THE HIROSHIMA
PEARL
written by Charles Deemer and
Michael T. Girardo
story by Michael T.
Girardo
FADE
IN:
INSERT: ATOMIC BOMB EXPLODING OVER
HIROSHIMA
as we hear:
JOEL
(O.S.)
The United States
exploded the
first atomic bomb over Hiroshima on
August 6, 1945. The initial blast
killed between
sixty-six and
seventy-eight
thousand people
instantly. Tens of thousands more
died the slow death
of radiation
poisoning.
INT. CONVENTION CENTER - AUDITORIUM
- DAY
The film of Hiroshima is being
watched by members attending
a conference sponsored by the Department of Energy.
We PAN the audience as the speaker
continues - reactions
among those attending the conference
range from deep concern
to
"I've-seen-it-all-before" boredom.
JOEL
(O.S.)
Less than a decade
after Hiroshima,
the U.S. could
produce a bomb with
1200 times greater
destructive
force. The nuclear arms race had
begun in earnest.
2.
INT. AUDITORIUM - PODIUM - DAY
Speaking behind the podium is JOEL
MURRAY, a Department of
Energy (DOE) employee in his late
thirties or early forties.
He speaks earnestly, confidently.
Behind Joel, overhead, a banner
reads: "1995 DOE Conference:
Nuclear Energy in the 21st
Century."
JOEL
Ladies and gentlemen,
we are at the
dawn of a new
era. As we approach
the fiftieth
anniversary of
Hiroshima, the
nuclear arms race -
at least as we have
known it - is
over.
But the world is
still a dangerous
place. China continues underground
testing, third-world
countries
continue research to
build nuclear
weapons.
At the same time,
modern industrial
countries like Japan are engaged in
an unprecedented
conversion to
nuclear power.
INT. AUDITORIUM - LOBBY - DAY
As Joel's voice continues in the
distance, KYO SUYAMA moves
quickly across the lobby for the
auditorium.
He is a small, intellectual-looking
Japanese man. He is
nervous, glancing behind as if
expecting to find someone
following him.
INT. AUDITORIUM - REAR/PODIUM
He enters the auditorium, standing
in the rear, listening to
Joel at the podium.
JOEL
A plutonium atom
doesn't care
whether it's used in
a bomb or a
power plant - it's
going to be
around for a very
long time in
either case.
(MORE)
3.
JOEL
(cont'd)
And this is the
danger, ladies and
gentlemen, as well as
the challenge
facing us as we move into a new
world order: to
remember that four
and a half million
years ago, this
planet was too
radioactive to
support life, even single-cell
life.
And so we must
proceed with
caution. The increased production
of radioactive
elements, in
whatever form, especially requires
supreme caution. Thank you.
There is scattered applause as the
CHAIRPERSON, a woman,
steps forward.
CHAIRPERSON
We have time for a few questions -
please use the front
microphone.
INT. AUDITORIUM - MICROPHONE - DAY
Several people come forward to the
microphone.
KYO
looks around, still nervous, and
moves quickly down the
aisle for the microphone.
INT. AUDITORIUM - BACK DOORS - DAY
As Kyo moves down the aisle, two
HATOYAMA THUGS move into
the doorway, looking around for Kyo. One spots him and
points. They are big men and menancing, but well-dressed
and easily blend with the crowd.
One starts forward but is stopped by
the other, who whispers
something. They wait behind, watching Kyo.
INT. AT THE MIC - DAY
A man has a question.
4.
QUESTIONER
How much plutonium is
there in the
world today? And, as a follow up,
how much is
dangerous?
INT. AT THE PODIUM
JOEL
The latest figure I
have for the
amount of plutonium
in the world is
fifty tons. How much is dangerous?
It depends on how
it's used.
Certainly, in terms of
the
potential for
environmental
disaster, we have
more than
necessary to create a
planetary
disaster right now.
INT. AT THE MIC - DAY
Another questioner is about to ask a
question when Kyo butts
in, taking the microphone.
KYO
SUYAMA
Excuse please, excuse
me . . .
Kyo's forwardness takes the
questioner by surprise, and Kyo
speaks into the microphone.
KYO
SUYAMA
Why do you think
plutonium is only
for power plant? What about
dangerous people in Japan? Why do
you think they won't
build bomb?
This question, seeming to come from
left field, causes an
immediate buzzing of reaction in the
audience.
INT. BACK OF AUDITORIUM
The two thugs have heard enough and
head for Kyo.
INT. AT THE PODIUM
Joel has lost focus and isn't sure
how to respond.
5.
INT. AT THE MIC
Kyo is looking around, nervous as
hell.
KYO
SUYAMA
This is more
dangerous than you
think! This is- . . .
He sees the thugs coming and heads
for a door at the side of
the stage.
THE THUGS
are having a hard time getting
through the crowd.
Kyo gets away.
INT. AT THE PODIUM
The chairperson has come forward to
pound the gavel for
order. She quickly gives up.
CHAIRPERSON
The meeting is
adjourned until
eight o'clock this
evening!
Meeting adjourned!
She turns to Joel.
CHAIRPERSON
You opened up a can
of worms.
JOEL
I wonder what he was
trying to say?
The chairperson is already moving
away and misses the
question. Joel is puzzled.
INT. CONVENTION CENTER - RECEPTION
ROOM - NIGHT
The conference delegates are
elbow-to-elbow in a crowded
reception room. Drinks and snacks are available at a number
of tables.
Joel is moving through the crowd,
drink in hand, when he is
stopped by TOM SULLIVAN, his boss at
DOE. Sullivan, a
survivor of government bureaucracy,
lives for his near
retirement.
6.
SULLIVAN
Joel, got a minute?
Sullivan leads the way to the
periphery of activity, where
there's a little more breathing
room.
JOEL
What's up?
SULLIVAN
I hear things got
pretty hot during
your presentation.
