Thanks for keeping in contact‑‑I was glad to hear you and Elin
liked the script. I'm eager to hear comments about it, but of course I
understand you're weighted with finishing the first draft of your book.
Whenever you're ready. Let me know and I'll call you.
Spurred on by my own escapades in screen writing, Tom told me the
other day he wants to write his own movie‑‑it will be about a giant,
radioactive mukade that demolishes Tokyo. I think he wants to call it Day
of the Mukade, or something like that. He was kidding. Tom's read most of
your book, and I think the parts where you talk about mukades impressed him
the most. He has thing about bugs, and giant, radioactive ones even more
so. He also told me that the underwater scenes in the Creature from the
Black Lagoon were filmed in Silver Springs, which is pretty close to
Gainesville (about an hour). Revenge of the Creature was filmed at
Marineland, which is about an hour south of St. Augustine.
Anyway, started on a second episode when I got your e‑mail about
the script. I've written up a character treatment with a description of
the different characters and how they will be developed in future episodes.
I've tried to keep a lot of the personality you gave them in the book, but
of course my perception as a reader will be different from yours as the
author. This is by no means written in stone (or even complete), so please
jump in with suggestions. I especially need help in terminology‑‑what are
the proper ways to address people, and names for the different ceremonies.
Stuff like that.
I think you had asked if I was going to stay with the book's
plotlines or go my own way. In short, I would like to use elements from
the book as springboards for episode ideas, but the characters and how they
developed in the book will change.
I'm sending along what I have so far on the second episode. This
is a rough draft, actually the first writing. I don't mess around with
format, so it'll seem pretty loose. Where I've left off is a pretty good
point‑‑I've introduced the two characters for the episode, Father Sam and
the Japanese Wanderer from the book. The Wanderer, in the script, is
actually a school boy who has run away from home because of bad grades‑‑how
does that sound? Katagiri puts Shuko in charge of keeping an eye on him,
which Shuko is disgruntled by because he doesn't trust him (in the book, it
was Koji who mistrusted the young man, right?). This is a good opportunity
to develop the Shuko character, as we find out that he and the Wanderer
actually have a lot in common (by the way, what would be a good Japanese
name for the wanderer character?). The Father Sam character will be a good
chance to talk about how Buddhism has influenced Western religions.
What was the name of the No‑Nukes album you did? I wanted to ask
my friend Bill about it‑‑he's a walking encyclopedia of rock history, and
has an archive of a record collection.
Well, that's about it. I was just looking this over for the
umpteenth time and realize that this is a handful. As I'm sending this, I
haven't worked on the second episode very much‑‑still gestating. I'm also
learning medical transcription at one of the career schools in town, so
that's been taking up some time. But it's fun‑‑I'm taking Business
English, and it's a humbling experience to realize how much I've forgotten
about my native tongue.
Hope everything's well with you and your family, and that the book
is coming along. I'm reading another Arkana book, Opening the Hand of
Thought, by Kosho Uchiyama. It's neat‑‑it has instructions on how to make
a zafu and, by gum, I'm going to make one!
Talk to you soon,
Michele
p.s.‑‑got a modem for the Mac at home, so receiving and replying to e‑mail
will be less of an adventure.
Character Treatment
David ‑‑In regards to the first season of the show, he lives in the temple
for what extends to longer than the six weeks in the book, showing
different facets of temple life. In the second (or third) season of shows,
David leaves Hogoji and goes to Maruyama where he is reunited with his
girlfriend from the States, Elin. They begin their lives together in
Japan, pretending they are married to avoid troubles with their neighbors.
They also have troubles navigating the buracracy of Japan's government
structures, and this is a good way of showing how different yet how much
the same U.S. and Japanese infrastructures are.
Living in a large city is also a great way for the characters to
interact with Japanese culture, something I think will be unique to
television and that viewers will be very interested in. They are helped
along in their adventures by the friends they make along the way, plus
reunite with some recurring characters from the first season (Norman,
Shuko, Koji, etc.). I like the characters Bop and Keiks ‑‑ They seem
bohemian, which would be an interesting juxtapostion to the traditional
culture, and could be an interesting diversion in some episodes.
