Nureki Chimuo Archive

I’m going to go ahead and publish the screenplay for “The ‘Too Cute’ Series, Part 2” by Nureki Chimuo right here.

If all goes according to plan, filming based on this script will begin in fifteen days.

Characters

Fuyuko Her older sister, Natsuko The Bad Guy

Introduction:

Keep the overall lighting dim at all times.

Both the characters’ expressions and the overall scene should maintain a hazy, dim tone throughout. That dimness is the theme of this work.

At times, the screen should be so dim as to make the viewer feel irritated.

I wish to reject the conventional and vulgar lighting techniques of professional cameramen.

Even the heroine’s expression is dim. There is no need to shoot her in a deliberately beautiful way. I know that this dimness richly stimulates the viewers’ imagination. The fact that they cannot see what they want to see arouses their desire.

In keeping with the situation of this drama, let us create footage with a realistic, natural mood using lighting that remains dim throughout.

I know all too well how cliched, artificially bright lighting can turn viewers off.

1. The stairs in an empty building.

Fuyuko, a woman blindfolded with a white cloth, gagged, and bound with her hands tied in front of her with rope, is dragged up the narrow stairs by a man who holds the ends of the rope.

This villainous man is played by Nureki Chimuo. Well, it’s pretty much just me playing myself (laughs).

Unable to see or speak, Fuyuko freezes in terror halfway up the stairs and is unable to move.

Man: “What’s wrong? Just a little further. Walk.”

He pulls on the end of the rope binding Fuyuko.

As her wrists are pulled, Fuyuko shakes her head from side to side in terror. She is trembling violently.

Man: “Just a little further. Get up there. Once we’re at the top, I’ll at least take off your blindfold.”

The man grabs Fuyuko by the hair and forces her up the stairs.

pain.

Dragged along, Fuyuko moves her feet little by little. She lets out a moan of terror and

(Note) Since the studio stairs are white and clean, place bundles of old magazines on them to create a cluttered look.

Also, ensure that only the man’s hands and feet appear on screen. Avoid showing his face as much as possible.

The audience’s focus must remain solely on the captive woman. If the man’s face is shown, the audience’s interest will be halved.

It would be ideal if the shot creates the illusion that it is not Nureki who is capturing and dragging the woman, but the audience itself.

2. The entrance to the staircase. And inside it.

A man and a woman climb the stairs and finally reach the entrance to the room.

It is a room in an empty building somewhere, a completely empty space.

With her eyes and mouth still covered, the woman looks terrified and anxious. Her wrists are still bound.

Woman: “Uh, uhhhhh, uhh…." she moans.

Man: “I’ll at least take off the blindfold.”

He removes the white cloth blindfold.

At this moment, he notices that the gag has loosened, so he re-ties it.

He shoves several rolled-up pieces of cloth into the woman’s mouth and presses them down tightly.

(Here, the allure of a proper gag is shown in detail and to the fullest.)

Man: “Now that we’ve come this far, you can’t escape. No one knows about this place.”

The woman scans the unfamiliar room with eyes filled with anxiety and terror.

Man: “Give up, Fuyuko. You’re going to be with me. I’m not asking you to marry me. I just want you to live with me. I want to spend every day looking at your face.”

The woman shakes her head. Her eyes are filled with anger and hatred.

Man: “Do you hate me?”

The woman nods.

Man: “Is there no way you can bring yourself to like me?”

The woman, eyes full of anger, nods.

Man: “I see. Well, I guess there’s no helping it. Well, look at that.”

In the corner where the man points, there is a single, shabby bed.

On the bed, a thin futon is piled up in the shape of a person lying down.

The futon, still bulging, wriggles and shifts.

The woman stares at it with eyes full of anxiety and fear.

The man moves closer to the bed and slowly lifts the futon.

And then…

Beneath the quilt lies a woman, her hands bound behind her back and a gag forced into her mouth, writing in agony.

This woman is Fuyuko’s older sister, Natsuko.

Man: “Look closely.”

Fuyuko strains her eyes and stares intently at Natsuko. Because she is gagged, Fuyuko cannot make out her features clearly at first, but eventually she realizes it is her older sister.

Fuyuko: “Mmm, mmm!” crying in shock.

Man: “That’s right. It’s your sister, Natsuko. I kidnapped her and brought her here yesterday.”

Fuyuko: “Mmm, mmm!”

Man: “Your mother died of an illness when you were still small. That older sister of yours took her place and raised you. So she’s just like your mother. If you do as I say, I’ll spare this woman. What do you say?”

The man sits Natsuko up.

Natsuko cries and pleads with the man.

But because of the gag, she can’t make a sound.

The man leans his ear close to Natsuko’s mouth.

Man: (Nodding) “What did you say? You want to go to the bathroom? I see. I wouldn’t want you peeing yourself right here on this bed, you know.”

The man lifts Natsuko off the bed, grabs the end of the rope and drags her toward the bathroom.

The pitiful sight of Natsuko, forced to walk with her hands tied behind her back.

Her poor younger sister, Fuyuko, watches with heartbroken eyes.

3. In front of the bathroom.

The man and Natsuko approach the restroom.

The restroom door is broken (the restroom door at that studio really is broken).

Man: “This restroom door is broken. It’d be embarrassing to pee in a place like this. You know what? Since that’s the case, just do it in the room.”

The man leads Natsuko back into the room.

