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.

 

 

          INT. CAR - DAY

 

          Hiroko is driving.  She turns to Joel.

 

                                          HIROKO

                         We caught him in a quiet mood.  I

                         don't think he's been feeling well.

 

                                          JOEL

                         I got the impression he believes

                         the worst could happen.

 

                                          HIROKO

                         For him, I suppose it already has.

 

                                          JOEL

                         But he believes it can happen

                         again.  I want to do something to

                         make sure he's wrong.

 

          They drive on silently.

 

 

          INT. HATOYAMA'S OFFICE - DAY

 

          Hatoyama sits behind his huge desk.  Across from him sits

          Hanako and TAROKAWA, a hired killer from Tokyo.

 

          Tarokawa is suave and cool behind dark glasses, looking more

          like a rock star than what he is.

 

                                          HANAKO

                         He has the finest reputation.  You

                         saw my report?

 

                                          HATOYAMA

                         You do too much paperwork.

                              (to Tarokawa)

                         You know what's expected of you.  I

                         don't like failure.

 

                                          TAROKAWA

                         I don't either.  How do the

                         Americans say it?  You get what you

                         pay for?

 

 


 

                                                                        50.

 

 

 

 

 

                                          HATOYAMA

                         Then I expect results.

 

                                          TAROKAWA

                         You'll get what you want.

 

                                          HATOYAMA

                         When?

 

          Tarokawa shrugs.

 

                                          HANAKO

                         I told you this was urgent.

 

                                          HATOYAMA

                         My son knows I am not a patient

                         man.

 

                                          TAROKAWA

                         I don't like to make mistakes.  I

                         need to watch him for a few days.

 

                                          HANAKO

                         A few- . . .!

 

                                          HATOYAMA

                         Let him do it his way.  A

                         professional deserves respect.

 

          Hanako shuts up, not sure what his mistake was.

 

                                          TAROKAWA

                         I'll be on the plane to Tokyo

                         before the end of the week.

 

                                          HATOYAMA

                         If you can do that, and get the job

                         done, there's what the Americans

                         call "a bonus."

 

                                          TAROKAWA

                         I like Americans.  All they care

                         about is money.

 

          Both men are grinning at one another.  Hanako feels out of

          place.

 


 

                                                                        51.

 

 

 

          INT. LINDA GI'S APARTMENT - NIGHT

 

          Linda is setting the table when the doorbell rings.  She

          hurries to answer it, fixing her hair just before she opens

          the door, acting like a woman much younger than she is.

 

          Al comes in.  He looks self-conscious in his bow tie and

          jacket, "dressing up" clearly not a common experience for

          him.

 

                                          AL

                         Am I late?

 

                                          LINDA GI

                         Just in time.  I hope you're

                         hungry.

 

                                          AL

                         Oh yeah, I'm always hungry.

 

          They smile awkwardly at one another.

 

 

          INT. JOEL'S APARTMENT - NIGHT

 

          BRUCE MCSHANE is entering, a disheveled artist in an old

          coat and jeans.  He is a big man in his mid-forties but

          holds his weight well.

 

          Bruce and Hiroko immediately embrace.

 

                                          MCSHANE

                         It's been too long.

 

                                          HIROKO

                         That's not my fault.

 

                                          MCSHANE

                              (jokingly)

                         This bureaucrat ever starts to bore

                         you, give me a call, okay?

 

          But the joke doesn't set well with Joel, who starts to move

          away.  Hiroko, sensitive to this, breaks the embrace.

 

                                          HIROKO

                         I'm mad at you.  You never told me

                         you were commissioned to do a piece

                         for the Trade Building.

 

 


 

                                                                        52.

 

 

 

 

 

                                          MCSHANE

                         The boss demanded secrecy.

 

                                          JOEL

                         I'll get the wine.

 

                                          HIROKO

                              (quickly)

                         No, you two get comfortable - I'll

                         get it.

 

          She's quickly gone.  There's an awkward silence.

 

                                          MCSHANE

                         How goes the government?

 

                                          JOEL

                         The government doesn't change as

                         much as people think it does.

                         Congratulations on the Trade Center

                         commission.

 

                                          MCSHANE

                         Thanks.

 

 

          INT. LIVING ROOM - NIGHT

 

          Joel and Hiroko sit together on the divan, McShane on a

          stuffed chair.  They are sipping wine, a newly opened bottle

          sitting beside an empty one on the small table.

 

          Hiroko and McShane have been sharing graduate school

          stories, with Joel feeling more and more left out.

 

                                          HIROKO

                         And that awful "pop art" exhibit

                         you put together.  What was it

                         called?  Joel, he had these twenty

                         foot canvases of bad teeth and- . .

                         . .

 

                                          MCSHANE

                         "Diseases of the Mouth."

 

                                          HIROKO

                         Yes!  I never saw anything so

                         disgusting in my life.

 

 


 

                                                                        53.

 

 

 

 

 

                                          JOEL

                         You make that sound like a

                         compliment.

 

                                          MCSHANE

                         It was taking "pop art" to its

                         logical conclusion.  Each painting

                         was entitled with the Latin name

                         for the particular gum or tooth

                         disease being depicted.  Very

                         esoteric stuff, actually.

 

          Hiroko and McShane break into hysterics, leaving Joel lost.

 

 

          INT. LINDA GI'S APARTMENT - DINING ROOM - NIGHT

 

          Dinner is over.  Linda is slicing a second piece of pie for

          Al.

 

                                          LINDA GI

                         You can take the rest home with

                         you.

 

                                          AL

                         That's mighty nice of you.  Apple

                         is my favorite.

 

                                          LINDA GI

                         I have ulterior motives.

 

          Al looks at her curiously, inviting her to go on.

 

                                          LINDA GI

                         A favor to ask.

 

                                          AL

                         Shoot.

 

                                          LINDA GI

                         I want you to kill Mr. Hatoyama.

 

          Al isn't sure what to think, is she serious or not?

          Finally:

 

                                          AL

                         Like, kill him - dead?

 

 


 

                                                                        54.

 

 

 

 

 

                                          LINDA GI

                         You don't like Japanese, I know

                         that.  I don't like Mr. Hatoyama.

                         No, much worst: I hate him.  I want

                         to get even with him.

 

                                          AL

                         I wasn't going to kill you, for

                         Christ's sake.

 

                                          LINDA GI

                         Are you saying you won't help me?

 

                                          AL

                         I can't.  I mean, come on, you

                         can't be serious.

 

                                          LINDA GI

                         I am very serious.

 

          She is pouting, which elicits just the response she wants:

          Al is willing to talk about it.

 

                                          AL

                         You must really hate this guy.

 

                                          LINDA GI

                         He raped me.  Many times.  He made

                         me do - unspeakable things.

 

          There's a pause as Al thinks about this.

 

                                          LINDA GI

                         I have a plan.  Soon he is going to

                         be dedicating a statue in front of

                         the Trade Building in New York.  Do

                         you want to hear more?

 

                                          AL

                         I can't promise you anything.  But

                         sure, why not?

 

          Linda moves around the table to sit beside him, draping an

          arm over his shoulder, as she begins to tell him the details

          of her plan.

 


 

                                                                        55.

 

 

 

          INT. DINING ROOM - NIGHT

 

          Joel is pouring coffee after dinner.

 

          The feel is that Hiroko and McShane are the real guests

          here.  Joel is eager to change the mood.

 

                                          JOEL

                         Did you ask him yet?

 

                                          HIROKO

                         Joel . . .

 

                                          MCSHANE

                         Ask me what?

 

                                          JOEL

                         I'm sorry, I thought you already

                         had.

 

                                          MCSHANE

                         You have something to ask me?

 

          Hiroko is reluctant to answer.

 

                                          JOEL

                         Yes, she has.  Want me to do it?

 

                                          HIROKO

                         I didn't think this was the time.

 

                                          JOEL

                         She wanted to know if there might

                         be some work for her on the Trade

                         Building project.  Murals,

                         whatever.

 

          Hiroko is embarrassed.

 

                                          MCSHANE

                         As a matter of fact, I think they

                         do have some murals in mind for the

                         entrance hallways.

 

                                          HIROKO

                         I don't want you to think I invited

                         you here because I'm looking for

                         work.

 

          McShane grins.

 

 


 

                                                                        56.

 

 

 

 

 

                                          MCSHANE

                         Never crossed my mind.  But since

                         I'm here, what are old grad school

                         buddies for?

 

          Hiroko smiles in relief, then glares briefly at Joel.

 

 

          INT. APARTMENT - FRONT DOOR - NIGHT

 

          Joel and Hiroko are seeing McShane out.

 

                                          MCSHANE

                         Give me a call Monday.

 

                                          HIROKO

                         I will.

 

                                          MCSHANE

                         Maybe do lunch?

 

                                          HIROKO

                         That'd be great.

