EXT. MATSUKAWA COUNTRYSIDE - 2:30 A.M.
Toshio has gone for a walk by himself in the countryside to ponder the events of the past few days and the fact that his sister is now involved with an American, one of the hated occupiers; by this time he has covered the few miles between Fukushima and Matsukawa.
The looming shapes of MOUNTAINS surround him on all sides; the terrain is hilly. The night is very quiet. Not noticing where he is going really, he follows a well-worn footpath, staring at the ground.
Then, from around the bend in the pathway, he hears AMERICAN men's VOICES.
JIM
(O.S.)
That's it, that's it! She's coming! Pull harder, harder!
SOUTHERN GI
(O.S.)
Shit, this nut is almost rusted clean through.
JIM
(O.S.)
She's turning. Keep at it. It's the last fishplate.
(O.S.)
Thank God we brought the wrenches.
Toshio freezes. What in the hell is going on? Then slowly, carefully, he sneaks a peek around the bend from behind a rock outcropping.
WHAT HE SEES
JIM, GARY, and TEN OTHER GIs are sabotaging a stretch of railroad track; with camouflage greasepaint smeared on their faces and arms, they're wearing black T-shirts, khaki pants, and black baseball caps, and carrying sidearms. Four Jeeps are parked nearby.
Using big lug wrenches, teams of two spread out along the railroad curve have removed several fishplates that link stretches of track together; the fishplates and the spikes are lying on the grass nearby.
JIM
Hurry the fuck up, guys. Train's due.
TOSHIO
is horrified and starts to back away. But he's sighted.
ANGLE ON THE TEAM
Who the fuck is that?
He draws his .45. Toshio flees.
JIM
Don't be an asshole, we don't need dead bodies! Not now, we're too close.
He saw us! Did you see who the fuck it was? Nakamura, that Commie reporter from the Chronicle.
Jim smiles grimly.
JIM
We'll deal with that little Jap snoop later.
TOSHIO
races headlong through the countryside, panic-stricken. Sheer dread is snapping at his heels.
WITH THE TEAM
Aren't you afraid he's gonna talk?
JIM
It's too late for him to stop us now. And after tonight, who's gonna believe a Commie with an axe to grind? By the time we get through with him, nobody's gonna remember his name anyway.
TOSHIO
continues running madly. Terror won't let him stop.
THE TEAM
goes back to work removing the last fishplate. Once it's gone, with great difficulty they swing the section of rail away from the rest of track.
Their work done, the men pile into their Jeeps and speed away into the night.
A MONKEY WRENCH
is left lying by the tracks and the removed fishplates. Only a foot long, it's khaki-colored, with a slash of pink paint daubed on it. It's not one of the big lug wrenches the GIs were using.
EXT. COUNTRYSIDE - A FEW MILES AWAY
JNR passenger train 412 is chuffing along the tracks, headed for Matsukawa. Black smoke is pouring out of the locomotive, and passengers are peering out of the lighted windows.
EXT. NAGAIGAWA SIGNAL STATION - A FEW MILES AWAY
At a normally unguarded grade crossing, a POLICE TENT has been set up with a 60-watt bulb strung up to help festival visitors cross the dangerous railroad tracks. Toshio staggers out of the night, and we see him, exhausted and gasping for breath, speaking in Japanese to the POLICE OFFICERS.
EXT. COUNTRYSIDE - WITH TRAIN 412
We see the train hurtling around the bend, blasting its WHISTLE to warn of its approach.
EXT. POLICE TENT
Through the open flap, we can see Toshio conversing excitedly with the police officers. The police look concerned and disturbed.
In the distance, the train whistle SHRIEKS.
EXT. MATSUKAWA TRACKS - 3:09 A.M.
We follow Train 412 as it swings around a curve in the tracks, hugging a range of hillocks.
Then it hits the sabotaged section of track.
The reaction is immediate—and horrifying. The train is derailed. It JUMPS THE TRACKS, and in a scream of twisting metal, it JACKKNIFES and the cars SMASH into each other. Heaving up from the railroad tracks, Train 412 SLAMS up again the hillside and SMASHES back down to earth.
