This is my Kabuki version of the Dickens classic reset in late 19th-century Japan. That setting is deliberate: Scrooge’s youth would be the Edo Era of samurai and shoguns; his present the Meiji Era, when Japan opened itself to the world; and his future the increasingly Westernized Late Meiji or Taisho Era, all visually very distinct periods. I originally wrote the show in Japanese for a Kabuki script competition by Japan’s National Theatre. That didn’t work out, but when a local English-language troupe took interest, I rewrote it in English. The show takes place on a Japanese New Year’s Eve, which shares many similarities with Christmas Eve in the West, but the producer insisted on retaining the “Christmas Carol” title for marketing purposes (the Japanese title is different). The production, performed in English by a multicultural cast at a central Tokyo theater, proved a huge success in a sellout run. The image above was created for that production. Here is a slightly revised version of that script. 

**PERFORMANCE RIGHTS ARE RESERVED. FOR INQUIRIES, PLEASE CONTACT THE AUTHOR OF THIS BLOG.**

A KABUKI CHRISTMAS CAROL

Scenes

OPENING

1. Street in front of Sukejiro’s house

SUKEJIRO INTRO

2. Entrance (hanamichi/home entrance)

3. With Kurachi (home)

MARUYA’S GHOST

4. Maruya’s ghost

GHOST OF NEW YEAR’S PAST

5. Ghost’s entrance: Home

6. Town

7. Furuya’s party

8. Sukejiro & Ohatsu

9. Maruya’s funeral

GHOST OF NEW YEAR’S PRESENT

10. Ghost’s entrance: Hanamichi & outside home

11. Town

12. Kurachi’s home

13. Homeless

GHOST OF NEW YEAR’S FUTURE

14. Ghost’s entrance: Darkness

15. Ueno & Wakao (town)

16. Pawnshop

17. Tomo’s death (Kurachi’s home)

18. Revelation

BACK TO PRESENT

19. Town

20. Finale (Kurachi’s home)

SCENE 1. STREET IN FRONT OF SUKEJIRO’S HOUSE

December 31, 1889, Tokyo. We see a large moneylender’s shop facing a busy pedestrian street. The shop doubles as the moneylender’s home. The wall facing us is invisible, allowing us to see inside the building as well as the street in front. An elevated “hanamichi” ramp runs from the back of the theater to the stage for occasional dramatic entrances.

It is an old-style shop/home with gate on Stage Right leading to a small entryway, from which a visitor would leave his/her shoes and step up onto the tatami and into the receiving room. There are double sliding doors at center leading out of sight to the back of the shop. At the back of the room on Stage Right, there are chests of drawers and filing cabinets, and perched up on the wall is a small Buddhist altar in memory of Maruya, the former co-owner of this establishment, who passed away seven years earlier to the day. A large photo of a bony, scowling face atop the shrine is the only evident memory of him other than the shop name on the sign outside the shop, named after both partners. At Stage Left, there is another room with sliding doors on both the side and front. In the middle is simply an expanse of tatami, allowing furniture and other objects to be brought in as needed. There is no one there at the moment, but the lights are on, and a small table is set up at center with papers on top and a hibachi burning next to it, suggesting that someone is in the shop.

Outside the shop, people are bustling about in last-minute preparation for New Year’s celebrations that night. They are largely in winter kimono, other than the occasional man in top hat. The fire brigade walks through with clackers cautioning people to take care with fire. The Meiji government has pushed New Year’s earlier to conform with the West, but customs remain largely unchanged from Edo times: vendors loudly hawk various New Year’s products from their carts, children play, women shop for special New Year’s foods, and people are bowing and sending holiday greetings in a broadly festive mood. A mendicant priest stands silently with a bowl, into which passing people place money. Amid this happy scene, two gentlemen pause to talk. The entire scene is accompanied by background shamisen music.

UENO

(holding kadomatsu) Wakao-san, season’s greetings to you!

WAKAO

And the same to you, Ueno-san. Getting ready for the new year, I see.

UENO

Yes, a bit of last-minute buying. It’s been a busy year. No rest for the weary, you know.

WAKAO

(laughing) So they say. But we’ll finally get some rest with the holiday.

UENO

And not a moment too soon. (looks over at Sukejiro’s shop) Look there, is that a light on at old Sukejiro’s shop?

WAKAO

It can’t be. (glances over) Why, it is! That’s strange; I saw Sukejiro in another part of town.

UENO

You don’t suppose Kurachi’s still at work at this hour, do you?

WAKAO

Surely even Sukejiro wouldn’t stoop that far. Let’s go check.  

They walk to the gate, slide it open and call Kurachi’s name. Kurachi emerges from the back through the central sliding doors.

KURACHI

Yes? (sees his friends, immediately goes to greet them) Ah, Ueno-san, Wakao-san. Holiday greetings to you. (They bow back and exchange greetings.) Please come in!

UENO

Never mind that, what are you doing here at this hour? No one in all of Japan is working now.

KURACHI

Oh, I’m just tying up a few loose ends…

WAKAO

Nonsense, old Sukejiro has you working to the bone again, hasn’t he? That unfeeling wretch.

UENO

This day of all days. You should be back with your family.

KURACHI

(not entirely convincingly) No, no, really, I was a bit behind in my work…

WAKAO

Kurachi-san, don’t defend your boss. We all know he’s a slave driver.

UENO

And a skinflint.

WAKAO

And nasty, selfish, uncaring, spiteful…

UENO

Hurtful, miserly, malicious…

WAKAO

Sour, bad-tempered, crude, ill-mannered… Have we left anything out?

KURACHI

(laughing) Thank you for your compassion, gentlemen, but honestly what I feel for my boss isn’t aversion so much as pity. For all that he is unloving, he is also unloved. He cares for no one, and as a result he has no one to care for him. At this time of year especially, when we all have our families to return to, he is utterly alone. I don’t question that it is his own fault, but we should at least give him our sympathy.

UENO

Ah, you’re too generous, Kurachi-san, as always. A good man.

WAKAO

(looking towards the back of the theater) Oh, speak of the devil. Here he comes now.

KURACHI

(quickly) I should go. Thank you for coming. Have a happy holiday.

They bow and exchange goodbyes. Ueno and Wakao exit from Stage Right, while Kurachi enters the shop, puts away the table, and exits through the back doors.

SCENE 2. ENTRANCE (HANAMICHI/HOME ENTRANCE)

After a moment, we hear the back curtain swish open. As the music plays, Sukejiro makes his entrance along the hanamichi ramp. He is a grim man in his late 50s with a scowl seemingly frozen on his face and a conviction that the world is out to get him. He has a remarkable ability to find irritation in everything, deriding the birds for flying, the flowers for blooming, and the earth for spinning. He is certain that life was better in the past in all respects and that society is on the verge of collapse. He finds comfort only in money, which he has in more-than-sufficient quantity. Still, despite his severe look, he comes across less as a villain than as a grumpy old man, almost comical in his petulance. It is difficult to take him entirely seriously. He walks along the hanamichi to the chanter’s accompaniment, stopping at the 7/3 spot (i.e., 30% from stage).

 

SUKEJIRO

All this good cheer can drive a person mad. New Year’s, hah! It’s a bunch of humbug! They might as well celebrate the sun going down at night. New Year’s gifts, New Year’s foods, New Year’s money for the children, fancy decorations that will come down in a week. A waste of good honest money. And those infernal New Year’s greetings… What good does it do anyone? Prices up, quality down, foreigners everywhere… And still everyone laughs and celebrates. The entire town’s gone insane. What’s there to be happy about? Humbug, I say, humbug!!

 

Two boys emerge from Stage Left engaged in play. Caught up in their game, they accidentally bump into Sukejiro.

BOYS 1+2

(bowing) We’re very sorry, sir!

SUKEJIRO

Sorry, are you?! You think sorry is enough? Children nowadays have no respect for their elders, no respect for anything. When I was a child, we stayed at home and minded our parents. That’s what kept society together. Everyone knew his place, and everyone followed it. Now children like you run amok in the streets, knocking over everything in your path. Society’s falling to pieces! Why aren’t you at home studying?

BOY 1

(less frightened than uncertain, looks at friend, then looks back) It’s New Year’s holiday, sir…

SUKEJIRO

(explodes) New Year’s! New Year’s again! If I hear another word about New Year’s, I’m going to explode. And I suppose you’ll want your New Year’s allowances, and your New Year’s games, and your New Year’s meals. Bah! Who decided that this town should shut down on a good working day? Who told you that you can get out of school and run around outside playing senseless games?

BOY 2

… Our parents.

SUKEJIRO

And that’s your excuse!?

BOY 2

Didn’t you say to mind our parents?

SUKEJIRO

(with a force that sends the kids scampering) Don’t talk that way to your elders! Get back home to your families!!

