GIRI/HAJI

義理/恥

Episode 6 (第 6 話)
“Until the Time Comes”

Final Shooting Script

08.04.19

Written by Joe Barton

Copyright Sister Pictures Ltd.

This script is strictly confidential. Please do not discuss the contents of this script with anyone outside the production.
The sending of this script does not constitute an offer for any part in it.
 Episode 6 - Final Shooting Script - 08.04.19 1.

6/1 INT. COURTROOM, CROWN COURT, LONDON - DAY S16 6/1

We are with IAN as he sits in the dock. In the background,

almost out of focus, SARAH is being interviewed as a witness.
Scene 4/81.

SARAH
I saw the defendant handing an
object to a mid-thirties white male
that came to the door of a flat on
the high street.

The sound drifts away. We just stay with IAN as his world
slowly crumbles...

6/2 INT. PRISON, UK - DAY I1 6/2

IAN, wearing a prison uniform, follows a GUARD down a

corridor. They come to a door and the GUARD pauses.

GUARD
There’s a TV room and they watch
the news. So they already know you
were a cop.
(pause)
Don’t let them see any weakness.
And don’t trust anyone that tries
to be your best mate right away.
Try and keep your head down. You
won’t be flavour of the month
forever.

IAN nods. The GUARD looks at him, the way a zoo keeper might
look at a goat that was about to be put into the tiger
enclosure.

The cell door opens.

6/3 INT. CORRIDOR, PRISON, UK - DAY I2 6/3

We move along the corridor. The sound of a commotion ahead of

us. We enter the shower room --

6/4 INT. SHOWER ROOM, PRISON, UK - DAY I2 6/4

We move along the floor. The showers are running. Water pools
down the plug hole. A trail of blood swirls through it.

We finally reach IAN. He’s on the ground, being beaten by

THREE MEN. He stares ahead as the kicks and blows come in.
Like he’s in a trance.
 Episode 6 - Final Shooting Script - 08.04.19 2.

FLASH - IAN’s P.O.V: SARAH gives evidence in court. She

finally looks at us, right down the barrel of the camera.

More kicks and punches rain down on IAN in the shower.

FLASH - IAN’s P.O.V: SARAH looking at us over the table,

eating a Chinese take-away and smiling.

Someone stamps on IAN’s hand, breaking his fingers.

FLASH - We see from IAN’s P.O.V - he’s lying in bed and SARAH
is staring back at him lovingly.

We’re close on IAN’s bloodied and bruised face, lying on the

floor of the shower, as the men brutalise him. He stares
ahead, blankly.

TITLES.

6/5 INT. BAR, LONDON - NIGHT 11 6/5

RODNEY sits next to a man in his 20s, this is NEIL.

RODNEY is pissed, slightly folding in on himself, eyes not

focusing.

RODNEY
That’s a nice watch.

NEIL
Thanks. My husband got it for me.

RODNEY
Wow, he must really like you.

NEIL
That’s why he married me.

RODNEY
I’m not trying to hit on you.

NEIL
I know.

RODNEY
I’m really not.

NEIL
No, I know. It’s insulting. You’ve
tried to shag everyone else in
here.
Episode 6 - Final Shooting Script - 08.04.19 3.

RODNEY
Ah we’re friends. Another drink?

NEIL
I think they’re closing.

RODNEY
Nonsense.
(to Barman)
Two more here.

The BARMAN ignores him, shakes his head as he counts the

money in the till.

RODNEY (CONT’D)
Okay. There’s a place round the
corner that’s open ‘til six.

NEIL
Nah. I’m knocking it on the head.

RODNEY
Oh, don’t do that.

NEIL gets off his stall.

NEIL
That’s your problem, Rodney, you
don’t know how to go home.

RODNEY slumps against the bar.

RODNEY
You mean ‘when’.

NEIL heads for the door, doesn’t look back.

NEIL
Nope.

The door closes behind him.

We stay on RODNEY. He sighs. The world spinning around him.

He leans over the bar and grabs a bottle of whisky, starts to

free pour into his glass.

BARMAN
Hey!

RODNEY jumps off his stall with his glass, spilling drink as
he runs out and into the night.
 Episode 6 - Final Shooting Script - 08.04.19 4.

6/6 INT. CAR, LONDON - NIGHT 11 6/6

Thud! The passenger door slams shut as RODNEY gets in. The
DRIVER unzips his fly and RODNEY lowers his head into the
man’s lap.

6/7 INT. CAR, LONDON - NIGHT 11, LATER 6/7

Later. The DRIVER hands RODNEY a small handful of twenty

pound notes. He gets out and slams the door shut.

6/8 INT. DRUG DEALER’S CAR, LONDON - NIGHT 11 6/8

Thud! The passenger door slams shut as RODNEY gets in. RODNEY
palms the DEALER the money.

6/9 INT. DRUG DEALER'S CAR, LONDON - NIGHT 11, MOMENTS LATER 6/9

The DEALER unzips a little wash bag, from which he gets a

baggie of cocaine. RODNEY takes it and gets out, slamming the
door shut.

6/10 EXT. LONDON STREETS/CLUB - NIGHT 11 6/10

RODNEY walks through Central London streets until he finds a

late-night club. He enters.

6/11 EXT. CLUB, LONDON STREETS - SUNRISE 12 6/11

RODNEY comes out of the club, more wasted than when he went
in.

6/12 INT. RODNEY’S BEDSIT, LONDON - MORNING 12 6/12

RODNEY comes in. He collapses on the bed. He brings out his

little baggie of cocaine. There’s enough for perhaps one more
line, which he does.

6/13 INT. RODNEY'S BEDSIT, LONDON - MORNING 12, LATER 6/13

RODNEY tears open the baggie and rubs it together to try and
get the very last residue of coke out.
 Episode 6 - Final Shooting Script - 08.04.19 5.

6/14 INT. RODNEY'S BEDSIT, LONDON - MORNING 12, LATER 6/14

RODNEY searches around his room. He finds what he was looking

for - the rock of crack that he stole from Tiff’s bedroom,
still hidden in Tiff’s old sock. He gets the drugs out.

TIFF (O.S.)
That’s a very bad idea.

RODNEY looks over. TIFF sits in the corner, full dress and
make-up on.

RODNEY
So was killing yourself.

6/15 INT. RODNEY'S BEDSIT, LONDON - MORNING 12 6/15

RODNEY is smoking crack, using tin foil and a lighter and

straw to inhale the smoke.

Farcically, he has googled ‘how to smoke crack’ on his phone.

It kicks in quickly and he lies back on the floor.

Outside, sunshine streams through the windows. Birds sing.

TIFF’s hand reaches into his hand and squeezes it. He smiles.

We look at him from a wide angle and he is completely alone.

6/15A INT. BEDROOM, SARAH'S FLAT, LONDON - MORNING 12 6/15A

KENZO wakes in a chair. YUTO sleeps on the bed. KENZO sits

for a few minutes, letting all of his many problems seep back
into his consciousness.

6/16 INT. HALLWAY, SARAH'S FLAT, LONDON - MORNING 12 6/16

SARAH carries a towel to the bathroom. KENZO comes out of her

room. He pushes two newly-installed bolts closed behind him,
locking the bedroom from the outside.

SARAH
Are you sure that’s necessary?

KENZO
Not really.

He sighs.
 Episode 6 - Final Shooting Script - 08.04.19 6.

KENZO (CONT’D)
He’s still asleep. I’m going to go
and collect Taki from my apartment.
I won’t be long.

SARAH
Okay.

He smiles at her, apologetically. He goes to leave, then

stops.

KENZO
A man came here yesterday. He said
you thought he’d broken your
window.

SARAH pales slightly. He notices.

KENZO (CONT’D)
Is everything okay?

SARAH
Fine.

He nods and slips past and out of the flat. SARAH goes into
the bathroom.

6/17 INT. KITCHEN, SARAH'S FLAT, LONDON - MORNING 12 6/17

SARAH comes in, dressed but hair still drying from the
shower. She stands in the kitchen, thinking...

6/18 INT. LANDING/BEDROOM, SARAH'S FLAT, LONDON - MORNING 12 6/18

SARAH stands outside her bedroom door. With slight

trepidation, she draws the bolts back and opens the door.

YUTO is sat on the bed. They look at each other.

6/19 INT. TAXI, LONDON - MORNING 12 6/19

All dialogue in Japanese unless otherwise stated.

TAKI and KENZO sit in the back.

KENZO
You spoke to your mother and
grandmother?

TAKI
Yes.
 Episode 6 - Final Shooting Script - 08.04.19 7.

KENZO
Did you say anything about -

TAKI
Did I tell them you were in a gun
fight and that you have Uncle Yuto
locked in another woman’s bedroom?
No. I didn’t tell them.

KENZO
It’s not the right time.

TAKI
Good luck working out when that
will be.

Pause. KENZO looks at her.

KENZO
Your grandfather wasn’t in any
pain, you know. It was very
peaceful.

TAKI
I didn’t get a chance to say
goodbye to him. It’s supposed to be
what we do.
(beat)
It’s who we are.

She looks out of the window and they carry on driving.

6/20 INT. SARAH’S FLAT, LONDON - MORNING 12 6/20

YUTO, still bearing the marks from the gun fight, sits at the
table drinking coffee.

YUTO
This is excellent coffee.

SARAH
Thanks. It’s from a place round the
corner. They grind the beans for
you. It’s... y’know, it costs a
little more but I think it’s worth
it.

