUBA There is no hiding anything from you. He… is just a man.

O-BARA Well, is he rich at least?

YUBA Not very.

O-BARA Oh, I just knew it. So it is amorous embraces that make you glow like this, not gold coins and rich gifts? You were always a fool, Yuba, and you will die a fool. But mind now, don’t you dare to bring me home a belly! Don’t get intoxicated with the follies of the flesh. Love is a heady potion, but it is not good for much.

YUBA But without it there is no joy in life, or so they say…

O-BARA The price of that joy can be very high.

YUBA I do not mind a high price, if the wares are good.

O-BARA (turning round in surprise) My, my, what news is this? Are you going to argue with me now? Earthly love is foulness. It will smear you with mud, abandoning you in a pool of filth. You will be left with nothing. You worthless girl! Ah, how stupid you are! I think that I shall go to Satsuma without you. As the court favourite, I need a she-fox for my confidante! A lynx! A she-wolf! A serpent! But not someone like you.

YUBA (bowing down to the floor) Forgive me, I shall mend my ways! Ah, do not throw me out! I swear to be your diligent pupil!

O-BARA Very well, we shall see… I think I’ll go into the garden. I wish to pick some flowers for an ikebana.

YUBA What kind would you like? If you tell me, I can pick them.

O-BARA (stroking the apple tree branch lovingly) Oh no, I shall choose worthy companions for this branch myself. But you can tidy up in here.

She goes out.

Yuba sticks her tongue out after her. She turns rounds and gives a sign. To the sound of a drumbeat, Kinjo steals in from the other side of the room, with a sack over his shoulder.

KINJO I have cleaned out the owner, taken all her money and her pearls and silk. And now let’s pluck your dear lady O-Bara. Have you found out where she hides her precious things?

YUBA I took a sly peek yesterday. She has a hiding place in here.

She points to one leg of the table.

Kinjo lifts up the table, removes the leg to expose the secret compartment and takes out the jade dragon.

KINJO And is that all? I was told she keeps a nest egg and has a rich lover.

YUBA She must have a hiding place for her money too. But, forgive me, I could not find it.

KINJO (sticking the dragon in the sack) To hell with it! The dragon’s made of jade, it must be worth a lot. Or what would be the point of hiding it like that? But my main booty from the house of Yanagi is you! Now let us leave this cursed place behind, we have a long journey ahead of us!

They walk out onto the hanamichi.

The first mitiyuki

In the mitiyuki all the action takes place on the hanamichi platform. Kinjo and Yuba walk in ‘koaruki’ style, that is, imitating walking, but barely moving from the spot. He strides along with the sack over his shoulder, leading her by the hand. Yuba has lifted up the hem of her kimono and she walks, not with a woman’s gait, but a man’s, taking long strides. This symbolises her break with ‘the world of flowers and willow trees’, where all is artificiality and affected femininity. At first she glances back occasionally at the closed curtain, but then stops doing it. The wind has tousled her hairstyle.

YUBA But what if they come after us?

KINJO I couldn’t give a damn!

YUBA But what if they put us in jail? Then what?

KINJO I couldn’t give a damn!

YUBA But what if we don’t find any shelter?

KINJO I couldn’t give a damn.

YUBA You won’t abandon me, will you? Tell me!

KINJO I couldn’t… (he stops himself and gestures broadly with his arm)… Not for anything!

STORYTELLER

Scene two

O-Bara’s room again. The geisha comes in, carrying flowers. Futoya follows her, shrouded in a cloak. O-Bara turns towards him and they both freeze on the spot.

STORYTELLER

He strikes his drum. The Inaudible One appears on the other side of the paper partition and parts the shoji slightly. O-Bara and Futoya start moving again.

O-BARA Today or tomorrow we shall see the end of her. There will be no obstacle to my success.

She sits down at the little table and starts arranging an ikebana thoughtfully.

Now everything that we desire, dear friend, will come about. There is no doubt of it.

FUTOYA Most welcome news. And now I ask you to return the token that I entrusted to your safe keeping. The sign has been given and Izumi’s final hour has come. The Sinobi execute a sentence promptly. Their messenger may appear at any moment now, and I must return the dragon instantly.

O-Bara takes her time to finish arranging the bouquet. Then she lifts the table up slightly, opens the secret compartment and rummages in it. She thinks she has tried the wrong leg and looks in each of them by turn.

STORYTELLER (in the meantime)

O-BARA Where has it got to? I remember very clearly that I put the dragon in my secret hiding place.

FUTOYA This is no time for foolish joking! Give me back the talisman!

O-BARA Oh, damnation! It has been stolen! I simply can’t believe my eyes. Look, the table leg is hollowed out. No hiding place could possibly be safer!