The children run back to Stage Left and, just before exiting, turn back.

BOY 1

Have a terrible New Year’s!

They stick out their tongues and exit.

SUKEJIRO

Get out of here, go on!! (to himself) This is what the world’s come to. Disobedient children, families spending good money for nothing. It’s all humbug!!

He walks onto the stage proper and around to his front gate. As Sukejiro is about to open the door, a beggar approaches.

BEGGAR

(bowing) Sir, forgive me, but could you spare a small bit?

SUKEJIRO

(not following) A small bit? A small bit of what?

BEGGAR

(not prepared for that answer, tries again) Ahem, could you spare a small bit of change?

SUKEJIRO

(incredulously) A bit of change? You mean money?

BEGGAR

Y, yes, sir, if you could…

SUKEJIRO

Give my money away? Give you money? Do you realize the amount of work it takes to earn a single sen these days? The amount of time and sweat of good honest work? And you want it for nothing?

BEGGAR

If I could have just a small amount for some food, sir. Anything you can spare…

SUKEJIRO

Isn’t that what the government is for? They certainly take enough of our taxes. Are there no workhouses? Are there no prisons? Go to them for your change!

BEGGAR

(seeing no hope) Begging your pardon, sir… (exits)

SUKEJIRO

(mumbling to himself) Hmmph, all a bunch of humbug.

 

SCENE 3. WITH KURACHI (HOME)

As he prepares to enter house, he hears voices. Two women appear in the street from Stage Right. He turns and sees them pleasantly exchanging New Year’s greetings. He waits, half expecting a greeting. When they see him, though, they recognize him and, with exaggerated disdain, throw up their heads and move silently and variously off Stage Left and Right.

SUKEJIRO

Bah! (enters home) Kurachi!

KURACHI

(from backroom) Yes? (emerges) Welcome back, sir.

SUKEJIRO

(removing shoes, steps up and into room) Have you finished the accounts?

KURACHI

Yes, sir. (brings him the papers and some tea, then sits on his knees)

SUKEJIRO

(sits perusing the papers) Everything seems in order. Anything to report?

KURACHI

There was the man living near the temple, Murayama-san.

SUKEJIRO

Yes, yes, I take it he came to repay the 50 ryo we lent him.

KURACHI

Actually he asked if he could have a little more time to repay. His child has taken ill, and…

SUKEJIRO

His child?! Now I’m supposed to be responsible for his child’s health, am I? What am I, the town hospital? I’ll have every parent in town beating at my door for money. What will they come up with next?

KURACHI

He did seem sincere, sir…

SUKEJIRO

It’s out of the question. I’ll expect that loan repaid on time or I’ll have the law on him.

KURACHI

Yes, sir.

SUKEJIRO

Anything else?

KURACHI

Your nephew stopped by.

SUKEJIRO

Looking for money, I suppose.

KURACHI

No, sir, actually, he says he just wanted to wish you a happy holiday.

SUKEJIRO

Ha, likely story! He came to wish me happiness, then wish himself some cash. That’s what it’s all about, the way of the world. I know human nature, I tell you, and you will too if you live as long as I have. No one comes all this way to say hah and hoorah for a turn of the calendar.

KURACHI

Oh, no, sir, he came as he does every year in memory of his mother, your dear late sister. He is convinced that some day if he keeps at it, he’ll hear a Happy New Year back from you.

SUKEJIRO

What’s happy to him about the new year? A time for paying bills with money he doesn’t have. Another year older and not an hour richer. If I could work my will, every idiot who goes about with Happy New Year on his lips would be boiled in oil. He’s wasting his breath!

KURACHI

He said you’d say that.

SUKEJIRO

He did, did he? Then if he’s such a fortune-teller, let him stop coming and getting me riled up.

KURACHI

He said you’d say that too…

SUKEJIRO

(irritated) That’s quite enough, Kurachi. Is there any other news (bitingly) of consequence?

KURACHI

No, sir.

SUKEJIRO

(looking at his accounts) That will be all, then.

KURACHI

(waits briefly, but Sukejiro does not look up) Ahem.

SUKEJIRO

(finally looks up) Hmm? What is it?

KURACHI

It’s about New Year’s, sir…

SUKEJIRO

Don’t tell me you want a day off again!

KURACHI

It is after all traditional, sir.

SUKEJIRO

Didn’t you just get a day off last New Year’s?

KURACHI

Yes, sir.

SUKEJIRO

And now you want more?

KURACHI

Yes, sir. (prostrates himself)

SUKEJIRO

This is getting to be a habit. You can’t be serious, Kurachi. (Kurachi keeps head to floor) I bet you’d think differently if I docked you one day’s pay. Kurachi! (no reaction, Kurachi still head to floor) Kurachi! (gives in) Oh, all right, then, take your holiday.

KURACHI

(finally lifts his head) Thank you, sir. (rises)

SUKEJIRO

But don’t expect this every year.

KURACHI

No, sir, of course not. (gathers his things, goes to the entry and puts on his shoes, then turns) Have a Happy… (pauses mid-sentence)

SUKEJIRO

(looks up) Hmm?

KURACHI

(thinks better of it) Nothing, nothing. Goodbye.

As Sukejiro returns to his accounts, Kurachi exits the office. He walks to hanamichi, pausing at 7/3 spot.

KURACHI

(sighs) It’s a painful thing to serve one’s boss. But tomorrow is another year. Mrs. Kurachi (strikes pose), I’m coming home!

Holds pose briefly, then walks in gentle wagoto-style down hanamichi and exits.

 

SCENE 4. MARUYA’S GHOST

After a moment, Sukejiro puts down accounts and looks around. His home is quiet.

SUKEJIRO

Well, no point in burning more candles.

He moves the papers, table and hibachi to Stage Right. As he turns, he notices the Buddhist altar for his late partner Maruya.

SUKEJIRO

Ah, Maruya. I almost forgot you. It was this very day, seven years ago, when you left us, wasn’t it? You’re lucky in a way, Maruya. The world’s grown lazy and empty, a dark, dreary place not fit for a proper gentleman. And you’ve gone and left it all to me… You always were a selfish codger. Well, (pours a sake offering) I don’t remember the seven-year prayer, but here’s to you anyway.

 

He places sake on altar, rings small bell and clasps his hands in brief prayer. Then he snuffs out candles in the room, leaving only a faint light from outside, and turns to go into his bedroom. Suddenly, a light appears through the shoji to the backroom, and a shadow can be seen. Sukejiro is startled.

SUKEJIRO

Who’s there? Who’s there, I say! (goes to door and slides it open, only to find a kimono hanging on a rack) It’s Maruya’s old kimono! I haven’t seen this in years! Kurachi must have taken it out during the yearend cleaning. And he just leaves it sitting here! He’ll get a piece of my mind when he gets back.

He takes kimono rack and places it, facing away from audience, against back wall, then closes sliding door. He looks around once, then heads towards the bedroom. As he is about to exit, Maruya’s photo in the altar lights up, and Maruya’s face comes to life.

MARUYA

(in ghostly voice) Sukejiro! There’s still time! Repent while you can!

SUKEJIRO

Who is that?! Who’s speaking!!

The face flickers away just as Sukejiro turns around.

SUKEJIRO

(uncertainly) Maruya…? (He goes cautiously towards altar and takes down photo. He examines it front, back, upside down and back again, but finds nothing untoward. Puts photo back) I must be tired. Counting all that money takes a lot out of a man.

Walks back to bedroom and starts to open door. Out of nowhere, the small altar bell rings. He turns but sees no one. Shaking his head, he turns back to the door. As he is about to open it, he spins around quickly as if to catch something, but sees nothing. Satisfied, he opens the door. Suddenly the extinguished candles magically flare up on their own, bringing the room back to stark light. Sukejiro whips around, but still nothing is there. He walks hesitantly over to put out candles. Just as he approaches, the kimono turns quickly around, and Sukejiro reels back in shock at the realization that it is being worn by a man – or more like the shell of a man, a sad figure with ashen face, death-cold eyes, and slightly hunched-over body.

 

SUKEJIRO

(falls back in terror and disbelief, cries out) What are you?! What have you come for!!

MARUYA

(in a ghostly voice) Sukejiro! Do you not recognize me?

SUKEJIRO

(too frightened to look) Who are you?!

MARUYA

Ask not who I am, but who I was! In life, I was your partner Maruya.

SUKEJIRO

(takes a closer look, astounded) Maruya?! It does look like you. (searching for words) How are you?

MARUYA

(irritated) I’m dead, you idiot! How do you think I am?

SUKEJIRO

Maruya, it is you! (shaking himself out of it) No, I don’t believe it. This can’t be.

MARUYA

You doubt your own senses?

SUKEJIRO

It’s indigestion, that’s what it is. You’re a piece of bad meat. I must stop eating Western food.

