you her son?
Who's your father?
What is he?
Why get so upset?
A nice son you have.
I have to teII them something.
Let me go! Let go!
You fooI! You prize fooI!
Be sensibIe, you fooI!
Who's not sensibIe?
How dare you interfere?
Stop meddIing.You have no say in this matter!
What's wrong with seeing my son?
My own son, mind you.
Any objections?
Speak up if you have any!
You certainIy can dish it out,
can't you?
Shut up.
How dare you?
Ingrate.
What?
Forget about Okaya?
Who got you out of that hoIe?
And at Toyokawa, too!
Each time you got stranded.
Where wouId you be without me?
Each time I had to appeaI
to the impresario on aII fours!
Remember that!
You ungratefuI brute!
What?
Shut up.
Who are you?
Remember what you were!
You were a common whore!
You came up to me begging!
I turned you into an actress, remember.
You ungratefuI wretch --
Iower than an animaI.
You prize idiot, you.
I can get aIong aII by myseIf
without any heIp from you.
Don't make me Iaugh, idiot.
Idiot, you say?
You took the word out of my mouth!
How dare you?
I'II taIk. So what?
AIright!
I'm through with you!
I forbid you from that house!
My son is different from you,
mind you.
He beIongs to a higher cIass.
Don't forget that, you fooI!
What's the matter?
It's aII but empty.
We're miserabIe faiIures.
We'II aII be stranded.
Lord Buddha heIp us.
Listen, Kayo.
I want you to do me a favor.
A young man is working
at the post office here.
A good-Iooking boy named Kiyoshi.
Yes? And what about him?
Here.
What's this?
Keep it.
How come?
Just see this boy.
Lead him on a bit.
Lead?
He'II faII for you, I'm sure.
Do that for me.
I'm sorry. I can't.
I'm being serious, Kayo.
But I don't even know him.
Very weII.
AIright.
If you feeI that way.
Forget it.
I don't know that I couId do it.
You couId.
I know you couId.
I have yet to see a man
who wouIdn't say yes to you.
You reaIIy think I couId?
I might not.
You can.
TeII me. Why?
Just try.
To see how good you are.
Keep the money.
AIright. Thanks.
Tomorrow, then.
AIright. I'II try then.
A teIegraph bIank, pIease.
And a penciI.
- Here's a pen.
I can't write with a pen.
PIease.
I saw you on the stage.
You did?
Your name is Kiyoshi, isn't it?
How did you know?
A IittIe bird toId me.
Here. Send it.
Come outside to see we.
No. Come outside to see me.
Who to?
To you.
I'II be right back.
Come to the theater
after the show tonight.
I'II be expecting you.
I'II be right back.
Where you going?
To the post office.
Some noodIes, pIease.
I'm gIad you came.
I thought you wouIdn't come.
You're trembIing, aren't you?
Me, too.
See?
The sky's so bIue, it's sad.
Don't be siIIy.
I want to eat a big cutIet.
I'm reaIIy hungry.
Oh, for some shrimp
and a bottIe of coId beer.
With an eIectric fan turning.
Other peopIe are eating right now.
That girI at Handa, remember?
She wrote me a Ietter.
I got one, too.
The one with the moIe?
I got one myseIf.
So we're sharing something, eh?
Oh, no.
I saw the barber's daughter.
Stop it, wiII you?
She's no good.
No good.
By the way,
why is the Master never here?
Where does he go every day?
I see him stepping out every day.
I don't know.
No wonder Miss Sumiko's worried.
What became of the manager?
No news from him yet.
No news is bad news.
No good.
Maybe he's run away.
Or eIse he'd be back by now.
What if he doesn't come back?
We'II be stranded again.
Look at that pIane.
Come over here
and drop us some coId beer.
Can we go on seeing each other
every day Iike this?
What about your work?
I'm on a Ieave of absence.
And you?
The show's over.
No more performances.
Why did it fIop Iike that?
We'II have to part for good soon.
What'II we be doing
around this time next year?
Stop taIking Iike that.
You'II be married, I think.
Of course not.
Why?
What about you?
What do you think?
PIease. Don't.
Why?
Nobody's Iooking at us.
- You mustn't.
- But