The first score cue in the film enters under the tense sequence that introduces Sato and the yakuza, and the music immediately throws us into a dark and oriental environment with colors of an ichigenkin (Japanese zither) and shakuhachi punctuating a brooding synthesizer intro. In the film the cue clashes with the Bobby Darin song „Beyond the Sea“ playing inside the deli, then replaces it. Sato isn’t given his own musical theme in Black Rain, per se (although the dark clouds of Osaka do prompt a recuring motif, heard first in this cue at 3:45). His menace is usually accompanied by these kinds of sinister native sounds, and his action by the percussive chaos that follows as Nick and Charlie chase Sato through the streets of New York and into a meat locker. A bedlam of Zimmer’s synth „gunshots“ is laced with sakuhachi, electric guitar, and other effects as Sato fights between swinging meat like a caged animal, before finally being overtaken. „One-Way-Glass“ crops up at the end of the following scene, as Sato makes threats to an invisible Conklin through the interrogation room mirror. Zimmer scores the scene with an ominous, throbbing synth effect, the trickling sound of a rainstick, and shakuhachi.