MARUYA

As skeptical as ever, I see. Here, try this!

As Maruya lifts one hand, Sukejiro is startled to find that his own left hand suddenly rises as well. The ghost lifts his other hand, and Sukejiro’s left leg rises. The ghost moves his hands up and down, making Sukejiro jump with him. At the end, he releases him, to which Sukejiro tumbles to the ground.

MARUYA

(laughing wickedly) Now do you believe in me?

SUKEJIRO

(shocked and shaking now, on his knees) Yes, yes, I believe, I do! But why do ghosts walk the earth? What do you want with me?

MARUYA

♪ (narrates to music) ♪

You’ve lived as I once did, selfish and narrow-minded, my spirit never going beyond our counting house, never roving beyond the narrow limits of our money-changing hole. Now I stand, captive and bound, knowing helplessly that any man working in his little sphere, whatever it may be, will find his mortal life too short for its vast means of usefulness, knowing that no space of regret can make amends for one life’s opportunity to do good. I lived for business – and yet mankind was my true business. The common welfare was my business. Charity, mercy and benevolence were all my business. My trade was but a drop in the ocean of my business. And yet I lived unknowing, died unknowing. It is only now that I realize my error, too late to make amends. Hell didn’t choose me, Sukejiro. I chose hell, never to be reborn. The choice is now yours!

SUKEJIRO

Maruya, it’s good to hear your voice again, but could you get to the point?

MARUYA

(moving in front of altar) You did a good deed tonight, Sukejiro. You prayed for my soul. You took a moment from yourself to think about your fellow man. That shows that somewhere under that cold dark wretched exterior, there may be a heart. They’ve decided to give you one more chance.

SUKEJIRO

Who are they? What kind of chance?

MARUYA

(ignoring his questions) You still have time! I’ve carried their message to you.

SUKEJIRO

You always were a good friend, Maruya.

MARUYA

You will be haunted by three ghosts.

SUKEJIRO

(turns white) Is this the message you’ve brought me?

MARUYA

It is.

SUKEJIRO

(gulps) Isn’t, isn’t there some other option?

MARUYA

(ignoring him) They will come in succession on the same night, each at the strike of the New Year’s bell. Listen to them carefully.

SUKEJIRO

In succession at the same night and bell? You’re not making sense, Maruya.

MARUYA

(ignoring him) Listen, Sukejiro, and follow! Only then can you hope to shun the path I tread. The only one that can save you now is you yourself. Otherwise…

SUKEJIRO

Otherwise?

MARUYA

(more intensely) Otherwise…

SUKEJIRO

(equally intense) Otherwise?

MARUYA

(dramatically) Otherwise… (strikes pose, declaiming) There’s no turning away!

Just as he finishes the line, the wall bursts open behind him, and a monstrous creature roars out and grabs him. Sukejiro staggers back in astonishment. Maruya screams in bloody terror and struggles to free himself, but the monster holds him tightly in its grip. He is dragged violently back into the void. As he disappears, the wall closes, and (helped by the black-hooded kurogo assistant) the set returns to normal.

Sukejiro, in a daze, catches his breath. (The shamisen is playing.) He goes cautiously over to the altar. Everything is as it was. He nervously feels the wall and looks closely, but finds nothing amiss. He continues to shake notably. He spots the sake cup on the altar and takes it down, draining the contents. He realizes in horror that he’s drinking the offering to his dead friend. He quickly pours more sake into the cup, places it back with trembling hand on the altar, and claps his hands in quick prayer. Slowly he regains his calm.

 

SCENE 5. GHOST OF NEW YEAR’S PAST: HOME

SUKEJIRO

(trying to convince himself) It was a dream. That’s it, it was all a dream. I’ve been under a lot of strain with all this seasonal good cheer. It’s impossible, all of it! Maruya back from the dead, three ghosts coming to visit… hah! It’s all a lot of humbug! I’m going to forget about the whole thing and go to bed.

He starts to go to his bedroom, but pauses, then slips over to the front door and bolts it, giving an extra tug to make sure it’s secure. Suddenly, as he walks toward the bedroom, a temple bell tolls, a deep, resonant, sonorous sound. Sukejiro halts in his tracks. As the echo subsides, he looks around worryingly, but nothing has changed. Concluding that no ghost is coming after all, he returns to his grouchy self.

SUKEJIRO

Hmmph, just as I thought. Bah!

A voice is heard from offstage.

GHOST OF PAST (offstage)

(calling) Sukejiro~!!

 

Sukejiro looks around but sees no one. Then from the bedroom, a young samurai in full regalia, including topknot and swords, bursts into the room. Sukejiro, thunderstruck, backs against the wall as the ghost drops down, landing in the center of the room.

SUKEJIRO

(anxiously) Are you the spirit, sir, whose coming was foretold to me?

GHOST OF PAST

I am.

SUKEJIRO

Who and what are you?

GHOST OF PAST

I am the Spirit of New Year’s Past. Your past, Sukejiro.

SUKEJIRO

Samurai-san, you may not have been here for a while, but swords are forbidden now. You’ll get yourself arrested.

GHOST OF PAST

(unperturbed) I cannot change what was, Sukejiro. I can only show you the world as it existed.

SUKEJIRO

(struggling to put up brave front) I see. Well, I do appreciate your coming, really I do, but the past is after all behind us now…

GHOST OF PAST

Ah, but that’s where you’re wrong, Sukejiro. The past is never behind us. We are what we are by virtue of what we were, the sum of all our yesterdays, the product of our pasts. It is only by knowing where we come from that we know where and who we are.

SUKEJIRO

(wiping off sweat) Are all of you ghosts this talkative?

GHOST OF PAST

Sukejiro, it is time!

SUKEJIRO

Spirit, what business brings you here?

GHOST OF PAST

(forebodingly) Your welfare.

SUKEJIRO

(gulps) I, I thank you, but I think a night of quiet sleep might be better for that.

GHOST OF PAST

Your reclamation, then. Come!

SUKEJIRO

It’s rather cold out…

GHOST OF PAST

(more insistent) Come!

Sukejiro finds himself irresistibly drawn to the ghost. He approaches. The ghost starts to walk forward.

SUKEJIRO

Spirit, that’s a wall. The door is this way.

GHOST OF PAST

After an entrance like that, you think a wall will stop me? Come!

SCENE 6. NEW YEAR’S PAST: TOWN

They walk forward, and Sukejiro is amazed to find that they walk through the wall onto the street. (A kurogo (hooded stagehand) brings shoes as they step out.) The ghost takes him to a bustling area. They go onto a platform where they can look down on the proceedings. There are lanterns rather than gaslights, and the buildings are all wooden – we have returned to Japan’s feudal Edo Era. People still crowd the streets, and the mood is festive. A group is pounding mochi rice cakes, shop sellers are hawking their wares, a man is performing for a group of children, and all are exchanging holiday greetings.

SUKEJIRO

(not recognizing the scene at first) All right, so what now?

GHOST OF PAST

Watch.

In the midst of the townsmen, we see several policemen as before – but this time, they are in Edo Era garb, all carrying swords. They wander through and off.

 

SUKEJIRO

How could this be? Samurai in the streets! Where are we?

GHOST OF PAST

Look more closely, Sukejiro.

Sukejiro looks again at the townsmen.

SUKEJIRO

Why, it’s Kamitani-san, the fish monger! And Hasegawa-san, the oil seller. And Takayasu-san, the Kiyotas, Ishino-san! How could it be?

GHOST OF PAST

You know this place now?

SUKEJIRO

Know it? I was bred here, I was a boy here! This is the shopping street in my old neighborhood. I could walk it blindfolded!

GHOST OF PAST

Strange to have forgotten it for so many years.

SUKEJIRO

(calling) Hasegawa-san!

GHOST OF PAST

These are but shadows of things that have been. They have no consciousness of us.

SUKEJIRO

There’s Mrs. Omotani, the sweets seller. She would always sneak us samples. And look, Ota-san, the book seller. And Hachiya-san’s noodles; I can still smell them! It was a wonderful time.

GHOST OF PAST

But there’s someone missing. Look.

Amidst the raucousness, a solitary child of 8-9 enters, engrossed in a book. His kimono is older and his appearance rather shabby compared to his surroundings.

SUKEJIRO

(unconsciously) Ah!

GHOST OF PAST

A solitary child, poor and lonely. Do you recognize him, Sukejiro?

SUKEJIRO

(stuttering) N, no, I mean, I…

SUKEJIRO’S FATHER

(enters, drunk and angry) Sukejiro!

We realize that the lonely lad is Sukejiro himself as a little boy. Little Sukejiro ignores his father.

SUKEJIRO’S FATHER

Turning your back on your father, you little weasel? (strikes him)

LITTLE SUKEJIRO

(unrepentant) Get away from me!

