Golden Kamuy (2018–…): Season 4, Episode 5 - Cinematograph - full transcript

The telegram said

Lieutenant Tsurumi will leave for Karafuto
after wrapping up business in Noboribetsu.

TOYOHARA - ODOMARI

He'll meet us in Odomari in two weeks.

He wants us to wait around for now.

We'll stay in Toyohara until then.

You see, Toyohara is a bigger city.

So we'll find better accommodation there.

That's it for now. You're free to go.

Sugimoto.

Asirpa spoke to Kiroranke before he died.



He had a peaceful look on his face

and said, "I leave the rest to you."

Asirpa could have realized
how to find the gold.

Maybe Ogata tried to kill her
because he figured it out

and realized she was no use to him alive.

She wouldn't.

I'll talk to her. Don't get in my way.

I don't think Asirpa's ever met
Lieutenant Tsurumi,

but she'd never trust a man like that.

EPISODE 41 - CINEMATOGRAPH

Where are you from?

Who is that man?

We're from south of the sea.

He's my uncle.



He's got big balls.

Their kotan is close by,
so they wanted to know who we are.

Thanks to you,

the people in Karafuto have been friendly.

But everyone in Karafuto
knows about my huge balls,

because you always use that line
to introduce me.

I'm glad I didn't get rid of you
back then.

We pulled off pretending to be family
in Hokkaido too.

I wonder if Inkarmat is all better now.

The telegram said she's recovered enough
to walk and talk.

Really? That's great news!

Yeah. Let's go see her
as soon as we return to Hokkaido.

Cikapasi.

Are you leaving?

-Hey, Sugimoto. Come look at this.
-Is it poop?

It's a wolverine footprint.
The kind you told me about, right?

Oh, that.

They're faster
and more ferocious than bears.

I didn't get to see one.

Hey, let's catch a wolverine.

We came all this way. I know you want
to taste its brains before we leave.

All brains taste the same!

Let's light a fire and offer a prayer
before we enter the woods.

You may be a modern Ainu woman,
but you never miss a chance for a ritual.

Many dangers lurk in the mountains.

These rituals help us stay vigilant.

Now that we have matches,

we only use tools like this
when we're hunting.

I want to preserve the tradition.

Go back to Russia.

An Ainu child.

That was intriguing.

Can you show us from the beginning?

And who are you?

We're filming moving pictures.

What is that?

There it is!

What the hell is it?

Shake it off.
I'll kill it with my poison arrow!

I'll chuck it!

Asirpa, behind you!

Marvelous. Did you catch that?

Stay back! Its fur is standing on end!

We finally got to taste wolverine brains.

Hinna hinna, huh?

Nope. They all taste the same.

So, what were you filming here again?

We were filming Karafuto Ainu hunts,

but we got separated from the hunters.

Is it different from photographs?

This is a filming device
known as a cinematograph.

This device can capture many things,
like the flow of time

or the movement of people
by taking pictures in rapid succession.

We've used this cinematograph
to document much of the Ainu culture.

INN

Lumiére, the company
that invented the cinematograph,

sent technicians
to every corner of the world.

Japan is one of
the most popular locations to film.

He's Girel, a Lumiére technician.

And I'm Katsutarou Inaba.

I was granted the exclusive rights
by Lumiére to exhibit the films in Japan.

I'm a moving-picture producer.

So how do you watch moving pictures?

Wow! They move!
The people in the picture are dancing!

We came to Karafuto
because we heard about the Ainu here.

Hokkaido Ainu films
were well received at Lumiére.

Right?

Do you have more films of Ainu dances?

What about storytelling?

We didn't film any storytelling.

This apparatus can't capture voices.

You can't preserve the voice
with an image.

Let's act out Ainu stories in a play
and preserve them in moving pictures!

You mean, you want us to put on a play
and record it?

Well, we filmed Kabuki performances.

But Ainu stories are told orally.

Won't voice recording do?

Besides,
plays aren't a part of your culture.

But motions would help people
understand the story better.

Film is a great way to share our stories
with people who don't speak our language!

I'm a producer, you know.

I don't have time to waste
on an idea that might go bust.

I swear it'll be great!

Just do as she says.

If it weren't for Asirpa, you'd be stuffed
in the wolverine's guts right now.

Or are you that ungrateful?

The first one will be
Stories of Panampe and Penampe.