At some point David and Elin will come back to the States, and it
will consist of showing the zen community and American culture (how they
clash or translate smoothly).
Norman ‑ Like David, Norman found Zen Buddhism by looking in the yellow
pages. Before embracing Buddhism, Norman was thourougly seasoned by a life
of many twists and turns. Teacher, welder for nuclear plants, political
activist and finally monk, he became a student of Katagiri Roshi's in
Minneapolis. Katagiri brought Norman to Japan as part of the last of his
training to be a teacher, in hopes that he could draw the essence of
Japanese Zen from it to take back to the States. Norman has proven to be
less than the ideal monk, coming to temple life with a 'take no shit'
attitude and American stubborness, and then his quarrels with Shuko at
Hogoji. But Norman is honest and sincere in his practice, and that's good
enough for Katagiri.
In later episodes I would like to highlight Norman's relationship
with Katagiri, since David's relationship has already been established.
Shuko ‑ Knew both David and Norman from the states, where he spent some
time before starting his life as a monk, so he's a little hip to Americans
and American culture. He's a by‑the‑book monk, especially if it means
wielding a little power over the other monks. Shuko is frustrated in his
life within the temple because he sees it as one big political structure,
and one in which he's having a hard time moving in. He especially wants
Koji's job as head monk, and has maneuvered since the day he arrived at
Hogoji to get it. Not only does he want it, he feels entitled to it; he
considers himself more cosmopolitan than Koji, and feels entitled because
he is the student of Nishiki Roshi from the head temple at Suienji. Both
of these qualitites do little to help his position, so he contents himself
with hoping Koji will slip up, and making Norman's life miserable. He
doesn't dislike Norman, and in other circumstances would perhaps be good
friends with him; Shuko, however, sees Norman as the spoiled child and
himself as the teacher, secretly wishing it were reversed. Shuko's own
upbringing was strict and disciplined, and he sees Norman receive freedoms
that would not be tolerated in himself. While Shuko is incapable of
showing real anger, Norman stomps around and blusters on a daily basis;
Shuko's relationship with his teacher is distant at best, but he sees the
close relationship Norman has with Katagiri. Perhaps some of his animosity
towards Norman comes from his desire to control the things that he is
afraid of seeing in himself.
Jakushin‑‑here is a character who is very interesting, but I haven't
developed him as fully as I should. His first reaction to David is obvious
dislike‑‑but I don't explain why. Jakushin is Korean, and as such he is
put down and discriminated by his Japanese neighbors. At least he feels
this way‑‑it seems he has a bit of a persecution complex, and perhaps with
good reason. He sees being put together with Norman as the ultimate
insult‑‑he's not good enough to room with a Japanese monk, but he can hang
with the gaijiin till the cows come home. He's on his last legs with the
head temple‑‑if he doesn't complete his training at Hogoji, he's out on his
rear. With this in mind, Koji tries his best to make Jakushin feel wanted
within Hogoji's community, but the enormous chip on Jakushin's shoulder may
thwart that irrevocably.
I think Jakushin could be a good character to use to discuss this
problem of discrimination. Norman equated it to being a 'nigger', and
included himself in that, but Jakushin is the one who suffers, really,
inside and out.
Maku‑‑the youngest monk at Hogoji, and not really developed in the script
so far. He's been more of a straightman for the other characters. Shuko
and Norman get into a fight, he and David react comically; Maku is tending
to something outside, he sees a visitor and scurries in to alert the
others. Maybe that's as good as it's going to get, someone to provide a
balance to the other characters. It's been really convenient. Also, as the
baby of the temple, he provides a certain innocence and 'clean slate',
which also balances the other characters. I like the part in the book
where David discovers Maku is studying English on his own, using a picture
book called I See Everything. Maybe using this, or something similar would
help Maku's development as a character.
Yoshiko‑‑I think she could be a really strong character, one which will be
popular. I say this mostly because I like her, and want to develop her
character. She is still more a mystery, but that would be a good thing,
keeping viewers interested and wanting to know more. As in the book, it
comes down from the head temple that she must move, to make way for the
progress of the international temple. But instead of her leaving, I'd like
to portray her as being more stubborn about the move. Where would she go?