A crowd begins to gather.

SUKEJIRO’S FATHER

Where’s what I asked for? What are you doing here?

LITTLE SUKEJIRO

None of your business.

SUKEJIRO’S FATHER

What is this? (grabs the book)

LITTLE SUKEJIRO

You give that back!

Lashes out at the father, who fends him off easily.

SUKEJIRO’S FATHER

Where did you steal this?

LITTLE SUKEJIRO

I didn’t steal it! It’s from the book lender. Give it back!

SUKEJIRO’S FATHER

You’re spending our money on this?

LITTLE SUKEJIRO

It’s my money! I worked for it. If you want liquor, buy it yourself! Give it back!

SUKEJIRO’S FATHER

Maybe I can get the money by selling your sister .

LITTLE SUKEJIRO

You…!!!

Enraged, he attacks the father. As they fight, the crowd watches eagerly. An elderly woman emerges.

MRS HASEGAWA

Sukejiro, there you are. I’ve been looking all over for you. I haven’t paid you for your work today. (hands him a packet of coins)

LITTLE SUKEJIRO

(surprised) What? But…

MRS HASEGAWA

No, you were a big help, I insist.

LITTLE SUKEJIRO

But Hasegawa-san…

SUKEJIRO’S FATHER

Show your appreciation, you little snit. I’ll take that. (grabs the money) Much obliged, ma’am.

MRS HASEGAWA

Not at all. Thank your child; he earned it.

SUKEJIRO’S FATHER

Yes, yes. (starts to leave)

LITTLE SUKEJIRO

Give me my book!

SUKEJIRO’S FATHER

Hmmph. (throws book to the ground, exits)

LITTLE SUKEJIRO

(quickly retrieves book, turns to Mrs Hasegawa) Mrs Hasegawa, I…

MRS HASEGAWA

Not a word. You can help me sometime. How about that?

LITTLE SUKEJIRO

(choked up) Thank you. (bows deeply, stays down)

GHOST OF PAST

Taking charity, were you?

SUKEJIRO

It was an act of kindness on her part. I was poor. I could hardly help it.

GHOST OF PAST

Poor? Are there no workhouses? Are there no prisons?

Sukejiro turns away, ashamed to hear his words used back at him.

MRS HASEGAWA

Now, Sukejiro, don’t cry.

LITTLE SUKEJIRO

I’m not crying. (rises) I’m angry. I hate him.

MRS HASEGAWA

It must be tough for him too, all alone now. He’s doing his best.

LITTLE SUKEJIRO

It’s my money. I’m saving for school.

MRS HASEGAWA

Aren’t you going to school?

LITTLE SUKEJIRO

(averts her gaze) …

FISHMONGER

Here, kid. (handing him a coin) Use this for school.

LITTLE SUKEJIRO

But sir, I can’t…

CARPENTER

Here’s some more for you.

Little Sukejiro resists, but soon others are contributing as well. Little Sukejiro is overwhelmed.

LITTLE SUKEJIRO

Everyone, thank you. (bows deeply, again stays down)

MRS HASEGAWA

You’re not still angry?

LITTLE SUKEJIRO

No, (rises) this time I am crying.

Everyone laughs.

BOY 1

(coming out of the crowd) Hey, want to go play?

Little Sukejiro smiles and exits with the boy. The crowds filter out as well.

SUKEJIRO

(laughing) I remember it all as if it were yesterday. Everyone so kind and giving. Ah, where did the days go?

GHOST OF PAST

Indeed. Keep watching.

Sukejiro is surprised to see another familiar figure entering the scene: this time, it is himself as a recent graduate. He is looking at books or reports as he walks.

SUKEJIRO

Why, that’s me as a young graduate now! How has the time passed?

GHOST OF PAST

We’ve moved forward to more recent shadows.

SUKEJIRO

(chuckles) I was a handsome lad, wasn’t I?

GHOST OF PAST

Watch.

 

SCENE 7. NEW YEAR’S PAST: FURUYA’S PARTY

Sukejiro approaches the door of Mr Furuya, an accountant to whom he is apprenticed. While not an overly fancy home, it is spacious and open, indicating some level of comfort. No one is there at the moment, but there are several low tables, some of them laid out with sushi and other delicacies, suggesting preparations for a party. The pine decoration near the door makes clear that this is New Year’s. Sukejiro, with package in hand, opens the door and peeks inside.

 

YOUNG SUKEJIRO

Hello~?

Furuya, a round jolly type, emerges from the back. Bursting with energy, he beams to see his young charge and ushers him in happily.

FURUYA

Ah, Sukejiro, welcome, welcome!

YOUNG SUKEJIRO

Thank you for inviting me tonight.

FURUYA

(showing him in) Nonsense! We’re delighted to have you! Come in!

YOUNG SUKEJIRO

I’m just an apprentice; I didn’t want to interrupt…

FURUYA

(laughing, as he does frequently)   Just an apprentice? Why, that makes you practically family! I’ve been waiting for someone to drink with. (calling) Mrs. Furuya!

Mrs Furuya emerges from the back. She’s also a dynamic type, every bit her husband’s match.

MRS FURUYA

(emerging) Yes? Ah, Sukejiro! How lovely to see you!

YOUNG SUKEJIRO

(bows, hands her his package) Here’s a little something for you.

MRS FURUYA

You shouldn’t have! Just having you is gift enough for us, isn’t it, Mr. Furuya?

FURUYA

I couldn’t have said it better, Mrs. Furuya! We don’t see enough of him as it is.

YOUNG SUKEJIRO

The pleasure is mine. But after all, I enjoy your hospitality at the office every day, sir.

FURUYA

Hah! You put so much time into those ledgers that I never see more than the back of your head. Why, you’ve worked hard enough for three men these past months.

MRS. FURUYA

Now, now, I don’t want to hear any more mention of work today.

FURUYA

(laughing again) Yes, yes, dear, you’re right as usual. It’s time to forget the old year and see in the new. This calls for a drink! Bring on the sake!

MRS FURUYA

(jokingly, to Sukejiro) Everything calls for a drink with this one. I did the yearend cleaning and he was calling for a drink.

FURUYA

Never mind her. You’ll join me for a cup or two, won’t you?

YOUNG SUKEJIRO

I’d be honored.

FURUYA

There you are, Mrs. Furuya. Our guest would like a drink.

MRS FURUYA

Yes, yes, all right. (calling) Ohatsu! We have a guest.

OHATSU

(emerging) Yes, mother? (spots Sukejiro, blushes) Sukejiro-san!

YOUNG SUKEJIRO

(suddenly shy as well) Ohatsu-san.

MRS FURUYA

(pointing to husband) I’ll get the sake before this one goes mad. (goes inside)

FURUYA

Ohatsu’s just made this new kimono. Isn’t she something, Sukejiro?

OHATSU

(blushing beet-red, unable to resist a quick glance at Sukejiro before looking away) Father!

YOUNG SUKEJIRO

(eagerly) Oh, yes, it’s very beautiful.

FURUYA

See, Ohatsu, he thinks you’re beautiful.

OHATSU

Father! Please ignore him, Sukejiro-san. He’s always making fun of me.

FURUYA

(laughing yet again) Now Sukejiro, don’t you be shy.

YOUNG SUKEJIRO

I’m afraid I’m a bit overwhelmed by all this. It’s all so lavish.

FURUYA

Hah, what’s the good of money if you don’t share it with others! Enjoy, enjoy!

YOUNG SUKEJIRO

(looking around, notes that he’s the only guest) Others? Have I come too early?

FURUYA

Nonsense, I had you come early. I thought it might give you two time to chat. Well, Ohatsu, don’t just stand there. Invite our guest to sit down!

OHATSU

(still shyly) Oh, I’m sorry! Won’t you sit here?

YOUNG SUKEJIRO

Thank you, I will.

He sits on cushion, and she sits next to him at a respectful distance. Both look down, around and everywhere but at each other’s eyes, though they each steal glances from the corners of their eyes when they think they can get away with it. Furuya stands on the opposite side of Sukejiro. Mrs Furuya enters with sake set.

MRS FURUYA

Here’s your sake then.

She stands on the opposite side of Ohatsu, still holding sake. As the two youngsters sit nervously, Mr and Mrs Furuya glance at each other, nod knowingly, then bump none-too-subtly into each youngster, pushing them together. The youngsters collide, leading them to look at each other. They laugh nervously and quickly look away again, but the game is set. The mother places the sake in front of the two.

MRS FURUYA

Here you are.

YOUNG SUKEJIRO

(immediately takes the sake bottle, offers it to Ohatsu) Please.

OHATSU

(smiling, picks up cup) Thank you.