Panampe means "people from downstream,"
and penampe means "people from upstream."

There are lots of stories
about these two guys.

In every story, the panampe
somehow ends up wealthy.

The penampe gets jealous
and copies the panampe,

but because he's greedy, things end badly.

Kind of like the flies and the honey pot.

Starring Saichi Sugimoto as the panampe

and Yoshitake Shiraishi as the penampe!

DIRECTED BY ASIRPA

The script for her story.

Moving pictures, shoot!

Now roll!

One day, the panampe drilled a hole
in an icy river and soaked his wiener.

This story is already weird!

Fish gathered at his wiener.

He went home with a basket full of fish.

His wife was delighted.

Cut. Stop the reel!

You just got loads of food in the winter,
when resources are scarce.

Are those the faces you would pull?

We're telling a story through images.
You need to be more expressive!

You're replaceable, you know that?

We're awfully sorry.

The panampe was enjoying a cozy life
when the penampe came by.

He asked the panampe
how he stumbled upon such a good life.

Just like the panampe did, the penampe
stuck his wiener in the icy river.

But the greedy man
stayed there the entire night.

The penampe's wiener froze overnight,
and he was completely stuck.

His wife tried to smash the ice
with a hatchet...

but she cut off his wiener instead.

And so the penampe died in a dumb way.

What a horrible story!

I don't like that house in my shot.

Ask its owner if we can tear it down.

That's ridiculous!

Do we even have time for this?

It's taking ages.

I told you to stay out of my way.

Tsukishima,
I heard you being sneaky to Sugimoto.

You want to play a woman
to get more screen time.

The Stories of Panampe and Penampe,
part two.

Get ready... Start!

One day, the panampe was stretching out
his wiener by the shore.

This is already weird!

His wiener reached Matsumae.

Hey, Russian, get out of the shot!

The Matsumae retainers' wives
thought they'd found a sturdy hanging rod.

They hung the finest kimonos
on the panampe's wiener.

When the panampe drew his wiener back in,
all the kimonos came too.

Then the penampe came to see the panampe,
who was now rich.

The penampe heard
from the panampe what he did.

The penampe stretched out his wiener
by the sea just the same.

Like before, the retainers' wives came.

But they knew
the rod had taken their kimonos.

They drew their katanas
and chopped it off.

The penampe died in a dumb way.

Wait. Do I die at the end of every story?

This won't do.
These plays aren't good enough!

What's wrong? You don't look well.

They won't withstand the test of time!

What if we film a serious story,
not ones about wieners?

That's smart, Sugimoto.

Most stories about the panampe
and the penampe are crude.

Next, we'll film The Life of Kesorap.

This story is about three brothers.

Cikapasi, you're the star!

Nice, Cikapasi!

Ready, roll!

I have an older brother
and a little brother.

We always hunt together.

One day while out on a hunt,
we traveled far and found a house.

Three sisters lived there.

So we cooked our catch and told yukars.

Then, a suspicious man approached us.

My older brother
told me to beat the man with a stick.

Turns out, it was a bear disguised as man!

The family in the house
only had daughters,

so no one could hunt bears.

The daughters were delighted.

After another long journey,

we reached the sisters' house again.

This time, the father said he wanted us
to marry his daughters.

I became their son,

worked diligently, and lived a happy life.

Then the oldest brother revealed
that he wasn't human

but a bird kamuy called Kesorap all along.

He transformed into a beautiful bird
and spread his wings in the sky.

Pull! Higher!

He's heavy!

Cikapasi, what's with the dazed look?

You can't convey a thing
with that expression!

Listen up, Cikapasi. In this scene,

the oldest brother took you in,
took you hunting,

and even fought evil kamuy
to raise you into a man.

Thanks to him,
you were able to have your own family.

You are now parting
with your beloved brother!

The bird's tears turned into rain

and showered down from above.

Tanigaki nispa.

Excellent! Was the camera rolling?

GOLDEN KAMUY

KANOYA

We rented this playhouse
to hold a showing.

This is all thanks
to Second Lieutenant Koito.

The rich sure know how to spend money.

Oh, no! My balls!

Amazing!

Huh?

Did we film this one?

No.

That's not a Karafuto Ainu dwelling.

Girel noticed something
while he was filming you.

He wants you to watch this reel.

We filmed this in Otaru over a decade ago.