JOEL
The guy at the end? I don't know
where he was coming
from.
SULLIVAN
I heard you came down
pretty heavy
on the Japanese power
program.
JOEL
I advised
caution. Plutonium is
plutonium is
plutonium. It doesn't
care how it's
used. Peaceful can
still be dangerous.
SULLIVAN
About an hour after
your talk, I
got a call from the
State
Department. They heard a different
version.
They want us to cool it,
as far as bashing
Japan is
concerned.
JOEL
Tom, you know as well
as I- . . .
SULLIVAN
I know I'm a
short-timer. I know
you enjoy
controversy. What else
should I know?
JOEL
I have no idea what this guy was
trying to say.
7.
SULLIVAN
I'm not worried about him, I'm
worried about
you. You're on a
panel tomorrow,
right?
JOEL
Right.
SULLIVAN
Maybe you can, you
know, cool it a
little. Lay off Japan, in
particular.
JOEL
They actually called
you about
that?
SULLIVAN
Those trade meetings
are coming up.
You know the
situation. Can you do
that for me?
JOEL
Sure - I mean, I
wasn't aware that
I was- . . .
SULLIVAN
Good, Joel,
good. I knew I could
count on you.
He slaps Joel on the back.
SULLIVAN
Let's take advantage
of the free
booze, huh?
He moves off, back into the crowd,
as Joel watches him.
INT. CONVENTION CENTER - MEN'S ROOM
- NIGHT
Joel comes into the men's room. He takes a spot at the
urinal. Kyo steps up at the urinal next to him.
KYO
SUYAMA
We can talk?
Joel looks over, then quickly back.
8.
JOEL
Yes.
KYO
SUYAMA
Not safe here. Follow me.
Kyo flushes and moves off. Joel flushes and follows him.
INT. HALLWAY - OUTSIDE MEN'S ROOM - NIGHT
Kyo moves quickly down the hallway,
followed by Joel. Kyo
looks around, making sure Joel - but
only Joel - is
following him. He turns into a doorway.
Joel follows him through the
doorway.
INT. OFFICE ROOM - NIGHT
They are in a dark office room, lit
by off-light from the
street outside.
KYO
SUYAMA
You understand my
question today?
JOEL
I'm not sure. Who are you?
Kyo is hesitant to say. Joel offers his hand.
JOEL
Joel Murray. I
work at the
Department of Energy.
KYO
SUYAMA
I know. I am Kyo Suyama. I work
ten years in the
fuels processing
system at Hatoyama
Power Company in
Hykado. You hear of it?
JOEL
One of the largest in
Japan, isn't
it?
KYO
SUYAMA
Very big, yes. I think they are
preparing to make
bomb.
9.
JOEL
Do you have any
evidence of this?
KYO
SUYAMA
One night, five, six
months ago, I
discovered fuel rods being
processed into other
forms, like
parts for bomb.
JOEL
Why didn't you report
this?
KYO SUYAMA
You do not
understand. You know
the Gyokai?
JOEL
No.
KYO
SUYAMA
This is like gang of
industrialists. Klichi Hatoyama is
very powerful
member. They control
the government.
JOEL
Do you still work
there?
KYO
SUYAMA
No. I am fired - I think they know
what I see.
JOEL
And you aren't just
an unhappy
employee, Mr. Suyama?
KYO
SUYAMA
I can show you
proof. I have
photographs.
JOEL
I'd like to see
them. Do you have
them with you?
KYO
SUYAMA
Too dangerous to
bring here. I am
being followed.
10.
JOEL
By who?
KYO SUYAMA
Men who work for
Hatoyama.
Joel takes out his wallet and gives
Kyo his card.
JOEL
Will you call me this
week?
KYO
SUYAMA
Yes. I will be in Washington in
two days. I will have the
photographs to prove
to you.
JOEL
Is your life in
danger?
KYO
SUYAMA
Perhaps.
JOEL
Do you want to fly
back with me
tomorrow?
KYO
SUYAMA
Conference is not
over.
JOEL
That's not what I
asked. If you're
in danger- . . .
KYO
SUYAMA
No, please, I think I
lose them
now. I am in different hotel. I
am leaving tomorrow, will be in
Washington and see
you then.
JOEL
You're sure?
KYO
SUYAMA
Yes.
Joel offers his hand.
11.
JOEL
I'll be very
interested in what you
have to show me.
KYO
SUYAMA
I think so, Mr.
Murray. I go out
first. You wait.
He moves out of the room.
Joel waits behind, intrigued. Then he moves for the door.
INT. HALLWAY OUTSIDE DOOR - NIGHT
Joel comes out. Kyo is nowhere to be found.
Joel moves off.
INT. ANOTHER HALLWAY - PAY PHONE -
NIGHT
Joel is dialing a number.
INTERCUT PHONE CONVERSATION - JOEL,
HIROKO
Though it is late, HIROKO is
painting in an apartment room
she's converted into a studio, when
the phone rings. She is
an attractive Japanese-American
woman, an artist, in her
thirties.
She answers the phone.
HIROKO
Hello?
JOEL
How's my favorite artist?
HIROKO
Why aren't you
partying?
JOEL
Because the people
I'm partying
with are boring.
Well, except one,
maybe.
12.
HIROKO
Man or woman?
JOEL
Male. Listen, I think I'll cut out
a day early.
HIROKO
Aren't you on a panel?
JOEL
They'll never miss
me. In fact,
Tom will be
delighted. I got
myself in the middle
of a
controversy today.
HIROKO
What happened this
time?
JOEL
I'll explain
later. I miss you.
Is dinner with the
folks still on?
HIROKO
Since you insist.
JOEL
Relax, it'll be
fine. Can you pick
me up at the airport at one? I'll
buy you a late lunch.
HIROKO
I haven't shopped for
dinner yet.
I'll do that in the
morning, then
we can have the rest
of the day.
