11.(49-50) A Pick Up and a Blow Job

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49. Pick Up on Shinjuku Street

Getting off trolley just before Shinjuku Station, Kimi leads Yo around the vast area with many small shops and eateries. Farmer's wives run most of the shops selling high-priced soap, cosmetics, and housewares got from city folk by swap or barter. They pass a line of kids waiting to boasrd a train leaving for Niigata on the west coast. Kimi comments; “The poor kids are evacuees. They're shipping out before bombs fall.”

   Parents cluster about; but one little girl stands alone. About age 3 with pigtail, sad eyes and mouth she is in neat and clean blue sailor suit and looks expectantly at passers by. As Kimi approaches the child starts crying “Mama! Mama! Akiko is here! Akiko!  Please, Mama, take Akiko home!” When she makes out Kimi’s face she suddenly stops.

   Kimi kneels by the girl, takes the Baby Ruth candy bar from pocket and offers it. “Mama will come soon,” she says soothingly. The child stops crying, holds the Baby Ruth up for close look, takes off wrapper, bites it and smiles. Yo stands impatiently. “Whatchya wastin dat good candy on a squoit like dat? If ya diden’ wanna eat it yerself ya coulda swap it fer a nice dress.”

   Kimi continues on with Yo. They pass a line waiting outside eatery. “Pardon me,” Kimi asks bowing to 2 blue-uniformed young men, “What is everyone waiting for?”

   “Government dining room lunch,” the taller one replies.

   “How much is it?”

   “Nothing if you are a worker,” answers the other, inspecting Kimi and Yo with interest through metal rim eyeglasses. “Are you?”

   “We’re hospital woikahs,” Yo says proudly and Kimi winces inwardly at her funny accent.

   “Where at?” he asks taking out a cigarette pack and a gold plated lighter.”
   Kimi sees from the collar they are 4^th year Tokyo University students.

   “Da Downtown Hospital,” Yo answers directing her attention to the cigarettes. “What kinda butts are doze? Look like da writin’of da enemy?”

   “American,” he replies. “My father is a government official so he gets them from the Yankee Monkee POW camp at Omori.” He pulls out the pack and shows a cigarette proudly. It is almost twice as long as the home-front cigarettes and the pack has PALL MALL printed in black on red background. He offers to Kimi and Yo. Kimi politely says no but Yo, who accepts all donations and invitations, takes one of the long cigarettes, puffs at the lighter flame and gets a coughing fit.

   The tall student takes charge, slapping Yo on her back and the coughing stops.   
   The young men introduce themselves. The tall one with unruly hair is Kenji. “Call me Ken.”

  The other: “And Takeshi, that's me.”

  Both are out on the town for the last weekend before being drafted into the Army.
   The government dining room opens and they find a table – Kimi facing Ken; Takeshi, Yo. They go and get government lunches, the young men carrying the trays despite Kimi's “We can carry our own.”

   The lunch is thin, watery porridge with potato fragments, a radish leaf, a bit of snail and countable grains of millet-rice. Kimi eats thinking, Worse than the government food in Manchu. She wishes she could have something better if only for the sake of Baby inside that suddenly by flurry of kicks lets her know it definitely is not satisfied.

   Ken sits looking down at his tray, uncomfortable in the presence of the girls but Takeshi talks smoothly. “Look Sisters,” he says in business-man voice “Why don't we do the day like two pairs, Adams and Eves. My pal and I have money from our paters – y’know our Fathers – to enjoy ourselves before going into the Army. We are thinking to see a movie. We'll treat you, Sisters! Hows about it?” Before Kimi can reply, Yo says “Yeah!”

50. Movie Action

Minutes later, they stroll Shinjuku Road towards its cinema: Ken suggests they see the double feature, and a minute later is buying tickets. He finds rearmost seats off to one side with no one else near. He and Kimi sit next to each other and on their left Takeshi with Yo. The first film is a 15-minute modern dance – Decisive Aerial Warfare Ballet with preface stating it is created by the Tokyo Ballet as an artistic movie about air warfare. On the screen, 4 dancers make like a successful kamikaze destruction of a Yankee Monkee aircraft carrier ship. 
   Then, the main feature comes on, and Kimi, at first from the title, He Who Treads on the Tiger’s Tail, thinks it a jungle story from India but once it starts she sees it is a Chambara – a samurai sword adventure in feudal Japan.
   The opening is a peaceful, productive valley where farmers work happily, daughters are pretty, sons strong –Bucolia!  But a farmer's son is bored with the simple rhythm of farming. His mind is in a blockbusting body and he has a way with words. He convinces the greedy, weak local lord that a neighboring town is ripe for pillaging and he offers to do it in return for being made General. It is accepted and an army raised; and the Young General's surprise, an attack on Festival Day, breaches a wall, destroys all defenders and turns loose his troops to rape and pillage, reserving the aristocrat women for himself.
   Flushed with success he kills his sponsor and makes the lord’s castle his headquarters for a war of conquest.
   Convinced of his military genius and sure of absolute power, using a legion of mercenary murderers, Young General goes on a warring rampage, destroying town, crashing castle and ransacking rich city of the plain. At last, scared sensible and beaten into bravery the remaining lords and free cities unite, raise a large, well-equipped army and defeat the would-be world-beater in the once peaceful valley in which every living man and male child has been slaughtered and every serviceable female taken for sex service.

   At end, the former farm boy Young General is crucified overlooking the Valley, his figure outlined by a red setting sun to serve as warning that a leader’s megalomania must never be served. The final scene gives view from behind the crucifixion, its line of sight angled down like ray of late day sun placing in deep purple shade the corpse-laden devastated valley in the same pan shot as the one that opened the movie.

   Kimi, sitting one seat in with Ken to her right on the aisle, watches, leaning forward on edge of seat. To her left in dark sits Takeshi with Yo on his left. Despite Kimi’s interest in the movie, she cannot help noticing an intense activity going on between Yo and Takeshi. It is not obvious but Yo’s head is bobbing up and down on Takeshi’s lap rhythmically partly covered by Takeshi’s jacket. And just then Kimi herself feels Ken's hand working its way under her kimono. She stops him with a whispered "I know what you need and I'll take care of it but, please, keep your hands off my private part." She unbuttons him and grasping his upward pulsing penis gives several expert jerk motions, keeping her handkerchief ready and in less than a minute his semen comes into it. A few minutes later, when lights go on, Yo and Takeshi have finished and have rearranged themselves. Yo had swallowed Takeshi's semen then wiped Takashi off with her skirt edge and replaced his part and buttoned him.  And so had Kimi for Ken.

   “Did you enjoy the movie?” Ken asks Kimi while Takeshi and Yo look on.

   “Yes, thank you for inviting us.” She smiles slightly. “And you?”

   Ken seems embarrassed, Yo giggles and Takeshi looks away.
   To read on now, click 11.(51-52) Tokyo's Big Store and Some Sumo Wisdom