The stillness that follows is hideous. We witness the terrible sight of Train 412 lying in a contorted jumble against the hillside. Wheels are still spinning and sooty smoke and steam are shooting out everywhichway.
Then GHASTLY SHRIEKS begin to issue from the wrecked train.
EXT.
Casey and Noriko are wakened by the clamor of the train wreck.
CASEY
What the hell is that?
Scrambling into their clothes, they struggle to their feet and look out over the valley.
WHAT THEY SEE
Train 412 lying in a heap against the mountain. Even from a distance, they can see flames licking the locomotive and white steam shooting out.
CASEY
My God.
NORIKO
Another train—
They scramble down the hillside to see if they can help.
EXT. MATSUKAWA TRAIN WRECK SITE - THIRTY MINUTES LATER
When Casey and Noriko reach the wreck site, the authorities have already arrived with a rescue team. Both Japanese provincial police and U.S. Army personnel are in charge. Toshio is also there.
The scene is horrendous. The railroad cars are detached from each other; some are overturned, others are lying upside down. Rescue personnel are pulling victims out of the scattered cars; the injured and the dead are lying on the grass. Many of the wounded are screaming or moaning.
When they see each other, Toshio appears to be in shock.
TOSHIO
Where were you?
NORIKO
(grabbing him)
Are you all right?
TOSHIO
I saw them.
NORIKO
Who?
TOSHIO
(looking at CASEY)
Those two men in the sketches. They were pulling the tracks apart. Along with ten other GIs.
CASEY
The same guys?
Toshio shoots Casey a frightened look.
TOSHIO
They saw me. They knew me.
CASEY
Did you tell anyone?
TOSHIO
(dazed)
The police. At the tent.
CASEY
We better get out of here. It's not safe anymore.
Casey and Noriko start to conduct the disoriented Toshio away from the nightmarish wreck site.
TOSHIO
I tried to stop it—but this—
INT. TRAIN - AUGUST 17, 1949 - THAT AFTERNOON - DAY
Casey, Toshio, and Noriko are sitting in a train compartment, returning to
NORIKO
(to TOSHIO)
We have something to tell you.
Toshio looks at Casey bitterly.
TOSHIO
My American friend. Sleeping with my sister behind my back.
CASEY
Does it matter if we're in love?
TOSHIO
Coupling in the grass like dogs—that isn't love.
NORIKO
Toshio, how can you say such a thing?
Toshio stares out the window at the passing mountain scenery.
TOSHIO
What a horrible night. I must be dreaming.
CASEY
Those twelve guys, they must be G-2 or that new outfit, the CIA.
Toshio gives Casey a sober look.
TOSHIO
They're going to come after me.
CASEY
We've got to get to them before they get to us. We've got one advantage: we know what they look like. Once we get back to
TOSHIO
They can kill officials, they can wreck trains. They can do anything.
CASEY
Maybe.
INT. CITY EDITOR'S OFFICE - THE
Casey and Toshio are sitting in Bradford Lewis' office. Lewis is grinning at them angrily.
LEWIS
The train wreck specialists.
CASEY
We noticed a few details missing from the story we filed from Matsukawa.
LEWIS
You mean that outrageous bullshit about GIs wrecking the train?
TOSHIO
(quietly angry)
I saw them. I didn't make them up.
LEWIS
I don't believe you. And we're not in the business of printing crap.
CASEY
So the Commies did it, right?
LEWIS
They had the motive, method, and opportunity. They're the logical parties.
CASEY
And you don't believe us?
LEWIS
I warned you to stay out of trouble. I told you to keep away from this controversial political bullshit. But did you listen?
No! Instead you fed me this song-and-dance about folk dances and tea ceremonies and you end up getting mixed up in the biggest mess to hit this country since the Enola Gay!
TOSHIO
How were we to know what was going to happen?
Lewis stands up slowly.
