253 lines
10 KiB
Plaintext
253 lines
10 KiB
Plaintext
SHOGUN ILLUSTRATIONS
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Anything labelled (European) CAN (but doesn't have to be) in European
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style. The rest SHOULD but don't absolutely have to be in Japanese
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style. Use your artistic judgment. Where I could, I've marked these
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with the chapter in the book where they occur.
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Please don't be too constrained by these suggestions!
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1. --ALREADY DONE--
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* Erasmus during storm (European) (Prologue)
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* View of garden from Mura's house (Chapter 1)
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This is a small garden surrounded by a high wall. It is unlike anything
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you have ever seen: a little waterfall and stream and a small bridge
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and manicured pebbled paths and rocks and flowers and shrubs. It's so
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clean, so neat.
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* Yabu climbing down cliff to rescue Rodrigues (Chapter 9)
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Yabu kicks off his thong slippers. He takes the swords out of his belt
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and puts them safely under cover. He barks some orders at one of the
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samurai, then takes off his soaking kimono, and clad only in his
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loincloth, goes to the cliff edge, testing it through the soles of his
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cotton tabi -- his sock-shoes.
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Suddenly, Yabu slips! He grips an outcrop with his left hand, stopping
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his fall. He grinds his toes in a crevice, fighting for another hold,
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but his left hand rips away. His toes find a cleft and he hugs the
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cliff desperately. Then the toehold gives way! He falls the last
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twenty feet.
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* Procession (Escape from Osaka) (Chapter 21)
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This is the courtyard of Toranaga's keep within Osaka castle. In the
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forecourt, outside the gate, an escort of sixty heavily armed samurai
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is drawn up in neat lines, every third man carrying a flare.
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Just after dusk Kiri waddled nervously down the steps. She headed for
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her curtained litter that stood beside the garden hut. You are leaning
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against the wall near the fortified gate. You are wearing a belted
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kimono of the Browns and tabi socks and military thongs.
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* Japanese warrior (Buntaro? Omi? Yabu?) (see below...)
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* Mariko's seppuku (Chapter 56)
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Mariko stops by the lily pond and undoes her obi and lets it fall.
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Chimmoko helps her out of her blue kimono. Beneath it Mariko wears the
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most brilliant white kimono and obi you have ever seen. It is a formal
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death kimono. She unties the green ribbon from her hair and casts it
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aside.
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Clad completely in white, Mariko walks from the garden into the
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forecourt, never looking at you.
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At a sign from Sumiyori everyone bows. Mariko bows to them. Four
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samurai come forward and spread a crimson coverlet over the tatamis.
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Mariko goes to the crimson square and kneels in the center, in front
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of the tiny white cushion. Her right hand brings out her stiletto
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dagger from her white obi and she places it on the cushion in front of
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her. Mariko arranges the skirts of her kimono perfectly, Chimmoko
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helping her, tying a small white blanket around her waist with the
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cord. You know that this is to prevent her skirts being blooded and
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disarranged by her death throes.
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2. --SUGGESTIONS--
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* Blackthorne (1/2 or less of screen)
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* Rodrigues (1/2 or less of screen)
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Rodrigues is a man as tall as you and about your own age, but
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black-haired and dark-eyed and carelessly dressed in seaman's clothes,
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rapier by his side, pistols in his belt. A jeweled crucifix hangs from
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his neck. He wears a jaunty cap.
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* Father Sebastio (1/2 or less of screen)
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Sebastio is a short, thick man with dark hair and a long beard. His
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robe is travel-stained and his boots are besmirched with mud. He is
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obviously a Portuguese or Spanish priest, and though his flowing robe
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is orange, there is no mistaking the crucifix and rosary at his belt,
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or the cold hostility on his face.
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* Father Alvito (1/2 or less of screen)
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Alvito is a graceful, handsome man, perhaps a few years older than
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you. He wears tabi socks and a flowing kimono that seems, on him, to
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belong. A rosary and a carved golden cross hang at his belt. He has an
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easy elegance, and the aura of strength and natural power of the
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Jesuits.
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* Toranaga (1/2 or less of screen)
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Toranaga is a short man with a thick belly and a large nose. His
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eyebrows are thick and dark and his mustache and beard gray-flecked
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and sparse. Eyes dominate his face. He is fifty-eight and strong for
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his age.
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* Yabu (1/2 or less of screen)
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Kasigi Yabu is short, squat, and dominating. There's arrogance and
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cruelty in the daimyo's face, you think. He kneels comfortably, his
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heels tucked neatly under him, flanked by four lieutenants, one of
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whom is Kasigi Omi, his nephew and vassal. They all wear silk kimonos
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and, over them, ornate surcoats with wide belts.
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* Omi (1/2 or less of screen)
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Omi is a head shorter and much younger than you, his handsome face
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slightly pockmarked though. He wears breeches and clogs and a light
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kimono with two scabbarded swords stuck into the belt. One is
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daggerlike, the other, a two-handed killing sword, is long and
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slightly curved."
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* Other characters... (Mariko? Buntaro? etc. etc.)
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* Below decks scene on Erasmus (European) (Prologue)
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The crew's quarters of the Erasmus. A companionway leads up to the
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deck. It's dim, warm and close here, and the stench is abominable.
