Click here to read Part One of Black Mist.
EXT. NAKAMURA RESIDENCE - MITAKA SECTION OF
Casey is standing outside the front door of Toshio's home in Mitaka, a northern
At the bottom of this shot, the caption reads:
NINE DAYS LATER
JULY 15, 1949
THE MITAKA SECTION OF
Casey rings the doorbell. Dusk hasn't fallen yet. The door is opened by TOSHIO.
TOSHIO
(smiling)
Casey-san, right on time. Very important in
INT. NAKAMURA RESIDENCE
Inside, as Casey enters, Toshio's home is small and modest by American standards, but exceptionally neat and clean. Casey steps into a small, dim foyer where pairs of shoes are neatly arranged on the floor.
Removing his shoes, he steps into a pair of waiting slippers. Toshio slides back a ricepaper door, and Casey follows him into the living room.
INT. LIVING ROOM
It's the largest room in the house, and it's still not very big. The floor is covered with a tatami mat, and scroll-style inkbrush paintings adorn walls that are turning brown from smoke and age. In the center of the room a low table dominates.
TOSHIO
Have a seat.
They seat themselves at the table, sitting on the floor and crossing their legs. A door on the other side of the room slides open, and in walks NORIKO, Toshio's beautiful younger sister, wearing a blue yukata and carrying a tray with green tea. She has glossy long black hair almost to her waist.
From the outset we can see that Casey is immediately attracted to her, and she is interested in him.
TOSHIO
Noriko-chan, this is Mr. Robert Casey. Casey-san, my sister Noriko is a translator at GHQ in the Economic Section.
In his attempt to rise from his cross-legged position, Casey nearly upsets the table, but manages to stand up stiffly. Setting her tray down on the table, Noriko bows from the waist. She speaks in flawless English.
NORIKO
I'm a big fan of yours, Mr. Casey.
CASEY
You've read my news stories?
NORIKO
Oh, everyone here in
Casey grins and addresses Toshio.
CASEY
Why didn't you tell me you had such a beautiful and intelligent sister?
NORIKO
How can you say that? I'm not beautiful. Mrs. Helen White in your newspaper photograph, she's beautiful.
CASEY
I've only been in
NORIKO
You're too polite. Are you sure you're not Japanese?
CASEY
I'm trying.
After serving the tea, Noriko returns to the kitchen. They begin to sip their green tea. Casey makes a face at the bitter taste.
The door slides open, and NORIKO and her MOTHER enter bearing dinner. MRS. NAKAMURA is a short, elderly Japanese woman with a wrinkled face in a well-worn yukata. As they set the trays down and begin serving dinner, Toshio stands up.
CASEY
Oka-san? Your mother?
TOSHIO
Hai. [Yes.]
Casey stands up and bows as low as he can to show his respect.
CASEY
Great pleasure to meet you.
Mrs. Nakamura returns his bow with a smile.
MRS. NAKAMURA
Domo. [You're welcome.]
As they sit down to eat, Mrs. Nakamura begins to cook beef sukiyaki on a hibachi set up on the table. Noriko pours Casey some hot sake and he sips it.
While dinner is being served, we are treated to the comic spectacle of Casey fiddling with chopsticks. Smiling, Noriko gives him some instructions on how to handle them.
NORIKO
See, Mr. Casey, like this.
CASEY
Arigato. I mean, thank you. Pardon me for asking, but why isn't a beautiful young woman like you married?
Noriko casts her eyes down to the table.
NORIKO
Most of our young men died in the war. The rest have no jobs or have become petty criminals—chimpiras—to make a living.
CASEY
Me and my big mouth.
NORIKO
Let me ask you a personal question, Mr. Casey. Isn't it strange that your news agency would assign you to
CASEY
API expects me to shrivel up and die here. But I've got a surprise for them.
Toshio empties his sake cup.
TOSHIO
Bob is investigating the death of Shimoyama-san.
CASEY
Yeah, we pasted up notices in the subway station in Nihombashi where he was last seen. We're asking if any witnesses saw him leaving the scene with anyone.
TOSHIO
But so far, nothing.
NORIKO
Isn't this story a little risky for you?
The Occupation authorities censor news very heavily.