LEWIS
Funny you should mention that. Some other gentlemen want to ask you that very same question.
(grins furiously)
Your friends at GHQ. Valmont and Gordon.
INT. COLONEL VALMONT'S OFFICE - GHQ - 4 P.M.
Casey and Toshio are sitting in Valmont's office. Valmont is seated behind his desk, and Gordon is standing beside him.
GORDON
Mr. Nakamura is currently under investigation for his part in the Matsukawa incident.
Toshio and Casey are shocked.
CASEY
On what pretext?
VALMONT
Don't you find it rather unusual, Mr. Casey, that your friend should be present at both the Mitaka and Matsukawa train accidents?
CASEY
So was I. Am I under suspicion too?
GORDON
You're not a member of the Japanese Communist Party. And you weren't stationed with the Southern Manchuria Railway Company during the war. The Kwangtung Army wrecked trains habitually for political purposes.
CASEY
Yeah, and they were pros at planting evidence, too. Like the JNR monkey wrench found at the scene. You guys are saying Communist saboteurs stole it from the local railroad worker's toolshed.
No way in the world that crummy little wrench loosened those rusted nuts on the fishplates. An industrial-quality lug wrench was used.
VALMONT
Do you know what Mr. Nakamura got his degree in from
GORDON
He knew how to sabotage those trains. He has an ideal motive for being part of the Communist plot to wreck JNR Train 412. And as for these fantastic accusations about
CASEY
Can you identify this man?
Casey shows them a sketch of
GORDON
(nonchalant)
Total stranger.
CASEY
He was standing with you in Colonel Valmont's outer office when we walked out of here last week.
VALMONT
I think you're mistaken.
Casey shoots Valmont a look.
CASEY
Let him answer.
GORDON
I have no idea who this person is.
CASEY
You're a liar.
GORDON
Excuse me?
CASEY
How about this character?
He shows them sketches of JIM KRAMER. Gordon and Valmont exchange looks.
VALMONT
Where did you get these sketches?
TOSHIO
They were supplied by eyewitnesses.
GORDON
Eyewitnesses to what?
TOSHIO
Shimoyama's kidnapping and the Mitaka train crash.
VALMONT
Preposterous.
CASEY
They'll testify. You want their names and addresses? So you can try to kill them too?
GORDON
What in the hell are you talking about?
CASEY
When Toshio interrupted the sabotage at Matsukawa, your two gorillas made it clear they'd kill him when the right time came.
Valmont sighs.
VALMONT
Have you been smoking opium?
Casey gains to his feet. Toshio follows suit.
CASEY
We've given copies of these sketches, plus an affidavit, to an interested friend.
GORDON
Who?
CASEY
My friend in the Imperial Household. Mrs. Helen Elizabeth White.
Valmont leaps to his feet.
VALMONT
Casey, this time you've gone too far!
Gordon chuckles to himself.
GORDON
Involving the Imperial Family. That's rich.
CASEY
She thinks it's far-fetched. But she agrees with me: if anything violent or mysterious happened to either me or Toshio—
Gordon grins at him.
GORDON
Keep knotting that rope, Casey. We'll hang you with it.
CASEY
So feel free to put us under investigation, gentlemen. Because you're the ones with something to hide.
VALMONT
I'm going to run you out of Occupied Japan. And then let's look into some criminal charges.
CASEY
I know what you guys are up to. You're manufacturing Reichstag Fires and blaming them on the Reds, just like Hitler did to stay in power. Only this time you're not going to get away with it.
INT. CASEY'S APARTMENT HOUSE -
Casey is standing outside the door to his apartment, unlocking it.
INT. CASEY'S APARTMENT
Casey enters.
WHAT HE SEES
His apartment has been ransacked. It's a mess. Drawers are open, books and papers strewn around.
From the next room he can hear the rustling of an INTRUDER continuing his search.
WITH CASEY - OVER-THE-SHOULDER SHOT
With great care, Casey sneaks through his living room; the intruder is in his bedroom. Casey gingerly picks up a BROOM leaning against a wall and carries it before him like a spear, handle end forward. He advances to the doorway of his bedroom and peers inside.