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Most of the survivors of the crew are here in bunks and hammocks, some
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sleeping, some awake.
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* Anjiro landscape including Erasmus at anchor (Chapter 1)
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The village is set around a crescent harbor that faces east, perhaps
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two hundred houses unlike any you've ever seen nestling at the
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beginning of the mountain which spills down to the shore. Above are
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terraced fields to the west and dirt roads that lead north and south.
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Below to the east is the waterfront. In the harbor you can see the
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Erasmus riding at anchor.
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This is the waterfront of the village. The ground is cobbled and a
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stone launching ramp goes from the shore into the sea. There are men
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and women cleaning fish. Small islands are visible to the east and
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south. At anchor, to the east, is the Erasmus.
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* Looking out of Pit at Omi (Chapter 2-6)
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You are crammed into a deep cellar, one of the many that the fishermen
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use to store sun-dried fish. The cellar is five paces long and five
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wide and four deep, with an earthen floor and walls. The ceiling is
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made of planks with a foot of earth above and a single trapdoor
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set into it.
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The trapdoor opens. Omi looks down at you. Beside him are Mura and the
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priest. Everyone but you begins yelling. "Water! And food, by God!
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Let us out of here!" Omi motions to Mura, who nods and leaves.
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Mura returns with another fisherman, carrying a large barrel. They
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empty the contents, rotting fish offal and seawater, onto your heads.
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* Confusion on deck during galley voyage to Osaka (Chapter 8)
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"Watch out for'ard!" Rodrigues shouts. The galley rolls sickeningly,
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twenty oars pulling at air instead of sea and there is chaos aboard.
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The first comber has struck and the port gunwale is awash. The galley
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is floundering.
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Abruptly the galley swerves and you are carried to the down side, your
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legs taken away by some of the rowers who have also slipped their
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safety lines to try to fight some order into their oars.
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The gunwale is under water and one man goes overboard! You feel the rush
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of water carrying you over the gunwale as well!
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* Rodrigues overboard (Chapter 8)
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You see the wave take Rodrigues, and you watch him, gasping and
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struggling in the churning sea. You remember that he can't swim.
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The rain slashes down and you see that Rodrigues is being carried
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further from the galley.
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The last you see of Rodrigues is an arm gripping a broken oar.
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* Osaka Castle (Chapter 10)
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You smile back, take your leave of Rodrigues, and then you are on
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deck, your mind whirling from the impact of Osaka, its immensity, the
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teeming anthills of people, and the enormous castle that dominates the
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city. From within the castle's vastness comes the soaring beauty of
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the donjon, seven or eight stories high, pointed gables with curved
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roofs at each level, the tiles all gilded and the walls blue.
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* Toranaga's falcon (Chapter 11)
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Toranaga is repairing a broken wing feather of a hooded falcon as
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delicately as any ivory carver.
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The falcon is a peregrine and she is in her prime. The handler, a
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gnarled old samurai, kneels in front of Toranaga and holds her as if
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she were spun glass. Toranaga cuts the broken quill, dips the tiny
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bamboo imping needle into the glue and inserts it into the haft of the
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feather, then delicately slips the new cut feather over the other end.
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He adjusts the angle until it is perfect and binds it with a silken
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thread. The tiny bells on the falcon's feet jingle, and he gentles the
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fear out of her.
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* Bath scene with Mariko and Blackthorne
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* Blackthorne giving his sword to Toranaga (Chapter 38)
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(This is just after you and Toranaga and Mariko have survived an
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earthquake; the remains of a crevice are nearby, and you are on
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a hillside plateau.)
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In your hands is Fujiko's sword. It is still scabbarded, though
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muddied and scarred. Your short stabbing sword has disappeared. You
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kneel in front of Toranaga and offer your sword as a sword should be
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offered.
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* Blackthorne's mad scene at the last gate in Osaka (Chapter 22)
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* Toranaga in drag (Chapter 23)
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Buntaro was covering Toranaga's litter with his body as best he could,
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an arrow stuck into the back of his leather chainmail bamboo armor,
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and then, when the volley ceased, he rushed forward and ripps the
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curtains apart. The two arrows were imbedded in Toranaga's chest and
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side but he was unharmed and he jerked the barbs out of the armor he
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wore beneath the kimono. Then he tore off the wide-brimmed hat and
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the wig. Toranaga fought out of the curtains and, pulling his sword
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from under the coverlet, leapt to his feet. He still wore the
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travelling cloak and Kiri's kimono, but the skirts were hitched up out
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of the way, his military leggings incongruous.
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* Ninja (Chapter 57)
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They wore tight-fitting clothes of black and black tabi and black
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masks. Their hands and faces were also blackened. These men were armed
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with chain knives, sword, and shuriken. In the center of their black
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hoods was a red spot. On their backs were slung haversacks and short
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thin poles.
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* Explosion of bomb (Chapter 57)
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* Burned, wrecked Erasmus (Chapter 60)
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* Toranaga's Crest (should fit in top half of screen) (Chapter 7)
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"three interlocked bamboo sprays."
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(This is pretty vague; doesn't say shape or color or anything.
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However, I believe that Clavell told me the crest is identical to
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Togugawa Ieyasu's -- he is the model for Toranaga)
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