CASEY
(sipping sake)
Well, I used to be a top crime reporter in
NORIKO
Good luck. Be careful.
EXT. RAILROAD CAR BARN - MITAKA - 8:45 PM
On a HILL overlooking Mitaka stands a large RAILROAD CAR BARN that houses unused and disabled trains. The area is darkened and almost deserted, except for a few railroad workers, who are all engrossed in their work.
From the side, JIM and GARY approach the CAR BARN. But instead of their officer's uniforms, they are both conspicuously wearing U.S. Military Police (MP) uniforms with white helmets, gloves, and armbands. Mirrored sunglasses hide their eyes.
EXT. NAKAMURA RESIDENCE
Casey is standing at the front door, bowing to the Nakamuras. He bows especially low to Mrs. Nakamura.
CASEY
Please give my humblest thanks to your mother for a lovely dinner.
TOSHIO
We'll walk with you to the train station.
He nods to Noriko, and the three of them strike off.
INT. RAILROAD CAR BARN
An ELECTRIC INTERURBAN TRAIN is parked on a side track. No one is watching. Jim and Gary mount the steps of the empty engine car.
EXT. STREET - MITAKA
In the warm summer night, Casey, Toshio, and Noriko are strolling to the train station.
INT. TRAIN - ENGINEER'S CAB
Climbing the steps, Jim and Gary enter the engine car.
In the cab, Jim studies the control panel for a moment. Then he releases the brake switch.
Slowly the train begins to move.
EXT. TRAIN
Haltingly the wheels begin to churn and the TRAIN takes on a life of its own.
INT. ENGINEER'S CAB
Before the train escapes from the car barn, JIM and GARY hop off.
EXT. TRAIN
The TRAIN is gliding out of the car barn and soon it is rushing down the hill for the Mitaka station.
A NEW ANGLE
Two railroad workers in denim overalls spot the unscheduled, unpiloted express and run for help.
JIM AND GARY
melt into the shadows and hurry away.
JIM
Right on schedule!
EXT. TRAIN PLATFORM - mitaka
Casey, Toshio, and Noriko are standing on the platform. In the distance, on the other side of the tracks, the TRAIN is speeding toward them.
TOSHIO
Something wrong.
NORIKO
The train!
CASEY
Come on!
They run for the exit.
EXT. TRAIN - MOVING SHOT
Rocketing down the hill, the train is shooting down the tracks, full speed ahead.
EXT. TRAIN STATION
As the three spin through the turnstiles, they're stopped by a Japanese POLICEMAN.
POLICEMAN
What's wrong?
NORIKO
That train! It's not stopping!
The policeman gives them a skeptical look, but leans over to peer at the train tracks.
EXT. TRAIN PLATFORM - OPPOSITE SIDE
A milling crowd packs the platform, waiting for the arrival of the train.
TRAIN - A CLOSER ANGLE
The train is fast approaching Mitaka.
EXT. TRAIN PLATFORM
The crowd starts to get concerned. In Japanese they begin to ask each other: "What's happening?" "Why isn't the train stopping?"
CLOSE UP - TRAIN
The runaway train is bearing down on the station. It is not stopping.
EXT. TRAIN PLATFORM
The crowd, realizing what's happening, begins to panic. People start to break into a run and flee. Screaming begins.
MEDIUM SHOT
In a horrifying tableau, we see the out-of-control train JUMP THE TRACKS and PLOW into the scattering crowd. It's pandemonium, carnage, hysteria. Six people are killed instantly and twenty more are seriously injured.
EXT. ADJACENT STREET
Casey, Toshio, and Noriko are watching this with horrified faces.
CASEY
Oh my God.
Noriko throws her hands over her face and begin to cry.
TOSHIO
Who could do such a thing?
CASEY
Not human beings.
EXT. PHONE BOOTH
Casey is on the phone with Bradford Lewis.
CASEY
Brad, listen. Listen.
People are running past, racing to the scene.
CASEY
City desk. Hold onto your hats.
CLOSE ON -
The banner headline reads: "CHRONICLE EXCLUSIVE! TRAIN SABOTAGE IN MITAKA/Six killed, 20 wounded: AN EYEWITNESS ACCOUNT," and the by-line reads "by Robert Casey and Toshio Nakamura." A photograph of the smoking wreck of the train dominates the front page.