To the delight of the parents, he pours her sake, and she in turn does the same for him. As they drink, festive music is heard from outside, and New Year’s lion dancers appear before their home. The dancers perform briefly. They gradually exit, joined by the Furuyas and Young Sukejiro, who dance joyously alongside them. The invisible Old Sukejiro, caught up in the memory, is still dancing after they leave.

 

SCENE 8. NEW YEAR’S PAST: SUKEJIRO + OHATSU

SUKEJIRO

Ah, it was a joyful time, that it was. The food, the drinks, the singing, all the happy people. Mr Furuya was a generous man.

GHOST

Yes.

SUKEJIRO

Ghost, show me more from that time!

GHOST

Watch.

Young Sukejiro enters again. He is holding books or reports, which he looks at as he walks.

 

OHATSU

(calling from offstage) Sukejiro!

 YOUNG SUKEJIRO

Ohatsu! I’m up here!

SUKEJIRO

(suddenly realizing what he’s about to see, panics) No, spirit, stop! Spirit, please! I beg you! Not this…

Ohatsu, now Sukejiro’s girlfriend, enters.

YOUNG SUKEJIRO

So here we are. I’m sorry I couldn’t come sooner, but…

OHATSU

(irritated) You were busy, I know.

YOUNG SUKEJIRO

(noting unhappiness in her voice) I’m doing what I need to do. It changes nothing.

OHATSU

Is this what you think, Sukejiro? Isn’t there something else in your affections that has replaced me? Something shiny and cold?

YOUNG SUKEJIRO

The world is a different place. The new government tells us to follow the West, the old loyalties have broken down. We have only ourselves. This is for you, Ohatsu. I need to make enough so that we’re comfortable.

OHATSU

And will there ever really be enough?

YOUNG SUKEJIRO

There’s nothing the world despises as much as poverty, and yet nothing it condemns as much as the pursuit of wealth.

OHATSU

You fear the world too much. When we met, you were a different man.

YOUNG SUKEJIRO

(impatiently) I was a boy.

OHATSU

Your own feelings tell you you’re not what you were. You have a new love now, Sukejiro, and I release you.

YOUNG SUKEJIRO

I have not asked for release.

OHATSU

(wavering) Perhaps we could start again. Let’s go back to my father’s shop where we met, content with small pleasures. We can manage there and be happy.

YOUNG SUKEJIRO

… I just need a little more time.

SUKEJIRO

You fool!!

OHATSU

(back to reality) Ah, as I thought. I’m not what you need, Sukejiro. You’ll look back on me and all this and dismiss it, gladly, as an unprofitable dream. (bowing) Thank you for everything.

YOUNG SUKEJIRO

Ohatsu, please, just give me a bit more time.

OHATSU

I’m sorry, Sukejiro. I hope you find what you’re looking for. (bows once more) Goodbye. (exits)

SUKEJIRO

(unconsciously, even as his younger self stands numb) Ohatsu, no!! (to his younger self) Stop her, you idiot, go and get her!!

 

His younger self struggles briefly with the decision but, glancing at his reports, eventually turns and exits. The scene darkens, and as the characters speak, the setting gradually changes back to Sukejiro’s home.

SUKEJIRO

(painfully) Spirit, why do you torture me!

GHOST OF PAST

Torture? You should be happy, Sukejiro.

SUKEJIRO

Happy!?

GHOST OF PAST

You chose fortune over love, and now you have achieved it. Think of all that your money can buy.

SUKEJIRO

(desperately) Spirit, take me away from this. Please!

GHOST OF PAST

Come.

SCENE 9. NEW YEAR’S PAST: MARUYA’S FUNERAL (HOME)

Sukejiro is led to his home. In front is a funeral wreath. A number of people are milling about. As scene proceeds, Ghost of Past mixes in with them.

SUKEJIRO

What is this? (reads card on wreath) Maruya, rest in peace. It’s Maruya’s funeral! That was seven years ago.

A priest emerges from the bedroom, bows, then makes his way to the front door. When he is safely outside, he takes out the donation envelope and looks inside. With an annoyed look, he pulls out a single bill. He shakes the envelope and looks back inside, but no further money appears. He shakes his head unhappily, mutters something and exits. Suddenly in the bedroom, a shadow appears through the shoji of someone hunched over, working busily on his books. A haunted sound emerges. Sukejiro hears the sound and quickly enters his home, leaving the ghost outside. Seeing the shadow, he races over to the bedroom calling Maruya’s name, and throws the door open – but nothing is there. He is stunned for a moment. The people outside begin to disperse, taking the wreath with them, and the noise reminds Sukejiro that he has left the ghost outside. He returns and approaches a samurai-dressed figure, who has his back to the audience.

SUKEJIRO

Spirit…

As he touches the figure, it turns around to reveal, not the ghost (who has snuck off with the others), but a gaudily made-up woman.

WOMAN

(with exaggerated gestures) Hands off me, you pervert! (throws her head up and exits)

SUKEJIRO

(after a moment to pull himself together, realizes he is alone and calls out) Ghost? Anyone? Where am I? Is this the past? The present?

In repeat of opening scene, two women appear in the street from Stage Right. He sees them pleasantly exchanging New Year’s greetings. Sukejiro waits, half expecting a greeting. When they see him, though, they recognize him and, with exaggerated disdain, throw up their heads and move silently and variously off Stage Left and Right.

 

SUKEJIRO

(irritated) Hmmph, I’m back in the present, all right.

SCENE 10. GHOST OF NEW YEAR’S PRESENT: HANAMICHI & OUTSIDE HOME

The gong strikes. He freezes. Immediately we hear the swish of the back curtains. There emerges a beautiful young woman, dressed in a colorful kimono and holding a lantern. He watches as she walks gracefully down the hanamichi. She pauses and poses at the 7/3 spot.

SUKEJIRO

Are you the next spirit?

GHOST OF PRESENT

Yes, I am the Spirit of New Year’s Present. I’ve come to show you the world as it is now.

SUKEJIRO

(disappointed) I see…

GHOST OF PRESENT

I expected a little more excitement with this outfit.

SUKEJIRO

You’re a very attractive spirit, but to tell the truth, I was hoping for something more exotic. I hardly need a guide for the present; I can just look outside the window.

GHOST OF PRESENT

(looking at him intently) Is that what you believe, Sukejiro? Take a closer look.

The ghost moves onto the stage near Sukejiro, holding lamp near his face.

SUKEJIRO

(squinting) Spirit, please, your light is rather bright…

GHOST OF PRESENT

Would you so soon put out with worldly hands the light I give? It is for those such as you that I bear this light, Sukejiro. Those such as you, who walk through life in the darkness of your own creation, who see ugliness in beauty, folly in charity, the thorn in the rose, the inevitability of dusk in the beauty of dawn, the shadow of the fallen cherry blossom in the height of its bloom.

SUKEJIRO

You’re being too severe, Spirit. I see what I see, I’m quite sure.

GHOST OF PRESENT

Ah, the world is not enough with you, Sukejiro. Have you never noticed my like before?

SUKEJIRO

N, no, I don’t recall.

GHOST OF PRESENT

Never walked with my older siblings? For I am very young, the latest of my family.

SUKEJIRO

I’m afraid I haven’t. Have you many siblings, Spirit?

GHOST OF PRESENT

Nearly three thousand since our nation’s birth.

SUKEJIRO

(amazed) That’s quite a family to provide for…

GHOST OF PRESENT

We walk among you only briefly, one by one, and yet we are your constant companion. The past is a mere shadow, the future may never be, but the present is ever beside you. Isn’t it time you came to know us?

SUKEJIRO

(anxiously) I, I… (reconsidering) Spirit, I went forth last night on compulsion and learnt a lesson that is working now. If you have something to teach me, let me profit by it.

GHOST OF PRESENT

Come then, and let us see what you can see.

SCENE 11. NEW YEAR’S PRESENT (1): TOWN

Still holding her lantern, she walks with Sukejiro to the town, which has changed back to the bustling New Year’s Eve of the present. The fire brigade again walks through with clackers cautioning people to take care with fire, and townspeople, now in Meiji Era dress, are shopping and exchanging greetings, the yatai are hawking food and wares, children are playing, and the air is festive. A mendicant priest stands silently with a bowl, into which passing people place money.

SUKEJIRO

(almost to himself) It all seems so familiar to me, and yet so distant. So little has changed, and yet so much.

GHOST OF PRESENT

Is that so?

SUKEJIRO

(seeing mendicant priest, sighs)

GHOST OF PRESENT

Is something wrong?

SUKEJIRO

Nothing, I was just recalling a man who approached me today. I might have given him something.

GHOST OF PRESENT

Indeed.

SUKEJIRO

But much of the blame is with you, Spirit. It is you who make them poorer.

GHOST OF PRESENT

I??