The townspeople, and then the monks at Hogoji, eventually rally to support
her staying, and convince the head temple to let her stay.
In the book she seems a loner, which I think she should remain in
the series, but I also see her as being a sort of matriarch, not only to
the people in the town nearby, but with the monks at Hogoji. I see her as
someone active in the community, maybe as an herbalist or perhaps midwife.
As I'm developing in the second episode, she has a friendly
relationship with Katagiri, but it is distant. Her only real contact with
the temple is Koji, who she regards as a sort of adopted son. Koji likes
the connection, as he is far from his own family, and regularly visits at
her house to help around or just to spend time watching as she goes through
her daily routine. Perhaps Koji also looks to her for Zen instruction,
even though he is past the student phase in his development.
One thing I'm curious about is what her role in the temple
community was, as you actually knew the real woman the Yoshiko character
was based on. In the book you alluded to her having received transmission
from the monk who first took on the task of rebuildling the temple. What
does that make her, then? A priest? And why isn't she a teacher, then?
I'm not sure what angle I should take with her character.
Koji‑‑the head monk at the temple, but unlike Shuko, sees his role as duty
rather than as his right. He is clashing with Shuko in some way, but in
more subtle ways. Koji is well aware of Shuko's desire to be head monk,
but until Nishiki tells him otherwise, he's not going anywhere. Koji and
Shuko respect each other, though, and work well together in every other
respect.
Koji comes off as a country boy in a lot of ways, but he is an
astute observer and is very wise. It's this astuteness that causes him to
seek David's friendship, seeing the other as a good person. Like Shuko
rejects everything that Norman is, Koji embraces everything that David is,
and the two become very good friends.
Koji's life has been laid out for him‑‑he'll continue at Hogoji
until his family needs him back at their temple; his marriage to a local
girl decided long ago. He would like his marriage to be a love marriage,
like David's will eventually be to Elin. Even though in the book there's a
wistful meloncholy about this, I see Koji as being the gentle sort of
person to make a genuine effort to make his marriage one of love rather
than one by design. In the second episode I'm developing it that his wife
to‑be is also trying to take that tact, sending a letter to Koji scented
with perfume.
Yakagi‑san‑‑he is a good bridge character, because he is connected to the
town, and is a generous sponsor of the temple. Through him we can see what
the goings‑on in the town are, which takes the edge off of consistently
showing the temple as a solitary outback on a mountain. The temple is
connected with the community near it, and Yakagi‑san is the liaison.
Miki‑obisan‑‑another liaison, who works at the temple whenever she is
needed. When I think of her I'm reminded of some of the women I've worked
with here in the South; good, church‑going women who are very involved in
their communities and their churches.
Thank You and OK!
Episode Two
Fade in:
EXT: early morning. MIKI‑OBASAN, an older woman from the nearby town,
approaches YOSHIKO'S house and calls out as she stands on the deck. A
moment later, the door opens and the two women greet each other with a bow.
MIKI‑OBASAN follows YOSHIKO into the house.
INT: hallway in YOSHIKO'S house. YOSHIKO motions to MIKI‑OBASAN to go the
storage room at the end of the hallway, and turns to continue what she has
been doing in the kitchen.
INT: storage room. MIKI‑OBASAN enters the room and begins searching
through the bags of supplies. She raps the bags with her knuckles and
pulls them around, until she comes to a pile in the corner, covered with a
blanket. She begins prodding the blanket, finally beginning to pull it
away.
A rough‑looking YOUNG MAN wakes with a yell when the blanket is pulled off
of him, which causes MIKI‑OBASAN to yell herself.
EXT. HOGOJI TEMPLE. KOJI and MAKU are tending to a hedge by the temple
gate, when they see YOSHIKO coming towards them, followed by MIKI‑OBASAN
who is steadily chastising the young man she found in YOSHIKO'S storage
room. He is carrying his blanket and backpack.
YOSHIKO
Koji, you have a visitor.
