Last Samurai
 
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Last Samurai
The Last Samurai: Unseen Script Excerpts
By: Joe Tracy, Publisher, Hollywood Lot Magazine

When creating the final cut of a movie, directors end up with a lot of footage on the cutting room floor. Most of the time, there’s good reason for that, as the footage doesn’t seem to fit the final production or takes away from the story. Other scenes will be altered from the original vision in order to present a slightly different message. Here are jut a few of the many scenes that appear in the script for The Last Samurai, but weren’t included in the movie or were changed:

First Example: MOVIE OPENING
A bright blue tiger is surrounded by a pack of dogs, ten of them snarling and gnashing their teeth. The Tiger’s eyes burn with fury as he wheels in a circle, lunching at one dog, clawing at another, keeping them all at bay. Suddenly, the Tiger leaps over the dogs and transforms into a white bird, soaring majestically into the sky.

Second Example: KATSUMOTO’S VILLAGE
Yoritomo leads Algren to a large, wooden bathing tub in a secluded part of the village. A banked fire smolders beneath it. Embarrassed, Yoritomo indicates to Algren that he needs to bathe. Algren strips off his filthy uniform then lowers himself into the steaming water. Yoritomo begins taking off his own kimono. Algren is taken aback. Used to Western privacy, he is a bit disquieted about bathing with another man. Yoritomo, unconcerned, climbs into the tub. He chats pleasantly as they bathe, showing off his old battle wounds.

Algren’s discomfort turns to outright alarm when a toothless old grandmother appears. She happily strips and joins them in the tub! Algren sinks a little lower into the water. The old grandmother smiles at him with her toothless grin.

Third Example: KATSUMOTO’S HOUSE
Katsumoto is arranging flowers. Algren watches in confusion, as this powerful lord goes about doing something so feminine and delicate. Finally…

Katsumoto: The parliament of your country has two houses. Why is that?

Algren: To keep either one from being too powerful.

Katsumoto: Does not a people need a powerful ruler to protect them?

Algren: We believe in the opposite.

Katsumoto thinks about this.

Algren: I have a question. How do you come to speak English?

Katsumoto: Members of the Council were required to study it… Yes, I was a member of the government. I helped restore the Emperor to the throne.

Algren: So that Japan could have a powerful ruler to protect it.

Katsumoto understands Algren’s irony, but doesn’t smile.

Algren: And now you must hate him for what he’s done.

Katsumoto: He is my blood. I serve him with my life.

Algren: By fighting his army?

Katsumoto looks at Algren.

Katsumoto: I do not fight the Emperor. I fight those who seek to influence him; those who betray the soul of my country.

He slowly draws his long samurai sword and places it next to the flowers on the table in front of him.

Katsumoto: The Emperor gave this blade to my ancestors 400 years ago. It has been used only to defend his sacred honor.

Katsumoto hands the sword to Algren. Algren studies it.

Katsumoto: It takes many years to make a sword. It is a holy act. A samurai’s sword is in his soul.

Algren: This sword is flawed. What is this uneven line near the edge?

Katsumoto smiles at Algren’s ignorance.

Katsumoto: One man is flexible and compromises too much to avoid conflict. Another man is so fierce he wins every battle, but so rigid he can never know peace. A man who knows both is the perfect warrior. The same is true of a blade; one steel bends, and the other cuts. And where they meet is never perfect. Hold the blade up..

Algren holds the sword, cutting edge up. Katsumoto takes a silk cloth and drops it. It gently billows down and splits evenly on the edge.

Katsumoto: Some believe a blade is thirsty until it tastes the blood of its enemy.

Algren hands the sword back. Suddenly, Katsumoto swings the sword, cleanly splitting the table in two. Silence.

Algren: The crew at Winchester can produce one rifle every seven minutes.

Katsumoto: We gave up firearms two hundred years ago. It takes no courage to kill a man from half a mile away. You must look into the eyes of your enemy to know who you have killed.

Algren: I’m not sure an artillery officer would agree.

Katsumoto: Do you?

Algren: I think all killing is a filthy business.

Katsumoto: Taking a man’s life is nothing. It is his honor you can never take away.

Algren: In other words you have no respect for human life.

Katsumoto (fierce): What do you know of human life? You come here to kill for money. Where is your family? Where is your wife; your sons? What is your legacy?

Algren (undaunted): And what is yours? To rebel against the future? I fought the South in our civil war. Their leaders believed they were fighting for “honor” just as you do. And their people died by the thousands!

Katsumoto simply looks at him.

Algren: And my wife is dead.

Katsumoto: Mine, too.

They look at each other. Some unexpected recognition has taken place.

Fourth Example: Middle of movie – IMPERIAL PALACE GARDEN
The cherry blossoms have emerged, created a scene of intense color, beauty, and serenity. The Emperor sits cross-legged next to a shrine. He is approached by Omura and two other advisors.

Omura: Your Majesty, beg permission to approach. (the Emperor nods). Your humble servants are most anxious to know if his Majesty has signed the order regarding the railroad progress.

Emperor (after a long moment): I am most impressed at the way the blossoms float upon the air, as if held by unseen hands.

Omura: Yes, they represent the highest form of gyoki. About the order, your Majesty.

Emperor: This railroad must go through Yoshino Province?

Omura: It is absolutely necessary your Highness.

Emperor: If you say so, I shall sign.

From Script to Screen Other scenes written into the script, but not used in the movie include Algren visiting a prostitute early on when he arrives at Japan and an earthquake that virtually destroys the Samurai village. During the earthquake, Algren saves one of the two boys from a falling beam.

Not all scenes in a script are filmed. After the process of going through a script, an actual shooting script is created that can vary quite a bit from the original concept. For example, while an earthquake was part of the original script, the Ninja attack was not. The shooting script exchanged the two concepts and as a result, the Ninja scene works really well in the final movie.

Ultimately, the director is responsible for making a movie as tight as possible, even if that means leaving half of the scenes out of the finished version. But, unlike past decades, directors know that even cutting room floor footage will go to good use… when the DVD is released.

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