INT. CITY EDITOR'S OFFICE -
Casey and Toshio enter Lewis' office and sit down in front of his desk. Lewis assumes his chair behind the desk.
LEWIS
Your story has attracted a lot of attention. Any idea who did it?
TOSHIO
The police are saying the Reds in the National Railroad Worker's
LEWIS
It was the work of animals.
CASEY
You're telling us.
LEWIS
That's what I wanted to—
CASEY
(jabbing his finger)
We saw that fucking train jump the tracks and plow into the crowd.
LEWIS
We're dealing with a very delicate situation here. We don't want to be accused of—
CASEY
In other words, make sure the right people get arrested.
LEWIS
Exactly.
TOSHIO
We'll clear our stories with GHQ first.
Lewis expresses a grin of relief.
LEWIS
I was hoping you'd see it that way.
Lewis stands up. Casey and Toshio follow suit and exit Lewis' office.
INT. PRESS ROOM
TOSHIO
There's something I have to tell you.
CASEY
(a little puzzled)
Sure.
EXT.
Casey and Toshio are walking along a narrow, cramped
They pass by stalls belonging to street vendors hustling their goods.
They enter one of the cheap sake bars with a bright red lantern hanging in front.
INT. SAKE BAR
Casey and Toshio are seated in the back at a battered wooden corner table. The establishment is dingy and smoky but not too noisy. In the Japanese fashion, Toshio fills Casey's sake cup for him, and they toast. Toshio leans forward confidentially.
TOSHIO
Before the train crash, two railroad workers saw two MPs enter the engine car of the Mitaka train. In a car barn on the hill overlooking Mitaka station. The train started to move and the MPs jumped off.
CASEY
Get out of here!
TOSHIO
They were wearing helmets and sunglasses. But they were definitely Americans, and they were wearing MP uniforms.
CASEY
These witnesses—why didn't they go to the police with this information?
TOSHIO
Who would believe them? The authorities want to arrest Japanese Communists—not two MPs.
CASEY
Jesus. I can't believe it. Two MPs—
TOSHIO
Or two men dressed as MPs. Wearing sunglasses at night?
CASEY
Sure, they were playing Halloween.
EXTREME CLOSE ON TOSHIO
TOSHIO
Kuroi kiri.
CASEY
Excuse me?
TOSHIO
Black mist, or black fog. When the truth is being hidden, we say it's being covered by the black smoke of lies.
CASEY
An official smokescreen or cover-up, sure.
TOSHIO
Clearly, that's what's happening here.
Casey downs his sake cup, Toshio refills it.
CASEY
Let's get a sketch of these guys. It won't be the greatest, but at least it might give us something to go on—an unusual jawline, a big nose, something.
TOSHIO
Noriko is a very good artist. She can help us.
CASEY
And we don't have to get the cops involved.
Toshio leans out to peer toward the front of the bar.
TOSHIO
Who is that GI back there?
Casey cranes his neck to see who Toshio is talking about.
CASEY'S P.O.V.
THE SLIM YOUNG GI whom we saw following Casey and Toshio from GHQ is sitting alone at a table by the entrance, smoking a cigarette.
CASEY
New one on me.
TOSHIO
He's been following us all night.
CASEY
I don't believe it.
TOSHIO
Americans don't know this place.
CASEY
Let's walk out.
Throwing some yen down on the table, they get up and start to leave.
THE GI
shows studied indifference as they walk past.
EXT. SAKE BAR
On the bustling street, Casey and Toshio join the thronged pedestrian traffic.
Casey notices a GROUP OF BEAUTIFUL JAPANESE GIRLS walking past.
Toshio throws a glance over his shoulder.
A NEW ANGLE
The slim young GI emerges from the sake bar, casually sauntering after them.
CASEY
I think that young man should start meeting some nice Japanese girls. He's taking entirely too much interest in us.
TOSHIO
(tersely)
GHQ.
CASEY
Let's take him on a walking tour of Ueno. I want to see the black market.