JOEL
Perfect. Miss me?
HIROKO
Of course.
JOEL
Good. I'll see you tomorrow.
HIROKO
Goodnight.
13.
JOEL
Love you.
HIROKO
You, too.
INT. AT THE PHONE - NIGHT
Joel hangs up as the two Hatoyama
thugs walk by, looking for
Kyo.
EXT. WASHINGTON D.C. NEIGHBORHOOD -
STREET - DAY
Hiroko walks down the street, on her
way to the neighborhood
market. It's a sunny glorious day in Washington D.C.
As she enters the block of the
market, she notices with
concern that several police cars are
parked on the street in
front of the market, and a crowd of
curious pedestrians has
gathered.
Hiroko approaches a pedestrian.
HIROKO
What's going on?
PEDESTRIAN
Man in the store
flipped his lid.
Hiroko moves through the crowd,
trying to get closer.
INT. LOCAL MARKET - DAY
Inside the market, AL has a pistol
aimed at LINDA GI, the
Korean woman who owns the store.
Al is bald, retired, a World War II
vet.
Linda Gi is a small woman in her
early seventies, who seems
a decade or more younger.
Al moves to the window, looking out
at the police and crowd.
LINDA GI
Why do this to
me? I don't even
know you.
14.
AL
You nips are all the same.
LINDA GI
Nips?
AL
Japs.
LINDA GI
That's what you think?
AL
Buying up the whole
goddamn
country. Like that picture in the
paper, taking over
the Trade
Building. It makes me sick, the
way we forget Pearl
Harbor. What
did we win the war
for?
LINDA GI
I'm Korean, not
Japanese.
Al looks at her, disbelieving.
EXT. OUTSIDE STORE - DAY
Hiroko has moved to the front of the
crowd. In front of
her, a POLICE OFFICER with a
bullhorn is speaking.
POLICE OFFICER
(with bull horn)
There's no way out -
please release
the woman and give
yourself up!
INT. STORE - DAY
The officer's words are heard inside the store as Al looks
out the window.
POLICE OFFICER
(O.S.)
We don't want to have
to come in
after you!
Al turns from the window.
15.
AL
Prove it. That you're Korean.
LINDA GI
May I get my purse?
Al nods. Linda Gi gets her purse, takes out identification
and hands it to Al.
AL
Where's it say
Korean?
LINDA GI
Place of birth. I was 12 when the
war started. The Japanese forced
me and my sister to
become "comfort
women." We were forced to have sex
with the soldiers a
dozen or more
times a day. They were sometimes
violent and gave me
diseases. My
sister was killed by
one of them.
This man was the
worst.
Al is moved but doesn't want to show
it. He feels suddenly
foolish at his mistake, handing back
the I.D.
LINDA GI
The man in the paper
this morning -
I think he was the
one. Look.
She takes out an old photograph from
her wallet and hands it
to Al.
Then she takes the front page of the
morning paper from the
counter, also handing it to Al.
LINDA GI
The same man, I
think. The same
name.
Al looks down at the newspaper and
the old photo.
INSERT: NEWSPAPER AND PHOTO
The front page newspaper article
shows a photograph of
KLICHI HATOYAMA, a graying Japanese
industrialist, who is
dedicating a recently purchased and
remodeled New York
skyscraper.
16.
The photograph shows a young
Japanese soldier.
LINDA GI
(O.S.)
Look on the back.
Al turns over the photograph: the
name "Klichi Hatoyama" is
spelled out.
LINDA GI
(O.S.)
Same name. Don't you see a
resemblance? I think it's the same
man. He was the worst.
EXT. STORE - DAY
Police in gas masks are assembling
to storm the building.
The police officer with the bull
horn barks a final warning.
POLICE OFFICER
This is your last
chance to come
out! We're coming in!
A shout of, "Wait!", is
heard from inside the building.
The door opens and Linda Gi runs
out, into the arms of a
policeman. Behind her, Al comes out, his hands raised, and
is immediately apprehended.
Hiroko watches the arrest.
PEDESTRIAN
I don't blame him
being upset, way
the Japs are taking
over
everything.
HIROKO
Linda is Korean.
CLOSE ON TV SCREEN
as a reporter interviews HATOYAMA,
looking distinguished in
a three-piece suit.
17.
HATOYAMA
This project is a
partnership
between our two
countries.
REPORTER
Mr. Hatoyama, are you
saying you
have American
investors?
JOEL
(O.S.)
I'll be damned.
HIROKO
(O.S.)
What?
HATOYAMA
(ignoring reporter's
question)
The great American
sculptor Bruce
McShane has just
completed an
original statue for
the courtyard.
We are proud of our partnership
with him.
HIROKO
(O.S.)
Bruce never told me
that.
JOEL
(O.S.)
I think he's the same
guy.
HIROKO
(O.S.)
What guy?
REPORTER
But are American
investors
participating in the
purchase of
the Trade
Building? Or is the new
ownership entirely
Japanese?
JOEL
(O.S.)
The guy that Kyo's
worried about.
18.
HATOYAMA
(still ignoring
the
question)
The statue will
symbolize a new
spirit of cooperation
between our
two countries. My son Hanako is in
charge of the
project. He can
answer your
questions.
HANAKO, a Japanese man in his
thirties, moves beside his
father. He dresses with more American flair than the senior
Hatoyama.
A doorbell rings.
INT. JOEL'S APARTMENT - LIVING ROOM
- NIGHT
Joel heads for the door as Hiroko
turns off the television
news they've been watching above.
JOEL
Here we go. You ready?
HIROKO
As I'll ever be.
Joel opens the door and greets his
parents.
JOEL
Right on time.
The parents enter the apartment.
FRANK MURRAY is in his fifties, a
laborer, dressed casually.
MARY MURRAY is also dressed
casually, in slacks, and wears
too much makeup.