 

                                          MCSHANE

                         Good.  Joel, keep her happy, she's

                         one of a kind.

 

          And he's gone.

 

          Hiroko immediately goes for, and puts on, her own wrap,

          getting ready to leave.

 

                                          JOEL

                         You're going?

 

                                          HIROKO

                         Joel, please.  We already agreed on

                         this.

 

                                          JOEL

                         Meeting him later or what?

 

                                          HIROKO

                         Of course not.

 

          She heads for the door.  He tries to stop her but she pulls

          away.

 

 


 

                                                                        57.

 

 

 

 

 

                                          HIROKO

                         I'm tired.

 

                                          JOEL

                         You're angry.

 

                                          HIROKO

                         I wish you would have let me do it

                         my way, is all.

 

                                          JOEL

                         You were having such a good time

                         telling war stories, I was afraid

                         you'd forget.

 

                                          HIROKO

                         It doesn't matter.  Goodnight.

 

                                          JOEL

                         Goodnight.

 

          Joel sadly watches her go.

 

 

          EXT. JOEL'S APARTMENT - NIGHT

 

          Hiroko comes out of the apartment.  She walks across the

          street.

 

 

          EXT. STREET - A CAR - NIGHT

 

          Tarokawa sits in his car, watching her go.  When she has

          passed, he writes something down in a small notebook.

 

 

          INT. JOEL'S APARTMENT - NIGHT

 

          Joel is watching Hiroko get into her car and drive away.

          Although Tarokawa's car is visible to him, he takes no

          special notice of it.

 

          He is sadder than ever, imagining her renewed interest in

          McShane.

 


 

                                                                        58.

 

 

 

          INT. HATOYAMA'S OFFICE - DAY

 

          McShane sits across the desk from Hatoyama.  Hatoyama is

          looking at Bruce's photographs of the statue.

 

                                          MCSHANE

                         You can come see it any time.

 

                                          HATOYAMA

                         That won't be necessary.  The

                         photographs tell me I'll like it.

 

          This reaction puzzles McShane.

 

                                          HATOYAMA

                         I want to ship it to Japan right

                         away.

 

                                          MCSHANE

                         I don't understand.

 

                                          HATOYAMA

                         I want it blessed in the

                         traditional manner.

 

                                          MCSHANE

                         I see.  There's time before the

                         dedication?

 

                                          HATOYAMA

                         Yes, thanks to your prompt work.

                         You've earned yourself a bonus.

 

                                          MCSHANE

                         Thank you.

 

          Hatoyama stands, a signal that the meeting is over.  McShane

          stands.

 

                                          MCSHANE

                         Just out of curiosity, Mr.

                         Hatoyama, why are you naming the

                         statue The Pearl?

 

                                          HATOYAMA

                         You Americans are always so

                         curious.  The name honors my

                         mother, who many years ago

                         harvested pearls in the waters of

                         Hiroshima Bay on the Inland Sea.

                                          (MORE)

 

 


 

                                                                        59.

 

 

 

 

 

                                          HATOYAMA (cont'd)

                         And what other questions do you

                         have today?

 

                                          MCSHANE

                         None - but perhaps I can make a

                         recommedation.  I have an artist

                         friend who's one of the best

                         muralists in the country.  I've

                         heard rumors that you may put

                         murals in the front hallways.

 

                                          HATOYAMA

                         Yes, I'd like to speak to him.

                         Send him in.

 

          He already is leading McShane to the door.

 

                                          MCSHANE

                         Her name is Hiroko Fujiwara.

 

          Hatoyama is practically pushing McShane out the door.

 

                                          HATOYAMA

                         Japanese?  Of course, I want to see

                         her.

 

 

          INT. HATOYAMA'S BLDG - CORRIDOR - DAY

 

          Hiroko walks down the hall toward her meeting with Hatoyama.

 

          She is carrying a large portfolio of her work.  The sound of

          her heels echoes off the walls as if she is heading into

          some type of abyss.

 

 

          INT. HATOYAMA'S OFFICE

 

          Hatoyama and Hanako are in conference when a knock is heard

          on the door.  The son gets up to answer it.

 

          Hanako opens the door to find Hiroko.  Before he can speak,

          his father interrupts him.

 

                                          HATOYAMA

                              (standing)

                         Ah, you must be Hiroko.  Come in.

                         What a pleasure to meet you.

 

 


 

                                                                        60.

 

 

 

 

 

          This is in Japanese, which she does not understand.  Hanako

          covers in English.

 

                                          HANAKO

                         You can come in.  We are expecting

                         you.

 

          Realizing she doesn't understand, Hatoyama speaks in

          English.

 

                                          HATOYAMA

                         I'm sorry, I thought you would

                         understand the tongue of your

                         ancestors.

 

                                          HIROKO

                         I'm sorry to disappoint you.  I'm

                         Japanese-American.  I guess I'm

                         more American than Japanese.

 

                                          HATOYAMA

                         That is most unfortunate.  However,

                         I suspect there is more Japanese in

                         you than you suspect.  Perhaps one

                         day you will discover your true

                         Japanese spirit.  But come, let us

                         discuss your work.

 

          He gestures to her to sit, then turns to his son.

 

                                          HATOYAMA

                         That will be all.

 

          Hanako, thinking he would be part of the meeting, starts to

          speak but changes his mind and leaves.

 

          Hatoyama waits for Horoko to sit, then takes his own chair.

 

                                          HIROKO

                         Has Bruce McShane told you anything

                         about my work?

 

                                          HATOYAMA

                         He has spoken highly of it.

                         However, I wanted to spend some

                         time with you because I feel that I

                         must have a feel for the person,

                         the artist, and not only for the

                         art.

 

 


 

                                                                        61.

 

 

 

 

 

                                          HIROKO

                         I like that.

 

                                          HATOYAMA

                         Tell me - does Japanese art inspire

                         you?

 

                                          HIROKO

                         Well, yes, many types of art

                         inspire me.

 

                                          HATOYAMA

                         You see, even though I own this and

                         many other buildings in America, I

                         am still Japanese.  I want the

                         artwork inside the building to

                         reflect this fact.

 

                                          HIROKO

                         I understand.  Here are some

                         examples of my work, and some ideas

                         I've sketched out for the lobby.

 

          Hiroko opens up a large portfolio case on Hatoyama's desk.

 

          He shuffles quickly through the drawings, nodding here and

          there.

 

                                          HATOYAMA

                         This is very wonderful work.  I

                         must commend you on your talent.

                         You see, there is a part of the

                         Japanese spirit that is coming out

                         in you, after all.  I would like to

                         offer you the job of doing the

                         mural inside the building.  Will

                         you accept?

 

          Hiroko is taken aback that this has happened so quickly.

 

                                          HIROKO

                         I would be honored.  Thank you very

                         much.

 

                                          HATOYAMA

                         There is one thing that I would

                         like to request.

 

 


 

                                                                        62.

 

 

 

 

 

                                          HIROKO

                         Yes?

 

                                          HATOYAMA

                         I would like to see a piece of

                         artwork that would honor the

                         kamikaze pilots of World War Two.

                         You see, my brother Akiru was one

                         of them.  I want to honor him and

                         the others.  You understand, of

                         course, this piece of art should

                         not be too literal.  We don't want

                         to offend the Americans.

 

                                          HIROKO

                              (carefully)

                         I understand.

 

                                          HATOYAMA

                         Excellent.  Sayonara, Hiroko.

 

          He stands, and then Hiroko stands.

 

                                          HIROKO

                         Goodday, Mr. Hatoyama.

 

          Hiroko holds out her hand for a handshake but Hatoyama

          stands rigid.

 

          Hiroko then realizes what he is waiting for and does a

          Japanese bow, which Hatoyama returns.

 

                                          HATOYAMA

                         You see, the Japanese spirit is

                         still working in you, waiting to be

                         released.

 

          Hiroko manages a faint smile and leaves the office.

 

 

          INT. JOEL'S APARTMENT - OFFICE - NIGHT

 

          Joel sits hunched over a desk looking at documents.  There

          are a lot of them piled all over the desk.  A lone lamp

          lights his workspace.

 

          The rest of the room is dark until a sliver of light enters

          the room as Hiroko opens a door behind Joel.

 

 


 

                                                                        63.

 

 

 

 

 

          Joel is so engrossed in the documents that he does not even

          notice that she has entered.

 

          She sneaks up on him and scares him.

 

                                          JOEL

                         Jesus!  Don't do that.

 

                                          HIROKO

                         What the matter, round eyes, you

                         afraid of Japanese woman who got

                         new job at Hatoyama building?

 

                                          JOEL

                         You got it!  Great!  Tell me

                         everything.

 

                                          HIROKO

                         Mr. H. thinks I have a hidden

                         Japanese spirit.