TOSHIO
Shouldn't we confront him? When I saw The Maltese Falcon last year, Humphrey Bogart—
CASEY
(smiling)
Do not feed or otherwise annoy the lions.
EXT.
Casey and Toshio are making their Wanderjahr through the twisting, teeming streets of Ueno, one of
STREET URCHINS cluster around Casey, shouting, "America-jin! America-jin!"
TOSHIO
Don't give them any money. I know it's hard not to, but it'll cause a riot.
CASEY
This is like
TOSHIO
You're surprised?
CASEY
I was expecting the ukiyo-e.
TOSHIO
The "floating world" of pleasure?
CASEY
I've been watching
Toshio looks around.
TOSHIO
Sometimes I think that this is our punishment for what we did to the rest of
CASEY
You were in the Army?
TOSHIO
In Manchuria, with the
Casey pauses by a JEWELRY STALL where an older VENDOR is hawking diamond rings and gold necklaces. The vendor grins up at him.
VENDOR
Diamond ring for your girlfriend? Very cheap, very cheap.
CASEY
How much?
VENDOR
Only twenty-five dollar.
CASEY
Christ, that is cheap. I wonder why.
TOSHIO
Since the end of the war, diamonds have been very easy to come by. It's very strange. I've heard some stories—
ANOTHER ANGLE
We note the SLIM YOUNG GI who's been following them a discreet distance away, apparently bewildered by the foreign, menacing surroundings.
CASEY
Looks like he needs help.
TOSHIO
We'll take him to the perfume counter.
CASEY
The what?
INT. UENO TRAIN STATION - MIDNIGHT
At midnight, Ueno Station is a zoo, the haven of
CASEY
Jesus, that stench. Doesn't anyone mop up the piss around here?
TOSHIO
Ueno Station has been like this since the end of the war.
BEHIND THEM
The GI is covering his face with a handkerchief, trying not to gag from the ghastly stench.
Sullen-faced JAPANESE MEN—some in old Army caps—walk past Casey and Toshio, eyeing them as possible mugging victims.
CASEY
Is this safe?
TOSHIO
That GI better watch his step.
CASEY
I've seen enough.
He starts to walk toward the train station to go home.
TOSHIO
I don't think you should return to your apartment tonight. Someone might be waiting for you. Come home with me tonight, it'll be safer.
INT. NAKAMURA RESIDENCE - 1 P.M.
Casey and Toshio enter the house, drunk and fumbling, kicking their shoes off. When Noriko emerges, awakened, Toshio greets her with giggling laughter. She silences him, and he staggers off to his bedroom.
A DARKENED HALLWAY
We see Noriko assisting a slightly unsteady Casey down a narrow passageway flanked on either side by ricepaper screens.
INT. BEDROOM
Noriko helps Casey into a darkened bedroom and gets him to lie down on the futon spread out on the old tatami mats.
CASEY
(smiling)
Oh, Noriko, you're so sweet. Let's get married, I need someone like you.
She loosens his clothing and he puts his arms around her. She struggles and protests, but not too much.
Noriko
(under her breath)
Toshio will hear—
CASEY
Forget Toshio, he's passed out already. God, you're beautiful.
They kiss, and their kiss becomes searching.
DISSOLVE TO:
INT. BEDROOM - THE NEXT MORNING
We see the ricepaper door slide back slowly, revealing Toshio. We should wonder: is he going to catch Casey and Noriko in bed together?
ANOTHER ANGLE
Toshio is shaking Casey awake. Casey is alone.
CASEY
Huh—what—
TOSHIO
(excited)
Wake up, wake up, Bob! Jackpot!
CASEY
(groggy)
What are you—talking—
TOSHIO
We've got two witnesses to Shimoyama's kidnapping! They just called.
They're coming over. Noriko's going to do a sketch.
Casey starts to sit up.
CASEY
Jesus—that's great—
INT. KITCHEN - DAY
Seated at the kitchen table with Toshio and Noriko, a bleary-eyed Casey is waking up with a precious cup of postwar coffee.
CASEY
Those little sake bottles should have warning labels on them.
