Nagasaki Daydreams
Shot in black and white, all dialogue spoken in Japanese with English subtitles at the bottom of the screen

OPENING CREDITS PLAY DURING THE FOLLOWING SCENE
Ex. Stall on Street
A man, NAGAHARU HAYASHI in a dark brown overcoat and a wide brimmed hat is standing under the roof of a small street cart selling papers and tobacco among other things, while it rains. The street around the stall is dotted with puddles and few people walk past hiding from the rain by hunching their shoulders or holding umbrellas. The man picks up a paper and hands the man some money. The camera focuses on the paper in his hands, it shows a picture of a bombed building the subtitle NAGASAKI INDUSTRY RECOVERS FROM BOMBING appears. Below that a picture of children in the street is shown on the paper CHILDREN AND FAMILIES EVACUATE. The camera focuses on the title of the newspaper NAGASAKI SHIMBUN, AUGUST 7TH 1945.
The man folds away the paper nods to the stall owner and bundling the paper under his coat, picks up a briefcase and walks off into the rain. 
OPENING CREDITS END

Int. Hallway of House
The scene shows a hallway with a small table near the door and some coat hooks lined on the wall. The door opens and the man steps through from the rain outside into the brightly lit, dry, hallway. His coat dripping wet. A young woman, REINA, comes down the hall and bows to the man. The man turns around, placing his briefcase down, and the young woman helps take his coat off, showing the man wearing a dark brown suit, and picks up the briefcase. As the woman walks away the man slips off his shoes and walks down the hall, carrying his paper. 

Int. Dining Room
In a lit room there is a low level table in the center, cushions spread around it. There are some wooden chairs resting against some of the wall, and the room is well lit. Photos mark the walls, several show two young men in military uniforms and smiling. Other shows a couple in their wedding attire. At the table is a woman, JURI HAYASHI, beautiful even without makeup but her posture is slouched, she is picking at some food in the bowl in front of her with the chop sticks she is using. NAGAHARU walks in and goes over to a chair against the wall and sits in it, opens the paper and starts to read it.  

JURI
(Stares at her bowl)
It has been one month, today

NAGAHARU
(Shuffles the paper)
It has

JURI looks at her bowl blankly. And stirs it with the chop stick, after a small time NAGAHARU looks over his paper at her.

NAGAHARU
If you are not going to eat it, leave it

JURI
(Pushes the bowl away from her)
I am not hungry

NAGAHARU
(Looking back at the paper, grumbles)
You are never hungry

JURI
(Ignores this comment)
I miss them

NAGAHARU
They were doing their duty, we are proud of them

JURI
(Stares at the bowl then gets up and bows to NAGAHARU)
Goodnight husband

NAGAHARU doesn’t look up just moves a page, JURI waits a second and then walks out of the room towards the stairway. After she has left the room, NAGAHARU looks up from the paper and at the photo of the two young men. 

SCREEN FADES TO BLACK

Int. Dining Room
On subtitles 8:00AM WEDNESDAY AUGUST THE 8TH 
Daylight is streaming in through the windows, the morning sun glowing through the clouds. NAGAHARU is sitting at the table eating his breakfast and flipping through the last pages of the paper quickly, as if already read. As he is doing this JURI comes down the stairs and nods to REINA as she sits down on the opposite side of the table to NAGAHARU. As she sits NAGAHARU looks up at her, she smiles weakly at him as she does so NAGAHARU looks back at the paper and his breakfast. JURI looks rejected at this, and after a minute REINA walks in carrying some food which she lays down in front of JURI, bows and then leaves.

JURI
(Picking up her utensils)
Good morning husband

NAGAHARU
Good morning
(Brief pause)
Wife

That is all that is said as he continues to leaf through the paper and eat. JURI starts to eat as well, and REINA can be seen in the background watching the two with interest, until NAGAHARU glances in that direction and she runs off back to her chores.  After a few more seconds NAGAHARU clears his throat

NAGAHARU
Do you have any plans today?

JURI
(Looks up)
Sorry?

NAGAHARU
(Voice has a hint of impatience)
Do you have any plans today

JURI
No not at the moment, I expect I shall spend time in the garden

NAGAHARU
Why don’t you go shopping? Go and get something new

JURI
No I don’t think so...
What are you doing today husband?