SUKEJIRO

Yes, by coming from the other world every summer and winter, you and your siblings make your descendants take days off of work to care for you. They spend time with their families that could be more profitably spent making money.

GHOST OF PRESENT

And are they really poorer for this?

SUKEJIRO

(taken aback by the suggestion) Well, I, I… I don’t know…

GHOST OF PRESENT

There are some upon this earth of yours who do their deeds of passion, pride, ill-will, hatred, envy, bigotry and selfishness in our name, who are as strange to us and all our kith and kin as if they had never lived. Remember that, and charge their doings on themselves, not us.

SUKEJIRO

I see…

GHOST OF PRESENT

Amazing what a little light can do. Come.

 

SCENE 12. NEW YEAR’S PRESENT (2): KURACHI’S HOME

The ghost makes her way forward, and Sukejiro has little choice but to follow. They turn towards Stage Left. He finds himself in a rather dreary tatami room with a low table in the center and little else. It is clearly someone’s living room. A woman and her nine-year-old daughter are preparing the house for the New Year’s Eve meal.

SUKEJIRO

Spirit, why have you brought me here? Who are these people?

GHOST OF PRESENT

This is a family home.

SUKEJIRO

A family? The place is hardly big enough for two, let alone three.

GHOST OF PRESENT

Watch.

HANAKO

Where does this go, Mother?

MRS KURACHI

On the table anywhere. You’re a big help, Hanako.

HANAKO

I can help more!

MRS KURACHI

All right, then. Here are the chopsticks. You can lay them out for everyone.

VOICE

(offstage) I’m back!

To Sukejiro’s amazement, the man who walks in is his clerk Kurachi.

SUKEJIRO

It’s Kurachi! Is this his home?? Spirit, are you certain we’re still invisible?

GHOST OF PRESENT

Unseen and unheard.

SUKEJIRO

I didn’t know he had a child…

MRS KURACHI

(to her husband) Welcome back.

HANAKO

(running to him) Daddy! I helped lay the table.

KURACHI

(laughing) That’s wonderful.

MRS KURACHI

(getting up) We were beginning to worry about you.

KURACHI

I got caught up at the office. But I’m back now. (to Hanako) And look what I’ve got for you.

HANAKO

Mashed chestnuts!!

MRS KURACHI

You shouldn’t be spending money on such things!

KURACHI

Now, now, it’s New Year’s. Where are the boys?

MRS KURACHI

They’re outside playing. (goes outside with Kurachi, calls down hanamichi) Taro! Tomo-chan! Your father’s home!

SUKEJIRO

(looking on) There are more children…?

We hear the swish of the curtain, and Taro, a teenager of around 15, comes running down hanamichi to 7/3 point.

TARO

Here we are, Mom! (looks behind him) Come on, Tomo! Dad’s home!

TINY TOMO

(offstage) I’m coming!

Taro runs on stage and into house. Then the curtain swishes open again, and Tiny Tomo, around age 8, enters. Crippled by a bad leg, he walks with a crutch and hobbles down the hanamichi. The sight of a helpless child suffering such an indignity would normally prompt a feeling of pity and sadness. Tiny Tomo, however, projects an air of resolute cheer and would undoubtedly be surprised if anyone were to feel sorry for him, as he does not in the least feel sorry for himself. His handicap clearly does not dim his energy or his love for life.  As he reaches the 7/3 spot, he stumbles briefly, but immediately rights himself and poses.

TINY TOMO

I’m here! (Tiny Tomo moves onto the stage towards the house)

MRS KURACHI

Taro! Don’t leave your brother behind like that!

TARO

He won’t let me help him.

TINY TOMO

(from the doorway) It’s all right, Mom. I can walk really fast if I try. Watch!

Moving his crutch forward with all his might, he manages to move with impressive speed to his mother.

TINY TOMO

(as everyone expresses amazement) See, I don’t need anybody’s help!

KURACHI

(laughing) Good work, Tomo! You’re both full of energy.

TARO

Dad, can Tomo and I play some more?

HANAKO

I want to play too!

MRS KURACHI

Taro, Hanako! Don’t overwork him. We have to make sure he gets better.

TINY TOMO

I’m fine, Mom!

TARO

He’s very strong today. We walked all the way to the fishmonger’s. Didn’t we, Tomo?

TINY TOMO

We did!

MRS KURACHI

That’s lovely.

TINY TOMO

(coughs badly)

MRS KURACHI

(instinctively reaches for Tomo) Look, you’ve overworked yourself.

TINY TOMO

No, really, I’m getting better every day, aren’t I, Taro?

TARO

Sure, you are, Tomo!

HANAKO

You’ll be fine, Tomo! He’ll be fine, Mother!

KURACHI

So what have you boys been up to today?

TINY TOMO

We saw all the people shopping and playing and laughing and walking around, all dressed up and having a good time. It was so much fun.

KURACHI

Yes, this is the time of year for good cheer everywhere.

TARO

He was telling the shopkeepers that we own a palace.

MRS KURACHI

Tomo! You mustn’t say silly things like that.

TINY TOMO

It’s not silly! It’s true! I know it is.

KURACHI

And what makes you think that?

TINY TOMO

Because I heard that people who live in palaces are all very happy, and we’re very happy, so this must be a palace too, I just know it! Isn’t that right, Dad?

KURACHI

(gently, as wife fights back tears) Yes, Tomo, that’s right, that’s right. (taking him and others under his arm) This is indeed a palace, and every meal a feast. We’re as rich as kings, we are, as long as we’re together. I can’t imagine being happier.

Family then settles into low table. They pour drinks and carry out silent toasts as Sukejiro speaks to ghost.

SUKEJIRO

Is this truly Kurachi’s life?

GHOST OF PRESENT

I show you the present as it is.

SUKEJIRO

(troubled) I’ve never seen him outside the office…

GHOST OF PRESENT

Yes.

SUKEJIRO

Spirit, I have only one question. Tell me: Is Tiny Tomo going to get better?

GHOST OF PRESENT

I cannot know what is to come. I only see what is before me.

SUKEJIRO

And that is…?

GHOST OF PRESENT

A poor child, ill and fragile, a weak and weakening body, and a looming shadow.

SUKEJIRO

Spirit, please tell me that he will be okay!

GHOST OF PRESENT

(sternly) Am I to be responsible for this child’s health? Am I the town hospital?

SUKEJIRO

(again appalled to hear his own words) Spirit… (casts his eyes to the ground, but snaps back suddenly at the sound of his own name)

KURACHI

(holding sake cup) … and to Sukejiro.

MRS KURACHI

Your boss?! That old miser? I’ll not drink to him!

KURACHI

He is my employer. We should wish him the best.

MRS KURACHI

That odious, hard, unfeeling man! He never wished as much for you!

KURACHI

Dear, the children…

HANAKO

I don’t like him either because Mother says so.

KURACHI

Now, now, I’ve told you before. You mustn’t dislike others.

TARO

And he keeps you late at the office every day!

TINY TOMO

He must be a very nasty person!

KURACHI

Children…

MRS KURACHI

(giving in) All right, then, I’ll drink for him. I wish him a healthy year so that you stay employed. He’ll be very happy and hearty tonight, no doubt.

The parents quaff their sake. An uneasy pause prevails. Then Tiny Tomo speaks.

TINY TOMO

Dad, can we play the Poem cards? I’ll recite the poems! I know them all by heart!

KURACHI

(snapping out of it)   That’s a splendid idea. (as the kids cheer) Come on, let’s get the cards.

They exit.

SUKEJIRO

I’d like a word with my employee if I could…

GHOST OF PRESENT

We have yet other places to visit. Come.

SCENE 13. NEW YEAR’S PRESENT (3): BEGGARS

They turn behind them towards Stage Right. The happy atmosphere has disappeared, and the town and people can no longer be seen. The scene has become darker and quiet. As they walk, Sukejiro looks closely at the spirit, still holding her lamp.

SUKEJIRO

Spirit, forgive me for noticing, but your hair is turning white.

GHOST OF PRESENT

I do not have much longer in this world.

SUKEJIRO

Are spirits’ lives so short?

GHOST OF PRESENT

The present is fleeting. My life ends tonight.

SUKEJIRO

Tonight!

GHOST OF PRESENT

The time is drawing near. Come.

They come to a number of men huddled together on the street around a small fire. The men are crowded in closely so that their body warmth can help ward off the cold, their meager clothing being entirely inadequate for the task. They are passing around portions from a pot that is cooking over the fire. The air is grim.

SUKEJIRO

Where have you brought me? Who are these people?

GHOST OF PRESENT

They are the poor and homeless.

SUKEJIRO

In this city? Living in such ghastly conditions? How could that be?

GHOST OF PRESENT

How indeed?

SUKEJIRO

But I walk these streets every day. How can it be that I have not seen them? Have they no refuge?