He nods and they fall back into silence.

SARAH (CONT’D)
I’m sorry about your dad.
Episode 6 - Final Shooting Script - 08.04.19 8.

YUTO
He was a good man.

The doorbell rings.

YUTO (CONT’D)
Deserving of better sons, I think.

He smiles at her. SARAH gets up and shortly after returns

with KENZO and TAKI.

KENZO stops when he sees YUTO.

SARAH
It’s okay. I was watching him.

YUTO
I didn’t try and run away.

KENZO
I don’t care. If I’m not with you,
you stay in your room, with the
door locked.

YUTO raises his hands - ‘Okay Boss’. KENZO sits down opposite
him. YUTO pours coffee for everyone.

TAKI
(Japanese)
Do we have to say stuff that we
feel guilty about again?

KENZO
(Japanese)
No, that was just the one time.

TAKI
Oh.

KENZO
(English, to Yuto)
The British Police want to see me
today.

YUTO
(Japanese)
What about?

KENZO
(Japanese)
What do you think?
Episode 6 - Final Shooting Script - 08.04.19 8A.

YUTO
(Japanese)
You should take Taki with you.
 Episode 6 - Final Shooting Script - 08.04.19 9.

KENZO
(Japanese)
Why?

YUTO
(Japanese)
A man with his daughter is less
suspicious.

KENZO
(Japanese)
We don’t know they’re suspicious.

YUTO
(Japanese)
Of course they are.

KENZO looks at SARAH, who is watching the conversation,

curious.

KENZO
(English, to Sarah)
He is saying I should take Taki
with me.

SARAH
It’s actually not a bad idea. I can
tell them your English is terrible.

YUTO
She can be your...
(Japanese)
What is it called?

TAKI
(English)
Translator.

YUTO
(Japanese)
See, she’s doing it already.

KENZO looks at TAKI, considering it. YUTO gets back to his

breakfast.

YUTO (CONT’D)
(Japanese)
Or you could just hand me in. Your
choice.

6/21 INT. RECEPTION, POLICE STATION, LONDON - DAY 12 6/21

All dialogue in Japanese unless otherwise stated.

Episode 6 - Final Shooting Script - 08.04.19 9A.

TAKI and KENZO sit in the waiting area.

TAKI
Are we breaking the law?

Pause. He thinks.

KENZO
No. But, um -

TAKI
Maybe not the right time to tell
Mum?

He nods.
 Episode 6 - Final Shooting Script - 08.04.19 10.

6/22 INT. POLICE STATION, LONDON - DAY 12 6/22

TAKI and KENZO are lead through the police station by BILL -
past photos of the Soho shoot out. ANGLING greets them at his
OFFICE.

ANGLING
Detective Mori. Welcome to our
nick.

6/23 INT. ANGLING’S OFFICE, POLICE STATION, LONDON - DAY 12 6/23

TAKI and KENZO sit opposite ANGLING.

ANGLING
So, our officer was shot in Tokyo,
meanwhile I’ve got this guy at the
gun fight in Soho.

ANGLING shows KENZO the mug shot of YUTO and the series of
CCTV stills of YUTO in the gun fight. He lays them out one by
one...

In the back of the final photo is a shadowy figure with his

back to the camera. ANGLING can’t make it out but KENZO and
TAKI, when they look at it, can make out that it is KENZO.
Both stare down at the photo.

ANGLING slides over another photo - the crime scene photos

from Saburo’s apartment. TAKI looks at the photo of SABURO,
shocked.

ANGLING (CONT’D)
We believe he murdered this man -
Saburo Endo, a Japanese national,
in London.

TAKI is staring at the photo in horror.

KENZO
(Japanese)
You need to say something.

TAKI
(Japanese)
It didn’t look that bad in my
imagination.
(beat)
It doesn’t seem like they know who
Uncle is yet.
Episode 6 - Final Shooting Script - 08.04.19 11.

KENZO
(Japanese)
He gave them a fake name when he
was arrested. But it’s only a
matter of time. Ask him if he’s
sent the photos to Interpol.

TAKI
(English, to Angling)
He asks if you’ve sent them to
Interpol.

ANGLING
We’re waiting on them. I also spoke
to a Captain Hayashi in Tokyo. He
said he didn’t recognise him but
he’s going to run it through the
system.

TAKI
(Japanese)
Captain Hayashi is your boss, isn’t
he?

KENZO
(Japanese)
Yes. The one who sent me here.

TAKI looks at the photo again.

TAKI
(Japanese)
The guy in the photo is a bad man,
right? That’s why Uncle killed him?

KENZO just looks at her with sympathy. This is a learning

curve for her.

ANGLING
The information we have on Saburo
is that he was related to a known
Yakuza boss in Tokyo called Shin
Endo. Endo is a suspect in a number
of violent incidents recently,
possibly including the one that
injured my detective in Japan.

TAKI
(Japanese)
I need to say the words Saburo and
Yakuza and Tokyo and Shin Endo -
whoever that is - so he thinks I’m
repeating him. Do you mind Uncle
staying at Sarah’s house?
Episode 6 - Final Shooting Script - 08.04.19 12.

KENZO
(Japanese)
Don’t use her name. Why would I
mind that?
(beat)
Tell him that Shin Endo is one of a
few suspects in ongoing cases in
Tokyo but we don’t believe they
have anything to do with the murder
of his nephew.

TAKI
(English, to Angling)
Shin Endo is just a suspect in
those crimes but they don’t think
it’s because someone killed his
nephew.

ANGLING nods. He leans back in his chair and thinks.

ANGLING
A Yakuza boss’s nephew is murdered
and the suspect turns up in a Soho
turf war between Connor Abbot and
the Albanians. There has to be some
connection, wouldn’t you agree?

TAKI
(Japanese)
I just meant before that Uncle has
done bad things. And... your
friend... is a police officer. And
I think that you care about her.
(pause)
Yakuza, Abbot, Soho. Whatever. I’m
translating.

KENZO
(Japanese)
‘My friend’ is fine. Tell him the
Yakuza have no interest in London.

TAKI
(English)
The Yakuza have no interest in
London.

ANGLING
Well, things change. How are you
finding the course?

TAKI
(Japanese)
He’s suspicious of you.
Episode 6 - Final Shooting Script - 08.04.19 13.

KENZO
(Japanese)
Good.

TAKI
(Japanese)
How is that good?

KENZO
(Japanese)
No, tell him I’m finding the course
‘good’.

TAKI
(English)
He likes the course.

ANGLING
I would have thought it was a bit
basic for a detective of your rank.
The guy we sent over to Tokyo, Roy,
well they’ve got him doing proper
police work. He’s got shot in the
arse for it. You’ve just been
taking lectures. But then, I
checked, and we were expecting a
junior crime scene investigator.
You were a last minute replacement,
weren’t you?

TAKI
(Japanese)
I’m a big stupid detective from
England and I have stupid questions
about stupid police stuff because
I’m too dumb to work it out myself.

KENZO looks at her.

TAKI (CONT’D)
(Japanese)
Sorry.

KENZO
(Japanese)
Tell him the man I replaced fell
ill suddenly.

TAKI
(English)
He got ill suddenly.
Episode 6 - Final Shooting Script - 08.04.19 13A.

ANGLING
So you came all the way here
instead?

TAKI thinks of something.

TAKI
(Japanese)
Did Granddad’s illness get worse
suddenly?
Episode 6 - Final Shooting Script - 08.04.19 14.

KENZO
(Japanese)
Tell him to have not sent anyone
would have seemed impolite. Your
grandfather was ill for a long
time.

TAKI
(English)
To have not sent anyone would have
seemed impolite.

ANGLING
Good of you to sit through the
lectures. Seeing as your English is
so bad.

TAKI
(Japanese)
I know granddad was ill for a long
time but did you know he might die
before we got back?

KENZO looks at her. ANGLING studies his face. TAKI realises

the truth.

ANGLING
Do you deal with the Yakuza in
Tokyo?

TAKI
(Japanese)
You did know, didn’t you.

KENZO looks at her. Sorry and ashamed.

KENZO
(English)
Yes.

Her face falls.

ANGLING
So all this must seem very close to
home for you then.

TAKI
(Japanese)
What do you want me to say?

KENZO thinks. He looks up to see ANGLING staring right at

him. And on the desk, the photos of the corpses, of his
brother, and of him...
 Episode 6 - Final Shooting Script - 08.04.19 15.

KENZO
(Japanese)
Tell him I feel very far from home
indeed.

6/24 INT. DINING ROOM, APARTMENT, TOKYO - NIGHT 11 6/24

A middle class apartment, fairly large. SIX PEOPLE - three

couples in their 40s - are having a dinner party, sitting
around the table. There’s a buzz at the front door. One of
the men - the HOST - gets up and leaves the room to answer
it. The rest continue to chat amongst themselves.

A commotion. THREE MEN IN MASKS burst into the dining room,

roughly pushing the HOST in front of them. The HOST is pushed
down face first onto the table. The three masked men then
point silenced handguns and execute the FIVE OTHER DINERS.
Finally, one of the masked men pulls the HOST up and cuts his
throat with one of the dinner knives.

6/25 SCENE OMITTED 6/25

6/26 INT. CORRIDOR, KARAOKE CLUB, TOKYO - NIGHT 11 6/26

A WAITRESS carries a tray of drinks along the corridor. She

passes JIRO coming the other way, tucking something into his
jacket pocket and straightening his tie. He smiles and nods
at her, checks her out after she’s passed him.