 

                                          JOEL

                         So he liked you?

 

                                          HIROKO

                         I think he would like me better if

                         I was all Japanese.  At least if I

                         spoke the mother tongue.  In fact,

                         I played dumb on some of the

                         Japanese customs.  I don't think he

                         suspected a thing.

 

                                          JOEL

                         So what do you think of him?

 

                                          HIROKO

                         Rather strange bird.  You know, he

                         wants the mural to include a

                         subliminal dedication to Japan's

                         kamikaze pilots of World War Two.

                         He seems to be a real nationalist.

                         Kinda scary, too.

 

                                          JOEL

                         So perhaps this peaceful

                         cooperation stuff is really just a

                         front.

 

 


 

                                                                        64.

 

 

 

 

 

                                          HIROKO

                         And remember he wants Bruce's

                         statue blessed in Japan.

 

                                          JOEL

                         Right.  I wonder if . . .

 

                                          HIROKO

                         What?

 

                                          JOEL

                         It would give them the opportunity

                         to mess with the statue.  Like

                         maybe plant a bomb on it somehow,

                         and get it back into the country.

                         Have you told Bruce anything yet?

 

                                          HIROKO

                         I see him tomorrow.

 

 

          INT. MCSHANE STUDIO - DAY

 

          The room has tall ceilings and is filled with sculptures in

          various forms of completion.  They are made of a variety of

          material - plastic, metal, stone.

 

          As Hiroko enters, McShane is on a ladder, welding a metal

          piece.  He is wearing a welder's helmet and a flannel shirt

          and jeans.

 

          He lifts up the helmet to inspect the weld he has just made.

          Out of the corner of his eye, he sees Hiroko entering.

 

                                          MCSHANE

                         Hiroko!  How'd it go?

 

                                          HIROKO

                         Great.  I got the job.

 

                                          MCSHANE

                         I knew you would.  When do you

                         start?

 

                                          HIROKO

                         Right away.  In fact, I may need to

                         rent some space from you here.

 

 


 

                                                                        65.

 

 

 

 

 

                                          MCSHANE

                         Did you agree on an approach?

 

                                          HIROKO

                         He wants a special tribute to

                         kamikaze pilots.  Only it's not

                         supposed to look like it to

                         Americans.

 

                                          MCSHANE

                         Yeah, he had me do a few strange

                         things on the plaza sculpture.

 

                                          HIROKO

                         Really?  Like what?

 

                                          MCSHANE

                         He wanted the oriental images

                         holding the globe a little taller

                         than the western images.  Not so

                         much that you would easily notice.

                         But that told me something about

                         him.

 

                                          HIROKO

                         I'll say.

 

                                          MCSHANE

                         And like I told you, he wants the

                         statue blessed in Japan.  If that's

                         not nationalistic, I don't know

                         what is.

 

                                          HIROKO

                         There's something about Hatoyama

                         you don't know, Bruce.  It's pretty

                         spooky.  I think you'd better climb

                         down and be sitting when I tell

                         you.

 

 

          INT. STUDIO - COFFEE TABLE - DAY

 

          They've been sipping coffee at a large paint-splattered

          table.

 

                                          MCSHANE

                         You know I've never been very

                         political.

 

 


 

                                                                        66.

 

 

 

 

 

                                          HIROKO

                         I know.  And I wouldn't be here if

                         they hadn't tried to kill Joel.

 

                                          MCSHANE

                         You can't do art and politics at

                         the same time.

 

                                          HIROKO

                         If we're right, you won't be able

                         to do any art, Bruce - no one will

                         be around to do anything.  We're

                         not asking much.

 

                                          MCSHANE

                         I'm not saying I'm fond of the

                         man - but he'd have to be crazy to

                         plant a bomb on the statue.

 

                                          HIROKO

                         Or carry a grudge.  We dropped the

                         A-bomb, Japan didn't.  People who

                         hold grudges wait to get even.

 

          McShane thinks a moment.

 

                                          MCSHANE

                         Well, I can check it out for you.

                         I don't like the idea of anybody

                         messing with the statue over there.

 

                                          HIROKO

                         Thanks, Bruce.

 

                                          MCSHANE

                         I think Joel's job is making him

                         paranoid.

 

                                          HIROKO

                         It wasn't paranoia that forced him

                         into a ditch.

 

          McShane is still resisting the truth.

 

 

          EXT. JOEL'S PARENTS' HOUSE - DRIVEWAY - DAY

 

          Joel is helping his dad tune his pickup truck.  They are

          finishing up.

 

 


 

                                                                        67.

 

 

 

 

 

                                          JOEL

                         That ought to do it.

 

                                          FRANK MURRAY

                         Thanks, son.  How about a beer?

 

          They head into the house.

 

 

          INT. PARENTS' HOUSE - DEN - DAY

 

          They sit over beers.

 

                                          FRANK MURRAY

                         So when's the big day?  Or haven't

                         you asked her yet?

 

                                          JOEL

                         I, ah, I'm waiting to surprise her

                         on her birthday.

 

                                          FRANK MURRAY

                         Good decision.  She'll like that.

 

                                          JOEL

                         You still worried about it?

 

                                          FRANK MURRAY

                         Oh, I come from a different school,

                         and so does your mother.  Don't

                         mind us.  I think the world gets

                         better about things like that.

 

                                          JOEL

                         Tell me something.  You fought in

                         the Pacific.  Doesn't it irk you a

                         little when you read about the

                         Japanese buying up American

                         property?

 

                                          FRANK MURRAY

                         Yes, frankly, it does irk me.  But

                         I suppose I'd be a better man if it

                         didn't.

 

                                          JOEL

                         But it does.

 

 


 

                                                                        68.

 

 

 

 

 

                                          FRANK MURRAY

                         Damn right, it does.  I lost a lot

                         of friends and relatives in the

                         war.

 

                                          JOEL

                         And the anniversary of Hiroshima

                         must irk the hell out of a Japanese

                         veteran, don't you think?

 

                                          FRANK MURRAY

                         They started it at Pearl Harbor.

                         Too many people forget that.

 

          Joel ponders this, sipping his beer, thinking about the

          revenge that may be in Hatoyama's heart.

 

 

          EXT. HATOYAMA BUILDING - NIGHT

 

          Lights are on inside the building.

 

 

          INT. HATOYAMA BUILDING - LOBBY - NIGHT

 

          Hiroko is on a short scaffold, working on the mural.  A

          Japanese security guard is at the desk in the lobby.

 

          Hiroko works on the mural but keeps glancing over to the

          guard.

 

          Finally, the guard gets up to go on his rounds.  When he is

          gone, Hiroko climbs down from the scaffold and goes over to

          the door and lets Joel in.

 

                                          HIROKO

                         Quick!  Hurry!

 

          Joel enters, and they run across the lobby.  They go past

          the guard desk and down toward the bank of elevators.

 

          They ring for the elevator and enter it.  Just as their door

          closes, another opens.  Out steps the security guard with a

          soda.

 

          The guard goes back to his desk and starts working.  He

          looks up.  He feels something is wrong.  He glances at the

          empty scaffold.

 

          He gets up and walks around the lobby, looking for Hiroko.

 


 

                                                                        69.

 

 

 

          INT. HATOYAMA'S OFFICE FLOOR - NIGHT

 

          The elevator opens and out steps Hiroko, who looks both ways

          cautiously.  Then she motions for Joel to come out.

 

          They nervously move down the hall.

 

          They come to Hatoyama's office and try the door.  It is

          locked.  They then try a few other doors.

 

          All of a sudden they hear the bell of the elevator.  They

          look at each other with a momentary look of surprise and

          fear.

 

          Joel motions Hiroko to a door.  It is labeled STAIRS in both

          English and Japanese.  They open it and run down the stairs

          as fast and as quiety as they can.

 

          As the door to the stairs closes behind them, it makes a

          slight sound, which attracts the attention of the guard as

          he steps off the elevator.  He goes to the door and opens

          it.  Joel and Hiroko have stopped dead in their tracks after

          having heard the door open.  The guard listens, too.

 

          After a pause, the guard closes the door and heads back for

          the elevator.

 

 

          INT. MAIN HALLWAY - DOOR TO STAIRS

 

          Hiroko and Joel come back out into the main hallway.

 

                                          HIROKO

                         Wait a second.

 

          Hiroko looks around the corner to make sure the guard has

          not returned to his security post.  She motions for Joel to

          follow her.

 

          Just as they pass the elevator bank, the bell rings.  The

          guard is about to return.  They tense up.

 

          Hiroko mentions for Joel to follow her.  They hurry toward

          the building's exit.

 

          The elevator door opens up and out steps the guard.  It is

          too late for Joel to make it out of the building.

 

          Hiroko motions for him to hide behind a "sound sculpture"

          displayed on a table.  Hiroko continues toward the scaffold

          where she resumes her position before this adventure began.