GHOST OF PRESENT

(gazing at him intently) Are there no workhouses? Are there no prisons?

SUKEJIRO

Spirit…

GHOST OF PRESENT

There seems to be much that you cannot see, Sukejiro. Isn’t it time you took a good look?

The spirit raises her lantern, which seems to glow brighter. Suddenly, glaringly bright floodlights turn on from upstage towards the audience, briefly blinding them so that the stage is all in shadows. After a few seconds, they turn off again, leaving all in darkness except for a single spotlight on the dazed Sukejiro. He stands uncertainly in the dark, not knowing whether he is in the past, present or elsewhere. He is startled when, once again, the bell tolls.

SCENE 14. GHOST OF NEW YEAR’S FUTURE: DARKNESS

SUKEJIRO

(freezes momentarily, then cries out in the darkness) Spirit, I am ready for you! Come and take me where you will!

The music plays and narrator sings. Sukejiro and the audience perceive the dim presence of someone else on stage. The figure, dressed all in black, is obscured by the darkness and only faintly visible. The lights gradually reveal a hooded figure, the face obscured. Sukejiro waits for the ghost to speak, but it remains silent. He finally addresses it.

SUKEJIRO

Am I in the presence of the Ghost of New Year’s Future?

The ghost remains silent.

SUKEJIRO

You are about to show me the shadow of things that have not yet happened but will happen in the years to come. Is that so, Spirit?

It gives him no reply. Sukejiro has tried to put up a brave front, but is increasingly unnerved by this enigmatic figure.

SUKEJIRO

(trembling)   Ghost of the Future! I fear you more than any specter I have seen. But as I know your purpose is to do me good, I am prepared to bear you company, and with a thankful heart. Will you not speak to me?

The ghost remains mute, but raises its arm and points forward. A hand is visible from the sleeve.

SUKEJIRO

(bows before it) I ask your indulgence. Lead on, lead on! The night is waning, and it is precious time to me, I know. Lead on, Spirit!

 

SCENE 15. NEW YEAR’S FUTURE: UENO + WAKAO (TOWN)

The ghost moves forward with deliberate steps, followed dutifully by Sukejiro. It stops, as does Sukejiro. Two men emerge separately. They are businessmen, sporting top hats, pocket watches and other signs of (external) Westernization. They spot each other, bow and exchange greetings.

WAKAO

Ah, Ueno-san, how is everything?

UENO

Wakao-san! How are you?

WAKAO

Well! I hear Old Scrimp has gone to his own at last.

UENO

Is that so? What happened?

WAKAO

(shrugs) Something or other, I suppose.

UENO

(dispassionately) I wonder what’s happened with the money.

WAKAO

I’m sure he hasn’t left it to me. (they laugh) You think we should find volunteers and attend the wake? They say there’s no one there.

UENO

Only if there’s food. Let me know if you find others. Cold isn’t it?

WAKAO

Yes, seasonable for New Year’s. Have a nice holiday.

UENO

And you as well.

They part. Sukejiro, puzzled, looks to the ghost.

SUKEJIRO

Spirit, I don’t know these men or to whom they refer, or how this relates to me. But I’m certain you have a purpose. If you could just bring me to my future self, show me what I am destined to become, that’s where the clue must lie. I know I can profit by it. Please take me there.

SCENE 16. NEW YEAR’S FUTURE: PAWNSHOP

The ghost simply turns and points elsewhere. Two cackling old women and a man in black enter holding furoshiki bundles. They are soon followed by an equally disheveled older man with a white beard. He is the proprietor of the establishment, a pawn shop of dubious standing.

CLEANING LADY

(laughing with the others) Here’s a chance! If we haven’t met here without meaning it.

PAWNBROKER

And a good place you’ve come to.

MOURNER

What are the odds? And all of us taking from the same place!

CLEANING LADY

And what of it? Every person has a right to take care of themselves.

LAUNDERER

He certainly did, you know.

All agree.

PAWNBROKER

All right, then, let’s see what you’ve got for me this time. (they all begin to talk) Wait, wait, now, let’s do this civilized like. We’ll let the ladies go first, the cleaning lady, and you, and then the launderer. And what are you then?

MOURNER

I was a mourner. (all laugh heartily) There weren’t no one else there. I was doing him a favor.

CLEANING LADY

That you did. I’ll go first then. Here. (opens her bundle, says proudly) How about this, eh? I don’t suppose he’ll be missing them none. If he could have taken them to the other world, I can bet you he would.

MOURNER

It’s the truest word ever spoke. It’s a judgment on him.

CLEANING LADY

I wish it was a heavier judgment, and it would have been if I could have laid my hands on it. (to the pawnbroker, who’s going through the pickings) So how much then?

PAWNBROKER

Yes, yes, not bad. (writing) Here’s an accounting for it.

CLEANING LADY

(surprised at low price) You old thief!

PAWNBROKER

(ignoring her protests) I always give too much to the ladies. It’s a weakness of mine; it’ll be the ruin of me. Who’s next?

MOURNER

(points to launderer) Let him go ahead, I’m not ready.

LAUNDERER

All right then. (opens bundle)

PAWNBROKER

(taking a look) Old kimonos, some obi, old socks… And what’s this? False teeth!

LAUNDERER

(laughing with others)   They were in one of his pockets. You must have some customers looking for a mouthful.

PAWNBROKER

(laughing and writing) Maybe I do. Here you are. And I wouldn’t give another sen for it if I was to be boiled for not doing it. (to mourner) So what have you got?

MOURNER

Take a look here.

PAWNBROKER

(opening the bag) What’s this then? A futon??

MOURNER

(beaming) Just the top part, the one covering him.

CLEANING LADY

You don’t mean to say you took this off him, with him lying there?

MOURNER

Yes, I do, and why not? I’m not holding back when I can get something by reaching out. He’s not likely to take cold without it.

PAWNBROKER

You were born to make your fortune! (thinking) I hope he didn’t die of anything catching, did he?

MOURNER

Don’t be afraid of that. We’re not likely to catch his problems. And don’t get your dirty hands on the shirt.

PAWNBROKER

(holding up shirt) The shirt! (examines it) Is this off his body?

MOURNER

You can look through that till your eyes ache, but you aren’t going to find a hole in it, or a threadbare place. It’s the best he had, and a fine one too. They’d have wasted it if it wasn’t for me.

PAWNBROKER

What do you call wasting it?

MOURNER

Putting it on him to be burned. Somebody was fool enough to do it, but I think it’ll do better for the living, don’t you, then?

All agree and talk among themselves as they exit. Sukejiro, horrified, turns to ghost with desperation.

SCENE 17. NEW YEAR’S FUTURE: TOMO’S DEATH (KURACHI’S HOME)

SUKEJIRO

Spirit, I understand what you’re telling me by this horrific sight! The case of this awful man might be my own. I must change my path to avoid his dreadful fate. Is that right, Spirit?

The ghost remains silent.

SUKEJIRO

(desperately) Spirit, let me see some tenderness connected with death. Otherwise the image of this poor man will stay with me forever.

The ghost turns yet again and points his finger. There we see Mrs Kurachi, Taro and Hanako back in the family home. A Buddhist altar is in the room with incense lit and a small stick positioned in front. They are quiet.

HANAKO

Mother, when will father be back?

MRS KURACHI

Shortly, I hope. He should be here by now.

TARO

It might be later. I think he’s walked a bit slower these days.

MRS KURACHI

(moodily) I’ve known him walk very fast with Tiny Tomo on his shoulders. (her voice breaking) But he was very light, and your father so enjoyed it.

 

As the children agree, the father returns.

KURACHI

I’m back.

MRS KURACHI etc

(variously) Welcome home.

He goes directly to the altar, kneels, rings the small bell and says a prayer.

MRS KURACHI

Everything is okay?

KURACHI

Yes, I’ve arranged for the 49th-day ceremony. And I’ve seen the burial spot in the temple. It’s green and quiet, a beautiful spot. I think he’ll be very happy there.

Mrs Kurachi begins to cry, and the children look down.

KURACHI

(wiping away a tear) Now, now, let’s be done with all our crying. Tomo asked us to remember him not in sorrow but in happiness. Oh, I had the kindest word from Sukejiro’s nephew.

MRS KURACHI

(pulling herself together) Did you?

KURACHI

Yes, I ran into him on the street, and when he heard what had happened, he told me how sorry he was and gave me his card. He said please come to him for anything he might do. He sent regards to my fine wife. I wonder how he knew that.

MRS KURACHI

Knew what?

KURACHI

(jokingly) Why, that you were a fine wife.

TARO

Everyone knows that!

All laugh as mother reacts with feigned embarrassment.

KURACHI

Well spoken, Taro. (to Taro) The nephew’s a good soul, and if you were to speak to him, I shouldn’t be surprised if he were to get you a better position.