She carries on, comes to a room from where loud music is

blaring --

She enters, pushing the door open with her back.

 Episode 6 - Final Shooting Script - 08.04.19 16.

WAITRESS
Hi, I have your drinks ready -

She screams and drops the tray when she looks into the room.

There are FOUR PEOPLE in there, all of them executed by

bullets to the head. One of them still holds the microphone.

6/27 INT. CINEMA, TOKYO - NIGHT 11 6/27

An almost empty screening in a small cinema. A MAN IN HIS

FORTIES sits with his WIFE, watching a film.

TWO MASKED MEN come in. One of them shoots a man in a suit
sitting near to the couple - their BODYGUARD. The handful of
other people in the screen run out screaming.

The TWO MASKED MEN reach the MIDDLE-AGED COUPLE. The wife
screams and tries to run away, clambering over the seats in
front of her. One of the masked men calmly executes her. The
middle aged man stays sitting. He looks up at the two men,
helpless rage in his eyes. One of the masked men brings out a
hammer. He brings it down on the middle-aged man’s head.

On screen, the film carries on playing as the man is beaten

to death...

6/28 EXT. GARDEN, SARAH'S FLAT - DAY 12 6/28

KENZO lights a cigarette. He and SARAH stand in the garden.

KENZO
Your boss knows there’s a
connection but he hasn’t got there
yet.

SARAH
But he will. He’ll find out who
Yuto is, he’ll find out he’s your
brother... You’re running out of
time, Kenzo.

KENZO
Japan is a death sentence for Yuto.
The British Police... they’ll end
up sending him back anyway. But to
just let him go...

SARAH
He killed someone.
 Episode 6 - Final Shooting Script - 08.04.19 17.

KENZO
And it is my responsibility as a
policeman to make him see justice.
But my responsibility as a brother
to keep him safe. I can’t do both.

He glances at TAKI, who is sitting in the front room staring

grumpily at the TV.

SARAH
Is she okay?

KENZO
Well. Her uncle is a murderer, her
father is a corrupt cop and her
granddad is dead so... Not really.

SARAH
Was she close to your father?

KENZO
I’d never seen my dad hug anyone
until my daughter was born. I
honestly didn’t know he knew the
words ‘I love you’ until he met
her. They adored each other.
And she didn’t get to say goodbye.
And that’s my fault.

SARAH
We’re really knocking it out the
fucking park, aren’t we.

KENZO smiles, despite himself.

KENZO
Maybe it’s not too late.

KENZO goes inside. SARAH watches as he sits down next to TAKI

on the sofa and starts to talk.

We stay with SARAH outside but we see the subtitles from the
Japanese that KENZO is speaking to TAKI through the window:

It’s what we do. It’s who we are.

6/28A INT. KENZO'S APARTMENT, TOKYO - DAY 12 6/28A

HOTAKA’s body lies in the empty room. His wheel chair and
oxygen nearby. His cigarettes still on the side. Ash tray not
empty yet.
 Episode 6 - Final Shooting Script - 08.04.19 18.

6/28B INT. BEDROOM, KENZO’S APARTMENT, TOKYO - DAY 12 6/28B

REI lies on her side of the bed, staring up at the ceiling.

She wears a black dress. A big space next to her where KENZO
used to lie.

6/29 INT. KENZO’S APARTMENT, TOKYO - DAY 12 6/29

All dialogue in Japanese unless otherwise stated.

NATSUKO lies in the bedroom she shared with HOTAKA. She looks
broken. Smaller than before. She wears a black kimono.

REI comes and stands at the door.

REI
He was an old man. He lived as long
as any person is supposed to.

NATSUKO looks up at REI with tear-stained eyes.

NATSUKO
So why doesn’t it feel like enough?

REI
Birth is agony, life is hard, death
is cruel. Don’t ask me to explain
it.

NATSUKO just shakes her head. Continues to lie there

silently.

REI (CONT’D)
You’re feeling sorry for yourself.
It doesn’t suit you.

NATSUKO
I’m mourning.

REI
You don’t have the luxury.

NATSUKO
Why not?

REI
Because you have a grandson. Yuto’s
little boy. Six months old. And he
needs rescuing. Your husband’s
dead, mine’s on the other side of
the world. So who else is going to
do it?
 Episode 6 - Final Shooting Script - 08.04.19 19.

6/30 INT. HOSPITAL ROOM, TOKYO - DAY 12 6/30

All dialogue in Japanese unless otherwise stated.

FUKUHARA sits in bed. HAYASHI stands opposite him.

HAYASHI
Capos from three different
organisations are dead. Ikushima
was killed in his own home.
Sugimoto was beaten to death with a
hammer. We’re losing control.

FUKUHARA
Any news from London?

HAYASHI shifts uncomfortably.

HAYASHI
Detective Mori is continuing his
investigation.

FUKUHARA gives him a long look.

FUKUHARA
Sending him was a mistake. I’m
ordering my own men to go to London
to finish the job.

HAYASHI looks alarmed.

HAYASHI
I don’t think bringing Yuto Mori
back is going to stop this war any
more.

FUKUHARA
Of course it’s not going to stop
the war now. We’re not losing
control, we’ve already lost it. But
he betrayed me. He disgraced
himself. He brought shame to my
family and it will not go
unpunished. I only hope I live long
enough to see it.
 Episode 6 - Final Shooting Script - 08.04.19 20.

6/31 INT. RODNEY'S BEDSIT, LONDON - DAY 12 6/31

RODNEY lies on the floor, where we left him. A car horn

sounds outside. And another one. He opens his eyes and looks
out the window. SARAH’s little five door hatchback is parked
outside - TAKI, KENZO, SARAH and YUTO inside. TAKI leans out
the window.

TAKI
We’re going to the sea!

RODNEY
Thank you. Very much no.

RODNEY flops onto the bed and lies down. The car horn blasts
again. It’s not going to stop...

6/32 INT. SARAH'S CAR, LONDON - DAY 12 6/32

RODNEY gets into the back. The arrival of his woman’s sun hat
hat forces YUTO to duck slightly.

RODNEY
What in God’s name is happening?

KENZO
Taki’s grandfather passed away.
We’re going to the seaside to
honour him.

RODNEY
Couldn’t you just honour him in the
pub?

TAKI
He loved the sea.

RODNEY
Fine.
(to Yuto)
Last time I saw you you’d just been
blown up. How did that all pan out?

YUTO
I didn’t die.

RODNEY
Fabulous.
(to Sarah)
I have three questions about your
car. Did you lose a bet? Can I
drive? Does she have a radio?
 Episode 6 - Final Shooting Script - 08.04.19 21.

SARAH
No, no, and yes.

She puts the radio on. Upbeat music blares out.

RODNEY
Well let’s go to the fucking
seaside then.

6/33 EXT. SOHO STREETS, LONDON - DAY 12 6/33

SARAH’s car drives, tunes blaring.

RODNEY (O.C.)
Wait wait! Stop here.

The car screeches to a stop.

RODNEY (O.C.) (CONT’D)

I’ll be one minute. Taki, I require
you.

RODNEY and TAKI run out of the car.

6/34 INT./EXT. ANNIE’S FLAT, LONDON - DAY 12 6/34

RODNEY buzzes on the intercom.

TAKI
Where are we?

RODNEY
Annie. Your future bride. The very
girl of your dreams.

TAKI suddenly looks panicked.

RODNEY (CONT’D)
Oh, don’t run away.

ANNIE
Hello?

RODNEY
Buzz us in you slut.

The door buzzes and RODNEY leads TAKI up the stairs.

 Episode 6 - Final Shooting Script - 08.04.19 22.

6/35 INT. ANNIE’S FLAT, LONDON - DAY 12 6/35

RODNEY and TAKI enter the small flat. ANNIE is there. She
kisses RODNEY on the cheek, then she sees TAKI behind him.
She grins broadly.

ANNIE
Hi.

RODNEY
Hello. We were just passing and we
were wondering if you wanted to
come for a drink this week.

ANNIE looks at TAKI.

ANNIE
I can certainly make myself free.

RODNEY
She can certainly make herself
free, well that’s what we like to
hear. Also. Side note: Do you have
any...

He gives her a look. She rolls her eyes.

ANNIE
Babe...

RODNEY
I have one rule for leaving the
city and that is to never do it
with a clear head.

ANNIE
That’s your one rule for
everything, isn’t it?

ANNIE goes to a drawer and rifles through. Finds a tin and a

small baggie of white powder.

ANNIE (CONT’D)
You owe me.

RODNEY
Always and forever.

RODNEY grabs TAKI’s hand and drags her out.

6/36 INT. SARAH'S CAR, LONDON - DAY 12 6/36

TAKI and RODNEY get in.

 Episode 6 - Final Shooting Script - 08.04.19 23.

SARAH
Are you ready now?

RODNEY
Yes. Onward. Let us bring light to
the provinces.

They get moving. YUTO glances at TAKI, who avoids his gaze.

6/37 EXT. MOTORWAY, UK - DAY 12 6/37

SARAH’s car speeds down the slow lane, music playing.

6/38 EXT. COUNTRY ROAD, UK - DAY 12 6/38

SARAH’s car drives on.

6/39 INT. SARAH'S CAR, UK - DAY 12 6/39

They drive. KENZO has the window rolled down. He looks at the
countryside rolling past. He turns and looks at SARAH, who
smiles at him.