MARY
MURRAY
I don't know how you
find a parking
place in this
neighborhood.
JOEL
You have trouble?
FRANK MURRAY
Your mother just
likes to complain.
19.
MARY
MURRAY
Two blocks away, we
parked!
JOEL
This is Hiroko.
HIROKO
Hello.
MARY
MURRAY
Hello, dear. It's so nice to
finally meet you.
INT. JOEL'S APARTMENT - DINING TABLE
- NIGHT
An awkward dinner is almost
over. No one's been talking
much. Finally:
MARY
MURRAY
Well, that was
good. Wasn't it,
dear?
FRANK MURRAY
Great. You're a good cook, Hoko.
JOEL
Hiroko.
HIROKO
Actually, Joel made
the pasta. I
made the salad.
FRANK MURRAY
Great salad.
HIROKO
I'll clear the table.
Mary makes a move to get up and
help.
HIROKO
Please, I can manage.
Hiroko starts clearing the table.
When she's gone, Mary leans toward
her son.
20.
MARY
MURRAY
She's very pretty. Isn't she,
dear?
FRANK MURRAY
Nice girl.
MARY
MURRAY
I'd like to meet some
of the other
girls you date.
JOEL
Mom, I'm asking her
to marry me.
Mary's mouth drops open.
JOEL
That's why I wanted you to meet
her.
MARY
MURRAY
You've already asked
her?
JOEL
Not yet.
MARY
MURRAY
Oh, my.
JOEL
I'd like your best
wishes.
FRANK
MURRAY
You sure you've
thought this
through? I mean, it won't be easy,
coming from such
different
backgrounds.
Hiroko returns, and everyone shuts
up.
HIROKO
Am I interrupting
something?
Mary suddenly stands.
MARY
MURRAY
Frank is taking us
all out for
dessert!
21.
This is news to Frank.
FRANK MURRAY
Well, yeah - why not?
EXT. ICE CREAM PARLOR - NIGHT
The foursome come out of the ice
cream parlor, each with an
ice cream cone. They start walking down the sidewalk,
silently.
Soon they reach the family car. Frank unlocks the passenger
door for his wife.
JOEL
We'll walk home.
MARY
MURRAY
My word, listen to him.
JOEL
We walk in the
neighborhood all the
time.
FRANK MURRAY
It's called youth,
mother.
Mr. and Mrs. Murray get into the
car. Mary rolls down her
window.
MARY
MURRAY
It was a lovely
dinner, Hokoro.
JOEL
Hiroko.
HIROKO
Thank you.
Mary rolls up the window as the car
pulls away into traffic.
EXT. SIDEWALK - FOLLOWING JOEL AND
HIROKO
Joel and Hiroko start walking down
the sidewalk, ice cream
cones still in hand.
22.
HIROKO
I don't think they
like me.
JOEL
Of course they
do. They're just
bad at foreign names.
HIROKO
They seemed - I don't
know. Afraid
I'm going to become a
member of the
family or something.
JOEL
Well, you are.
HIROKO
(laughing)
Right.
JOEL
I'm serious.
Hiroko stops and looks at him.
HIROKO
Joel?
JOEL
I'm asking you to
marry me.
Hiroko doesn't know what to say.
JOEL
I hope you're not
surprised.
HIROKO
No.
JOEL
Well?
HIROKO
Joel . . .
She starts walking again. Joel catches up with her.
JOEL
Do I have to fall
down on my knees?
23.
HIROKO
I don't know what to
say.
JOEL
How about yes or no?
HIROKO
I don't know. I don't want to talk
about it right now.
They continue along in awkward
silence.
INT. HATOYAMA'S OFFICE - DAY
Hatoyama sits behind a huge desk, a
large window behind him
showing off the New York city
skyline. He is in conference
with his son, who sits in a stuffed
chair across the large
desk.
The office is stark but very
Japanese. A fountain is behind
him. The water cascades over small rocks. A tiny bonzai
tree is on his desk.
HATOYAMA
I don't want
excuses. I want the
matter settled. Do I make myself
clear?
HANAKO
Yes, father.
HATOYAMA
You're sure you know
what must be
done?
HANAKO
Of course.
HATOYAMA
You are brave enough
to do it?
HANAKO
As brave as Uncle
Akiru.
Hatoyama beams.
24.
HATOYAMA
I hope this is
true. I hope so.
That is all.
Hanako gets up, bows and leaves. Hatoyama stares ahead
after him, as if measuring the
mettle of his son.
INT. DEPT OF ENERGY - HALLWAY - DAY
Joel is moving down a hallway when
he meets Sullivan coming
the other way.
SULLIVAN
Joel, you busy?
JOEL
Actually, yes -
what's up?
SULLIVAN
You angry or something?
I didn't
mean for you to
cancel off the
panel, for Christ's
sake.
JOEL
I, ah, had a personal
problem to
attend to. I didn't think you'd
mind.
SULLIVAN
You're not mad at me
or something?
JOEL
Of course not.
SULLIVAN
Good!
Grinning, Sullivan slaps Joel on the
back and continues on
his way. Joel also moves off.
INT. DOE - OFFICE - DAY
Joel steps into an office. In front of a computer sits FRED
JOHNSON, a trusted coworker.
FRED
Speak of the devil.
25.
JOEL
You get the numbers?
FRED
And what numbers they
are.
Fred swings away from the computer.
FRED
In this fiscal year
alone, Japan is
importing more
plutonium than we
and the old Soviet Union have in
storage combined.
Joel whistles.
INT. DOE - JOEL'S OFFICE - DAY
The phone rings.
JOEL
Murray.
KYO
SUYAMA
(V.O.)
Mr. Murray? This is Kyo Suyama.
JOEL
Where are you?
INTERCUT PHONE CONVERSATION
Kyo is in a phone booth.
KYO
SUYAMA
In Washington. I must see you very
soon.