 

 


 

                                                                        70.

 

 

 

 

 

          The guard, walking toward his desk, looks up and is

          surprised to see Hiroko calmly back painting at her mural.

 

          Hiroko is still breathing heavily as she glances sideways at

          the guard.  She turns to Joel, who is still hiding behind

          the sculpture.

 

          The guard gets up and starts to move away from his desk.  As

          he turns his back, Hiroko motions to Joel with her head that

          the coast is clear.

 

          But as Joel starts to get up, he puts his hand on the top of

          the table.  This triggers the chiming sound of the

          sculpture.  Joel quickly ducks down again.

 

          The guard stops in his tracks and turns in the direction of

          the sound.  He starts moving toward the table.  Joel can be

          caught.

 

          Hiroko, acting quickly, knocks over a can of paint.  This

          distracts the guard, who turns in her direction.  At that

          very moment, Joel runs for the door.

 

          The guard, hearing the door open, whips around but it is too

          late, and Joel has made it safely out of the building.

 

          The guard turns around and stares at Hiroko suspiciously.

          She is cleaning up her mess.

 

          Finally, the guard walks back to the desk and picks up the

          phone, staring ominously at Hiroko as he dials.

 

 

          EXT. HATOYAMA BUILDING - NIGHT

 

          Joel emerges from the building, hurrying to his car.

 

 

          EXT. HATOYAMA BUILDING - STREET - NIGHT

 

          Tarokawa is parked outside, watching Joel.

 

          When Joel gets in and starts up, pulling away, Tarokawa

          starts the engine and pulls out to follow him.

 


 

                                                                        71.

 

 

 

          INT. HATOYAMA BUILDING - LOBBY - NIGHT

 

          The door swings open and a bunch of Hatoyama's henchmen come

          flying in, led by Hanako.  Hiroko tries to ignore them.

 

          As they cross toward the elevator bank, one turns and looks

          at Hiroko.  At the same time, Hiroko glances in his

          direction - the henchman knows he has seen her somewhere

          before but cannot place her yet.

 

          The thugs continue as a group, led by Hanako, toward the

          elevators to go up to Hatoyama's office floor.

 

 

          INT. HATOYAMA BUILDING - LOBBY - ANOTHER ANGLE

 

          Now Hatoyama himself hurries across the building lobby.  He

          does not see Hiroko but she sees him.

 

          Hatoyama walks briskly past the guard, who bows, and goes

          directly to the elevator without saying a word.

 

 

          INT. HATOYAMA'S OFFICE - CONFERENCE ROOM - NIGHT

 

          Hatoyama's henchmen are arguing very loudly among

          themselves, as Hanako tries with little success to maintain

          order.

 

          Hatoyama enters and they fall silent and bow.  Hatoyama

          slams the door shut.

 

                                          HATOYAMA

                         Leave us alone.

 

          Everyone but Hanako leaves.

 

                                          HANAKO

                         Father, I think this-- . . .

 

                                          HATOYAMA

                         I don't want your opinion, I want

                         the facts.  The guard says someone

                         may have broken into the building.

 

                                          HANAKO

                         I don't think so.

 

 


 

                                                                        72.

 

 

 

 

 

                                          HATOYAMA

                         He says that Hiroko is acting very

                         strangely.  Maybe she let somebody

                         in.

 

                                          HANAKO

                         Then talk to her.

 

                                          HATOYAMA

                         Don't tell me what to do!

 

          He picks up the phone.

 

 

          INT. HATOYAMA BUILDING - LOBBY

 

          The phone rings at the guard desk.  The guard picks it up,

          listens for a second, replies in the Japanese affirmative of

          "HI" in between pauses.

 

          Finally he looks over at Hiroko.

 

          Hiroko has been watching him.  She has finished cleaning up

          and awkwardly returns to working on her mural.

 

          The guard gets up and walks over to her.

 

                                          GUARD

                              (in Japanese)

                         Mr. Hatoyama would like to see you

                         now.

 

                                          HIROKO

                         What?  I'm sorry but I-- . . .

 

                                          GUARD

                              (cutting her off in

                               English)

                         Mr. Hatoyama wants to see you in

                         his office.

 

          Hiroko gets down from the scaffold, walks across the lobby

          and gets into the elevator.

 


 

                                                                        73.

 

 

 

          INT. HATOYAMA'S OFFICE - HALLWAY

 

          The elevator door opens, and Hiroko steps out nervously.

          Approaching the office, she hears loud voices arguing from

          inside the conference room.  Hatoyama is screaming at his

          son.

 

          Hiroko enters the office complex and walks toward Hatoyama's

          office and conference room.  She is scared but she cannot

          afford to show it.

 

 

          INT. HATOYAMA'S OFFICE - MAIN AREA

 

          She comes into Hatoyama's office, the sound of shouting in

          the conference room still spine-chilling.  On her way, she

          notices a large table with some drawings on it.

 

          On top is her sketch of what the mural would look like.  She

          picks it up and looks at it.

 

          She then notices the other drawings.

 

          One of them is a drawing of the statue, and underneath are

          photographs of Japanese workers and what appears to be a

          model of the statue being lowered by a crane onto a large

          cylindrical object.

 

          As she stares at a photo, suddenly the door from the

          conference room opens.  Out steps Hanako, looking very

          shaken.

 

                                          HANAKO

                         My father will see you now.

 

                                          HIROKO

                         Thank you.

 

          He moves past her and out.

 

          She drops the drawing of the mural back onto the table just

          as Hatoyama himself enters from the conference room.

 

                                          HATOYAMA

                              (a frown turning into a

                               fake smile)

                         Ah, Hiroko, I am so glad you are

                         here this evening.

 

 


 

                                                                        74.

 

 

 

 

 

                                          HIROKO

                         Mr. Hatoyama, I was just looking at

                         the drawing of the mural I gave

                         you.

 

                                          HATOYAMA

                         Yes, I see you have been very busy.

 

                                          HIROKO

                         You must be very busy as well to be

                         here at such an hour.

 

                                          HATOYAMA

                         Well, when one has a global

                         company, one must keep global

                         hours.  I would like you to have

                         some tea with me.

 

                                          HIROKO

                              (nervously)

                         Thank you, Mr. Hatoyama, but

                         I-- . . .

 

                                          HATOYAMA

                              (cutting her off sternly)

                         I insist.  Sit down.

 

          She takes a chair, as Hatoyama begins the ritual of a tea

          ceremony.  As he performs the ritual, he is talking to her.

 

                                          HATOYAMA

                         Have you ever participated in a

                         traditional tea ceremony before?

 

                                          HIROKO

                         Yes, at my grandfather's.

 

                                          HATOYAMA

                         Your grandfather's!  Yes, there is

                         much traditional Japanese in you,

                         after all.

 

                                          HIROKO

                         Perhaps you're right.

 

 


 

                                                                        75.

 

 

 

 

 

                                          HATOYAMA

                         You have a Japanese soul, I think.

                         I am so happy to have you working

                         for me.  How is the mural coming

                         along?

 

          Hiroko tries to speak but her voice breaks.  She tries

          again.

 

                                          HIROKO

                         Fine.  Very well.

 

                                          HATOYAMA

                         Good.  Then you deserve a moment of

                         spiritual solace.  This will be

                         good for you.

 

          His smile is sinister.  Hiroko silently shivers.

 

                                          HATOYAMA

                         I must confess something.

 

                                          HIROKO

                         What's that?

 

                                          HATOYAMA

                         I know little about art.  Mr.

                         McShane's recommendation got you

                         the commission.  You are friends?

 

                                          HIROKO

                         We were in graduate art school

                         together.

 

                                          HATOYAMA

                         He speaks highly of you.

 

                                          HIROKO

                         I would speak highly of him.  Will

                         this take long?

 

                                          HATOYAMA

                         You have an appointment?

 

                                          HIROKO

                         I did interrupt work.

 

          He comes around the desk and looks down at her.

 

 


 

                                                                        76.

 

 

 

 

 

                                          HATOYAMA

                         My guard thinks you've been

                         snooping around up here.

 

          Hiroko is flustered, not sure how to cover herself now.

 

                                          HATOYAMA

                         Of course, he's probably been

                         drinking.  It's so hard to get good

                         help.  Have you been snooping?

 

                                          HIROKO

                         Mr. Hatoyama, I should apologize

                         for going through the drawings, but

                         when I saw my sketch-- . . .

 

                                          HATOYAMA

                         Don't worry, nothing is wrong.  Now

                         we relax and have tea.  Talking is

                         not necessary.

 

          He goes back to finish the preparation, and he drops what

          clearly is a poison into Hiroko's cup.

 

          She waits nervously, not knowing what to do.

 

 

          EXT. STREET - NIGHT

 

          Joel's car is driving through traffic, with Tarokawa's car

          following several cars back.