6/39A EXT. BEACH CAR PARK, UK - DAY 12 6/39A

SARAH’s car pulls into a car park by the beach.

6/40 SCENE OMITTED 6/40

6/41 SCENE MOVED TO 6/48A 6/41

6/42 EXT. HOSPITAL, TOKYO - NIGHT 12 6/42

All dialogue in Japanese unless otherwise stated.

TOSHIO stands, snow lightly falling.

He looks around, scouting for danger. A car is parked across

the road - SHADOWY FIGURES inside, watching the hospital. In
the distance, a police siren wails.

HAYASHI comes out of the hospital and joins him. They stand,
shivering, in the cold.

HAYASHI
Have you ever been to London?
 Episode 6 - Final Shooting Script - 08.04.19 23A.

TOSHIO just looks at him.

6/43 SCENE OMITTED 6/43

 Episode 6 - Final Shooting Script - 08.04.19 24.

6/44 SCENE OMITTED 6/44

 Episode 6 - Final Shooting Script - 08.04.19 25.

6/45 INT. KENZO’S APARTMENT, TOKYO - NIGHT 12 6/45

All dialogue in Japanese unless otherwise stated.

REI and NATSUKO sit on the laptop. REI is looking up an

address on Google Maps.

REI
Yuto said this was the address.

NATSUKO
How did he sound?

REI
Same as always. Like he’d just
heard a joke only he understands.

Pause. REI gets back to her task.

NATSUKO
The girl is called Eiko?

REI
She’s the daughter of a Yakuza boss
that Yuto was working for.

NATSUKO
My son wasn’t -

REI
Your son was a gangster, Natsuko.
Deny it if you want. But you know
it’s true.
Episode 6 - Final Shooting Script - 08.04.19 26.

NATSUKO doesn’t say anything at first.

NATSUKO
Eiko, then. And baby Sora.

REI
We’ll need a place to take them
afterwards.

NATSUKO
I know a place.

There’s a knock at the door. REI goes and answers it. A man
in his 40s is there, this is the FUNERAL DIRECTOR.

FUNERAL DIRECTOR
Mrs. Mori. I am here to collect
your father-in-law’s body.

REI
Oh. Yes...

A sense that REI had forgotten the man was coming. She allows
him in.

He looks around the empty flat.

FUNERAL DIRECTOR
The wake is finished? No more
guests to come?

NATSUKO
There were no guests.

The FUNERAL DIRECTOR looks surprised but says nothing.

He nods to TWO PORTERS, who go to move HOTAKA’S BODY.

NATSUKO (CONT’D)
Wait.
(beat)
We have a trip to go on. I want my
husband with us.

FUNERAL DIRECTOR
Of course. You’ll receive the ashes
after the ceremony tomorrow if you
wish to spread them -

NATSUKO
We can’t wait that long, you’ll
have to cremate him tonight.
 Episode 6 - Final Shooting Script - 08.04.19 27.

FUNERAL DIRECTOR
Mrs. Mori, I’m afraid that’s simply
not possible, I -

NATSUKO
Listen to me, young man. My husband
was born in a village, the fifth
child of seven. Three didn’t live
past infancy, two more didn’t live
to see thirty. He worked every day
of his life. He fought poverty,
then the Yakuza, then cancer. None
of them scared him and only one
beat him. He lived a thousand lives
by the time you were born. He was a
giant. Now I’ve said all I need to
say to him and I’ve said all I need
to say to you so go and do your
job. We’ve got things to do.

The OWNER looks at REI, who gives him a small smile - better
do what she says.

6/46 SCENE OMITTED 6/46

6/47 SCENE OMITTED AND CONTENT MOVED TO 6/45 6/47

6/48 SCENE OMITTED 6/48

6/48A SCENE OMITTED 6/48A

6/48B SCENE OMITTED AND CONTENT MOVED TO 6/48C1 6/48B

 Episode 6 - Final Shooting Script - 08.04.19 28.

6/48C EXT. BEACH, UK - DAY 12 (INTERCUT) 6/48C

In the UK: KENZO, TAKI, SARAH, YUTO and RODNEY stand by the
water’s edge.

TAKI puts down two large stones, onto which she has finished
writing HOTAKA’s name in kanji.

KENZO pours bottled water into the plastic bucket. YUTO

gently pours water over the stones.

TAKI pushes flowers into the sand either side of the stones
on the beach.

KENZO puts the thin white birthday candles into the sand and
lights them (giving a sideways look at TAKI as he does so -
it’s a makeshift ceremony, wrong candles, but the intention
is right).

TAKI lights incense sticks and puts them into the sand.

YUTO puts down a small bottle of whisky.

KENZO pours from the water bottle into a small hole dug in
front of the makeshift headstone that they’ve made.

They all stand in silence for a few minutes.

KENZO looks up at the water.

6/48C1 INT. CREMATORIUM ROOM, JAPAN - NIGHT 12 (INTERCUT) 6/48C1

We intercut two funeral practices:

In TOKYO: REI and NATSUKO stand in a nondescript room.

An ORDERLY wheels in a table with a cloth covering it. He

respectfully removes the cloth, revealing a tray. Filled with
ash and bones. He bows to them and then leaves.

REI and NATSUKO look at each other and then, working

together, take pieces of bone from HOTAKA’s ashes and place
them into an urn with metal chop sticks.

Together they lift a larger piece of bone up, both holding it

with their chopsticks. They carefully place it into the urn,
glancing up and looking at each other as they do.

6/48D EXT. BEACH, JAPAN - DAY Y22 6/48D

FLASHBACK BEGINS.
 Episode 6 - Final Shooting Script - 08.04.19 28A.

Yuto’s bullet-riddled car sits half-in and half-out of the

surf.

FLASHBACK ENDS.

6/49 EXT. BEACH, UK - DAY 12 6/49

The FIVE OF THEM walk along the sand.

KENZO and YUTO find themselves next to one another. YUTO

walks a little gingerly.
 Episode 6 - Final Shooting Script - 08.04.19 29.

KENZO
(Japanese)
Are you in pain?

YUTO
(Japanese)
Some.

YUTO pats his pockets.

YUTO (CONT’D)
(Japanese)
I left my cigarettes in the car.

KENZO stops and pats his pockets. Nothing. He looks back the
way they’ve come. He looks at his brother.

KENZO
(Japanese)
Sarah has the keys.

YUTO, unsure, turns to SARAH, who is catching up with them.

KENZO (CONT’D)
Yuto needs to get something from
the car.

SARAH glances from KENZO to YUTO.

SARAH
Okay.

She brings the car keys out and gives them to YUTO who, after
a moment of hesitation, nods and heads back along the beach
towards the car.

6/50 EXT. BEACH, UK - DAY 12 6/50

YUTO walks alone, away from the others. He looks back. KENZO
is watching him.

6/51 INT. SARAH'S CAR, BEACH, UK - DAY 12 6/51

YUTO gets into the back and finds his cigarettes. He closes
the door and sits in the silence of the car for a few
moments.

Then he moves to the front of the car and sits in the

driver’s seat.

He slots the key into the ignition.

 Episode 6 - Final Shooting Script - 08.04.19 30.

He sits there for a little while. His hand on the keys.

He glances into the rear view mirror, for a moment he can see
EIKO, sitting in the back seat. Their eyes lock together.

His foot pushes the pedal. Like it did when he was on the
cliff top in Japan. He could just drive away...

6/52 EXT. BEACH, UK - DAY 12 6/52

All dialogue in Japanese unless otherwise stated.

KENZO is walking. YUTO catches up with him, a cigarette in

his mouth.

YUTO
Got them.

YUTO turns and throws the car keys back to SARAH, who catches
them.

He and KENZO walk on a few moments.

KENZO
I should have woken you when our
father called. I’m sorry.

YUTO
Well, it’s done now.

KENZO
He thought he was talking to you
when he was talking to me.

YUTO
What did you tell him?

KENZO
I told him he was a good father.
And that I... that you were coming
home soon.

They walk on for a few moments.

YUTO
So am I? Coming home soon?

KENZO
I’m not going to give you to the
Yakuza and I’m not going to hand
you in to the British Police.
(MORE)
Episode 6 - Final Shooting Script - 08.04.19 30A.

KENZO (CONT'D)
I don’t know what justice looks
like for you any more and I don’t
think I’m the man to decide.

YUTO looks at him.

 Episode 6 - Final Shooting Script - 08.04.19 31.

YUTO
Thank you.

KENZO
Just try and live your life well,
Yuto. Do that for me.

YUTO nods.

KENZO (CONT’D)
How are you going to get your son?

YUTO looks at him, guiltily.

YUTO
I’m working on that.

6/53 SCENE OMITTED 6/53

6/54 SCENE MOVED TO 6/48D 6/54

6/55 CONTENT MOVED TO 6/48B AND 6/48C 6/55

6/56 INT. COUNTRY PUB, UK - DAY 12 6/56

KENZO, SARAH, RODNEY, TAKI and YUTO enter the pub. They get a
few glances from the LOCALS.

They take a table.

KENZO
Who wants a drink?

SARAH
Just a small red wine, I’m driving.

YUTO
A pint of bitter.

KENZO gives him a look. YUTO shrugs.

YUTO (CONT’D)
I like it.

KENZO
You’ve been here too long.

TAKI
Orange juice.
 Episode 6 - Final Shooting Script - 08.04.19 32.

RODNEY
Get her a vodka and coke. Get me
one too. I’m going for a poo.

