After she dies, he should dig her grave with a large shell, mark it with a fragment of fallen star, and wait at its side a hundred years for her return.
As he begins to wonder if she didn't deceive him, a slender stem emerges and a white lily blossoms before him.
The dreamer, who is staying in a temple, returns to his chamber after leaving the high priest's quarters.
The child states that he was killed by the dreamer, in this very place, on a similar night, a hundred years before.
An old man sits alone at a large table in an earthen-floored room, escaping the heat of the day.
The woman mounts her unsaddled white horse and races through the night, black hair streaming behind her.
When the cock crows a second time, she releases the taut reins, and horse and woman tumble into a deep canyon.
The crowing of the cock was in fact Amanojaku, a mischievous goddess, who from that moment on is the dreamer's eternal nemesis.
The dreamer hears that Unkei is carving Niō guardians at the main gate of Gokoku-ji.
Unkei, dressed in Kamakura attire, is suspended high up on the work, carving away industriously, oblivious to the crowd below.
The dreamer finds himself on a large ship that is steaming and sailing through the waves at great speed.
In the evenings, the mother walks to the shrine of Hachiman, the god of archery and war, to pray for her husband's safe return.
After praying by the iron bell, she paces a hundred times between shrine and gate, offering a prayer on each round.
The father, for whom the mother so diligently prays, has died long ago at the hands of a rōnin.
Ken-san reports to the dreamer that Shōtarō has returned after seven days’ absence and taken to his bed with a fever.
In the evenings, he dons his prized Panama hat, sits in the shopfront of the fruit market, and admires the passing women.
One evening, an exquisitely attired woman approached the market and bought the biggest basket of fruit.
The woman took him on a long train ride to the mountains, and they disembarked onto a wide, grassy plain.
Ken-san, who warns against the evils of excessive woman watching, will likely be the recipient of Shōtarō's prized Panama hat.
[1][2] The film is a collection of ten vignettes made by eleven directors (two worked together) ranging from industry veterans to novices.