 

          They continue to maneuver through traffic, as Joel heads

          home.

 

 

          EXT. JOEL'S APARTMENT - STREET - NIGHT

 

          Joel reaches the apartment and parks on the street.

          Tarokawa's car slowly drives by.

 

          Joel gets out and heads for his apartment.  He enters the

          building.

 

          Tarokawa parks.  He gets out, carrying a small bag.

 


 

                                                                        77.

 

 

 

          EXT. STEET - NIGHT

 

          Tarokaw plants a bomb under Joel's car, working swiftly and

          expertly.

 

          Then he slides out from under the car, brushes himself off

          and hurries back to his parked car.

 

 

          INT. TAROKAWA'S CAR - NIGHT

 

          Tarokawa dials a number on the car phone.  Someone answers.

 

                                          TAROKAWA

                         This is Tarokawa.

 

          He waits.

 

 

          INT. HATOYAMA'S INNER OFFICE - NIGHT

 

          Hiroko sits in a chair.  She is starting to feel woozy.

 

          Hatoyama stares at her.  Hanako comes in.

 

                                          HANAKO

                         Tarokawa is on the phone.  What's

                         wrong with her?

 

                                          HATOYAMA

                         She looks sleepy, doesn't she?

 

          Hatoyama picks up the phone.  Hanako will regard Hiroko with

          increasing concern.  By the end of the phone conversation,

          she appears to have passed out.

 

 

          INTERCUT PHONE CONVERSATION

 

          Tarokawa in his car, Hatoyama at his desk.

 

                                          TAROKAWA

                         It's done.

 

                                          HATOYAMA

                         Already?

 

                                          TAROKAWA

                         The next time he starts his car.

 

 


 

                                                                        78.

 

 

 

 

 

                                          HATOYAMA

                         You're sure.

 

                                          TAROKAWA

                         Of course.  You get what you pay

                         for, remember?  I'm going home

                         tonight.  You can mail me my

                         check - you trusted me, so I trust

                         you.

 

 

          INT. HATOYAMA'S OFFICE - NIGHT

 

          Hatoyama is pleased with what he hears.

 

                                          HATOYAMA

                         It is a pleasure doing business

                         with you.

 

          He hangs up.  Hanako moves quietly to him, to speak quietly.

 

                                          HANAKO

                         She looks drugged.

 

                                          HATOYAMA

                         The job is done as soon as Mr.

                         Murray starts his car.

 

                                          HANAKO

                         What have you done to her?

 

                                          HATOYAMA

                         Do you know who she is?

 

                                          HANAKO

                         A friend of Mr. McShane's.

 

                                          HATOYAMA

                         The girlfriend of Mr. Murray.

 

          Suddenly Hatoyama slaps his son across the face.

 

                                          HATOYAMA

                         Which is not what you tell me.

 

                                          HANAKO

                         I didn't know.

 

 


 

                                                                        79.

 

 

 

 

 

                                          HATOYAMA

                         It is your job to know.  Come with

                         me.  It is not too late to do this

                         right.

 

          They leave the office.

 

          Hiroko realizes she has been drugged and has been playing

          possum.  When alone, she gets up and staggers out of the

          office, toward the stairs.

 

 

          INT. STAIRWELL

 

          She goes down the stairway, clinging to the handrail, barely

          able to keep afoot.  Unsteadily and cautiously, she

          continues downward.

 

 

          INT. HALLWAY

 

          She enters a hallway at the second floor and finds the fire

          alarm box and pulls it.  The alarm sounds, as she staggers

          back toward the stairwell.

 

 

          INT. HAYOYAMA BUILDING - LOBBY

 

          The alarm panel behind the guard lights up in response to

          Hiroko's alarm.

 

          The guard excitedly enters the elevator to go up and

          investigate.  Just as the door closes, Hiroko emerges from

          the stairway door in the lobby.

 

          The drugs from the tea are really taking effect.  She barely

          manages to make it across the lobby and out the exit.

 

 

          EXT. BUILDING - NIGHT

 

          As she emerges, a police car is pulling up in response to

          the alarm.

 

          Hiroko collapses on the ground.

 


 

                                                                        80.

 

 

 

          INT. NEWSPAPER OFFICE - NIGHT

 

          Seymor is looking over a printout of police calls when

          something strikes his eye.

 

          He hurries to a phone and dials.

 

 

          INT. JOEL'S APARTMENT - BEDROOM - NIGHT

 

          Joel is reading in bed when the phone rings.  He answers it.

 

                                          JOEL

                         Hello?

 

                                          SEYMOR

                              (V.O.)

                         Hiroko's in the hospital.  I'll be

                         right there.

 

 

          EXT. JOEL'S APARTMENT - NIGHT

 

          Joel comes out of the building.  Seymor's car is waiting

          outside.  Joel gets in, and the car speeds off.

 

 

          INT. HOSPITAL CORRIDOR - NIGHT

 

          Joel paces nervously.  Seymor sits, browsing through a

          magazine.

 

                                          SEYMOR

                         Will you try and relax?  The doctor

                         said she'll be fine.

 

                                          JOEL

                         I feel responsible.  I never should

                         have let her get involved.

 

                                          SEYMOR

                         She's a big girl, she knew the

                         risks.

 

                                          JOEL

                         I couldn't have forgiven myself if

                         she didn't pull through.

 

                                          SEYMOR

                         He'll probably try again.  And that

                         means getting back at both of you.

 

 


 

                                                                        81.

 

 

 

 

 

                                          JOEL

                         Which only proves our suspicion.

 

                                          SEYMOR

                         That doesn't help us figure out

                         what your next move should be.  I

                         haven't a clue.

 

                                          JOEL

                         Join the club.

 

          A DOCTOR approaches.

 

          Joel quickly moves to him, and Seymor stands.

 

                                          DOCTOR

                         She's resting comfortably.  Why

                         don't you go home and get some

                         sleep?

 

 

          EXT. JOEL'S APARTMENT - STREET - NIGHT

 

          Seymor's car approaches Joel's apartment building to find a

          fire truck and police car outside.  Joel's car is a

          bombed-out shell.

 

 

          INT. SEYMOR'S CAR - NIGHT

 

          Joel reaches for the door before the car stops.

 

                                          JOEL

                         That's my car . . .

 

          And he's out of there.

 

 

          EXT. THE STREET - NIGHT

 

          Joel rushes up to a policeman at the scene.

 

                                          JOEL

                         What happened?  That's my car.

 

                                          POLICE OFFICER

                         Damn good thing you weren't in it.

                         The two kids trying to steal it are

                         history.

 

          Joel can't believe his eyes.

 


 

                                                                        82.

 

 

 

          INT. HATOYAMA'S OFFICE - DAY

 

          Hatoyama sits at his desk, reading the newspaper, when

          Hanako enters.

 

                                          HANAKO

                         Good morning.

 

                                          HATOYAMA

                         Sit down.

 

          He puts aside the paper as his son sits.

 

                                          HATOYAMA

                         You read the paper?

 

                                          HANAKO

                         Yes.  A thing like that cannot be--

                         . . .

 

                                          HATOYAMA

                         I know that.

 

                                          HANAKO

                         I can make sure Tarokawa is back

                         tonight.

 

                                          HATOYAMA

                         That won't be necessary.  I'm

                         taking charge of the matter myself.

                         You will be returning to Tokyo.

 

                                          HANAKO

                         It is not my fault that-- . . .

 

                                          HATOYAMA

                         Are you questioning my decision?

 

                                          HANAKO

                         No, sir.  But with the statue

                         arriving this week and-- . . .

 

                                          HATOYAMA

                         Are you questioning my decision?

 

                                          HANAKO

                         No, sir.

 

          Hatoyama takes out a cassette tape from a drawer and hands

          it to Hanako.

 

 


 

                                                                        83.

 

 

 

 

 

                                          HANAKO

                         What is this?

 

                                          HATOYAMA

                         You are to play it on August 6.

                         Not before.

 

                                          HANAKO

                         The day the statue is dedicated.

                         What is it?

 

                                          HATOYAMA

                         Is it August 6th yet?

 

                                          HANAKO

                         No, sir.

 

                                          HATOYAMA

                         You must pack.  Your flight leaves

                         this afternoon.

 

                                          HANAKO

                         Yes, sir.

 

          Tape in hand, he bows and starts to leave.  Hatoyama stops

          him before he exits.

 

                                          HATOYAMA

                         What else does August 6 mean to

                         you?

 

          Hanako thinks, trying to figure out what his father is

          getting at.

 

                                          HATOYAMA

                              (final exasperation)

                         Get out of here.

 

          Hanako goes.

 

 

          EXT. LINDA GI'S MARKET - SIDEWALK - DAY

 

          A street kid slowly makes his way to a fruit stand.  He is

          picking out the apple he is going to go after.

