Inspector Imanishi Investigates

painting a poster for a coming feature. The manager stood with his hands clasped behind him watching the painter. When he read Imanishi’s card, he welcomed him pleasantly.

Imanishi came directly to the point. “Excuse me for asking this abruptly, but could I find out what movies were playing at this theater last May ninth?”

“The films we showed on May ninth, did you say?” The manager responded with surprise.

“Yes, I’d like to know the names of the films,” Imanishi said.

“Hmm, is it related to a case or something?”

“No, I just need to know for reference. Can you find out immediately?”

“It’s no problem to look it up for you.”

The manager led Imanishi out of the room. They went to the office next to the projection booth. Posters were plastered all over the walls, and the desk was piled high with paper. A young man sat alone figuring, flicking the counters on his abacus.

“Hey, what were the movies we showed on May ninth? Can you look it up?”

The young man pulled the ledger toward him. He flipped through the pages and found it at once.

“One was Windy Clouds of Tone and the other One Man’s Rage.”

“Those were the ones,” the manager said to Imanishi standing beside him. “One was a period piece and the other a modern movie.”

“Which production company were they from?”

“We show Nan’ei films exclusively.”

“I’m sorry to trouble you, but do you have a pamphlet or anything that would list the actors in those movies?”

“It was quite some time ago, so I don’t know if we still have anything. Let me have someone look around.”

The manager ordered the young man to look. He searched the drawers of the desk and the shelves and finally pulled a sheet of paper out from under a pile of posters.

“We’ve found something.” The manager took the sheet and gave it to Imanishi. “This is the cast.”

“Thank you.”

Both Windy Clouds of Tone and One Man’s Rage featured currently popular actors. The sheet listed supporting actors and minor actors as well. It even listed the names of the actors playing maids and children.

Imanishi carefully folded the pamphlet and put it into his pocket. “Are these movies showing anywhere now?”

“Let me think. Since they came out quite a while ago, I don’t think they’re showing even at theaters specializing in second runs.”

“In that case, were the films returned to the film company?”

“Yes. When we’re finished with them, we send them back to the company. These movies are probably in the company warehouse.”

“Thank you very much.” Imanishi bowed.

“Oh, is that all I can do for you? Just a minute, are you on a case related to those movies?”

But by that time Imanishi had turned and left the office.

THIRTEEN A Thread

After his return to Tokyo, Imanishi asked the Nan’ei Film Company for a screening of One Man’s Rage and Windy Clouds of Tone, along with the newsreels that had been shown at the theater. The film company did not grant his request readily. There was no problem about pulling the films out of storage, but the screening room was always booked. New films were completed twice a week, and invitational screenings of these films took precedence. The company was also reluctant to show two films, totaling three and a half hours, at one person’s request.

“Do these films have some relevance to a crime?” Imanishi was asked.

“Not directly. If they were being shown in the movie theaters, I’d go there to see them. They aren’t showing anywhere, so I have no choice but to ask you to screen them for me.”

“We’ll let you know when the screening room becomes free.”

Imanishi waited impatiently three or four days. Finally, he received a telephone call. “The screening room will be open this afternoon.”

Imanishi rushed over. He felt apologetic at having the films shown just for him, but he had to see them.

The Nan’ei Film Company’s screening room was located in the basement of a theater. The screen was about half the width of those in commercial theaters, but the sound was clearer.

The first film was a newsreel. Starting with political news, it went on to social events, then scenes of horrendous traffic jams, the opening ceremony for a local train line, and finally sports topics. Next was Windy Clouds of Tone. It was a period film about fights between two gangs of gamblers featuring some spectacular sword-fighting sequences.

Imanishi watched the action on the screen with unblinking eyes, scrutinizing the faces of all the actors, even the extras.

Windy Clouds of Tone was over in one and a half hours. When the lights came on, Imanishi let out a sigh. Imanishi had examined carefully all who had appeared on the screen-petty gang members, passersby, and lawmen.

After a five-minute rest, the projectionist said, “I’m starting the next one.”

The room darkened and the title One Man’s Rage flashed on the screen. Imanishi knew the cast from the program notes, but he was unable to connect the names with the faces. When he was younger, he had often gone to the movies, and he knew the faces of the older actors, but none of the younger stars looked familiar.

One Man’s Rage was a modern gangster film with much use of pistols. Imanishi peered at the faces of passersby, bar customers, and gangster henchmen. Because it was a contemporary film, the settings showed many parts of Tokyo: the bar areas in the back streets of Ginza, the crowds in Yurakucho, the interiors of large office buildings, and even the warehouses at Harumi Wharf. This meant that there were many people in the background. Imanishi’s objects of study were not the featured actors. On the contrary, he was focusing on the bit players and the extras.

When the film ended, Imanishi sat back in his seat, dumbfounded. He had not seen a single face that meant anything to him.

“We’ve finished showing everything. How was it?” the person in charge asked.

“Thank you. I’m sorry to cause you all this trouble.” Imanishi rose from his seat.

The outdoor light was so bright that he had to shield his eyes for a while.

Miki Ken’ichi had seen Windy Clouds of Tone and One Man’s Rage twice when he was in Ise. There must have been some scene in the movies that had made him curious enough to see these movies twice. The maid at the inn had said that when he returned from the theater Miki was deep in thought. Yet Imanishi had not come across anything that would have prompted Miki’s second viewing of either of the two feature films or the newsreel.

Imanishi returned to headquarters and found a brown envelope on his desk. The return address on the back of the envelope was Jikoen, xx Village, Kojima County, Okayama Prefecture. Imanishi opened the envelope at once. This was what he had been waiting for impatiently. After reading Kirihara Kojuro’s reply he had written a letter of inquiry to Jikoen.

To: Chief Inspector Imanishi Eitaro

First Section, Homicide Division

Tokyo Metropolitan Police Headquarters

This is in response to your inquiry regarding Motoura Chiyokichi.