INT: HONDO. KATAGIRI is sitting opposite the YOUNG MAN. KOJI sits next to
KATAGIRI. YOSHIKO and MIKI‑OBASAN stand off to the side in rapt attention.
KATAGIRI
You thought the house was abandoned, so you made your bed for the night.
The YOUNG MAN nods in agreement.
KATAGIRI
Even though it was obvious the house was clean and looked lived in, and the
storage room was full of fresh herbs and supplies.
YOUNG MAN
It was dark when I entered.
INT: hallway to hondo. SHUKO and MAKU stand, listening to the conversation
inside the hondo. DAVID comes up behind them.
DAVID
What's going on?
SHUKO
The young man was found by Miki‑obasan, sleeping in the storage room of
Yoshiko's house this morning.
DAVID
No one was hurt?
SHUKO
No.
MAKU
Miki‑obasan was shaken though, she thought he was a bag of rice.
DAVID
What's happening now?
SHUKO
Roshi is questioning him. We may have to call in the constable.
INT: HONDO, SCENE CONTINUED
KATAGIRI
What brings you to this part of the countryside? It looks as if you have
been travelling for awhile.
YOUNG MAN
I am on my way to Tokyo, and from there to Korea.
KATAGIRI
And from there...?
YOUNG MAN
India.
KATAGIRI
Quite an undertaking on foot. Especially in these days of modern
transportation. You are not in school?
The young man shakes his head.
KATAGIRI
Yoshiko‑san, has this young man damaged any of your stores?
YOSHIKO
No, only my privacy.
KATAGIRI
That is damage enough for you. Well, as you meant no harm and only wished
to sleep, and the only trouble caused seems to be having startled
Miki‑obasan, I don't see any reason to call in the authorities.
The young man looks relieved.
KATAGIRI
You may stay with us as long as you like, but you must share in the chores
if you do. Do you have any family you would like contacted?
The young man shakes his head.
KATAGIRI
Well then, Koji, the head monk of our temple, will show you where you can
sleep tonight, if you choose to remain with us.
YOUNG MAN
Thank you, sensei.
KOJI and the YOUNG MAN get up and exit the HONDO.
KATAGIRI
(getting up)
Thank you Yoshiko‑san, for bringing him here.
MIKI‑OBASAN
Against my better judgment‑‑he should have been brought to the authorities.
I don't like the looks of him‑‑the beard and the leather jacket...
YOSHIKO
Your concern is well noted, Miki‑obasan, but the young man is better served
doing hard labor at the temple than sitting in a jail cell.
KATAGIRI
Agreed. And if there are any repairs you need done we can send him down to
fix them.
YOSHIKO
That is kind of you, but I do quite well on my own.
KATAGIRI
True‑‑well, I'll let you two get back to your routine, as I will go back to
mine. I have been contacted by the Catholic Archdiocese of Tokyo‑‑Hogoji
will be having a visitor from them today, a priest. An American priest.
YOSHIKO
Interesting. You are getting quite a collection of Americans, Katagiri.
KATAGIRI
This is going to be an international temple, after all. Why he's coming is
a bit of a mystery, though.
YOSHIKO
Also interesting.
KATAGIRI
Perhaps you would like to join us for dinner, and share the mystery?
YOSHIKO
Thank you, I will consider the offer. Don't count on me, however‑‑I've had
enough mystery for the morning.
KATAGIRI
Quite so.
YOSHIKO and MIKI‑OBASAN leave as SHUKO and DAVID come out of the hallway.
SHUKO
Roshi, I must protest‑‑letting that young man stay with us when he has
already proven to be trouble. The idea of stealing into someone's house at
night.
DAVID
And Yoshiko's house, too‑‑he may be stupid as well as sneaky.
KATAGIRI
No harm done, and he said he thought it was abandoned. Walking through
here at night, I might have thought so too.
SHUKO
But Roshi...!
KATAGIRI
We will give him shelter as long as he needs it‑‑that is our way.
SHUKO
Yes, Roshi.
KATAGIRI
Now, if I am correct, Shuko, you are tenzo today. Akagi‑san will be here
any minute now with a gift for the temple‑‑Ganko must be getting lonely
waiting for the truck by himself.