 


 

                                                                        84.

 

 

 

          EXT. MARKET - CASH REGISTER - DAY

 

          Linda Gi, ringing up items for Hiroko, sees the boy.  She

          stops what she's doing and picks up the slingshot, speaking

          to Hiroko as she does.

 

                                          LINDA GI

                         Please don't turn around.

 

          Hiroko freezes, secretly marveling once again at Linda's

          unusual technique for catching thieves.

 

          Linda Gi pulls the rubber and aims.

 

 

          EXT. FRUIT STAND - DAY

 

          No sooner does the boy's hand start forward than a paper wad

          from Linda's slingshot strikes the fat apple.

 

          The boy's eyes grow wide.  He sees Linda with the weapon,

          turns and runs away.

 

 

          EXT. CASH REGISTER

 

          Linda goes back to ringing up Hiroko's items as if nothing

          happened.

 

                                          LINDA GI

                         I am getting some very fine octopus

                         in next week.  I save some for you.

 

                                          HIROKO

                         I'm going out of town for a while.

 

                                          LINDA GI

                         Vacation?

 

                                          HIROKO

                         Working vacation.  I'll be doing

                         some painting.

 

          Linda starts packing Hiroko's groceries.

 

 

          EXT. GRANDFATHER FUJIWARA'S HOUSE - DRIVEWAY - DAY

 

          Joel pulls into the driveway in his new car and stops.  He

          gets out, Hiroko gets out the passenger side, and Joel gets

          her bags from the trunk.

 

 


 

                                                                        85.

 

 

 

 

 

          Grandfather Fujiwara comes out to meet them.

 

                                          GRANDFATHER FUJIWARA

                         You bought new car.

 

                                          JOEL

                         Yeah, it was time to do that.

 

                                          GRANDFATHER FUJIWARA

                              (to Hiroko)

                         I am glad to have you.  I don't

                         understand it, but I am glad.

 

                                          HIROKO

                         I just need to get out of town to

                         do some painting.

 

                                          GRANDFATHER FUJIWARA

                         You are always welcome.

 

                                          JOEL

                         I'll give you a call tonight.

 

          Joel and Hiroko embrace.

 

 

          EXT. TOKYO AIRPORT - DAY

 

          A jetliner is landing.

 

 

          INT. TOKYO AIRPORT - TERMINAL - DAY

 

          Hanako enters and moves through the terminal.

 

 

          EXT. TOKYO APARTMENT - DAY

 

          A cab pulls in front of an apartment complex, and Hanako

          gets out.

 

 

          INT. HANAKO'S APARTMENT - DAY

 

          Hanako comes into his apartment.  He looks around as if

          lost, wondering what he's doing there.

 


 

                                                                        86.

 

 

 

          INT. APARTMENT - BEDROOM - DAY

 

          Hanako is unpacking.  He picks up the cassette tape his

          father gave him, taking it out of the suitcase.  He stares

          at it.

 

          He puts the cassette on his bedside table and continues to

          unpack.

 

 

          EXT. EASTERN SEAPORT - SHIP AT LOADING DOCK - DAY

 

          A large heavy box containing McShane's statue is being

          unloaded from a ship by a large crane.

 

 

          EXT. DOCK - DAY

 

          Joel and McShane look on as the sculpture swings down very

          slowly.

 

                                          MCSHANE

                         It's frightening to think of a bomb

                         in there.

 

          Joel nods.

 

                                          MCSHANE

                         How's Hiroko?

 

                                          JOEL

                         Worried.  She doesn't like to see

                         evil in the world.

 

                                          MCSHANE

                         I don't either.

 

                                          JOEL

                         Then take a good look, Bruce.  Get

                         an eye full.

 

          They watch the box coming down to the dock.

 

 

          EXT. GRANDFATHER FUJIWARA'S HOUSE - NIGHT

 

          Joel's car is parked in the driveway.

 


 

                                                                        87.

 

 

 

          EXT. HOUSE - PORCH SWING - NIGHT

 

          Joel and Hiroko sit close, quiet, thinking.  Finally:

 

                                          HIROKO

                         I worry about you.

 

                                          JOEL

                         Forewarned is forearmed.

 

                                          HIROKO

                         Not always.

 

                                          JOEL

                         You know I have to do this.

 

          Hiroko nods.  They are silent a moment.

 

                                          JOEL

                         I saw Judy today.

 

                                          HIROKO

                         Oh?

 

                                          JOEL

                         I moved your clothes back.  I

                         didn't think you'd mind.

 

                                          HIROKO

                         I don't.  But we should have

                         discussed it first.

 

                                          JOEL

                         Then I'm sorry.

 

                                          HIROKO

                         You know I love you.  Joel . . .

 

          They kiss.

 

 

          INT. HANAKO'S APARTMENT - BEDROOM - NIGHT

 

          Loud American rock and roll is playing from a tape deck as

          Hanako prepares for bed.  He gets under the covers.

 

          Before turning out the light, he notices the cassette tape

          on the bedstand where he left it.  He turns off the tape

          deck by remote, then inserts the cassette into a portable

          player at his bedside.  He puts on earphones and listens

          with growing concern.  We hear Hatoyama on the tape:

 

 


 

                                                                        88.

 

 

 

 

 

                                          HATOYAMA

                              (V.O.)

                         My son.  When you hear this, you

                         may already know the news.  New

                         York City has been destroyed.

 

                         I destroyed it, as personally and

                         as heroically as my dear brother

                         Akiru sank the American ship for

                         which he paid with his life.  As I

                         have now paid with mine.

 

                         The Americans bombed our Hiroshima

                         on August 6, 1945.  Now, fifty

                         years later to the day, I bomb

                         their New York City.

 

                         The Americans call this "sweet

                         revenge."

 

          Suddenly Hanako takes off the earphones and reaches for the

          phone.  He dials.  Waits.

 

                                          HANAKO

                              (on phone)

                         This is Hanako.  My father, please.

 

          He waits.

 

                                          HANAKO

                              (on phone)

                         No, no message.

 

          He hangs up and thinks.

 

          Hanako bounds out of bed and begins to pack.

 

 

          EXT. FRONT OF TRADE BUILDING - DAY

 

          Preparations for the opening ceremony.

 

          The box containing the statue is being moved from a flatbed

          truck to its position in the square.  Behind the sculpture,

          a speaker's platform is being raised.

 

          Around the square, temporary bleachers are being erected for

          the ceremonies.

 


 

                                                                        89.

 

 

 

          EXT. TRADE BUILDING - ANOTHER ANGLE - DAY

 

          Watching the activity are Linda Gi and Al.

 

                                          AL

                              (worried)

                         There's going to be lots of folks

                         here.

 

                                          LINDA GI

                         There were lots of folks in Dallas.

                         Oswald still got away.

 

                                          AL

                         Not for long.

 

                                          LINDA GI

                         Whose fault was that?  I think

                         you're too smart to get caught.

 

                                          AL

                         I told you I'm new at this sort of

                         thing.

 

                                          LINDA GI

                         So am I.

 

          They regard one another as if to say, Then what the hell do

          we think we're doing?

 

                                          AL

                         I keep thinking of what he done to

                         you.  That makes it right somehow.

 

                                          LINDA GI

                         Thank you.

 

          Al puts his arm around her.

 

 

          EXT. PLAZA OF TRADE BUILDING - NIGHT

 

          Joel and McShane are hiding behind some benches watching and

          waiting for the outside guard to finish making his rounds.

 

          The statue on the plaza is wrapped in canvas to keep it

          protected until dedication day.  Joel and McShane keep

          waiting, watching the guard.

 

          Finally the guard moves out of the plaza.

 

 


 

                                                                        90.

 

 

 

 

 

                                          MCSHANE

                         You ready?

 

                                          JOEL

                         Give him a minute.

 

          They wait a moment longer.  Then:

 

                                          JOEL

                         Now!

 

          Joel and McShane run across the plaza and up to the

          canvas-shrouded statue.  They quickly slip under the canvas.

 

 

          EXT. UNDERNEATH CANVAS COVER OF STATUE - NIGHT

 

          While under the canvas, Joel and McShane whisper.

 

                                          JOEL

                         Jesus, where the hell do we begin?

 

                                          MCSHANE

                         One of the things I had to include

                         was an access hole.  Over this way.

 

          They move, finding and looking up at the black rounded metal

          bottom of the statue.  The access plate is there but it has

          been completely welded shut.

 

                                          MCSHANE

                         Looks like the bolts and nuts I

                         installed were filed off and the

                         plate welded shut.

 

                                          JOEL

                         Any way we can get it off?

 

                                          MCSHANE

                         Not without making one hell of a

                         racket.

 

                                          JOEL

                         Anything else he had you do that

                         was different?

 

 


 

                                                                        91.