MRS KURACHI

That would be wonderful.

HANAKO

Then Taro will get married and have a family of his own!

TARO

(blushing) Go on now!

KURACHI

(laughing) There’s plenty of time for that, my dear. But however and whenever we part from one another, I am sure none of us will forget Tiny Tomo or this very first parting among us. He gave us much in his brief life. (as all agree, hugs his children) I’m so very happy.

They hug as the scene fades. A black drop curtain falls, leaving only the front of the stage visible. Sukejiro turns to ghost.

SUKEJIRO

Spirit, tell me: Are these the shadows of events that will be or only may be? Can the future be changed?

The ghost is silent as ever, the air foreboding.

SCENE 18. NEW YEAR’S FUTURE: REVELATION

SUKEJIRO

Spirit, I have learned the lesson that you have brought. Please tell me who that poor man is who died so miserably so that I can return and help him avoid this dismal fate. I have changed, Spirit. I promise to do everything I can to help.  

Ghost points silently and turns, face away from audience. Light again falls on body lying in state. Sukejiro, shaking, approaches haltingly. As Sukejiro uncovers the face, he is utterly horrified.

SUKEJIRO

That’s… that’s me! No!!!!!

He screams out in shock. As he reels back, two workers come in and approach the body. One opens a furnace, from within which emits the glow of a burning fire. He and the other then pick up the body and, to Sukejiro’s further distress (“No!!”), dump it unceremoniously into the oven. They slam the door shot and leave. In panic, Sukejiro tries to force the door open but to no avail. Suddenly on the other side of the stage, a grave marker rises with Scrooge’s name. He screams again and runs to the spirit, grabbing its robe and yelling hysterically.

SUKEJIRO

Spirit, no!! I have changed! Tell me that this is not my fate! I don’t want to die so miserably! I have repented, Spirit, believe me, please!!

Sukejiro holds the spirit tightly, pleading for a response. As he grips the robe, shaking it wildly, it becomes lighter, and he suddenly realizes that the body has disappeared imperceptibly into the darkness. He is left holding only the robe. He throws it down and stands stunned. All is dark save a sole spotlight fixed on him.

SUKEJIRO

(calling desperately into the dark) Spirit, I have changed! Don’t let me die this way. Don’t let me die! Don’t… Don’t let me… (his emotions change to laughter) It’s not the dying I fear. (now laughing fully) It’s not about dying. It’s about living! Spirit, I understand! It’s about life!

SCENE 19. BACK TO PRESENT (1): TOWN

Suddenly the drop curtain is pulled down to reveal the same bustling street as before in its full color and energy: people shopping, vendors hawking their wares, children playing and so forth. We are back in the present day. Sukejiro exults in the scene. He sees the two women again exchanging New Year’s greetings as in the opening, marking a return to the same scene. This time, as they see Sukejiro, he goes up to them.

SUKEJIRO

(merrily) Season’s greetings to you!!

WOMAN 1 & 2

(caught off guard) S, season’s greetings to you. (they bow uncertainly and scamper off quickly)

SUKEJIRO

(laughing) This is wonderful! (he greets several people along the way, then spots a familiar face) Ah, Murayama-san!

MURAYAMA

(worried) Mr Sukejiro! I didn’t expect to find you here.

SUKEJIRO

Well, here I am, my friend.

MURAYAMA

If it’s about the money, I promise to pay you back on time…

SUKEJIRO

Nonsense, my friend, take your time.

MURAYAMA

(doubting his own ears) Sorry?

SUKEJIRO

Take whatever time you need. I won’t quibble over a few days here and there.

MURAYAMA

…Mr Sukejiro, are you quite all right?

SUKEJIRO

(laughing) I’ve never been better. You seem to need the money more than I, and we should all do our share to ease each other’s burdens, don’t you think?

MURAYAMA

Well, yes, yes, I do!

SUKEJIRO

That’s fine then. Come to me after New Year’s and I’ll see what I can do. Have a happy holiday!

MURAYAMA

And a happy holiday to you! (rushes off)

Sukejiro spots a mendicant monk, hat low over his eyes and standing motionless with his donation bowl. Sukejiro approaches and places money in the bowl. As he turns away, the monk lifts his hat in surprise and peeks at the bowl, delighted by the donor’s generosity. Recalling his place, he quickly replaces the hat and returns to his stiff emotionless self, bowing ever so slightly in acknowledgment of the donation.

Sukejiro continues to greet others. He spots people pounding mochi and asks if he can have a turn. This time, he is among mostly children along with adults in happi or fundoshi. The sight of this adult in a business kimono pounding away prompts much amusement and cheers, to his great delight. He hands over mallet and rushes to the fishmonger.

SUKEJIRO

I’ll have the biggest sea bream you’ve got.

FISHMONGER

(pulling out a huge fish) Here you are! This’ll feed you for a month of New Years. (receives money from Sukejiro) Oh, sorry, I can’t change a note this big.

SUKEJIRO

That’s all right, use the change for food for these people. (points to the audience)

FISHMONGER

All right, then! (exits)

 (**as variation, the two can throw small gift coins or such out into the audience)

SCENE 20. BACK TO PRESENT (2): FINALE (KURACHI’S HOME)

Sukejiro takes the giant fish and heads straight for the Kurachi household. He calls at the door.

 

SUKEJIRO

Hello, anyone home? Hello?

KURACHI

(surprised) I know it’s impossible, but that sounds like my boss.

MRS KURACHI

Sukejiro! What does he want with you at this hour, on the very eve of New Year’s! Shh, everyone quiet. Maybe he’ll go away.

KURACHI

Now, dear. (to visitor) Yes, come in.

SUKEJIRO

(entering) Kurachi!

KURACHI

(getting on his knees) Welcome, sir. I hope nothing’s wrong…

SUKEJIRO

Nothing at all, Kurachi, nothing at all. A happy holiday to you!

KURACHI

…S, sir?

SUKEJIRO

This must be your family.

KURACHI

Yes, this is my wife…

MRS KURACHI

(grunting reluctantly, bows from kneeling position) Sir.

KURACHI

And my three children…

SUKEJIRO

Yes, yes, this would be Hanako, and you must be Taro. The very likeness of your father. And Tomo, you’re here, you’re here! I’m so glad to see you here and healthy!

KURACHI

You know their names?!

TOMO

Is this the stingy Old Moneybags, father?

KURACHI

Tomo!

SUKEJIRO

(laughing heartily) That’s perfectly all right, Kurachi. Yes, Tomo, it’s the Old Moneybags himself! It’s a pleasure to meet you.

MRS KURACHI

(briskly) Well, if you’ll forgive us, Mr Sukejiro, we were just preparing to eat…

KURACHI

Perhaps you’d like to join us.

MRS KURACHI

(gives him sharp shove) We have very little to offer…

SUKEJIRO

Yes, I thought this might be helpful.

To their amazement, he hands them the huge fish.

MRS KURACHI

(astonished) This is a huge sea bream!

SUKEJIRO

Yes, it’s usual for New Year’s, I believe?

TOMO

I know, I know, because it’s brimming with good luck, isn’t that right, Mr Sukejiro?

SUKEJIRO

That’s right, Tiny Tomo.

KURACHI

This must have cost you a fortune! (still not certain how to react) Sir, is everything okay at the office?

SUKEJIRO

Everything’s fine, Kurachi, fine. I didn’t want to talk about work, but I should let you know that I’ve decided to raise your salary in the new year.

KURACHI

Sir, are you serious?!

SUKEJIRO

Never been more serious. I think double will do, don’t you?

MRS KURACHI

(almost falling over, stammers) M, maybe we do have enough dinner for you after all. Won’t you join us?

SUKEJIRO

If it’s no trouble… (kneels at kotatsu)

MRS KURACHI

Let me pour some sake for you! (hurriedly pulls out sake and cups)

SUKEJIRO

(turning to the children) Your father’s a good and honest worker, children, a fine man. You’d do well to take after him. (pulls envelopes from his kimono sleeve) Here are some New Year’s allowances for you. Spend it wisely!

HANAKO, TARO, TOMO

(variously) Yea!!! Thank you!!

MRS KURACHI

(handing him sake cup with great politeness) Here you are.

SUKEJIRO

Thank you.

She pours sake for him and her husband. Suddenly the temple bell sounds. Sukejiro stiffens.

KURACHI

(not noticing Sukejiro) There’s the bell of the new year!

SUKEJIRO

(relaxing)   Of course, of course! (raising glass) And so…

TOMO

Wait, wait, let me do it!!

SUKEJIRO

Hmm?

Tomo positions himself dramatically on his knees in the middle.

TOMO

(with great flair, declares while bowing deeply) Happy New Year everyone ~~!!

All laugh and exchange greetings as the curtains close.

END