Enter Mrs. Nakamura with an elderly Japanese couple, the OHIRAS. After everyone exchanges greetings in Japanese, the OHIRAS are seated at the kitchen table, and Toshio begins talking to them in Japanese. An exchange ensues among them, while Casey finishes his coffee.
TOSHIO
(to CASEY)
Mr. and Mrs. Ohira here had finished shopping at the Mitsukoshi department store—they were waiting for the subway in the basement when they saw two GIs talk to Shimoyama and walk off with him.
CASEY
They get a good look at them?
Toshio asks them in Japanese, and they reply.
TOSHIO
Yes, the GIs stood out.
CASEY
Let's get a sketch of these two hombres.
Noriko begins interviewing the Ohiras. She sketches two faces; in TIME LAPSE PHOTOGRAPHY, we can see the distinct features emerge. Finally she presents the two sketches to Casey and Toshio.
THE SKETCHES
are rough portraits of none other than Jim and Gary, staring at us balefully.
CASEY
Bingo! Now why don't we call up those railroad workers from Mitaka and see if they recognize these two charmers?
INT. JAPANESE HOME
Casey, Toshio, and Noriko are seated cross-legged on the floor of a home belonging to a JAPANESE MAN and his WIFE. As a control group, she shows the man sketches of other Americans with varying facial configurations, with the sunglasses and MP helmets superimposed over their features. Then Noriko shows them sketches of Jim and Gary, but this time with sunglasses and MP helmets penciled in. As soon as he sees these, the man gets excited and jabs his finger at the sketches, chattering in Japanese to his wife.
TOSHIO
It's them.
INT. SECOND JAPANESE HOME
This time Casey, Toshio, and Noriko are standing in the living room of a second Japanese couple. The family is very poor, and in the corner a little girl in a soiled white cotton dress is slumped, sobbing bitterly. The wife wears a totally blank look, and the husband is hollow-eyed. The husband takes one look at the sketches of Jim and Gary and quietly says one word:
MAN
Hai. [Yes.]
NORIKO
Who could forget faces like those?
CASEY
Tosh, maybe you should show these pictures to your street contacts: GIs, cops, Commies, black marketeers, chimpiras, you name it. Let's see if we can paste some names to these mug shots.
INT. COLONEL VALMONT'S OFFICE - THE
At the bottom of the screen we read:
A MONTH LATER
AUGUST 15, 1949
When Casey and Toshio walk into Colonel Valmont's office, Valmont is standing behind his desk, and with him is MAJOR FRANK GORDON, the silver-haired American intelligence officer.
VALMONT
Gentlemen, glad you could make it. This is Major Frank Gordon from G-2, General Willoughby's shop.
They shake hands all around and sit down.
CASEY
You said you had an exclusive for us.
VALMONT
Yes, we finally apprehended the parties responsible for the Mitaka train accident, and we wanted to give you the exclusive, since you guys were the first to break the story.
TOSHIO
Who did you arrest?
GORDON
Ten men, nine of them Communists. All members of the National Railroad Worker's
VALMONT
It's obvious why they did it. To strike back at Japan National Railways for the latest round of mass layoffs and to terrorize the Japanese population in general.
CASEY
A conspiracy trial.
GORDON
We'll make these charges stick. We've got the goods on them.
VALMONT
We're going to show these Red hooligans that they can't commit acts of terrorism and sabotage with impunity.
GORDON
First Shimoyama, then Mitaka. The Japanese people are starting to worry. They don't feel safe anymore.
CASEY
I'm sure they'll sleep better tonight, knowing the true criminals have been apprehended.
Toshio pulls out his notebook.
TOSHIO
Can we have the particulars about these suspects?
EXT.
Casey and Toshio are descending the steps of GHQ.
CASEY
Did you ever hear such bullshit in your life?
TOSHIO
We'd better get out of town for awhile.
CASEY
You're right, they're paying too much attention to us.
TOSHIO
Let's have a talk with Mr. Lewis.
INT.
Casey and Toshio are sitting in the office of the City Editor. Brad Lewis is grinning.
LEWIS
Another exclusive. Fantastic. But you guys are getting pegged as the train-wreck specialists around here. You thought of concentrating on something a little lighter?
TOSHIO
How about the O-Bon festival coming up this weekend?
LEWIS
The Japanese Halloween?