 

 

 

 

 

                                          MCSHANE

                         One of the supporting statues has a

                         hollow arm.  Don't ask me why.  His

                         checks were good, I did what I was

                         told.  This way.  I'm pretty sure

                         it was Julie.

 

                                          JOEL

                         Julie?

 

                                          MCSHANE

                         I always make up names for all my

                         female figures.  The ugly one was

                         Helen, my ex-wife.  Julie's the one

                         I dream about.  Follow me.

 

          They move to another area under the large statue.

 

          McShane pats one of the figures on the rear end.  He nods to

          Joel, this is Julie.  They find the connector that is welded

          into the back of the statue.

 

                                          MCSHANE

                         Now we're cooking.  Take a look.

 

          They switch places so that Joel can see the connector and

          welded mounting plate.

 

                                          JOEL

                         Hell, it's welded, too.

 

                                          MCSHANE

                         Not much more we can do now, right?

 

          Joel nods.  They move off in the direction they came from.

 

 

          EXT. OUTSIDE CANVAS - NIGHT

 

          They peer out from under the statue, looking to make sure

          the coast is clear.  It is.

 

          With a single quick movement, they throw back the canvas

          cover and run across the plaza to safety.

 

 

          EXT. WOODS NEAR GRANDFATHER'S HOUSE - DAY

 

          Joel, McShane and Hiroko are walking in the woods.

 

 


 

                                                                        92.

 

 

 

 

 

                                          MCSHANE

                         We have to get in there before we

                         even know if there's a bomb.  How

                         we do that without making a hell of

                         a lot of noise-- . . .

 

                                          JOEL

                              (interrupting)

                         Christ!  We're so goddamn stupid.

 

                                          HIROKO

                         What is it?

 

                                          JOEL

                         If there's plutonium, then there's

                         radioactivity.

 

                                          MCSHANE

                         Jesus.  We take a Geiger counter

                         under there.

 

                                          JOEL

                         Geiger's a dinosaur, but that's the

                         general idea.

 

                                          HIROKO

                         And if there's really a bomb?

 

                                          MCSHANE

                         Cross that bridge when we come to

                         it?

 

                                          JOEL

                         No, she's right.  There's not much

                         time.  When we go in, we've got to

                         be ready to respond if there's a

                         bomb.

 

                                          MCSHANE

                         Which puts us back to square one.

 

          They continue walking silently.

 

                                          HIROKO

                         Maybe there's not a bomb, after

                         all.

 

          They keep walking.  No one believes this is true.

 


 

                                                                        93.

 

 

 

          INT. HATOYAMA BUILDING - FRONT AREA - DAY

 

          Hanako enters and goes to the guard desk.

 

                                          HANAKO

                         Has my father come in yet?

 

                                          GUARD

                         Not yet.

 

                                          HANAKO

                         I'll wait for him in his office.

 

          He starts off a few steps, then returns.

 

                                          HANAKO

                         I want to surprise him.

 

                                          GUARD

                         Yes, sir.

 

          He moves off for the elevator.

 

 

          INT. HATOYAMA'S OFFICE - DAY

 

          Hanako lets himself into his father's office.

 

          He is like a boy alone in a forbidden place.  He moves about

          the office, imagining what it would be like to have such an

          office of his own.

 

          Suddenly, without warning, Hatoyama enters from the

          conference room.

 

                                          HATOYAMA

                         You're late.  I expected you

                         yesterday.

 

          Hanako is at a loss for words; he thought he was going to

          surprise his father.

 

                                          HATOYAMA

                         Tokyo phoned before your plane left

                         the ground.  Did you think you

                         could surprise me?

 

                                          HANAKO

                         Of course not.

 

 


 

                                                                        94.

 

 

 

 

 

                                          HATOYAMA

                         You must take the first plane back

                         to-- . . .

 

                                          HANAKO

                         Father, I listened to the tape.

 

          Hanako is amazed at himself for interrupting his father.

          It's also a feeling he might get used to.

 

          All the same, his father's glare now reminds him of what a

          serious breach of etiquette he just committed.

 

                                          HATOYAMA

                         As I was saying-- . . .

 

                                          HANAKO

                              (interrupting again)

                         You commit suicide, doing this.

                         Why?

 

                                          HATOYAMA

                         It saddens me that you learned

                         nothing from the heroic sacrifice

                         of your Uncle Akiru.

 

                                          HANAKO

                         The war was over before I was born.

                         Do you hold some kind of grudge?

                         This is madness.

 

                                          HATOYAMA

                         I hope I don't have to embarrass us

                         both by calling the guards.  Your

                         plane leaves in less than two

                         hours.  You will be on it.

 

          Hanako stares at his father, thinking.

 

          Hatoyama moves toward the des, where the buzzer to call the

          guards is located.

 

                                          HANAKO

                         I think you are making a mistake.

 

          He bows stiffly, turns and leaves.  Hatoyama picks up the

          phone.

 

                                          HATOYAMA

                              (on phone)

                         Make sure my son gets on the plane.

 


 

                                                                        95.

 

 

 

          EXT. HATOYAMA BUILDING - DAY

 

          Hanako comes out of the building and hails a cab.

 

          From a parking garage under the building, a car with

          Hatoyama's thugs in it comes out to follow the cab.

 

 

          INT. CAB - DAY

 

          Hanako expected this, turning to find the car pulling behind

          the cab back several spots in traffic.  He turns to the

          cabby.

 

                                          HANAKO

                         I have fifty dollars if you can

                         lose the green Chrysler behind us.

 

          The cabby grins, looking up at the rearview mirror.

 

                                          CAB DRIVER

                         Charlie, you're on.

 

 

          EXT. STREET - DAY

 

          as the cabby starts speeding through traffic to lose the car

          with Hatoyama's thugs.

 

 

          EXT. JOEL'S APARTMENT - STREET - NIGHT

 

          Joel gets out of his parked car and heads for the entrance

          into his apartment building.

 

          Hanako comes to him from out of the shadows.

 

                                          HANAKO

                         Mr. Murray, we need to talk.  I am

                         Hanako Hatoyama.

 

                                          JOEL

                         Inside okay?

 

                                          HANAKO

                         Fine.

 


 

                                                                        96.

 

 

 

          INT. JOEL'S APARTMENT - LIVING ROOM - NIGHT

 

          They sit in the living room with drinks, where Hanako has

          been telling his story.

 

                                          JOEL

                         You have no doubts he'll go through

                         with this?

 

                                          HANAKO

                         None.  He envies his brother, a

                         kamikaze pilot who brought much

                         honor to his ancestors.  My father,

                         unfortunately, is a very

                         old-fashioned man.

 

                                          JOEL

                         And you're telling me this to save

                         him?  That's your motivation?

 

                                          HANAKO

                         Of course.  And to save countless

                         innocent people.

 

                                          JOEL

                         I keep wondering what kind of decoy

                         you might be.

 

                                          HANAKO

                         That is ridiculous.

 

                                          JOEL

                         Stranger things have happened.

 

                                          HANAKO

                         He must be stopped.

 

                                          JOEL

                         True.  But if a man has a weapon

                         like that, and he's willing to go

                         down with the ship, so to speak --

                         we have our work cut out for us.

 

                                          HANAKO

                         I will cooperate in any way I can.

                         He must be stopped.

 

                                          JOEL

                         All we can do is try.

 

          Joel's tone suggests that the effort may be hopeless.

 

 


 

                                                                        97.

 

 

 

 

 

                                          JOEL

                         I'd like my boss at the Department

                         of Energy to hear the tape.

 

                                          HANAKO

                         I can bring it tomorrow morning.

 

 

          EXT. JOEL'S APARTMENT BUILDING - NIGHT

 

          Hanako comes out and looks for a cab.  One suddenly appears

          out of nowhere and stops.

 

 

          EXT./INT. CAB - NIGHT

 

          Hanako gets in the cab before he realizes that one of his

          father's thugs is the driver.  From out of the shadows two

          other henchmen run up and enter the cab.

 

          Hanako realizes that he is lost.

 

 

          EXT. STREET - NIGHT

 

          as the cab speeds off with Hanako.

 

 

          INT. SULLIVAN'S OFFICE - DAY

 

          Sullivan is behind his desk, Joel sitting across from him.

 

                                          SULLIVAN

                         He's over an hour late.  I have

                         work to do.

 

                                          JOEL

                         Will you call the FBI?

 

                                          SULLIVAN

                         Absolutely not.  You have no proof,

                         Joel.  Once again, you keep seeing

                         conspiracies everywhere.

 

                                          JOEL

                         I have reason to know that-- . . .

 

                                          SULLIVAN

                         That's it, I mean it.

 

          Joel gets up and storms out of the office.

 


 

                                                                        98.

 

 

 

          EXT. DOE BUILDING - DAY

 

          Joel comes out, frustrated and angry.