DAVID
That's right! I was supposed to be there ten minutes ago. Excuse me!
DAVID makes a hasty exit.
SHUKO
It's only Akagi‑san with the weekly supplies.
KATAGIRI
Our friend also brings the weekly mail.
EXT. ROADSIDE ‑ DAVID and NORMAN wait for Akagi‑san with a CART.
NORMAN
You look like you're about to step out of your skin.
DAVID
Where is he? He was supposed to be here already.
NORMAN
Akagi‑san is a busy guy‑‑with the liquor store and running for town
council. Haven't heard from Elin, yet, huh?
DAVID
No, and it's driving me nuts.
NORMAN
Mail's slow.
DAVID
You said that last week.
NORMAN
Then I reiterate‑‑the mail is slow, especially international mail.
DAVID
I sent my last letter to her over a month ago‑‑you'd think she'd have
written back by now.
NORMAN
She's busy with her master's program.
DAVID
Everyone's busy but me.
NORMAN
You're busy worrying.
In the distance we begin to hear a MEGAPHONE VOICE, still inaudible because
it is far away.
DAVID
I can't help worrying‑‑Elin's at school, probably whooping it up with her
fellow classmates‑‑guys‑‑and here I am, stuck with nothing but guys, and
bald‑headed ones at that.
NORMAN
Poor David.
DAVID
I wouldn't blame her for forgetting all about me.
NORMAN
You're making too much out of this. You are losing your practice.
DAVID
Practice‑schmactice.
NORMAN
Why else did you come here, then?
DAVID
I don't feel like having my motives questioned, Norman‑san.
NORMAN
Feeling has nothing to do with it‑‑what is important is the now.
DAVID
You are really annoying when you do that.
NORMAN
I'm hurt.
DAVID
What's that racket?
Both stop their discussion to listen to the MEGAPHONE VOICE which has grown
louder.
A DELIVERY TRUCK comes slowly around a bend in the road, equipped with a
large P.A. system. Two large megaphones on the top of the truck blare out
AKAGI‑SAN'S message to his voters. The TRUCK turns around and backs up to
where DAVID and NORMAN are standing. The megaphones are turned off, and
AKAGI‑SAN steps out.
NORMAN
(bowing respectfully)
Akagi‑san, your voters are in the town, not in the forest.
DAVID
Hoping to get the Bird Vote?
AKAGI‑SAN
I am learning that in politics, votes are everywhere‑‑there might be
farmers listening nearby.
AKAGI‑SAN opens the back doors of his truck and begins handing NORMAN and
DAVID boxes and bags, which they load onto the CART.
AKAGI‑SAN
David, here is the mail.
AKAGI‑SAN hands DAVID a small pack of letters and packages, which DAVID
begins to look through.
NORMAN
Hey! None of that‑‑help me out here...
AKAGI‑SAN
I've brought something special for the temple.
AKAGI‑SAN goes into the back of the truck and unloads a LARGE BOX onto the
ground. He opens it and pulls out a BASEBALL and GLOVE.
NORMAN
Baseball equipment?
AKAGI‑SAN
I've got bats, too.
AKAGI‑SAN hurries back into the truck and pulls out a bag of BASEBALL BATS.
NORMAN
Akagi‑san, this is very kind of you, but...
AKAGI‑SAN
I got them for practically nothing from a sporting goods salesman who came
through town a couple of days ago. I traded a case of Cutty Sark‑‑can you
imagine? It was a very good deal.
NORMAN
Thank you, Akagi‑san, they will be put to good use at the temple...I think...
AKAGI‑SAN
Good! Good! Soon we'll have a real baseball team in the province!
NORMAN
Sure, why not?
EXT. MOUNTAIN ROAD ‑ DAVID AND NORMAN
as they haul the cart up to the temple. DAVID is searching through the
letters and packages.
DAVID
Baseball equipment! What was he thinking of?
NORMAN
The pressures of campaigning for office must be getting to him.
DAVID
I don't see anything from Elin here.
NORMAN
Then help me with this cart.