JOEL
How about right
now? You know
where the Candlelight
is, in
Georgetown?
KYO
SUYAMA
No, but I take taxi.
26.
JOEL
The Candlelight, any
taxi driver
will know it. How soon can you get
there?
KYO
SUYAMA
Within one hour.
JOEL
I'll be there. Kyo, are you all
right?
But Kyo has already hung up, Joel's
question gets only the
buzz of a dead phone.
INT. CANDLELIGHT RESTAURANT -
COCKTAIL LOUNGE - DAY
Joel enters the cocktail lounge of
the restaurant, looking
for Kyo. The matre'd comes by, recognizing him.
MATRE'D
Having lunch today,
Mr. Murray?
JOEL
Yes - they'll be two
of us.
MATRE'D
Very good. Let me know when the
other party arrives.
Joel takes a seat at the bar. The bartender comes over.
BARTENDER
How are you today?
JOEL
Good. Small beer.
BARTENDER
Very good.
The bartender moves off. Joel looks at his watch.
INT. RESTAURANT - FRONT FOYER - DAY
Joel comes into the front foyer,
finding the matre'd.
27.
JOEL
Any calls for me?
MATRE'D
No, sir. Your party still hasn't
arrived?
JOEL
No. Thanks.
INT. RESTAURANT - COCKTAIL LOUNGE -
DAY
Joel drops a coin into a pay phone
and dials. There is
nothing relevant on his voice mail.
He looks worried as he returns to
the bar.
BARTENDER
Another beer?
JOEL
No thanks.
He heads for the exit.
EXT. JOEL'S APARTMENT - STREET - DAY
Joel parks and goes into his
apartment.
INT. JOEL'S APARTMENT - DAY
Joel comes into the apartment.
JOEL
Hiroko?
He heads for the bedroom.
INT. BEDROOM
as Joel comes in. He immediately notices that the closet
door is open. He goes to
it and discovers that Hiroko's
clothes are gone.
He finds a note on the bed and picks
it up.
28.
INSERT: NOTE
which reads:
"Dear Joel - I need some time
alone to think about things.
I'm staying at Judy's for a
while. I do love you very much
but I just need my space right
now. Love, Hiroko"
INT. BEDROOM
Joel closes his eyes.
INT. LIVING ROOM
Joel is dialing a number.
JOEL
Judy, this is
Joel. Is Hiroko
there?
He waits nervously.
JOEL
Would you ask her
again,
please? . . . Judy,
look, there's
no reason for you to
take sides-- .
. . fine.
Please tell her to call
me as soon as she's
ready to
talk. . . . Thanks.
He hangs up, clearly very upset.
EXT. JOEL'S APARTMENT - DAY
Joel comes out of his apartment the next morning. He buys a
newspaper at a coin rack near where
his car is parked.
He casually looks at the front page
headlines as he walks to
the car. Something grabs his eye.
INSERT: THE HEADLINE
which reads: "Japanese scientist discovered
dead."
JOEL
can't believe his eyes.
29.
INT. DEPT OF ENERGY - HALLWAY - DAY
Joel is moving quickly down a
hallway, his manner urgent and
determined. He is carrying the morning newspaper.
He comes to an office door and
enters.
INT. DOE - SULLIVAN'S OFFICE - DAY
Joel enters the office and moves by
the SECRETARY without
saying a word.
SECRETARY
Joel, can I help you?
Joel opens the door to Sullivan's
private office.
INT. SULLIVAN'S OFFICE
Sullivan looks up from a crossword
puzzle he is doing.
Joel throws the newspaper onto the
desk in front of his boss
and points out the article about
Kyo's murder.
JOEL
This is the guy who
was asking the
questions at the
conference. He
was supposed to meet
me at the
Candlelight
yesterday. He was
bringing photographs
to prove his
contention about the
bomb.
Somebody got to him
first.
SULLIVAN
Joel, I know you're a fan of
LeCarre and find
conspiracies
everywhere, but could
you back up
and start from the
beginning?
JOEL
You ever hear of
Klichi Hatoyama?
He bought the Trade
Building in New
York.
SULLIVAN
From the beginning, I
said. What'd
this guy ask you at
the conference?
30.
JOEL
He's the one who brought up the
possibility of Japan
building a
bomb. According to- . . .
SULLIVAN
Joel, for Christ's
sake, let's be
real here. Why in hell would Japan
want to build a
bomb? The cold war
is over.
JOEL
Look, all I'm saying
is, the guy
said he had proof
that there's a
faction over there
converting fuel
rods to mechanisms
for a bomb - he
had photographs to
show me. He
used to work at Hatoyama's power
facility and-- . . .
SULLIVAN
A disgruntled
employee. Jesus,
Joel, it's the oldest
gripe in the
world. You don't get your
promotion, so you
raise the spectre
of radioactive
catastrophe.
JOEL
Tom, the police suspect murder.
SULLIVAN
So what do you expect
me to do
about it?
JOEL
For starters, don't be so quick to
close your eyes to
Japan's reactor
program. We've got people over
there. Let's look into it.
SULLIVAN
Okay. I can make a call and do
that. But quietly. No press, no
panic - understand
me?
Joel is hesitant to respond.
31.
SULLIVAN
I know you have a
drinking buddy at
the Post, Joel. Promise me we'll
do this by the letter.
JOEL
Okay. We'll see what they can find
out over there.
Sullivan holds up the newspaper.
SULLIVAN
You read this?
JOEL
Of course.
Sullivan quotes from the article.
SULLIVAN
"Police have not
dismissed the
possibility of foul
play." Since
when is that murder?
JOEL
He was suppsoed to
meet me with
photographs.
SULLIVAN
Joel, all I'm saying
is, cool it.
I'll call Tokyo
today. We'll see
what we can find out
about
Hatoyama. Fair enough?
JOEL
It's a start.
Sullivan suddenly slams his fist on
the desk.