NAGAHARU
Ha! I work, to pay for this house, this food and you!

JURI
(Dips her head)
I know

NAGAHARU
(Stands up)
I must be off...
(Starts off to the door he turns to JURI)
...you may go shopping if you wish

JURI dips her head as NAGAHARU walks out into the hallway, and then starts eating her breakfast again.

Int. Hallway of House
The scene shows a hallway with a small table near the door and some coat hooks lined on the wall. NAGAHARU walks into the hallway and following him quietly comes REINA. She is carrying his briefcase which she puts down and then helps him get his shoes on. After this she takes his now dry coat off a hook and holds it open for him as he slips it on. NAGAHARU picks up his briefcase and turns to the door, then stops spinning around. REINA holds his hat out to him which he takes and then places on his head. He looks at REINA for a second and reaches out to her, his hand brushing her face as he looks at her. 
NAGAHARU snaps his attention away and then opening the door walks out into the pale daylight. REINA closes the door after him and walks back off down the corridor. 

Int. Dining Room 
REINA walks into the dinning room, JURI still eating her food, and picks up the remains of NAGAHARU’S breakfast. As she turns to go JURI speaks

JURI
Reina, I think I shall go shopping today

REINA
Yes, mistress

JURI
I will need my transport and some clothes suitable for the weather

REINA
Yes, mistress

REINA exits the dining room with the remains and JURI looks absent mindedly at the wall opposite her.

FADE OUT

Ex. Factory
NAGAHARU is walking through some light fog down a wide road, bomb hit building line the road with some craters in the road cordoned off. Briefcase in hand he walks down towards some large gate behind which a large factory sits, shrouded in fog, undamaged.

CUT TO

Int. Factory Floor 
From a high angle of the factory floor, machines filling the room only around 50% of them are being operated, noise of the machines working fill the room. NAGAHARU walks down the main walkway in the factory and climbs up some metal steps to a series of doors, opens one and steps in.

CUT TO

Int. Office
NAGAHARU opens the door and moves in putting his briefcase down. He slips off his coat and hangs it on a coat hanger on the back of the door which he closes as he hangs his coat up and then pulling off his hat he places that on the hook as well. 
He picks up the briefcase and goes over to a chair behind a desk that has a few stacks of paper on the surface. He slumps down in the chair, sighs, and opens a draw pulling out a fountain pen. Leaning forward he reaches for a sheet of paper on one stack and pulls it forward. Leaning over it he starts to read it, pen in one hand.

Ex. Shopping District
The fog has lifted slightly from the streets and the main shopping road is busy, but not crowded with people, as people buy from the shops and stalls on the street. JURI and REINA are in a hand pulled cart moving down the street amongst the people looking at the shop fronts and window. They are smiling, JURI looking happy, and REINA is pointing to thin fresh fish for sale and the fat fisherman selling them. As the cart moves through the people, some are seen huddled in corners looking worried, on newspaper stands images of bomb damage and evacuees fill the front pages as well as news of the Russians. 

The cart turns a corner and walking down the road in the same direction as the cart is traveling a group of soldiers walk. JURI is talking to REINA and looking at the shop fronts and people still, REINA however glances forward and sees the men and a wave of apprehension crosses her face. JURI follows REINA’S gaze, to see why she has stopped talking and sees the soldiers. 

Sound disappears and the cart silently passes the men, JURI looking at them especially the young ones with sadness and loss in her eyes. A tear starts to form and as the cart passes the soldier JURI turns her head to follow them. 

When the soldiers pass out of vision, sound comes back and JURI pale and breathing heavily slumps against the back of the cart staring into space, tears rolling down her face. REINA leans forward and whispers to the driver who sets off down a side street heading back the direction they came. 

Int. Office 
NAGAHARU is still in his office leaning over the desk pen in hand and he is signing a different piece of paper which he places on a pile that has grown opposite the one he has been taking papers off. As he starts to reach for another one, the telephone on his desk rings shrilly and he picks it up and leaning back in the chair puts the receiver to his ear.