That's my kotan!

Acha!

I still remember his deep-blue eyes.

Wait. Is that Wilk?

So Nopperabou used to look like that.

Then the woman next to him must be...

Girel says you share
a striking resemblance with this woman.

Acha said she was good-natured.
She was bright like a sunny day.

She looks like a wonderful person.

Your father came from Karafuto.

He wanted to get Japanese citizenship
to marry her.

I joked and said he'd get conscripted
if another war broke out,

so it was best not to get it.

Did he end up fighting
in the Russo-Japanese War?

Everyone get out!

Girel, don't let the other films burn!

Cinematograph-projected images
use arc lamps,

which produce electric arcs and sparks.

The film was coated with nitrocellulose,
the same ingredient used in gunpowder.

This often causes accidental fires.

Many historically significant films
have turned to ashes.

Where's Asirpa?

Asirpa!

Are you okay?

Moving pictures is wonderful technology,

but it's not enough to document
the entirety of our way of life.

That was the first time
I saw my mother's face,

but I don't recall that moment.

The things Acha told me about my mother

have stayed with me.

If we don't cherish our culture,
it will eventually disappear.

Kiroranke nispa showed me
other tribes and their ways of life.

I would never have learned about them
if I stayed in Hokkaido.

My journey in Karafuto
taught me all these things.

It's like Kiroranke and Acha said.

If we want to protect it,
what else can we do but fight?

But why do you have to fight?

Are you telling me to go back to Otaru
after we find the gold

and chase after bears and deer,

the way I used to?

Kiroranke nispa sacrificed his life
to teach me these things.

I can't just leave now.

But you shouldn't have to fight, Asirpa.

Sugimoto,

are you trying to save me or yourself?

I remind you of who you used to be
when you used to eat dried persimmons.

That's a part of it.

But I haven't told you
what Wilk told me in Abashiri

right before he got shot.

He said he taught you
mountain-range combat.

He said you'd lead the Ainu someday.

Wilk dragged you into this,

though you were just an innocent child.

And in the end, by giving up his own life,

Kiroranke left you no choice
but to protect your loved ones

through fighting.

I can't allow you to.

To lead the Ainu and die.

To fight and kill your enemies.

It's like they left you with a curse.

I've never raised a child.

Maybe soldiers do pass on
their responsibilities to their children.

But is this really what you want?

You said people who kill other men
are destined for hell.

Asirpa, you aren't religious.
How do you explain that?

Whoever first came up with hell
may have killed hundreds like I have.

Maybe they're in agony
because they can't return to innocence.

But you aren't like that yet, Asirpa.

I don't want you tangled up
in this war for gold any longer.

By the time you understand,
it'll be too late.

FIRST LIEUTENANT
TOKUSHIROU TSURUMI

SERGEANT HAJIME TSUKISHIMA

SECOND LIEUTENANT
OTONOSHIN KOITO

PRIVATE FIRST CLASS
KOUHEI AND YOUHEI NIKAIDOU

SUPERIOR PRIVATE TOKISHIGE USAMI

SECOND LIEUTENANT
YUUSAKU HANAZAWA

IMPERIAL JAPANESE ARMY FIRST
CLASS RIKIMATSU ARIKO - IPOPTE

WARRANT OFFICER MOKUTAROU KIKUTA

TOSHIZOU HIJIKATA
MERCILESS VICE-COMMANDER

TATSUUMA USHIYAMA
USHIYAMA THE UNDEFEATED

SHINPACHI NAGAKURA

DR. KANO IENAGA

TOSHIYUKI KADOKURA

KIRAWUS

TAKUBOKU ISHIKAWA

KANTAROU OKUYAMA

ANJI TONI - THE BLIND GUNMAN

TOSHIZOU HIJIKATA

SUPERIOR PRIVATE
HYAKUNOSUKE OGATA

SOFIA GOLDEN HAND

HEITA MATSUDA

JACK THE RIPPER
KEIJI UEJI

WAICHIROU SEKIYA

BOUTAROU THE PIRATE

WILK

VASILY PAVLICHENKO

CIKAPASI - ENONOKA - RYU

YOSHITAKE SHIRAISHI

INKARMAT

GENJIROU TANIGAKI

ASIRPA

SAICHI SUGIMOTO

HOKKAIDO KONJIN INQUIRER

Next episode: "A Sweet Lie."