6/57 INT. COUNTRY PUB, UK - DAY 12 6/57

Dialogue in Japanese unless otherwise stated.

KENZO waits while the BARMAN pours out the drinks, looks over
at SARAH and TAKI talking at the table with YUTO.

YUTO comes over.

YUTO
Do you need help carrying them
back?

KENZO
Thank you.

KENZO passes him two of the drinks. YUTO lingers a moment.

YUTO
It was a nice ceremony.

He heads back to the table.

6/58 INT. COUNTRY PUB, UK - DAY 12 6/58

KENZO returns to the table with the rest of the drinks.

RODNEY also returns from the bathroom. Sits down, eyes a bit
red, sniffing.

RODNEY
Do you think they’ve ever seen this
many Japanese people here before?
They probably think they’re being
invaded.
(to Yuto)
Good thing you didn’t bring your
sword.

KENZO clears his throat. He raises his glass.

KENZO
To our father.
(to Taki)
Our grandfather. Hotaka Mori. We
will remember you.

Everyone raises their glasses and drinks. RODNEY strokes

TAKI’s hair and smiles at her.
Episode 6 - Final Shooting Script - 08.04.19 32A.

SARAH’s phone is on the table. It buzzes. RODNEY glances at

the screen.

RODNEY
(reading)
You have one new dating match!
Episode 6 - Final Shooting Script - 08.04.19 33.

SARAH
Oh Jesus, I meant to cancel that.

RODNEY
Yeah. Sure you did. Let’s see him.

SARAH
It’s probably no one.

TAKI
I want to see!

RODNEY
Show, show, show!

SARAH glances at KENZO, who looks a bit awkward. She caves in

and opens the app. They all look at the guy’s profile - a
handsome-looking man in his late 30s.

RODNEY (CONT’D)
Well hello salt and pepper Daddy.
DILF-surprise at the high school
reunion. Stock photo model of
sexually unthreatening lawyer.

SARAH
Okay.

RODNEY
Leader and de facto father figure
to a small but determined band of
mid-western chippendales...

SARAH
We get it.

RODNEY
Do you get that I would sit on his
face and wouldn’t charge for the
privilege?

TAKI is looking confused. RODNEY turns to her.

RODNEY (CONT’D)
(Japanese)
I’d sit on his face and wouldn’t
charge him for the privilege.

TAKI
Oh.
(to Sarah)
He’s very handsome. Are you going
to go on a date with him?
 Episode 6 - Final Shooting Script - 08.04.19 34.

SARAH
No, I don’t think so.

RODNEY
Oh my God. Carpe Diem. Seize the
dick.

He takes her phone.

SARAH
What are you writing?

RODNEY
The sitting on my face thing.

SARAH
Rodney!

RODNEY
Kidding. I’m asking him out for
you.

He finishes typing and puts the phone down.

RODNEY (CONT’D)
There. You may thank me when you
can walk again.

SARAH looks awkwardly at KENZO, who looks embarrassed.

RODNEY stands up.

KENZO
Where are you going?

RODNEY
Toilet.

6/59 INT. TOILET, COUNTRY PUB, UK - DAY 12 6/59

RODNEY keys in coke in the toilet stall. He comes out. SARAH

is there. He looks around.

RODNEY
One of us is in the wrong place.

SARAH
Rodney. Do you think perhaps you’re
doing a bit too much Class A drugs
for this time in the afternoon?

RODNEY
Where would you draw the line on
that?
 Episode 6 - Final Shooting Script - 08.04.19 35.

SARAH
None?

RODNEY
Interesting, interesting. I’m fine.
You and I don’t know each other
that well, but I’m fine.

SARAH
Maybe you should talk to someone
about it.

RODNEY
Honestly. No need.

Her phone buzzes. She checks it.

RODNEY (CONT’D)
Did that guy message you back?

She nods.

RODNEY (CONT’D)
Someone’s keen.
(pointed)
And here you are, all single and
with no complications.

She gives him a look. He raises an eyebrow.

SARAH
Let’s go.

RODNEY
We should leave five minutes apart,
else they’ll think we’ve been
shagging.

SARAH
Oh be quiet.

He grins and follows her out.

6/60 EXT. ICE CREAM VAN, BEACH, UK - DAY 12 6/60

RODNEY and TAKI lean on an ice cream van counter. The ICE
CREAM MAN (30s, a bit basic) looks at them.

RODNEY
I can’t decide between strawberry
and chocolate.
 Episode 6 - Final Shooting Script - 08.04.19 36.

ICE CREAM MAN

If it’s any help, I always go for
the chocolate.

RODNEY considers him.

RODNEY
One scoop of strawberry, please.

6/61 EXT. BEACH, UK - DAY 12 6/61

All dialogue in Japanese unless otherwise stated.

The group walk along the prom, eating ice creams. YUTO
catches up with TAKI.

YUTO
Hey.

TAKI
Hey.

YUTO
What’s the matter? You’ve been
avoiding me.

TAKI
I saw a photo of what you did to
that man with the sword.

They walk for a few moments.

TAKI (CONT’D)
It made me feel sick.
(pause)
Don’t you think you should be
punished for it?

YUTO
That’s not for me to decide.
(pause)
But yes. Probably.

TAKI
So why don’t you hand yourself in?

YUTO
I have too many things still to do.

TAKI
So did the man you killed.

YUTO looks at her sadly.

 Episode 6 - Final Shooting Script - 08.04.19 37.

TAKI (CONT’D)
Do you feel bad about it?

YUTO
Yes.

TAKI
Good.

Pause.

YUTO
Do you feel better about your
granddad now we’ve said goodbye?

TAKI
I don’t know.

YUTO
It wasn’t your fault you weren’t
there.

TAKI
Just because something isn’t your
fault doesn’t mean you can’t feel
guilty about it.

YUTO puts an arm round her. She lets him.

YUTO
You’re so wise.
(beat)
Like a little Buddha.

TAKI
(English)
Fuck off.

YUTO
(English)
You’ve been here too long.

6/62 EXT. BEACH, UK - DAY 12 6/62

KENZO and SARAH walk a little way behind the others. Ahead of
them, YUTO and TAKI are talking, arm in arm.

KENZO
He’ll be gone soon. When he’s well
enough to travel.

SARAH nods.
 Episode 6 - Final Shooting Script - 08.04.19 38.

SARAH
So, I suppose you’ll be leaving too
then.

KENZO
Yes. I suppose so.

6/63 INT. SARAH'S CAR, UK - AFTERNOON 12 6/63

SARAH drives. No music on. The car is quiet. Everyone lost in

their own thoughts.

6/64 EXT. RODNEY'S BEDSIT, LONDON - EVENING 12 6/64

SARAH’s car pulls up. RODNEY gets out. SARAH sticks her head
out of the window.

SARAH
Hey. Take it easy, okay. Maybe lay
off the hard stuff for a bit.

RODNEY
Narc.

SARAH
I literally am.

RODNEY
Don’t worry about me, Babe.

RODNEY kisses his palm and holds it out to the inhabitants of

the car, and heads into his flat.

6/65 INT. SARAH'S CAR, LONDON - EVENING 12 6/65

SARAH drives through London traffic. In the back, YUTO and

TAKI look out of the window.

We focus on SARAH and KENZO’s hands. Her left hand and his
right hand. Sort of close. She changes gear, keeps her hand
on the gear stick. They idle in traffic. She reaches out and
holds KENZO’s hand. They look at each other. The traffic gets
moving and she changes gear and they drive off. Moment over.
TAKI looks up. Maybe she saw it, maybe she didn’t.

6/66 INT. HALLS OF RESIDENCE, LONDON - NIGHT 12 6/66

TAKI lies in bed. She is holding a sea shell, examining it.

Her phone buzzes.
 Episode 6 - Final Shooting Script - 08.04.19 39.

Unknown number: Hi. It’s Annie. Rodney gave me your number.

How about that drink 2moro? x

She types back.

6/67 EXT. HALLS OF RESIDENCE, LONDON - NIGHT 12 6/67

KENZO sits on the steps, smoking a cigarette. He looks up at

the night sky.

6/68 SCENE OMITTED 6/68

6/69 INT. BEDROOM, SARAH'S FLAT, LONDON - NIGHT 12 6/69

YUTO lies in bed, his wounds still wrapped with blood-spotted

bandages. He looks at his photo of SORA.

He gets out his phone and writes a message to REI in

Japanese. We translate into English:

Let me know when you get them.

But instead of sending it, he deletes it and replaces it

with:

Let me know that you are safe.

6/70 EXT. SARAH'S FLAT, LONDON - NIGHT 12 6/70

SARAH stands outside the flat.

After a few moments, she gets her phone out and looks at the
dating app and the guy who messaged her.

6/71 INT. RODNEY'S BEDSIT, LONDON - NIGHT 12 6/71

RODNEY lies on his bed. He stares up at the ceiling.

Fidgeting.

He sits up.

RODNEY
Well fuck it anyway.

6/72 INT. CLUB, LONDON - NIGHT 12 6/72

RODNEY on the dance floor.

 Episode 6 - Final Shooting Script - 08.04.19 40.

6/73 INT. CLUB TOILETS, LONDON - NIGHT 12 6/73

RODNEY does more drugs.

6/74 EXT. STREETS, LONDON - NIGHT 12 6/74

RODNEY, drunk, tries to persuade some people to stay out. He

pulls a GIRL’s hand but she laughs:

GIRL
Noooo! I can’t!