WHAT HE SEES
THE SLIM YOUNG GI who was following him and Toshio earlier is rummaging through his bedroom, obviously hunting for something. His name is LEE, and he's in uniform. A young James Coburn type.
CASEY
Name, rank, serial number?
INT. BEDROOM
Swinging around, LEE whips out a STILETTO and presses the button; the BLADE jumps out. He slashes at Casey. Casey jumps back, parrying with the broom handle.
Lee initiates a charging, slashing attack; Casey holds him at bay, but once the blade almost slices his ribs. Going on the offensive, Casey lunges repeatedly with the broom handle, poking at Lee's midsection.
The next time Lee makes a run at him, Casey steps in and RAMS him in the stomach with the end of the broom handle. Dropping his stiletto, Lee doubles over. Casey SMASHES the broom handle against the side of his head. Lee hits the floor.
But when Casey steps in to knock him out, from the floor Lee hooks a foot around Casey's right angle and lashes out with his other leg against Casey's right kneecap. Casey topples to the floor and Lee scrambles to his feet.
When Lee grabs for his stiletto, Casey knocks his hand away with the broom. Lee bolts for the door, but jumping to his feet Casey throws the broom like a javelin at Lee's long legs; Lee trips and sprawls on his face.
INT. LIVING ROOM
As Lee starts to get up, Casey tackles him and they go down together in a tangle of arms and legs. Casey smashes an elbow across Lee's face and rolls on top of him, but when Casey tries to hold him down, Lee rabbit-punches him in the solar plexus and shoves him away.
While Casey is trying to catch his breath, Lee, leaping to his feet, snatches up a chair and hurls it down at Casey. Casey rolls out of the way in time, and the chair breaks against the floor.
Suddenly there is a POUNDING on the door leading out into the hallway. Aroused by the commotion, the neighbors are concerned.
Lee rushes for the door to escape. As he's flinging the door open, startling the NEIGHBORS outside, Casey throws himself to his feet, and while Lee is vanishing out the door, Casey takes off after him and runs through the open doorway into the hallway outside.
INT. HALLWAY
Casey runs out through the door—and right into a carefully-executed karate kick that a concealed Lee, lurking by the doorway, launches into his stomach.
While Casey doubles over on the floor, gasping in agony, Lee dashes down the hallway and out of sight.
Clustering around him, the NEIGHBORS try to help him up, but he waves them away. Slowly Casey pulls himself up on his hands and knees, wheezing for breath. He's in no shape to do any running, and Lee is long gone. He staggers to his feet and limps back into his apartment.
INT. LIVING ROOM
Casey is seated on his sofa, one hand over his bruised midsection. He's still very much hurting and catching his breath. He picks up the black telephone and dials.
INT. NAKAMURA RESIDENCE - KITCHEN
Toshio answers the ringing telephone. His mother and Noriko are sitting at the kitchen table, sipping tea.
TOSHIO
Mosh moshi. [Hello.]
BACK TO SCENE
CASEY
Is everyone okay?
TOSHIO
(O.S.)
Yes. Why?
CASEY
Remember our friend from the perfume counter?
INT. KITCHEN
TOSHIO
The tall young GI?
BACK TO SCENE
CASEY
He was pawing through my apartment when I got back here. You'd better clear everyone out of the house. They're looking for something.
INT. KITCHEN
TOSHIO
I have it.
BACK TO SCENE
CASEY
What?
INT. KITCHEN
TOSHIO
I received a letter while we were away. We have a name that goes with one of the sketches. Jim Kramer. The blond man with the koroshi [killer] eyes.
CASEY
(O.S.)
Where can we meet?
TOSHIO
The Yasukuni shrine in Chiyoda-ku, right by the
CASEY
(O.S.)
Be careful. The thin man is a knife artist and he knows karate.
TOSHIO
Valmont's agent?
BACK TO SCENE
CASEY
He must be G-2.