Futoya overturns the table.

FUTOYA I understand! I realise everything! Oh, you vile serpent! You wish to get rid of me now! You no longer have any need of me! My usefulness has been exhausted! You wish to hand me over, so that they can torture me to death! (He grabs her roughly by the shoulder.) The Jyonin will kill me for losing his dragon! And that is what you want. Give it back!

O-BARA (resisting) What is this, have you lost your mind? Let go of me, you idiot! You and I are allies! Why should I wish to have you killed? Yuba must have robbed me. I had noticed a strange new wilfulness in her behaviour…

FUTOYA (not listening to her) Give me back the dragon, you bitch! Out of my love for you I have sinned and marred my karma for ever.

She breaks free and he chases her around the room. He knocks her down, but O-Bara is strong and agile, and she breaks free again. Eventually they both fall and start rolling about on the mats, punching and scratching each other. All this takes place with no words spoken and no shouting, in pantomime.

STORYTELLER (during the pantomime)

The Inaudible One takes a scroll out of his belt and tears a piece off it. He takes out a portable inkwell and a little brush and writes something quickly.

A single drumbeat.

The Sinobi tears open the shoji and walks into the room.

O-BARA Enough of this! Stop it! You and I are not alone! (to the Inaudible One) How can you dare to enter uninvited, you buffoon?

O-Bara and Futoya disentangle themselves. They both sit up, trying to put their clothes and hair in order. The Inaudible One, taking no notice of the geisha, holds out the piece of paper to the merchant.

FUTOYA A piece of paper! What’s this now? And are you giving it to me? (He reads it and cries out in a loud voice.) All-merciful Buddha! She is already dead!

The Invisible One takes a dragon with a snake-like blade out from behind his back and reaches out his hand for the dragon.

FUTOYA (creeping away in a squatting pose) We are joint clients in this contract. I gave the dragon to this honourable lady for safe keeping.

O-BARA He lies! This is the first that I have heard of this. I do not understand what you are saying. What contract do you mean?

The Inaudible One picks the branch of the apple tree up off the floor and shows it to the geisha.

O-BARA (realising that her denials are pointless) Yes, yes, please, I’m sorry. I was simply being cautious to begin with, in order to make sure. So she is dead? So quickly? Our commission has been carried out? Can this be possible? I want to see her body.

FUTOYA (in a loud whisper) You’ll be the death of us, you fool! Do not insult him! In cases like this the Sinobi never tell lies to their clients! Give him back the dragon! Your trick has failed! Or he will kill us both this very moment!

O-BARA (also whispering and creeping towards the paper lantern standing on the floor) It’s you who are the fool, dear sir. The dragon’s not here, it has disappeared. If you want to live, keep your mouth shut. And don’t get in my way!

Bowing to the formidable messenger, Futoya creeps towards her, still squatting. The Inaudible One watches them, holding out his hand demandingly. He has hidden the dagger away again.

O-Bara overturns the lantern and it goes out. Darkness.

O-BARA’S VOICE Now save me, legs!

FUTOYA’S VOICE Wait! What about me?

The sound of scurrying feet.

The second mitiyuki

Caught in a patch of light, O-Bara and Futoya run along the hanamichi, without moving from the spot. Their feet seem to be sticking in sand: they run agonisingly, as people do in nightmares; their breathing is fitful and laboured. The geisha has outrun the merchant. She has thrown off her lacquered sandals and tucked the hem of her kimono in her belt so that she can run more freely.

FUTOYA It is pointless to flee! There is no way to escape them! They will find us anywhere, even on the bottom of the sea!

O-BARA (not looking round) I am not running from the Ninja, but from you, you blockhead. I did not take the dragon, and I should not have to answer for it!

Futoya runs faster and catches up with her.

FUTOYA Did you really not love me, even just a little bit?

O-BARA Yes, I loved you, of course I did. But what good is love now?

FUTOYA You are right, as you always are. And your advice is good. Let him finish you off, and I shall get away.

He grabs hold of her sleeve and flings her to the ground. Then he races ahead.

I only need to run from death today. Afterwards I shall buy the Jyonin off with money.

O-Bara grabs the hem of his kimono and he falls. They both get up and carry on running in panic, jostling each other.

STORYTELLER

He strikes his drum.

A beam of light picks out the Inaudible One, standing in front of the curtain. He raises a bamboo blowpipe to his mouth, and spits out a poisoned dart – and Futoya falls. Another dart – and O-Bara falls.

They squirm on the ground and then grow still.

The Inaudible One walks up to the bodies. He takes the snake-blade dagger out from behind his back, bends down and does something.

The beam of light goes out.

Darkness. We hear the Inaudible One walk back onto the stage.