RODNEY staggers off in the other direction.

6/75 EXT. STREETS, LONDON - NIGHT 12 (INTERCUT) 6/75

RODNEY leans against a wall, making calls. We cut between a

few different conversations he has:

RODNEY
(into phone)
Hey it’s me, are you up?

6/76 EXT. STREETS, LONDON - NIGHT 12 (INTERCUT) 6/76

RODNEY
(into phone)
Hey, are you out?

6/77 EXT. STREETS, LONDON - NIGHT 12 (INTERCUT) 6/77

RODNEY
(into phone)
Hey. It’s me. Pick up so I can pick
up. Pick up pick up pick up.

6/78 EXT. STREETS, LONDON - NIGHT 12 (INTERCUT) 6/78

RODNEY
(into phone)
Hey, it’s me, if you get this could
you text me the number of that guy
you use, none of mine are coming
through for me.
 Episode 6 - Final Shooting Script - 08.04.19 41.

6/79 INT. RODNEY'S BEDSIT, LONDON - NIGHT 12 6/79

RODNEY stumbles in. He goes through his fridge, finishes a

bottle of vodka.

Searches through old pairs of jeans. Finally comes up trumps -

some random pills.

He swallows them.

6/80 INT. RODNEY'S BEDSIT, LONDON - DAWN 13 6/80

First hint of the morning breaking through the curtains.

RODNEY sitting at his desk smoking a cigarette, full of pent
up energy, gurning lightly. Music on in the background. He
runs a hand through his hair, damp with sweat. Exhales. He
pulls open a drawer. TIFF’s old sock, still full of drugs.

TIFF
Oh, here she goes. So bloody
predictable.

TIFF walks across the room. In full dress and make up.

RODNEY
Shouldn’t you be dancing on a bar
somewhere?

TIFF
They’re all closed, Babe.

TIFF goes to a mirror and takes off his earrings.

TIFF (CONT’D)
So, where was everyone tonight?

RODNEY
Busy.

TIFF takes off his rings and bracelets.

TIFF
Too bad. Seems to be the way of it
these days, though.

He’s removed all his jewellery. Now he pulls off his dress.

TIFF (CONT’D)
Sun’s coming up. You always hated
that.
Episode 6 - Final Shooting Script - 08.04.19 42.

RODNEY
Bird song. Worst sound in the
world.

TIFF
I don’t know, I always quite liked
it.

TIFF pulls on a drab T-shirt and jeans.

RODNEY
What are you doing?

TIFF
I’m off, love.

RODNEY
Dressed like that?

TIFF
Oh, yes. No beautiful things where
I’m going. No jewels and dresses
I’m afraid. Party’s over.

TIFF gets out a face wipe and begins to remove his make up.

RODNEY
Don’t go.

TIFF
I have to darling.

RODNEY
I loved you.

TIFF finishes his deconstruction. He looks at himself in the

mirror.

TIFF
Well ain’t that just the fucking
tragedy of it all.

TIFF walks to the door. He stops and looks at RODNEY.

TIFF (CONT’D)
Did you come here alone?

RODNEY
Yes.

TIFF
Hey, what about that? Me too.

He walks out. The door closes behind him.

 Episode 6 - Final Shooting Script - 08.04.19 43.

RODNEY sits in the empty room. Just the sound of the dawn
chorus outside. Birdsong, and nothing else.

6/81 INT. SARAH'S FLAT, LONDON - DAWN 13 6/81

SARAH is asleep on the sofa. Her phone rings. She wakes up -

caller ID is RODNEY.

6/82 INT. SARAH'S CAR, LONDON - DAWN 13 6/82

RODNEY gets into the passenger seat of SARAH’s car, which is

parked outside his apartment.

She hands him a thermos flask.

SARAH
It’s tea.

He gives her the sock.

RODNEY
It’s crack.

SARAH
Some trade off.

RODNEY
I need you to take it. Just take it
away from me.

She nods. Puts it in her handbag. He stares ahead. Slumps.

Rubs his face.

SARAH
Do you have any family? Someone you
can call?

RODNEY
It’s just me.

SARAH
It’s not.

He rests his head on her shoulder. She puts a hand on his

cheek. They sit like that in silence.

6/83 INT. REI’S CAR, TOKYO - DAY 13 6/83

REI drives, NATSUKO sits in the back holding an urn and

staring out of the window.
 Episode 6 - Final Shooting Script - 08.04.19 44.

6/84 EXT. SAFE HOUSE, TOKYO - DAY 13 6/84

All dialogue in Japanese unless otherwise stated.

REI and NATSUKO look out of the parked car at a doorway to a

nondescript building across the street. NATSUKO is wearing
sunglasses, perhaps because she thinks they make her look
more undercover.

A man is hanging around outside, smoking a cigarette. He

wears a suit - a Yakuza we met with Fukuhara in Episode 1,
SHOJI.

REI
I don’t know how we’re going to get
in without them seeing us.

NATSUKO
We’re an old lady and a middle aged
woman.

REI
So?

NATSUKO
So we’re invisible to them already.

6/85 SCENE OMITTED 6/85

 Episode 6 - Final Shooting Script - 08.04.19 45.

6/86 EXT. SAFE HOUSE, TOKYO - DAY 13 6/86

All dialogue in Japanese unless otherwise stated.

REI and NATSUKO approach the safe house. They are dressed in
plain dresses and aprons and carry cleaning equipment.
Guarding the front door, SHOJI glances at them.

REI
(nervous)
We’re here to clean the apartment.

SHOJI studies them. For a moment, it looks like he might stop

them.

NATSUKO
We don’t have all day.

NATSUKO runs a finger over the door.

NATSUKO (CONT’D)
And it’s not a small job.

He shrugs and opens the front door.

SHOJI
Make sure you do the cooker.

NATSUKO glares at him but REI ushers her in.

6/87 INT. SAFE HOUSE, TOKYO - DAY 13 6/87

REI and NATSUKO enter. The place is quiet. They look around -
what now? They move forward cautiously.
 Episode 6 - Final Shooting Script - 08.04.19 46.

And then a sound - a baby crying.

NATSUKO freezes. Her grandson. Close.

She moves forward through the house to the source of the

noise...

6/88 INT. BEDROOM, SAFE HOUSE, TOKYO - DAY 13 6/88

A clean, bright, room. EIKO is there, hushing her baby son.

Footsteps approach. She turns. NATSUKO and REI enter the
room. The women all look at each other. No one says anything.
They all understand instantly what’s going on. EIKO bounces
the baby gently in her arms. Time to go.

6/89 INT. BEDROOM, SAFE HOUSE, TOKYO - DAY 13 6/89

All dialogue in Japanese unless otherwise stated.

EIKO quickly packs things into a bag. NATSUKO holds the baby.

EIKO
Yuto sent a message saying someone
was coming for me. He didn’t say it
would be his mother.

NATSUKO
This baby feels light. Are you
feeding him properly?

EIKO
Yes. Of course.

EIKO finishes packing the bag. She grabs another two large
bags from the floor.

NATSUKO
How much are you packing?

EIKO
Babies need a lot of stuff.

NATSUKO
A baby needs a warm blanket and a
mother’s breast. Anything else is
an indulgence.

EIKO looks at REI.

REI
If you change your mind and want to
stay here instead, I’d understand.
Episode 6 - Final Shooting Script - 08.04.19 47.

EIKO
Thanks but I need to get the hell
out of this house.

NATSUKO puts her hands over the baby’s ears.

NATSUKO
Do you want to teach him to talk
like that?

SHOJI walks into the room.

SHOJI
Hey. What’s going on?

EIKO
Go away, Shoji.

He looks at REI and NATSUKO.

SHOJI
Wait... We don’t employ cleaners
here. Are you trying to escape?

NATSUKO
Sharp as a tack, this one.

SHOJI
Hey, Old Woman, put the baby down
and get out before I get angry.

NATSUKO
Do you speak to your mother like
that?

SHOJI
My mother does what she’s told.

NATSUKO
Well, give us her address, we’ll go
and rescue her next.

SHOJI
No one’s rescuing anyone!

SHOJI goes to grab the baby.

EIKO
Hey!

NATSUKO
Get off!
 Episode 6 - Final Shooting Script - 08.04.19 48.

REI suddenly moves quickly. She grabs something from the

table next to her and lunges at SHOJI. He yells out and falls
to the floor with a pair of scissors stuck in his leg.

SHOJI
You stabbed me!

REI
I’m sorry!

EIKO
Go! Go!

They grab the bags and the BABY and run.

SHOJI
Hiroshi! She’s making a run for it!

6/90 EXT. SAFE HOUSE, TOKYO - DAY 13 6/90

NATSUKO (holding SORA), REI and EIKO run to the car and get
in. REI guns the engine and pulls away just as another Yakuza
man (HIROSHI) comes hurtling out of the house.

6/91 INT. REI'S CAR, TOKYO - DAY 13 6/91

All dialogue in Japanese unless otherwise stated.

REI drives. EIKO and BABY in the passenger seat, NATSUKO in

the back.

NATSUKO
Well, it’s clear where Taki gets it
from.

REI laughs. Can’t help it. They all do. Adrenaline still
coursing through them.

6/92 INT. REI'S CAR, TOKYO - EVENING 13 6/92

All dialogue in Japanese unless otherwise stated.

REI drives.

EIKO
We should swap cars. My father will
try and track us. Also, Sora will
need a baby seat.