EXT. YASUKUNI SHRINE - CHIYODA-KU - 9 P.M.
Casey and Toshio meet at the YAKUSUNI SHRINE, the official (and highly controversial) Shinto shrine to honor
CASEY
So this is where the Japanese honor their war dead.
TOSHIO
Americans don't come here. I couldn't risk anyone following us to my friend's house.
INT. YASUKUNI SHRINE
They enter the shrine. Japanese are lighting sticks of incense and placing them in holders at the altar.
CASEY
Who is he?
The line moves forward and they approach the altar.
TOSHIO
Mr. Yamada. A diamond appraiser.
Taking a stick of incense, Toshio places it in a holder at the altar, and bowing his head, prays for the soul of his father killed in the firebombing of
INT. MR. YAMADA'S APARTMENT - IKEBUKURO - 10 P.M.
Casey and Toshio are sitting cross-legged on the floor in a modest, middle-class apartment. Across the table MR. YAMADA faces them; he's middle-aged, with silver hair and old-fashioned pince-nez glasses. They're drinking tea, and he gestures to the sketch of the blond-haired GI lying on the lacquered table.
MR. YAMADA
How could I forget him? I met him right after the Surrender—end of September 1945. He had a lot of diamonds he wanted me to appraise. And when I say "a lot"—he had baskets of them.
Where he got them, I never asked.
TOSHIO
Do you remember his name?
CLOSE ON MR. YAMADA
MR. YAMADA
Kramer. Jim Kramer. A Captain, I think. A crazy Marine who lost his mind in the Pacific. He kept telling me how he had friends in the
CASEY
The CIA.
MR. YAMADA
He still comes around with his little bags of diamonds. There are many stories, of course. They say there are many people who are important now in
CASEY
You know where we can find him?
MR. YAMADA
My advice is, stay away from him.
TOSHIO
Why?
MR. YAMADA
He knows the most evil people in
CASEY
Who are you talking about?
MR. YAMADA
I shouldn't be speaking with you in the first place.
TOSHIO
Who does he know? Who does he associate with? We have to know, Yamada-san. We think this is the man responsible for Shimoyama's death, as well as for Mitaka and Matsukawa.
MR. YAMADA
I would not be surprised. But you must go now. Thank you for visiting me.
They rise, and Mr. Yamada conducts them to the door.
TOSHIO
Give us a clue, please, Yamada-san. Why should we be afraid of this man?
MR. YAMADA
It has to do with
As they leave, he closes the door behind them.
EXT. STREET
Casey and Toshio are walking along a crowded sidewalk.
CASEY
TOSHIO
What a puzzle. Was he hinting at the Kwangtung Army and the train wrecks they engineered?
CASEY
Beats me. Everyone's out of the house?
TOSHIO
We're staying with friends far out in
A BOY on a MOTORBIKE goes buzzing past.
CASEY
Mrs. White is giving me a guided tour of the Japan-U.S. War Orphan's Home in
TOSHIO
I'm going to ask Noriko to check the personnel records at GHQ. I want to learn more about Mr. Jim Kramer. He's the key to this entire affair.
CASEY
Tell her to be careful. You too.
TOSHIO
Who knows what else they have planned?
EXT. Japan-U.S. War Orphan's Home -
A CHAUFFEURED ROLLS ROYCE
swings around a circular driveway. The Japan-U.S. War Orphan's Home is situated on a former estate; the grounds are splendid and manicured. The Home itself, a former mansion, sits on a cliff that overlooks the sea; the view is spectacular.
INT. ROLLS ROYCE
Casey and Helen are sitting in the back seat. Dressed in a pale gray suit and pearls, Helen is regally beautiful. Casey is impressed by the cliffside view.
CASEY
What a spread.
HELEN
It was donated by one of the great zaibatsu families.
CASEY
How generous. First they start the war, then they chip in to clean up afterward.