Scene three

The deserted temple again. It is dark inside, and the Inaudible One is picked out by a solitary beam of light. He is sitting there without his mask, but his face cannot be seen, since the actor has his back to the auditorium. His arms are extended to the sides: in his left hand he holds a woman’s head, and in his right, a man’s.

STORYTELLER

A single drumbeat.

The statue of Buddha is lit up dimly from behind. We hear a voice.

The Inaudible One places the heads on the ground, clasps his hands respectfully on his knees and lowers his head.

THE INVISIBLE ONE Inaudible One, on reading your request, I was so indignant, I could scarcely contain my wrath. If not for the great service you have rendered, I would have ordered you to put an end to your own life…

The Inaudible One takes out the snake-blade dagger and sets it to his throat, demonstrating his readiness to carry out such an order immediately.

THE INVISIBLE ONE (continuing)… And transferred the commission to another valiant warrior. The sentence must be carried out, no matter what. The client is of no importance here. And the victim likewise. We Sinobi bear a sacred duty of honour. We transgress every law of man, and rumour names us denizens of hell. Our path lies through the darkness, but a single star still guides our stealthy stride.

Man does not know why he lives in this world. He thinks up toys with which he can amuse himself. He has invented Good and Evil, Ugliness and Beauty, using them as chains to bind himself. But the Buddha alone knows what is Good and what is Evil; the Beautiful is easily transformed into the Ugly. And there is only one thing of true value: having once chosen a Way, never to stray or turn aside from it.

The Way of the Sinobi is killing. That is our craft, elevated to the high standing of an art. Always keep faith with honour. Follow the light of the star. Who are you without honour? Merely a wretched, murderous thug.

The Inaudible One lowers his head even further. Eventually he stretches out face down as a sign of unquestioning obedience.

Well then. Carry out the assignment to the letter, and I shall forgive your weakness, so be it. And one more task. Find the dragon. For that talisman you are answerable with your life…

The backlighting of the statue fades out. The Inaudible One straightens up abruptly. He sits there, motionless, precisely reproducing the silhouette of the Buddha.

STORYTELLER

A single drumbeat.

The Inaudible One jumps up and freezes, with the snake-blade dagger glittering in his hand.

Scene four

The garden in front of Izumi’s pavilion. Night. The shoji are closed, but a light is burning inside. We see the geisha’s silhouette. Izumi is melancholically plucking the strings of the shamisen.

The Invisible One creeps out stealthily. He stops in front of the engawa and takes out his dagger, then freezes motionless.

STORYTELLER

A single drumbeat.

Soga appears on the edge of the engawa. He sees the Inaudible One with a dagger in his hand, draws his sword and, without saying a word, attacks the assassin furiously.

An unusual duel follows: it takes place in absolute silence; both opponents move without making a single sound. The distinctive feature of a Sinobi’s swordmanship is that he defends himself from blows, not with his blade, but by rapid movements and jumps, sometimes even by turning somersaults. Soga’s long sword repeatedly slices through empty air. The Inaudible One hides his dagger away in the secret scabbard behind his back.

The duel is reminiscent of an acrobatic ballet or pantomime; musical accompaniment is provided by Izumi playing the shamisen.

The fight concludes in the following fashion: the Inaudible One, finding himself beside the blossoming apple tree, dodges yet another blow and Soga’s sword slices right through the trunk. The Ronin involuntarily glances round at the falling tree and that instant is enough for the Inaudible One to whip out his dagger and thrust it into Soga’s chest. At the same moment the music breaks off and the light in the pavilion goes out.

The Sinobi catches the body, as if embracing it, and slowly lowers it to the ground. After glancing round at the pavilion in almost exactly the same way as Soga in the first act, he hides the body under the engawa. The dagger is already back in its sheath.

Then the Inaudible One walks up onto the veranda. He opens the shoji slightly, slips inside and closes them together behind him.

A pause.

The Storyteller strikes his drum rapidly but quietly, imitating the sound of a pounding heart.

IZUMI’S VOICE Who is breathing here? Who is watching me in the darkness?

The lantern is lit again. We can see two silhouettes. Izumi is sitting up on her bed, with the Inaudible One standing over her. What follows is in the style of a shadow theatre.

IZUMI Ah, so it is you? I knew that you would come to me!

The Inaudible One backs away.

Now why are you embarrassed? Was your heart bold, but then turned cold? Do you think I will push you away in disgust? Then let me tell you, I was waiting here for you impatiently.

She holds her arms out to him.

I have heard so many vows of love from others, I am not ashamed to make my own confession first. I love you with all my heart, you were sent to me by destiny. And it does not matter to me whether you are ugly or not. Ah, what stupid nonsense is that? Now your face will become the ideal of heavenly beauty for me. From henceforth pretty faces will seem ugly to me, disgusting even to behold. Quickly, take off your mask! I shall accept your trust with great delight, as a most precious gift!