SULLIVAN
It's not a goddamn
start, it's the
way we do things
around here! You
let me handle this,
period. Do I
make myself clear?
JOEL
Yes, sir.
Joel turns and heads for the door.
32.
SULLIVAN
Joel?
Joel turns back to the desk. Sullivan holds up the paper.
SULLIVAN
You forgot your
paper.
JOEL
It's yours.
He leaves.
INT. COCKTAIL LOUNGE - NIGHT
Joel enters a crowded cocktail
lounge after work. He's
looking around for someone, finds
him, and moves through the
crowd to the bar.
Joel takes a position next to HARRY
SEYMOR, a veteran
reporter on the Washington Post, who
looks like a frayed
academic.
SEYMOR
Joel, hey, been a long time! Let
me buy you a drink.
JOEL
Can we get a table?
SEYMOR
Damn right.
(to bartender)
Jacko, get the girl
to bring two
Irishes our way!
They move off together to find a
table.
INT. COCKTAIL LOUNGE - THE TABLE -
NIGHT
They have their drinks.
33.
SEYMOR
Been too long, buddy. I think the
last time was when
you tipped me on
all the radioactive
crap being
dumped into the
Katchee river.
Your boss still
trying to deny
reality?
He tries to imitate Sullivan.
SEYMOR
"At no time was
there any danger to
the public, plant
personnel or the
environment."
The guy's a born
actor.
JOEL
He's just hanging out
for
retirement.
SEYMOR
How are you and the
lady doing?
JOEL
Wrong question.
SEYMOR
Oh? I thought this was like the
real thing.
JOEL
I don't want to talk
about it.
SEYMOR
Sorry.
JOEL
It's nothing
serious. Listen, I
told Tom I wouldn't
talk to you
about this but . . .
I don't know,
I think maybe I
should.
SEYMOR
You rascal, you know
I'm all ears
now.
34.
JOEL
You read the story
about the
Japanese scientist
found dead early
this morning?
SEYMOR
Vaguely remember something about
that. I didn't write it so, you
know, I don't pay too
much
attention.
JOEL
He was supposed to
meet me
yesterday with proof,
with
photographs, that
there's a nuclear
bomb being built at
the Hatoyama
Power Plant in
Hykado.
SEYMOR
The same Hatoyama who
bought the
Trade Building?
JOEL
Exactly.
SEYMOR
You believe him?
JOEL
I never saw the
photos but he was
convincing. Said he was being
followed, so maybe
they got to him
before he was able to
show me or
anyone else the
photographs.
SEYMOR
Heavy if you're right, ol' buddy.
JOEL
Maybe you can see
what you can find
out about Hatoyama.
SEYMOR
You told Sullivan?
JOEL
He's going to go
through channels.
You know what that'll
turn up.
35.
SEYMOR
All sounds pretty
far-fetched,
Joel.
JOEL
All I know is, the guy was scared
to death. And now he's dead.
SEYMOR
Maybe you have a
point.
Seymor drinks. Joel drinks.
EXT. JUDY'S APARTMENT - STREET -
NIGHT
Joel sits in his car outside Judy's
apartment, waiting for
Hiroko. Finally he sees her approaching the apartment
building. He gets out of the car.
JOEL
Hiroko!
She is visibly distressed to see
him. He trots up to her.
JOEL
Didn't you get my
messages?
HIROKO
Joel, please, I just
need a little
more time alone.
JOEL
That means you can't
even talk to
me on the phone?
HIROKO
Please try to
understand.
JOEL
I am trying! I mean, I ask you to
marry me because I love you,
because I think you
love me, and
suddenly I'm a
goddamn leper or
something.
HIROKO
Don't make this any harder than it
already is.
36.
JOEL
Why's it have to be
hard? We love
each other, don't
we? We should be
celebrating, for
Christ's sake.
HIROKO
Marriage is a big
step. I'm not
sure I'm ready to
take it.
She starts for the apartment
building, Joel following along.
JOEL
Come back where you
belong. I miss
you.
She doesn't reply.
JOEL
Well, am I supposed
to get another
date for the
Christmas party or
what? I know it's only six months
away, but- . . .
Hiroko suddenly turns on him.
HIROKO
Stop it! I just need time to
think. Why can't you accept that?
JOEL
Fine. I accept it. So you'll call
me when you're ready,
right?
Something like that?
Hiroko, close to tears, turns and
goes.
JOEL
(after her)
I love you, goddamn
it! Not to
make a federal case
about it . . .
But she is going up the steps now, gone. Joel kicks an
imaginary object, very upset.
He heads back to his car.
INT. ANOTHER CAR - STREET - NIGHT
Hatoyama's two thugs are in a car
down the street, observing
Joel.
37.
EXT. STREET
as Joel's car pulls from the
curb. The thugs' car follows.
EXT. JOEL'S APARTMENT - STREET - NIGHT
Joel parks and goes into his
apartment.
The thugs' car slowly passes by,
watching him.
EXT. LINDA GI'S MARKET - DAY
Customers pass by the sidewalk fruit
and vegetable bins.
One of the customers is Hiroko.
A YOUNG BOY, there with his parents,
has been eyeing a fat
peach. He reaches for it when suddenly his hand is struck
by a small object.
EXT. MARKET - CASH REGISTER AREA -
DAY
Watching the boy has been Linda Gi, who holds a slingshot,
having just fired a paper wad at the
boy. Hiroko comes up
with her purchases.
HIROKO
I marvel every time
you do that.
So simple, yet so
effective.
LINDA GI
Not as effective as I
wish. Every
day somebody steals
from me.
She starts to weigh and ring up
Hiroko's purchases.
LINDA GI
Life is always
somebody taking from
somebody else.
Hiroko, whose view of life is not this
gloomy, doesn't
respond.
EXT. STREET - DAY
Hiroko is walking home with her bag
of groceries.
38.