NAGAHARU
Nagaharu speaking
.....
(Nods his head)
.....
Yes I will be there right away, sir

NAGAHARU replaces the receiver and moves the pen to a neat position on the desk then climbs out of his chair and walks over to the door where he pulls it open and walks through letting it slowly drift shut behind him. 

Int. Boss’s Office
MR. OSHIRO (Slim late forties man with thinning hair) is sitting in a large leather chair, fingertips touching and looking at the door. On the desk in front of his today’s newspaper is spread out and paper work and two phones occupy the remaining space. A short knock comes on the door.

MR. OSHIRO
Enter

The door handle turns and opens, NAGAHARU walks in and shuts the door behind him and nods to MR. OSHIRO

NAGAHARU
Mr. Oshiro

MR. OSHIRO waves a hand at the empty chair opposite his desk, which NAGAHARU then approaches and settles down in. MR. OSHIRO leans forward and looks at NAGAHARU

MR. OSHIRO
As you know Nagaharu, we have been losing business recently
(Gets up and starts to walk round the room, specifically against the large window in his office)
The war is coming to the end a lot think and we are not the victors

NAGAHARU
Things will pick up after

MR. OSHIRO
They may do, they may not
(Looks at NAGAHARU)
But we are operating at below fifty percent efficiency, a lot of the workers have evacuated the city...

NAGAHARU
This factory survived the bombings though

MR. OSHIRO
It may have done but I don’t know if it can survive the war
(Gets back to his chair and slumps into it)
As such we have started to lose money

NAGAHARU
I can tighten up my branch of operations, cut the loses

MR. OSHIRO
(Raises a hand to his temple)
It won’t be enough
(Looks at NAGAHARU)
I am going to have to start.... downsizing. Cutting production, costs, workers.
I already have new premises guaranteed and the factory will move in three weeks

NAGAHARU
Three weeks isn’t long

MR. OSHIRO
It will have to be, many say the war will be over by then I just hope we can move before the Americans or Russians arrive

NAGAHARU
They won’t come here, what would they want with Nagasaki?

MR. OSHIRO
The ship yards, I don’t know. Either way, war or no war... we need to lose some staff
(Glances at NAGAHARU)

NAGAHARU
(Goes pale)
That’s understandable

MR. OSHIRO
As such I want you to fire thirty percent of your workforce today with up to sixty percent by the end of the three weeks

NAGAHARU
I understand

MR. OSHIRO
There will still be a place for you Nagaharu at the new site

NAGAHARU
Where is it?

MR. OSHIRO
We are moving to a smaller premise near the center of the valley

NAGAHARU
I thank you for the faith shown in my abilities

MR. OSHIRO
(Gets up)
I will send you the details of the move next week

NAGAHARU
(Gets up and nods)
Mr. Oshiro

NAGAHARU walks stiffly to the door and opens it, steps out and pulls it behind him. MR. OSHIRO walks to the window and looks out at the street below
.
Int. Office
NAGAHARU is leaning back on his chair as he looks at a middle aged woman opposite him.

NAGAHARU
I’m sorry, but I can’t do anything

The woman grits her teeth and stands and is about to say something when a knock comes at the door, NAGAHARU looks at her and she stands straight and heads to the door opening it with a jerk and walking out. Outside the door looking surprised and slightly amused is a man, early thirties, in a light suit with dark hair, GYOU. After the woman has left he strolls into the office pushing the door back to place lightly with a click as the door closes. He saunters over to the chair and pulling it out a bit, sits down. 

GYOU
Nagaharu

NAGAHARU
What do you want Gyou can’t you see I am quite... busy

GYOU
All I came for was to ask if you wanted to go for lunch

NAGAHARU
(Glances at the time)
I could do with some, didn’t eat a lot this morning

GYOU
Juri still....

NAGAHARU
(Sighs)
Yes
(Stands up)
Come on then let’s go get some food

NAGAHARU goes over and grabs his coat and hat, GYOU springing to his feet and follows him. They both leave the office.