A single drumbeat. The Inaudible One tears off his mask.

IZUMI (in confusion) But you have not a single flaw! Your face is handsome! I do not understand, why did you hide it? My dearest chosen one is silent and handsome, like the moon in a black sky, like a bright star! Without my make-up, also without my mask, do I appear before you now. You see me, too, just as I am… let us swear that never again shall we hide our faces from each other. I do not wish to be a geisha! I shall go away with you. We shall simply be together, two of us – the same as everybody else. Or almost the same… It is no misfortune that you are dumb. You will see. I shall be talkative enough for two.

Ah, but does it really matter what will happen afterwards? Here and now we are together, my love, you and I!

He reaches out his arms to her and she pulls him onto the bed.

The light goes out in the pavilion again, and then on all the stage.

Quiet music.

The third mitiyuki

The Inaudible One walks out onto the hanamichi, holding a lantern in his raised hand. The audience sees his face for the first time – it is impassive. Izumi walks behind the Inaudible One, carrying a bundle. Her face, with no ceruse or make-up, is lit up by a beam of light. She is dressed in a simple, dark kimono. They both freeze motionless.

STORYTELLER

He strikes his drum.

They are both walking in ‘koaruki’ style. But the Inaudible One is taking broad strides and Izumi, in keeping with the canonical rules of femininity, is taking small steps.

IZUMI There are no stars to be seen in the sky, there is no moon. We shall disappear now, you and I, dissolve into the night. I used to think my life would streak past like a comet, trace a path across the sky and vanish without trace. But fate has prepared another destiny for me: I shall live with my beloved, just as thousands live. One leaf among the other leaves, one blade of grass among the others. With you I am happy to be like this, like everyone. But why did you tell me to bring with me the kimono in which I used to perform for an audience? (She points to the bundle.) It is too luxurious for a modest life, I cannot go out in it, or wear it for receiving guests…

Suddenly the Inaudible One stops and turns towards her.

IZUMI (putting down the bundle) Have you chosen this spot to make a halt? You’re right, it is so lovely here, with this cliff and the river down below… (She walks to the edge of the hanamichi and looks down.) That is the genuine karyukai, the world of flowers and willow trees, where Beauty lies concealed, faithful to yugen…

Meanwhile the Inaudible One takes the kimono out of the bundle and spreads it out on the ground. Then he takes a scroll of paper out of the sleeve and hands it to his companion.

IZUMI (laughing quietly) Yes, you wrote something before we left, I remember. Only you wouldn’t let me read what you had written. But I have realised now: is it love poems? Have you chosen this place to show them to me?

Taking the piece of paper in one hand and the lantern in the other, she reads. After a little while the lantern starts to tremble.

STORYTELLER

The Inaudible One puts on his mask.

He strikes the drum.

The Inaudible One pulls the snake-blade dagger out from behind his back. pierces his own throat with it, leans down so that the blood pours out onto the outspread kimono, turns round and falls over the cliff (into the dark corner between the hanamichi and the hall). We hear water splashing.

Izumi gives a piercing scream. She drops the lantern and everything is plunged into darkness.

We hear the singing of the funeral sutra to the steady beating of the drum. At this point the actress must creep behind the curtain, taking the lantern and kimono with her.

Scene five

Izumi’s room.

She is standing motionless on the threshold of the room, to which she has only just returned.

STORYTELLER

He strikes the drum.

Izumi slowly gazes round the room, as if seeing it for the first time, and sits down in front of the casket, in profile to the audience. She looks at the casket and raises the lid with the mirror.

STORYTELLER

IZUMI (ecstatically) ‘Without honour a man’s life in this world is pointless,’ he said, and abandoned me there in the desolate night. Frozen in horror, I had no chance to ask: ‘And can a woman live in this world without honour?’ Who, then, am I? I am a geisha, my Way is to bring forth feminine beauty, in its imperishable image. And to become imperishable there is one excellent recipe: to make the story of Izumi legend. Let them write poems, let them compose plays about the geisha and the Ninja who gave up their all for love. Both of them were faithful to their art. But when suddenly love blocked off the Way and the barrier was impassable, then they soared into the sky, high above the earth, to where honour and love abide in harmony…

She takes the stiletto out of the casket and looks at it. Then she continues quietly, with no affectation.

All this is foolishness, my beloved. I wish to be with you. And all the rest is no more than a geisha’s empty chatter. Throughout the blackness of eternity you and I are destined to fly, like two comets in a starless sky…

She plunges the stiletto into her throat. The lights go out and immediately two bright beams blaze up above the auditorium, like two comets.