INT. JUDY'S APARTMENT - DAY
Hiroko comes into the
apartment. There is a note waiting
for her, pinned on a corkboard.
INSERT: THE NOTE
"Calls from Joel" followed
by three straight lines, marking
that he's called thrice.
INT. JUDY'S APARTMENT
Hiroko passes the phone and looks at
it, then decides to
pass on without calling.
INT. JOEL'S APARTMENT - NIGHT
Joel is sipping wine, eating a TV
dinner, and staring at the
tube without really watching
it. He clearly is depressed
and lonely, missing Hiroko terribly.
The phone rings, and Joel almost
dives for it, thinking it's
Hiroko.
JOEL
Yes!
SEYMOR
(V.O.)
You got time for a
beer?
JOEL
Oh, it's you.
SEYMOR
(V.O.)
Well, thanks a hell
of a lot. I
found out some good
stuff for you,
buddy.
JOEL
I'm sorry, I was
expecting -
someone else.
SEYMOR
(V.O.)
You want to learn what I found out
tonight or tomorrow?
39.
JOEL
Tonight.
INT. COCKTAIL LOUNGE - NIGHT
Joel and Seymor are seated at a
booth.
SEYMOR
Kyo Suyama has been
busy.
JOEL
Was busy.
SEYMOR
He visited the Tokyo
Bureau, told
one of the staff more
or less what
he told you. Arranged for a
meeting to bring
proof, then never
showed.
JOEL
Did he used to work
at the Hatoyama
Power Plant?
SEYMOR
Yes, in research and
development.
The interesting stuff
is about
Hatoyama
himself. He was shot down
in World War Two, spent most of the
war in a hospital,
came to Tokyo
after the treaty and
made a fortune
in several hard
industries. A
number of years ago,
he started
America bashing.
JOEL
On the tube the other
day, he was
talking about
profound new
friendship between his country and
ours.
SEYMOR
Maybe he turned over
a new leaf.
JOEL
Maybe it's a charade.
40.
SEYMOR
Maybe.
JOEL
I'm not sure where that leaves us.
SEYMOR
Kyo Suyama definitely
had something
on his mind. Apparently it was
worth killing him to
stop him from
sharing it.
JOEL
Makes sense to me.
SEYMOR
What's your next
step?
JOEL
To ask you not to
break the story.
Seymor laughs.
SEYMOR
We don't have a story
yet. But I
do want first dibs
when it's time.
JOEL
You know it's yours.
Seymor raises his drink, and they
clink glasses.
EXT. COCKTAIL LOUNGE - NIGHT
Joel and Seymor come out of the
cocktail lounge.
SEYMOR
You and Hiroko still
having
problems?
JOEL
I don't know what the
hell's going
on. She says she needs her space.
SEYMOR
Story of the modern
woman. Take
care.
41.
JOEL
See you.
They head off in opposite directions
to their cars.
EXT. COCKTAIL LOUNGE - STREET -
NIGHT
The car belonging to Hatoyama's
thugs is parked down the
street.
INT. THE CAR
The thugs are watching Joel get into
his car.
EXT. STREET - ANOTHER ANGLE
as Joel pulls away, and the thugs'
car pulls out to follow
it.
INTERCUT CHASE SCENE - JOEL'S CAR,
THUGS' CAR
Joel moves through traffic, with the
thugs' car behind him,
several cars back.
After a while, Joel approaches
flashing lights ahead and a
blockade. He is forced to stop. He
gets out, looks ahead
and sees that a bad accident has
halted traffic. The thugs'
car also has to stop in traffic.
Joel gets back into his car and
abruptly turns a broad
U-turn, heading back the other way.
His car passes the thugs' car, which
does a U-turn to
continue purusit.
In his rearview mirror, Joel sees
the other car pulling
behind him. He thinks about this, wondering if it's
intentional or not.
Suddenly Joel pulls into an
alley. Looking in the mirror
again, he sees the other car pull
into the alley behind him.
Now he understands that he is being
followed. Coming out of
the alley, Joel pulls recklessly
into traffic.
42.
He weaves around and between cars, trying to make distance
between himself and the car
following him. Angry motorists
beep their horns at him.
The thugs are in hot pursuit,
twisting in and out of traffic
along with Joel. Joel turns onto a residential street lined
with trees, flooring it.
The thugs stay in pursuit. In the car, one speaks in
Japanese to the other, making their
plans.
Joel races ahead as the thugs' car
makes a move to pass.
The thugs' car is gaining.
As the two cars drive by the Kennedy
Center, the thugs' car
starts to pull against Joel's car,
forcing him off the road.
Joel fights to retain control but
the thugs become more
aggressive, moving their car against
his, nudging him off
the road. Joel loses control and his car kareens through
the guard rail and plunges into the
Potomic River.
The thugs watch his car go out of
control, satisfied that
they have done their job.
Joel sits unconscious behind the
steering wheel, his car on
its side.
In the other car, the thugs are
delighted. One picks up the
car phone and begins to dial.
INT. HOSPITAL - JOEL'S ROOM - DAY
Joel is in bed after the
accident. A nurse brings Hiroko
in.
NURSE
We have a visitor.
HIROKO
Hi.
There's a certain awkwardness
between them with the nurse in
the room.
NURSE
Can I get you anything?
43.
JOEL
No thanks.
NURSE
Well, give a holler
if you need me.
The nurse leaves. As soon as she's gone, Hiroko moves to
the bed and leans down to kiss Joel.
HIROKO
When I heard what happened, I-- . .
. .
JOEL
It wasn't an
accident.
HIROKO
What are you saying?
JOEL
I was forced off the
road.
HIROKO
My God.
JOEL
Listen, there's something very
strange going
on. At the
conference, I was
contacted by a
Japanese scientist
who told me that
there's an element in
Japan
interested in making
a nuclear
bomb. Old guard conservatives or
something.