DAVID puts the mail down and takes a handle of the cart.
DAVID
I knew it‑‑Elin hates me for leaving her behind.
NORMAN
She left you behind to go back to school, remember?
DAVID
But if I'd stayed in the states...
NORMAN
If nothing! You made your futon, David.
DAVID
It's just the not knowing‑‑if she wrote me and told me she'd met someone
else and all bets were off‑‑at least then I would have something to work
with.
NORMAN
This is boring, let's talk about something else.
DAVID
Thanks a lot.
NORMAN reaches behind him into one of the boxes and pulls out a BASEBALL.
NORMAN
(holding out the baseball to DAVID)
When you can grab the baseball from my hand, Grasshopper, then you will be
ready to leave the temple.
DAVID
How long were you waiting to say that one?
DAVID grabs at NORMAN'S hand, but NORMAN pulls it away before DAVID can
grab the baseball.
They are in the Temple courtyard.
NORMAN
Batter up!
NORMAN pulls back his arm and chucks the baseball to MAKU, who barely
catches it before it flies over his head.
EXT. KITCHEN DECK ‑ DAVID
as he stands on the deck holding the temple mail
DAVID
Mail call!
The other monks, who have been helping NORMAN unload the cart, gather
around DAVID.
DAVID
Norman‑‑looks like your book from Tokyo.
NORMAN
(taking the package)
About time!
DAVID
Shuko, looks like a letter from home.
SHUKO
Thanks.
DAVID
(holding out a package to MAKU)
Maku‑‑looks like cookies from home.
MAKU
(smiling sheepishly and taking the package)
Thank you.
DAVID
Koji‑‑
KOJI is about to take the letter, when DAVID runs it under his nose.
DAVID
Either someone in your family wears Chanel No. 5, or it's from a girlfriend.
DAVID hands it to KOJI as he gets laughs and hoots from his fellow monks.
KOJI smiles and smells the letter himself.
Those gathered are about to go off with their prospective mail.
DAVID
Hold on a second! We haven't finished unloading Akagi‑san's gifts to the
temple. Get back to work.
NORMAN
Boy, someone doesn't get mail and they become a real tyrant.
SHUKO
What's this?
SHUKO has looked into the box with the baseball equipment, and taken out a
catcher's mitt.
NORMAN
One of Akagi‑san's gifts‑‑he said you weren't getting enough exercise, Shuko.
SHUKO
(putting on the glove)
I haven't played baseball since school‑‑I played catcher, and I was a
pretty good batter, too.
NORMAN
Well let's see you walk the walk, batter.
NORMAN grabs a baseball, glove and bat from the bag in the cart. He tosses
the bat to SHUKO and steps out into the yard.
SHUKO
You're on.
DAVID
Guys, we're supposed to be unloading the rest of this cart‑‑and then Shuko,
you're supposed to be cooking dinner.
NORMAN
David, get a glove or do it yourself.
DAVID looks rankled for a moment and then grabs a glove.
MAKU puts the catcher's mitt, face guard and torso padding on over his robe
and heads out to where SHUKO is practicing his swing.
NORMAN
(practicing his windup)
Hoo boy, am I going to enjoy striking you out.
SHUKO
Just don't strike me in the head, I'm not wearing head gear.
NORMAN
Baby.
NORMAN winds up and pitches straight down the line. SHUKO ignores the
pitch. The force of the pitch knocks MAKU backwards.
NORMAN
Maku! Are you all right?
MAKU scrambles back into the catcher's squat in answer and throws the ball
back to NORMAN.
NORMAN
And what about you, Shuko‑‑waiting for a slower pitch?
SHUKO
It was outside.
NORMAN
That was perfect strike! Koji, you're the head monk, what do you say?
KOJI
I couldn't tell you, we didn't play baseball where I grew up.
NORMAN
Ahhh‑‑‑all right, that was a practice pitch.
NORMAN winds up again and lobs another pitch at SHUKO. SHUKO connects with
this one and it's a line drive down "center field." DAVID lunges at the
hit and misses.