INT. Japan-U.S. War Orphan's Home
They enter the lobby. As befitting its former identity, the Home is decorated in gracious style. Oriental rugs cover the floors, and the upholstered furniture appears to be antique. British hunting prints adorn the walls. An American receptionist dressed in a nurse's uniform sits at a desk, and behind her a grand staircase ascends to the second floor.
Helen conducts Casey through the lobby, headed for the west wing.
HELEN
We have a school, a theater, a library, and a top-drawer medical clinic with one of the finest pediatric staffs in
INT. CLINIC
In a large white infirmary area, Helen is introducing Casey to DR. ADLER, a cheerful, balding man in a white lab coat carrying a pipe.
HELEN
Mr. Casey, Dr. Herbert Adler, the head of our clinic. He comes to us from Johns Hopkins.
Dr. Adler shakes Casey's hand vigorously.
DR. ADLER
We've been looking forward to your visit, Mr. Casey. We need all the positive press coverage we can get.
CASEY
(smiling)
Oh, with Mrs. White flacking for you, you certainly don't need my help.
HELEN
Would you gentlemen excuse me a moment while I make arrangements for lunch?
DR. ADLER
Certainly, Mrs. White. Let's conduct the interview in my office while we eat.
Helen walks down the hall and out of sight.
CASEY
You with the service, doctor?
DR. ADLER
I ran an Army field hospital in the Phillipines.
CASEY
That must have been a picnic.
Dr. Adler glances at his watch.
DR. ADLER
You'll have to excuse me, Mr. Casey, but I made a promise to call a patient in
CASEY
By all means.
DR. ADLER
I'll be but a moment.
He goes down the hallway, in the opposite direction from which Helen exited.
ANGLE ON CASEY
as he stands, alone, in front of the infirmary. He gazes out the window at a stand of bonsai trees.
A VOICE
(O.S.)
Excuse me, buddy.
Casey looks up. He can't believe his eyes. It's JIM KRAMER, dressed in a captain's uniform and a soft cloth campaign cap.
JIM
Do you know where Dr. Adler went?
He asks the question as if of course, anyone hanging around the clinic hallway would know who Dr. Adler is. Casey quickly regains his composure, but he wonders: What the hell is Kramer doing here?
CASEY
(pointing)
Right down there. If you hurry, you can still catch up with him.
JIM
Thanks, fella.
JIM hurries down the hallway after Dr. Adler. Casey waits a decent interval, then he follows him.
TRACKING SHOT WITH CASEY
as he sneaks after Jim through a maze of corridors. Finally Jim goes to the half-open door of an office and pushes the door open. Dr. Adler is inside, speaking to a sinister six-foot tall JAPANESE MAN in his early sixties.
ANGLE ON CASEY
as he watches from around a corner.
THROUGH THE OPEN DOORWAY
JIM
So this is where you guys were hidin'! Ishii-sensei, a great pleasure to see you again.
The JAPANESE MAN bows. His name is DR. MICHIO ISHII, and he wears a gray suit. He has a long, bony face and large, staring eyes. A hint of Boris Karloff.
DR. ISHII
A pleasure to see you, Kramer-san.
JIM
You just got back in?
DR. ISHII
Today. My passport was cleared from
JIM claps his hands together.
JIM
Wonderful! Now the Ishii-butai is all together now.
DR. ISHII
Nana san ichi will never die.
DR. ADLER
(to DR. ISHII)
When do you go in to
DR. ISHII
Next week will be appropriate.
(to JIM)
When is your funding project scheduled?
JIM
Two days from now. Your man goes in with the compound, and we'll have no problem financing the Ides in Kinosaki on nine-oh-two.
DR. ADLER
Have you picked the bank yet?
JIM
Somewhere in central
DR. ISHII
(smiling)
Then all it will take is ninety seconds.
DR. ADLER
I'm still a little skeptical.
DR. ISHII
(forcefully)
We proved it in Harben. Ninety seconds.
DR. ADLER
And who will get the blame?
JIM
A fall guy. Some sucker.
DR. ADLER
Like Bruno Hauptmann in the Lindbergh case?
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