In the blink of an eye, another two days passed. At half past seven in the evening, after having dinner at Takeshita's house, Chie Sakai, who had sat in the dining room for a quarter of an hour and rested, came to the piano room, and stood behind Miyuki Kitagawa to start checking the little guy's piano homework in place of Kako Kitagawa for a while.

The doorbell rang with "Ding Dong" suddenly and continuously and regularly. Kako Kitagawa in an apron had just cleaned up the dining table, and before she had time to put them in the dishwasher to wash them, she walked to her door in three steps and two steps. When she opened the main door and saw people, she didn't know her at all, so she instinctively asked, "Who are you looking for?" ”

"Good evening. Excuse me, is this the residence of Mr. Takeshita Kusaoke? Akira Kurosawa, who had a kind smile on his face and a greeting gift in his hand, knowingly confirmed.

Kitagawa Kako, who nodded her head twice, didn't have time to say that Takeshita Kusaka was not at home, but she heard the other party take the initiative to introduce herself: "I'm Taro Tanaka, Kurosawa's agent." I took the liberty of interrupting. ”

When Kako Kitagawa heard the words "Akira Kurosawa", she was a little more excited in her heart, after all, she was her favorite director. She is very fond of each other's movies. When I saw him like this, I could guess that seven or eight times out of ten he came to talk about buying out the film and television rights of a certain novel work of Takeshita Mustard. Suddenly, her hands were clasped together, and she was looking forward to what kind of classic would be born from a strong alliance between a great director and a great writer?

Kitagawa Kako, who didn't refuse Taro Tanaka outside the door, was thinking in her head that it would be okay even if Takeshita Kusashi was not at home, and Sakai Chie, who had his agent, was here, so it was the same. So, she invited Taro Tanaka into the sofa in her large living room to sit on it, and asked him to wait.

I know that I am really not good at dealing with this kind of business negotiation scene. One turned around and hurried to the piano room. Directly pushed the door open, but she didn't walk in, she just poked her head in, and said happily: "Qianhui, someone is looking for you." The man was now sitting outside in the large living room. ”

With her hands crossed over her chest, she was calmly listening to Miyuki Kitagawa playing. He was stunned for a moment, and then wondered. The person looking for himself should go to the house opposite, why did he come here? Even if you are not at home, and the person who comes to tell you should be your housekeeper.

Chie Sakai, who walked straight out in the direction of the door, approached the sofa and saw that it was not only with him, but also in the office, and had not yet talked about the whole thing in the office. This plus the previous one, it is probably the second care of the three thatched houses.

I really didn't expect her to be here. A look of surprise flashed. He stood up suddenly, with a smile on his face, bowed and greeted him politely, "Miss Sakai, you are here too!" ”

"I'm going to eat here tonight. Takeshita-kun went out to collect wind. It's hard to say when I'll be able to come home. If you want to see him, I'm afraid you'll have to make another appointment. Walking across from him was Sakai Chie, who sat down slowly, and felt that they were not only eager to get the film and television rights of "Rashomon" and "In the Bamboo Forest". And I want to use the form of a personal visit to know the reason. It is good to impress Takeshita Kusaoji with reason, so that he can agree to the position of screenwriter.

Taro Tanaka, who has dealt with her once, knows how powerful she is. Not daring to despise the other party's young man, he showed a regretful expression and made a relevant explanation: "It's really unfortunate. I took the liberty to come to the door, and I have long admired the name of Mr. Takeshita Kusaoke, so I would like to pay a visit. ”

Of course, I understand that he is more than that. It's the polite Sakai Chie, naturally she won't be naïve to think that he is really idle and has nothing to do, and he deliberately went so far. I looked at this uncle who still had a certain taste in dressing, and I couldn't help but think about his age, status and economic strength. The best place to spend the night is at one of the high-class clubs in Ginza.

The two of them were brought black tea, as well as the fruit on the glass coffee table, Kitagawa Kako, which naturally showed the hospitality that she should have as the hostess of this room. Knowing that she didn't have any skills and could only do these simple things, she put down her things and turned away without any disturbance. What's more, if you stay here and listen, you can't interject anything, and there are even some times when you can't understand what they are saying. Instead of sitting here wasting time, you should go back to the kitchen and finish what you were supposed to do.

"Miss Sakai, can we continue the unfinished topic of that day?" Taro Tanaka, who was considered a polite man, thought that he couldn't run such a trip in vain. I left before my ass was hot, which was too embarrassing.

"The film and television rights of "Rashomon" and "In the Bamboo Forest" are sold to you, and there is no big problem. One, you agree to make a box office share with us; Second, the talent and talent of director Akira Kurosawa will not insult the essence of the original work. The contradiction between us and whether we can reach this cooperation focuses on one point, that is, whether Takeshita Kusaoji will be the screenwriter of the entire film. In my opinion, as a great writer, the reason why Takeshita Kusaoji is reluctant to become an editor is that he has a common problem with writers of the same level. This has reached a level where writers still struggle to break through something. After all, they will think that they are speaking for God, and that they are really doing their part in editing, and they are insulting the responsibilities that God has given them. What's more, changing one's original work to cater to the preferences and tastes of ordinary people is kitsch. In their view, kitsch is synonymous with dung. Sakai Chie, who is very clear about the points of difference between the two sides, first made an objective analysis from the perspective of Takeshita Kusaoke.

Speaking of this, she felt a little dry mouth, paused, picked up a Western fancy round crystal cup in her hand from the glass coffee table, took a sip of black tea, and continued without putting it back in its place: "I also express a very good understanding of your insistence on Takeshita Grass Mustard to be the screenwriter, after all, only the original author knows the full meaning and connotation of his personal work best, and it is also the best guarantee for the most basic level of a high-quality art film." (To be continued.) )