The YOUNG MAN catches it squarely in the palm of his hand from where he
stands by a hedge, which he was in the process of pruning.
NORMAN
Great catch! Do you play?
The YOUNG MAN says nothing and throws the ball back to DAVID, who tosses it
back to NORMAN.
NORMAN
Do you talk?
The YOUNG MAN nods his head at NORMAN'S question, and goes back to pruning.
NORMAN
Okay, Shuko, don't let the wind this pitch makes knock you over.
NORMAN pitches again, and SHUKO swings and misses.
NORMAN
Strike one!
SHUKO
Keep going.
NORMAN pitches again. This time SHUKO connects squarely with it and it
goes over everyone's heads, before crashing into one of the temple's
windows.
DAVID
Gee, who'd a thought that would happen.
NORMAN
Uh‑oh...
INT KATAGIRI'S OFFICE ‑ KATAGIRI
as he contemplates the baseball in his hand.
EXT. KITCHEN DECK
All of the monks have put the baseball equipment away and have continued
unloading the cart. KATAGIRI comes through the kitchen door, tossing the
baseball in his hand.
KATAGIRI
I was not aware that the baseball season had started.
NORMAN
It's my fault, sensei‑‑I goaded the others into joining in.
KOJI
But I was the one who should not have let this happen‑‑I knew we were
playing too close to the temple.
SHUKO
I am the one at fault, hitting the ball through your window.
SHUKO looks a little too pleased with himself.
KATAGIRI
I guess my comment to Akagi‑san was taken to heart‑‑I had mentioned that I
thought maybe all of you were getting a little out of shape.
The monks begin to protest about their fitness levels, showing their
muscles and posing like body builders.
EXT. Temple Entrance ‑ Father Sam
as he climbs the TEMPLE STEPS.
FATHER SAM
Hello?
He ventures inside the empty TEMPLE.
EXT. KITCHEN DECK‑‑SCENE CONTINUED
NORMAN
So we're becoming flabby monks?
KATAGIRI
Maybe not with your practice, but sometimes I worry that I haven't been
more insistent on providing more activities to strengthen the body, as well
as the mind.
SHUKO
Roshi, I've been feeling much the same way‑‑since I came here, I've
realized that there were few ways to get exercise other than through our
daily chores, and whatever regimens we practiced on our own.
NORMAN
And for you that would be lifting the scrolls on and off the altar? Or
would that be the trot down the mountainside to take a dip in the stream
when you should be collecting fire wood?
SHUKO opens his mouth in disbelief and as if to say something in rebuttal
to NORMAN'S accusations.
INT. Temple ‑ FATHER SAM
as he walks through the zendo looking for signs of life.
FR. SAM
Hello? Is anybody here?
EXT. KITCHEN DECK ‑ SCENE CONTINUED
SHUKO
With your permission, Roshi, I could come up with a regimen that we could
all follow, that would provide ample exercise and would not interfere with
our other duties.
KATAGIRI
Your concern for the physical integrity of this temple's occupants is well
noted, but I think you would better serve the needs of this temple by
seeing that the needs of our young guest are taken care of.
SHUKO
You don't mean...
KATAGIRI
Quite so, Shuko. The young man needs guidance, and I see you as the one to
give that to him.
INT. TEMPLE HALLWAY ‑ FATHER SAM
as he continues on his way through the empty TEMPLE. He looks into
KATAGIRI'S OFFICE, and sees the broken window.
FATHER SAM
Oh...
He hears SHUKO'S voice rising in protest and follows it.
SHUKO
What guidance could I give to him? I don't know him, we are obviously from
different backgrounds...
KATAGIRI
Please don't argue with me Shuko, and do what you are told.
SHUKO
(bowing to KATAGIRI)
Yes, Roshi.
FATHER SAM appears in the doorway of the KITCHEN.
FR. SAM
I saw the broken window back there and thought something had happened.
KATAGIRI
(tossing the baseball to FATHER SAM)
No, just a small case of baseball fever‑‑you must be Father Keane.
FR. SAM
Sam, or Father Sam if you want to be formal.
FR. SAM and KATAGIRI bow formally to one another, and then shake hands.