HIROKO
He was serious?
JOEL
He said he had
evidence. He's the
scientist who was
murdered the
other day.
HIROKO
What are you telling
me?
JOEL
I don't know. He mentioned Klichi
Hatoyama. Name ring a bell?
44.
HIROKO
I think so, yes.
JOEL
The industrialist who
bought the
Trade Building. Kyo, the
scientist, implied
he's involved
somehow.
I did some research:
Japan is
importing plutonium
at an alarming
rate. They don't need that much
plutonium for their
nuclear plants,
they could use other
fuels. But
they would need
plutonium for a
bomb.
HIROKO
This sounds so
conspiratorial.
JOEL
When I'm out of here,
I'd like to
talk to your
grandfather. Maybe he
can tell me more
about the old
guard conservatives.
HIROKO
I'm not sure I want
you involved in
this. If they tried to kill you- .
. . .
JOEL
They may be trying to
kill a hell
of a lot more people than me.
Their hands join, and they sit
silently, considering the
seriousness of this possibility.
EXT. NIGHTCLUB - STREET - NIGHT
A limo pulls to a stop in front of a
New York nightclub.
The driver gets out and hurries
around to open the door.
Hatoyama gets out and heads for the
entrance.
45.
INT. NIGHTCLUB - NIGHT
Loud rock music plays. Hatoyama enters, immediately put off
by the music and decor around him,
which he considers
American decadence to the core.
INT. NIGHTCLUB - DANCE FLOOR - NIGHT
On a crowded dance floor, under a
universe of blinking
colored lights, Hanako is among the
dancers, gyrating with a
slender sexpot.
Suddenly his father appears beside
him on the dance floor.
The young woman notices Hatoyama
first, then Hanako sees his
father.
Hanako stops dancing.
HANAKO
(to the woman)
Excuse me.
He heads off the floor quickly, with
Hatoyama right behind
him.
INT. NIGHTCLUB - ISOLATED CORNER -
NIGHT
They reach an isolated corner of the
club, as isolated as
it's possible to get in such a
place.
HANAKO
What are you doing
here? What's
wrong?
HATOYAMA
Other than my own son
being in such
a place?
HANAKO
I enjoy it. It's good exercise.
What happened?
HATOYAMA
He is still alive.
This is shocking news to
Hanako. Hatoyama heads out of the
club, with his son following
obediently behind him.
46.
EXT. COUNTRY ROAD - DAY
Hiroko's car is moving down a road
in the country.
INT. CAR - DAY
Hiroko is driving, Joel is in the
passenger's seat, still
wearing some bandages from the
accident.
JOEL
Your grandfather was
in Hiroshima,
wasn't he?
HIROKO
Give him a chance and
he'll be
telling you all about
it.
Joel looks puzzled by this.
JOEL
He likes to talk
about it?
HIROKO
He wants to let
people know it
should never happen
again.
JOEL
I hope he can tell me
something
about Hatoyama and
the old guard.
HIROKO
I don't know if he
can or not. He
doesn't talk to me
about politics.
To any woman about
politics.
They drive on silently.
EXT. COUNTRY HOME - DRIVEWAY - DAY
The car turns into a driveway
leading to a modest country
home. Chickens range the front yard, where GRANDFATHER
FUJIWARA is feeding them, tossing
out seed as he makes
clucking sounds. He
is an old man, gray and frail, but a
man who carries himself with great
dignity.
The car stops, and Hiroko and Joel
get out.
HIROKO
Hi, grandfather.
47.
Grandfather, still
"clucking," nods and throws out more
seed. Hiroko and Joel approach him.
HIROKO
This is my friend
Joel I told you
about.
JOEL
Very pleased to meet
you, sir.
Grandfather nods and throws seed.
INT. HOUSE - LIVING ROOM - DAY
Grandfather, Joel and Hiroko sit on
the floor around a
table. Grandfather is administering a tea ceremony, precise
to the detail of movement.
Joel is a little impatient, wanting
to get on with things.
JOEL
Sir, I was
wondering-- . . .
Hiroko punches him under the table
and glares at him, as if
to say, it is bad manners to bring
this up now.
Joel shuts up as Grandfather
continues with the ceremony.
EXT. COUNTRY HOME - PATH - DAY
The threesome are walking along a
path in the woods near the
country home.
GRANDFATHER FUJIWARA
I was reading the
newspaper,
getting ready to go
to work, when
the A-bomb was
dropped.
At first I saw
something
sparkling - like a
live electrical
wire. The next instant, there was
a white flash, and it
blinded me, I
couldn't see anything
at all after
that.
(MORE)
48.
GRANDFATHER FUJIWARA (cont'd)
Then I heard a blast,
and my body
was thrown up and
against the wall.
Later my wife and I
went outside:
there was grayish
dust everywhere,
uranium dust, everything a gray
dark. If I hadn't been holding my
wife's hand, holding
it as we
walked outside, I
wouldn't have
been sure I was still
alive. Or
that she was.
They continue moving down the path.
EXT. PATH - GARDEN - DAY
They've reached a kind of shrine in
a garden built by
Grandfather. They are sitting on a stone bench.
GRANDFATHER FUJIWARA
I never hear of this
man.
JOEL
What about the old
guard? Are
there conservatives in Japan who
would build the bomb,
who would
want to get even?
GRANDFATHER FUJIWARA
Of course. There are people in
this country who
would drop the
A-Bomb again. Few lessons are
learned from history.
JOEL
Would you say this is probable? Or
merely possible? I'm not sure how
serious a threat you
think it is.
GRANDFATHER FUJIWARA
I am saying the human heart can be
very dark.
EXT. COUNTRY HOME - DRIVEWAY - DAY
Grandfather is seeing Joel and
Hiroko off, waving as the car
backs out the driveway.
49.
EXT. ROAD - DAY
The car turns from the driveway onto
the road.