 

          He takes a deep breath.  What now?  He has no idea what to

          do.

 

          CLOSE ON TV SCREEN

 

          A NEWSCASTER is giving the morning news.

 

                                          NEWSCASTER

                              (on TV)

                         . . . that the world must never

                         again experience the awesome

                         destructive power of Hiroshima,

                         fifty years ago today. . . . Coming

                         up in local news, opening

                         ceremonies for a new sculpture by

                         American artist Bruce McShane - and

                         an interview with the Japanese

                         industrialist who commissioned it.

                         After these messages.

 

 

          INT. GRANDFATHER FUJIWARA'S HOUSE - DEN - DAY

 

          Hiroko and her grandfather are sipping tea in front of the

          TV set.

 

          Hiroko looks troubled.  She gets up and takes her

          grandfather's empty cup.

 

                                          HIROKO

                         I need some things at the store.

                         Can I take the car?

 

                                          GRANDFATHER FUJIWARA

                         Of course.  Get me some pipe

                         tobacco.

 

          Hiroko moves off.

 

 

          EXT. GRANDFATHER'S HOUSE - DAY

 

          Hiroko comes out.  She's in a hurry, trotting to the car.

 

          She gets in and starts the engine.  She backs out quickly.

 


 

                                                                        99.

 

 

 

          INT. CAR - DAY

 

          Hiroko turns onto the front road.

 

          She turns the radio on, looking for a station.  Finally she

          finds what she wants, another news program.

 

                                          NEWSCASTER

                              (on radio)

                         --Trade Building developed by

                         Japanese industrialist Klutchi

                         Hatoyama, who purchased the

                         building last year.  Sports coming

                         up, right after this.

 

          She turns off the radio.  She speeds up, looking determined.

 

 

          EXT. TRADE BLDG PLAZA - DAY

 

          A large crowd fills the bleachers around the statue, still

          covered with canvas.

 

          A podium has been set up nearby, where a Japanese MC is

          testing the mic.

 

          Back in the crowd are Joel and Bruce.

 

                                          JOEL

                         I can't watch this.

 

                                          MCSHANE

                         Where're you going?

 

                                          JOEL

                         To get Hiroko and get as far away

                         from here as possible.  I shouldn't

                         have waited til the last goddamn

                         minute.

 

          He moves off quickly.

 

                                          MCSHANE

                              (after him)

                         Hey!  What about me?  I'm supposed

                         to be up there on the speaker's

                         platform.

 

          And he moves off quickly as well.

 


 

                                                                        100.

 

 

 

          EXT. PLAZA - DAY

 

          In another area is Linda Gi, visibly upset because Al is

          late.

 

          He finally appears - and is drunk.

 

                                          AL

                         Sorry I'm late.

 

                                          LINDA GI

                         What have you done to me, coming

                         like this?

 

                                          AL

                         I can't go through with it, I just

                         can't.  Two wrongs don't make a

                         right.

 

          Linda slaps him hard.

 

                                          LINDA GI

                         I trusted you to help me.

 

          She storms off, leaving Al looking like he needs another

          drink.

 

 

          EXT. STREET - AREA OF TRADE BUILDING - DAY

 

          Hiroko is driving near the Trade Building, looking for a

          parking space.

 

 

          INT./EXT. CAR - DAY

 

          She's visibly stressed out, looking for a vacant lot or

          parking space.

 

          Suddenly, she spots Joel on the sidewalk.

 

                                          HIROKO

                         Joel!

 

          She starts beeping her horn.

 

 

          EXT. SIDEWALK

 

          Joel walks on, oblivious to Hiroko's efforts to get his

          attention.

 


 

                                                                        101.

 

 

 

          INT./EXT. CAR - STREET - DAY

 

          Hiroko suddenly stops in traffic, gets out and runs through

          a chorus of blaring horns to reach Joel on the sidewalk.

 

          She grabs him, they exchange quick words, and both hurry

          back to the car parked in traffic.

 

 

          INT. CAR - DAY

 

          Joel gets in behind the wheel.

 

                                          HIROKO

                         What are we going to do?

 

                                          JOEL

                         We're getting as far away from here

                         as we can, as quickly as we can.

 

                                          HIROKO

                         You've given up?

 

          Joel doesn't reply, moving back into traffic.

 

          A gloomy silence descends over them, as if they are now

          witnessing the final moments of New York City.

 

 

          EXT. PLAZA - THE CROWD - DAY

 

          The MC is talking in the background, as Linda moves through

          the crowd, trying to get up front as close as she can.

 

 

          EXT. PLAZA - THE PODIUM - DAY

 

          Hatoyama moves forward to dedicate the statue.  As he does,

          he takes a remote device from a side coat pocket - this

          controls the detonation of the bomb planted in the statue.

 

          He waits for the applause to die down.

 

                                          HATOYAMA

                         I don't know what happened to our

                         sculptor.  He must be tied up in

                         traffic.  But what a glorious day!

                         I feel like this is the most

                         important day of my life.

 


 

                                                                        102.

 

 

 

          EXT. EXPRESSWAY - DAY

 

          Joel and Hiroko continue to move out of the city, having

          caught an expressway moving out of New York.

 

 

          INT. THE CAR - DAY

 

          They are listening to the speech on the radio.

 

                                          HATOYAMA

                              (V.O.)

                         Fifty years ago, on this very day,

                         an atomic bomb was dropped on my

                         country at Hiroshima.  It marks the

                         worst hostilities between our two

                         countries.

 

                                          JOEL

                         I can't believe this is happening.

 

                                          HIROKO

                         I love you.  I'm so frightened.

                         How long do we have?

 

                                          JOEL

                         It's hard to say.  I don't know how

                         powerful the bomb is.  How much he

                         wants to blow up.

 

                                          HIROKO

                         I don't want to die like this.

                         Let's stop.  Let's not be running

                         when it happens.

 

          Joel looks at her, immediately understanding that she's

          right.

 

 

          EXT. EXPRESSWAY

 

          as the car pulls to the shoulder and stops.  They get out

          and run to an expanse of grass.

 

          Joel and Hiroko embrace, silent against the traffic racing

          by on the expressway and their sense of impending doom.

 


 

                                                                        103.

 

 

 

          EXT. PLAZA - PODIUM - DAY

 

          Hatoyama's speech is getting too long for the patience of

          the audience.

 

                                          HATOYAMA

                         My brother was a pilot and a very

                         brave man.  The bravest man I have

                         ever known.

 

 

          EXT. PLAZA - CROWD - DAY

 

          Linda Gi has moved as far forward as she can, along the side

          of one set of bleachers.

 

          She takes out her slingshot from her purse, loading it with

          a small metal object, pointed like an arrow head.  She does

          this without drawing the attention of anyone.

 

          She takes aim.

 

 

          EXT. PODIUM - DAY

 

          Hatoyama continues, but now begins slowly to raise the hand

          holding the remote triggering device - the effect is that he

          is making some kind of religious or spiritual gesture of

          significance.

 

                                          HATOYAMA

                         My dear brother, Akiru - how I have

                         missed you.  How I have envied you.

                         How I have waited for this moment

                         when I join you.

 

 

          EXT. PLAZA - LINDA GI

 

          fires the slingshot.

 

 

          EXT. PODIUM

 

                                          HATOYAMA

                         You Americans have-- . . .

 

          Before he can finish, the arrow head strikes him squarely on

          the head.  He falls as the crowd reacts.

 


 

                                                                        104.

 

 

 

          EXT. EXPRESSWAY - GRASSY AREA - DAY

 

          Joel and Hiroko remain embraced as we hear the car radio's

          news report from the plaza.

 

                                          NEWSCASTER

                              (on radio)

                         . . . of confusion.  Mr. Hatoyama

                         remains on the ground, the siren of

                         an ambulance can be heard now in

                         the distance - it's a scene of

                         continuing confusion . . .

 

          INSERT: NEWSPAPER HEADLINE

 

          of Linda Gi being captured by police on the plaza.  PULLING

          BACK, a headline tells us that Hatoyama is in a coma.

 

 

          INT. JOEL'S APT - BREAKFAST TABLE - DAY

 

          Joel is reading the newspaper story to Hiroko.  Both are

          still in their robes.

 

                                          JOEL

                              (reading)

                         The small bomb was capable of

                         destroying all life and buildings

                         within a radius of fifty miles.

 

          He whistles.

 

          Hiroko reaches across the table and takes the paper,

          throwing it to the side.

 

                                          HIROKO

                         Did you really think you were going

                         to die yesterday?

 

                                          JOEL

                         Yes.  Didn't you?

 

                                          HIROKO

                         Yes, and all I wanted to do was to

                         hold you.  And hold you and . . .

 

          They move together, getting up from the table and slowly

          embracing.

 

                                                             FADE OUT.