CASEY
Their Weekend of the Dead. Everyone puts candles in little boats and pushes them down the river. To guide the visiting spirits of the dead back to the underworld. It's a beautiful spectacle.
TOSHIO
Folk dances, singing, food, lots of local color.
CASEY
We were thinking of going out to cover the Bon festival in the countryside, you know, "the
LEWIS
Great idea. Where you headed?
TOSHIO
CASEY
It's rural, peaceful. Just what our readers cooped up in
EXT.
A TRAIN
is snaking its way through a twisting mountain pass. The scenery is breathtaking. Off in the distance are a patchwork quilt of rice paddies and another range of mountains.
INT. TRAIN
Casey, Toshio, and Noriko are sitting together in a compartment. The scenery rushes by.
NORIKO
The Tohoku region. Very poor.
CASEY
Is this where farmers are selling their daughters?
TOSHIO
Exactly. In the past few weeks, there have been several riots and a near-insurrection. After the Communists took over the Taira police station, Prime Minister Yoshida almost declared a state of national emergency.
CASEY
Is that why you picked this area?
TOSHIO
It's the most volatile in
CASEY
The whole country's on edge, isn't it?
Noriko looks out the window at the stupendous passing scenery.
NORIKO
Since Shimoyama's death and Mitaka, you get the feeling disaster can strike anywhere.
THE TRAIN
plunges into a darkened tunnel, plowing through a mountain.
EXT. VALLEY
Entering a lush, green valley, the train is curving around a stretch of track that hugs a mountain. Mountains surround it on all sides. A small town is located nearby.
CASEY
What a pretty valley. Where's this?
TOSHIO
Matsukawa. It means "pine-tree river." Toshiba Electric has a plant there. It's been laying off most of its workers.
EXT. TRAIN STATION -
The train pulls into a small train station in
EXT. KUROIWA
The local Bon festival is in progress at the Kuroiwa temple. Red Japanese lanterns are strung up, concession booths are set up to sell food, drink, and candy, traditional Japanese music is playing, and people are dancing. Some are dressed in kimonos, others are dressed in masked disguises or animal costumes, not unlike the American Halloween. Casey and Noriko are standing off to the side.
CASEY
So every year, the spirits of the dead return to earth for a weekend.
NORIKO
When we set the boats on the river with their little lighted candles, it's our way of sending our prayers and good wishes to our loved ones in the other world.
CASEY
I wish we had a way of saying goodbye like that.
EXT. RIVERBANK
We are treated to the spectacle of hundreds of villagers flocking to the riverbank, carrying small boats with candles. As they stoop at the riverbank, they light the candles and place the boats in the water.
THE GLOWING BOATS
drift down the river en masse, lighted candles flickering, a shimmering flotilla. It's a beautiful sight.
CASEY AND NORIKO
are standing on the riverbank, arms around each other.
NORIKO
So many people who died in the war—Japanese and American.
CASEY
Let's hope they find some peace tonight.
He pauses.
CASEY
You lost your father in the war?
NORIKO
In the bombing raids over
CASEY
I lost my wife. Rocket bomb in
NORIKO
You must miss her very much.
They gaze at the flickering boats moving slowly down the river.
CASEY
Does Toshio know about us?
NORIKO
I haven't told him. He's too wrapped up in politics.
CASEY
He's not going to be happy.
He embraces her, and they kiss deeply.
TOSHIO
is watching them, standing over to the side. This is the first time he's learned of their budding romance, and he's not pleased.
EXT.
Walking hand in hand, Casey and Noriko are climbing a hillside; below, the shimmering lights of the festival are spread out all over the landscape.
After they reach the top of the hillside, Noriko puts her arm around him and rests her head on his shoulder. Noriko is smiling, her beautiful face is flushed and excited; she's falling in love.
NORIKO
Let's try to forget all our troubles tonight, and just enjoy the beautiful evening.
Casey embraces her and pulls her close. They begin kissing passionately, and their hands wander over each other's bodies. Slowly they sink to the earth, kissing urgently and loosening each other's clothing.
As the glowing lights of the Bon festival shimmer below in the background, we watch them tenderly begin to MAKE LOVE.
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