NATSUKO
I’ll hold him on my lap.
Episode 6 - Final Shooting Script - 08.04.19 49.

EIKO
He needs a proper car seat.

NATSUKO
There’s no substitute for a
grandmother’s protection.

EIKO
Until you’re going through a
windscreen at eighty miles an hour,
then a seat belt helps.

NATSUKO
You have no respect for your
elders.

EIKO
If your father had done what mine
did, you wouldn’t either.

REI
There’s a rental place, half an
hour’s drive.

NATSUKO
So you’re in love with my son.

EIKO
Yes.

NATSUKO
You’re not what I imagined for him.

EIKO
What did you imagine?

NATSUKO
Less showy.

EIKO
Showy?

NATSUKO
You’re very pretty.

EIKO
Thank you.

NATSUKO
Anyone can be pretty. It’s not a
talent.

EIKO and REI glance at each other. REI turns the radio on.
 Episode 6 - Final Shooting Script - 08.04.19 50.

6/93 EXT. RENTAL CAR LOT, TOKYO - EVENING 13 6/93

EIKO and NATSUKO wait in the lot. EIKO is changing the BABY’s
nappy on the backseat of REI’s car. REI comes out of the
office with a set of keys and a baby seat.

6/94 EXT. RENTAL CAR LOT, TOKYO - EVENING 13 6/94

All dialogue in Japanese unless otherwise stated.

The women wait by their rental car.

EIKO
Where are we going?

NATSUKO
A house in the countryside. We’ll
be safe there for a while.

EIKO
When’s Yuto coming back?

NATSUKO
I’m not the one he talks to, Dear,
how would I know?

They get into the car and drive away.

6/95 INT. YAKUZA HOUSE, TOKYO - NIGHT 13 (INTERCUT) 6/95

We pan across a space that’s been turned into a bit of a war

room. A few YAKUZA FOOT SOLDIERS lounge about smoking, others
walk past in a hurry. There are guns on a table. Some laptops
open.

In the midst of this is SHIN ENDO. He is on the phone.

Note - SHIN ENDO speaks in Japanese. His conversation with

ABBOT is relayed by a TRANSLATOR (male, late 20s).

SHIN ENDO TRANSLATOR

(Japanese) We were worried about you,
We were worried about you, after hearing the news.
after hearing the news.

6/96 INT. BUDGET HOTEL ROOM, UK - DAY 13 (INTERCUT) 6/96

ABBOT on the phone.

Intercut between locations for phone call.

Episode 6 - Final Shooting Script - 08.04.19 51.

ABBOT TRANSLATOR
(English) (Japanese)
I lost most of my men. The I lost most of my men. The
police seized my bar, my police seized my bar, my
home. My bank accounts have home. My bank accounts have
been frozen. been frozen.

SHIN ENDO TRANSLATOR (CONT'D)

(Japanese) (English)
I’m sorry to hear that. I’m sorry to hear that.

ABBOT TRANSLATOR (CONT'D)

(English) (Japanese)
I’ve been in worse I’ve been in worse
situations. Don’t worry. situations. Don’t worry.

A pause. Almost awkward.

ABBOT TRANSLATOR (CONT'D)

(English) (Japanese)
I think we should talk about I think we should talk about
phase two. phase two.

SHIN ENDO TRANSLATOR (CONT'D)

(Japanese) (English)
Phase two? Phase two?

ABBOT TRANSLATOR (CONT'D)

(English) (Japanese)
Yeah. With my help you’ve Yeah. With my help you’ve
gained a stronghold in Tokyo. gained a stronghold in Tokyo.
London’s pretty much fucked London’s pretty much fucked
right now. It’s time for me right now. It’s time for me
to come over there. As to come over there. As
discussed. discussed.

SHIN ENDO TRANSLATOR (CONT'D)

(Japanese) (English)
Ah yes. Ah yes.
(pause) (pause)
Mr. Abbot. What do you know Mr. Abbot. What do you know
of my culture? of my culture?

ABBOT TRANSLATOR (CONT'D)

(English) (Japanese)
I know it’s an untapped I know it’s an untapped
market. A billion dollar market. A billion dollar
industry... industry...

SHIN ENDO TRANSLATOR (CONT'D)

(Japanese, interrupting) (English)
That’s my business. What do That’s my business. What do
you know of my culture? you know of my culture?
Episode 6 - Final Shooting Script - 08.04.19 51A.

ABBOT is stumped.

SHIN ENDO TRANSLATOR (CONT'D)

(Japanese) (English)
You know absolutely nothing You know absolutely nothing
of my culture. You know of my culture. You know
absolutely nothing of my absolutely nothing of my
world. Your assistance is world. Your assistance is
greatly appreciated by all of greatly appreciated by all of
us. But there was never a us. But there was never a
place for you here. place for you here.

ABBOT TRANSLATOR (CONT'D)

(English) (Japanese)
Now, you listen to me, you Now, you listen to me, you -
old bastard. We had a deal... (he hesitates)
... Mr. Abbot seems very
upset. He says you had a
deal...

SHIN ENDO
(English)
Goodbye Mr. Abbot.

The phone line goes dead. ABBOT is left holding the phone.

ABBOT
Hello? He... Fuck!
 Episode 6 - Final Shooting Script - 08.04.19 52.

6/97 INT. HALLS OF RESIDENCE, LONDON - DAY 13 6/97

Dialogue in Japanese unless otherwise stated.

KENZO comes into the room holding his wash-bag, hair wet from
the shower. TAKI is dressed, with her shoes and jacket on.

KENZO
What are you doing?

TAKI
I want to go out.

KENZO
Where?

TAKI
There’s a girl. An English girl. I
want to see her.

KENZO
You can go out with your friends
when we go home.

TAKI
I don’t have friends at home. I
want to go out with this girl. Now.
Episode 6 - Final Shooting Script - 08.04.19 53.

KENZO
It’s not a good idea.

TAKI
I like her.

KENZO
I’m sure she’s very nice, but the
answer is still no.

Pause.

TAKI
(more firmly)
I like her, Dad.

KENZO looks at her. Slowly realising.

KENZO
Oh.

Neither says anything for a few moments.

KENZO (CONT’D)
That’s new.

TAKI
Not really.

He doesn’t say anything.

TAKI (CONT’D)
You can’t stop me.

KENZO
I can. I’m bigger than you and I
can tie you to something.

She just stares back at him, defiant. He sighs.

KENZO (CONT’D)
I miss a lot of things, don’t I?

She nods.

KENZO (CONT’D)
You like it here.

TAKI
I like myself more when I’m here.

He looks almost a little sad to hear her say that.

 Episode 6 - Final Shooting Script - 08.04.19 54.

KENZO
I like you wherever you are.

She rolls her eyes but can’t hide that she looks pleased.

KENZO (CONT’D)
Be back by seven. Text me every two
hours.

TAKI
Thank you.

6/98 INT. CHURCH HALL, LONDON - DAY 13 6/98

RODNEY sits in a Narcotics Anonymous meeting. A man, TERRY,

talks.

TERRY
I had it all under control, you
know? And the missus had taken me
back and I could see the kids
again. And it was alright. And
there wasn’t a trigger, nothing
happened. I just... started again.
I woke up one morning and I didn’t
give it much thought, I just went
out and I bought some gear and that
was that. Eleven months down the
pan. I don’t know why.

There’s a pause.

RODNEY
Because you hate yourself.

They all look at him.

RODNEY (CONT’D)
You had a nice thing and you threw
it away because you fucking hate
yourself. Because you think you’re
a worthless piece of shit.

MODERATOR
This is Terry’s time to speak,
others will get their turn after.

TERRY
No, he’s right. I do. I despise
myself sometimes.

MODERATOR
You have value, Terry, we all do.
 Episode 6 - Final Shooting Script - 08.04.19 55.

RODNEY
Not a lot of value, let’s be
honest. I mean, no offence but he
chose drugs over his kids so let’s
not gild the lily too much vis a
vis Terry.

MODERATOR
There’s no judgement in here.

RODNEY
Judgement isn’t a solid object you
can close a window against. It’s a
pervasive fucking entity. Terry,
love, you fucked up. We all did.
Because we all have some
fundamental flaw in us that refuses
to be happy. Or satisfied. Someone
tries to help us build a little
world and we let them until the
time comes, and the time always
comes, when we shatter it into a
million tiny pieces. Because it’s
what we do. It’s our way. And
that’s why we hate ourselves, and
that’s why we do drugs. It’s not,
y’know, rocket science. Sorry. I’m
Rodney by the way. And I’m a drug
addict. Obviously.

GROUP AS ONE
Hi, Rodney.

6/99 INT. LECTURE HALL, UCL, LONDON - DAY 13 6/99

SARAH gives a lecture to her STUDENTS. Her heart really not

in it.

6/100 EXT. BACK GARDEN, SARAH'S FLAT - DAY 13 6/100

All dialogue in Japanese unless otherwise stated.

KENZO and YUTO sit in the back garden with mugs of coffee.
YUTO pours something from a hip flask into his.

KENZO
Tomorrow?

YUTO
Yes. It’s time.

YUTO offers KENZO the hip flask and he shakes his head.
 Episode 6 - Final Shooting Script - 08.04.19 56.

YUTO (CONT’D)
What about you? When will you go
back?

KENZO
Soon.

YUTO pours some whisky in KENZO’s coffee anyway.

YUTO
Whatever happens, Rei deserves to
know what’s going on in your head.