He secures the end of the rope high up, fixing Natsuko in a position where she’s standing on her tiptoes.

Man: “Do it there. Pee while standing, still tied up. Do it with your panties on. Do it in front of me and your sister.”

Natsuko shakes her head, pleading with sorrowful eyes, and moans.

The man grins a cruel smile. Then he says to Fuyuko, “Listen, Fuyuko. If you don’t do what I say, your older sister will be punished like this forever.”

The man jabs the tip of a thin whip all over Natsuko’s body, lewdly urging her to urinate. Natsuko writhes in agony, finally unable to hold it any longer, and loses control while still wearing her panties.

Seeing this, the man brings a bucket and a rag and places them in front of Fuyuko.

Man: “Wipe up the mess your sister made. Clean it up.”

Fuyuko, her wrists still bound in front of her, wipes the floor her sister soiled with the rag. What a pitiful, heartbreaking sight.

The man temporarily unties Fuyuko’s wrists.

Man: “This time I’ll tie your hands behind your back. Put your hands behind your back.”

Fuyuko shakes her head from side to side in resistance.

Man: “If you say no, I’ll punish your sister again.”

Once more, he lewdly jabs a thin whip all over Natsuko’s body. Natsuko struggles pitifully.

Seeing this, Fuyuko, writhing in frustration, puts her hands behind her back.

Man: “Raise your wrists higher. Higher, higher, higher!”

With a smug grin, the man slowly ties Fuyuko’s hands behind her back with rope. A brutal, harsh binding.

This is the climax, the showstopper, so film it carefully and in detail.

Fuyuko, tightly bound in a takate kote, is made to stand side by side with Natsuko, and the ends of the rope are suspended and secured at a high position.

Then, Natsuko’s left leg and Fuyuko’s right leg are bound together with rope.

Rope is wrapped around the sisters’ upper thighs and ankles, and a thick candle is wedged between them.

(The candle must be white. Do not use red candles, as they look unnatural and give the scene a cheap, adult video vibe.)

Light the candle.

The sisters are terrified.

The man is now more obsessed with tormenting these sisters than with making Fuyuko his own. He is completely absorbed in it.

Soon, molten wax begins to drip, drop by drop, onto the sisters’ toes.

The sisters writhe in agony. He films them carefully, with a maniacal intensity.

The room’s lighting gradually dims, until eventually, only the eerie flame of the candle burning between the sister’s legs remains.

The words “To Be Continued” appear on the screen, and the scene ends.

Concept: Nakahara Rutsu Direction: Yamanouchi Sachi Cinematography: KEI, Yamame Fumi Screenplay: Nureki Chimuo Cast: Sawato Fuyuki, Kasumi Shion, Nureki Chimuo

That is the story in a nutshell.

Actually, “situation” might be a more accurate term than “story.”

Based on this premise, we develop the bondage or torture elements, adapting and evolving them to suite the atmosphere of the scene.

At some point, the cloth gag naturally loosens. From my experience, it always does.

Every time that happens, we reapply the gag.

Make sure to film that gag-reapplication scene properly.

(It is precisely scenes like this that are stimulating, fetishistic, and interesting.)

I don’t think I need to state this again, but the woman’s lower body will not be exposed. Underwear will be visible.

Of course, vibrators and the like are absolutely not to be used.

The man (Nureki) will always move mysteriously like a shadow in the dim lighting and will not come to the forefront.

If a full-body shot of the man comes to the forefront, it will instantly turn into a vulgar SM video, so take great care.

I’ve tentatively titled it “Hostage,” but I’d like to hear the opinions of both the planner and the director.

P.S.

I faxed this script to director Yamanouchi Sachi and asked him to read it. She replied immediately with the following message.

You can really sense the director’s enthusiasm. Since I have the opportunity, I’d like to share it here.

To Nureki Sensei,

“Hostage”.... I think that’s a good title.

It’s just two kanji characters, clean and cool. If you can effectively convey the emotional shifts of the cornered sisters, I think it will make for a truly excellent work.

I’d like to make it so impressive that people say, “I’ve never seen anything this amazing before.”

I just had a meeting with KEI from the camera team, and we came up with some interesting ideas for lighting, so I’d like to try them out on the day of the shoot.

I have a feeling this will be a piece unlike anything currently available on the market.

KEI also said he wants to get as close as possible to your vision, Nureki-san. I just can’t help but feel sorry for the younger sister wiping up her older sister’s pee. It’s just too miserable. I want to direct this scene well.

It’s also nice that the older sister is squirming around in bed in the opening scene. I’ll have to think carefully about how to shoot this part with the video camera. I’ll give it some thought. Additional note. (From Nureki to Nakahara Rutsu)

For this shoot as well, I had naively assumed we’d follow the same old routine. A man calling himself a “rope master” would tie up the model in the standard way, torment them, and then untie them when the time was up, a process that could be described as the epitome of monotony. To tell the truth, it’s simply the easiest way to do things.

But you told me, “You’re the only one who can create footage that satisfies the desires of bondage enthusiasts right now. Now is the time to make the intense bondage drama we’ve always talked about. You mustn’t slack off.”

“Now is the time to create a drama,” she repeatedly persuaded and inspired me. It was Nakahara-san’s presence that made me write this script.

As you can see, Yamanouchi Sachi-san is also raring to go. I ask for your active advice on the set as well.