KENZO
What if I don’t know what’s going
on in my head?

YUTO
I think you do.

6/101 EXT. UCL, LONDON - DAY 13 6/101

SARAH comes out of the university. KENZO is waiting for her.

6/102 EXT. BLOOMSBURY STREETS, LONDON - DAY 13 6/102

KENZO and SARAH walk.

KENZO
Taki is on a date. With a girl.

SARAH
Wow. And how do you feel about
that?

KENZO
She has bought shame onto our
family. I have no daughter.

He looks at her. Smiles. He’s joking.

KENZO (CONT’D)
I don’t know. Let her be happy.

SARAH
I messaged that man back. He asked
me for a drink.

KENZO
Oh. Yes.

Pause.
Episode 6 - Final Shooting Script - 08.04.19 57.

SARAH
What do you think about that?

KENZO
About what?

SARAH
Me. Seeing this man. What do you
think about that?

KENZO
You’re free to do what you want to
do.

SARAH
Yeah.

Pause.

SARAH (CONT’D)
I don’t want you to go home.

KENZO
I don’t want you to see that man.

They stand, looking at each other.

SARAH
We can put words on this. We’re
grown ups, it won’t disappear. I’m
not afraid of it.

KENZO
I wasn’t supposed to meet you. Not
now. Not here. I’m not an
honourable man, Sarah. But I try to
be.

SARAH
What do you feel?

KENZO
I feel... I feel like I have been
in a cage for a very long time and
you have a key. And maybe it
unlocks the door. And perhaps I
feel ashamed to think like this.

SARAH
It’s not a cage and it’s not a key,
Kenzo. It’s your life, and it’s
mine, and it’s your wife’s and your
daughter’s. And it’s all of us
trying to work out the truth of it.
(MORE)
 Episode 6 - Final Shooting Script - 08.04.19 58.

SARAH (CONT'D)
And it’s as messy and fucked up as
anything but that’s what it is.

KENZO
I don’t know what to do now.

SARAH
I do.

6/103 EXT. CHURCH HALL, LONDON - DAY 13 6/103

RODNEY comes out. Lights a cigarette and puts on his

sunglasses. Then he stops.

KENZO and SARAH are waiting for him. He walks over to them.

SARAH
How was your first day, honey?

RODNEY
Please don’t embarrass me in front
of the other drug addicts.

SARAH puts an arm around him.

SARAH
Come on. Let’s get you home.

They walk away together.

6/104 EXT. COUNCIL ESTATE, LONDON - DAY 13 6/104

A little old woman, NORA, returns to her flat in a high-rise.

She wears black - still mourning.

6/105 INT. NORA’S FLAT, LONDON - DAY 13 6/105

NORA enters. She freezes. Someone is sitting in her living

room. It’s ABBOT. He stands when she enters,

We see that next to NORA, on the wall, is a photo of DONNA.

ABBOT
Mrs. Clark. I’m sorry to startle
you like this. I was a friend of
your granddaughter’s.

NORA
You’re the man she went to work
for.
Episode 6 - Final Shooting Script - 08.04.19 59.

ABBOT
Yeah.

NORA
I recognise your type.

ABBOT
Can we sit down?

NORA
We may.

They both sit.

ABBOT
It was just you and her here, that
right?

NORA
Yes. Her mother died when she was
young.

ABBOT
Aah. My mum died young, too. It was
just me and Dad. He was a villain.
‘Til he got nicked. He grassed up
all his mates for immunity and we
had to go into police protection.
Move across the country, new
identity, new names, the lot. I
was only little. I can’t even
remember my old name. Not sure it
really matters now...
(pause)
Your Donna did something quite
unforgivable I think. ‘Cos I’ve
been going over it all in my
head... What happened that night...
How it all came to pass. And it
don’t make sense. Unless it was
that I was betrayed.
(pause)
Do you believe in order?

NORA
Yes.

ABBOT
I’m not talking about the cutlery
drawer, I’m talking order of the
universe. For every action a
reaction, an overriding pattern to
things, an answer to the...
 Episode 6 - Final Shooting Script - 08.04.19 60.

He waves a hand through the air, frustrated.

ABBOT (CONT’D)
I’m not explaining it well. I
can’t... Your Donna, she did
something to me and it’s not been
resolved.

NORA
She’s gone. What more punishment do
you want?

ABBOT
It’s not punishment, I told you.
It’s order. When I was fifteen, my
dad’s old mates, they caught up
with us. They told me I could save
myself, if I was willing to
rebalance the scales.
(pause)
Well the universe re-righted itself
that night. And now... Now it’s all
out of whack again. She did that.

ABBOT stands up and goes to the window and looks out. For the
first time, we see out of the window of the flat and the
spectacular view of London in the distance.

NORA
You’re trying to put order into an
unordered world.

ABBOT
Well what else is there, really. At
the end.

He turns and looks at NORA who is sitting still in her chair,

staring forward, too scared or too proud to look at him.
Knowing what’s coming.

They stand like that for a long time.

6/106 EXT. HALLS OF RESIDENCE, LONDON - DAY 13 6/106

SARAH and KENZO walk. They get to the entrance and stop.

KENZO
Do you think he’ll be okay?

SARAH
I don’t know. I hope so.

KENZO nods. He looks up at the halls of residence.

 Episode 6 - Final Shooting Script - 08.04.19 61.

KENZO
Taki should be back by now.

SARAH
Yeah.
(pause)
You’ll come round tomorrow, to say
goodbye to Yuto?

KENZO
Yes.

SARAH
Maybe afterwards we can talk.

KENZO
Put words on it.

SARAH
Yeah.

She smiles and walks away.

6/107 EXT. SARAH'S FLAT, LONDON - NIGHT 13 6/107

SARAH approaches her building and stops. IAN is waiting for

her.

SARAH
What are you doing here?

IAN
Came round looking for you the
other day.

SARAH
I know.

IAN
The brick wasn’t me.

SARAH
Okay.

IAN
Nor was the snake. Lots of people
don’t like you, but I didn’t ask
anyone to do that.

SARAH
Fine. Ian. Let’s just leave it.
 Episode 6 - Final Shooting Script - 08.04.19 62.

IAN hands her a small bundle of printed photos. She glances

at them: KENZO leaving SARAH’s flat, YUTO smoking a cigarette
outside etc...

SARAH (CONT’D)
What do you want?

IAN
He’s a murder suspect. He was in
the Battle of Soho.

SARAH
No one’s calling it the Battle of
Soho for fuck’s sake.

IAN
Whatever. He’s dangerous.

SARAH
He’s not dangerous.

IAN
If anyone finds out you’ve got him
in your flat, you’re going to jail
for harbouring a fugitive. I’d call
that dangerous.

SARAH
What do you want?

IAN
I don’t want anything. I just
thought I’d give you the courtesy
of a head’s up.

She looks at him.

IAN (CONT’D)
I’m going to do the right thing,
Sarah. Isn’t that what I’m supposed
to do?

SARAH
Ian...

He walks off into the night. We stay on SARAH, watching him

go.

6/108 INT. BEDROOM, SARAH'S FLAT, LONDON - NIGHT 13 6/108

YUTO stands at the window, he watches SARAH in the street.

She’s standing alone, IAN walking away from her.
 Episode 6 - Final Shooting Script - 08.04.19 63.

6/109 INT. RODNEY'S BEDSIT, LONDON - NIGHT 13 6/109

RODNEY lies in bed, staring at the ceiling.

6/110 INT. ANNIE'S FLAT, LONDON - NIGHT 13 6/110

TAKI and ANNIE come in. TAKI stands alone, looking around the
flat. Nervous, but taking it all in.

Her phone buzzes - it’s KENZO. She’s going to answer it but

then she sees ANNIE, who is taking off her coat and beginning
to unbutton her shirt.

The phone is forgotten. ANNIE walks over to her and leans in

to kiss her.

6/111 INT. HALLS OF RESIDENCE, LONDON - NIGHT 13 6/111

KENZO stands, on the phone. It’s ringing. TAKI. It goes to

answerphone.

6/112 INT. RENTAL CAR, JAPAN - NIGHT 13 6/112

REI drives. EIKO sits in the passenger seat. In the back, the
BABY sleeps in the car seat next to NATSUKO, who is also
asleep, her hand in the baby’s.

6/113 EXT. RENTAL CAR LOT, TOKYO - NIGHT 13 6/113

The Yakuza who were guarding Eiko - SHOJI and HIROSHI - are
standing next to Rei’s abandoned car. SHOJI spots that the
office is still open and he heads towards it. HIROSHI is
talking on the phone, though we don’t hear what he’s saying.

6/114 INT. HOSPITAL ROOM, TOKYO - NIGHT 13 6/114

FUKUHARA has a phone to his ear, listening. His fist clenches

in fury.

6/115 EXT. LONDON SUBURB - NIGHT 13 6/115

ABBOT walks down a street. In the distance, we can see the

looming high towers of London, lit up in the night sky.

6/116 EXT. STREETS, LONDON - NIGHT 13 6/116

IAN walks with a look of determination.

 Episode 6 - Final Shooting Script - 08.04.19 64.

6/117 INT. POLICE STATION, LONDON - NIGHT 13 6/117

A white board sits in the office with YUTO’s photo stuck to

it.

6/118 INT. PLANE - NIGHT 13 6/118

We move down the aisle of the plane. As we go, we pass JIRO,

TOSHIO, TAKASHI and YO. On their way to London.

END.