A few seconds after they are gone the phone rings for a while and then stops

Int. Hallway of house
REINA is moving swiftly down the hallway to the main door, which is being pounded hard. She gets there takes a deep breathe and then opens the door, standing outside is MADAM ESUMI SATO, an elderly woman short with a gnarled face, who glares at REINA as she pushes past her forcibly taking off her outside wear. REINA closes the door meekly and then walks over to MADAM SATO holding out her hands for her to take her jacket.

MADAM SATO
Have you informed him of the situation?

REINA
I tried Madam but he was not answering

MADAM SATO
Well try again

REINA
Yes Madam

MADAM SATO
Where is my daughter?

REINA
She is in the bedroom, recuperating

MADAM SATO
Is she being watched?

REINA
No Madam I am the only one here at the moment

MADAM SATO
(A look of fear crosses her face before she sneers)
You silly little girl!

She pushes past REINA and hurries out the corridor heading upstairs. REINA picks up MADAM SATO’S coat from the ground and hangs it up, then looks at the direction MADAM SATO left worried.

Int. Bedroom
MADAM SATO quietly knocks on the bedroom door inside muffled sobbing can be heard. After no reply she slowly pushes the door open. JURI is lying across the bed her head nestled in a pillow. She shudders as she weeps and MADAM SATO walks over and sitting on the edge of the bed puts a hand on JURI’S head and strokes her hair.
MADAM SATO
Shh, child, shh

JURI continues to sob

MADAM SATO
You have to accept what may be

JURI
(Lifts her head, tears in her red eyes)
Why? Why must I give up?

MADAM SATO
It is not giving up, it is accepting

JURI
You know nothing!

MADAM SATO
I am a mother just like you
(Face goes bleak)
I know

JURI
But what if I forget?

MADAM SATO
(Strokes JURI’S face)
You will never forget

JURI
I have already lost one, I can’t lose another
(Starts to cry again)

MADAM SATO
(Clutches JURI’S head to her breast)
No you can’t

JURI
(Lifts her head again and looks at MADAM SATO’S eyes)
Mother, what I am to do?

MADAM SATO
You are going to stop hiding and live your life

JURI
I don’t think...

MADAM SATO
Yes you can

JURI
(Bows her head)
Yes mother

MADAM SATO
(Stands up)
Now get changed and come down stair for some food, you can do with a decent meal

JURI nods and MADAM SATO walks out the room closing the door behind her, JURI leaning up on the bed looking at the door blankly.

Int. Restaurant
NAGAHARU and GYOU are sitting in a restaurant laughing and raising glasses of wine, half finished meals in front of them. They are in a brightly coloured restaurant, many of the tables are empty.
GYOU
Good times

NAGAHARU
And long may they continue

GYOU
(Sobers up)
I doubt they will

NAGAHARU
Now why say that? Even if we lose this war...

GYOU
I was fired, today, by Oshira

NAGAHARU
(Sobers up and leans forward)
Why?

GYOU
(Waves a hand dismissively)
Downsizing... value to the company.... loyalty... all that

NAGAHARU
So what you going to do?

GYOU
I have been planning now for several months to go out on my own, I have found a perfect place to start over in Tottori

NAGAHARU
(Smiles)
Sounds like an adventure, it’s quite a way

GYOU
Yes it does doesn’t it
(His face brightens)
Why don’t you join me? I could do with the help

NAGAHARU
(Leans back)
You know I just got offered a place at the new site, why didn’t you ask me before?

GYOU
You have had... problems. I didn’t want to add to them

NAGAHARU
And now is a good time?

GYOU
Well why not? I will be focusing on the American market. We will lose this war it is a great opportunity

NAGAHARU
You will betray the Emperor?

GYOU
Once we lose, it won’t be betrayal. It is only betrayal now because we are at war

NAGAHARU
I don’t know... like you said there have been problems... and moving so far....

GYOU
How is Juri?

NAGAHARU
She is doing fine

GYOU
(Looks at NAGAHARU suspiciously)
She... you have been through a lot

NAGAHARU
The same as most at the moment

GYOU
I couldn’t cope with it. First losing a son, next getting told one is missing

NAGAHARU
You manage. Life...
(Pauses for a brief second)
...goes on

GYOU
But it is always in the back of your mind surely that he could be out there

NAGAHARU
He could easily be dead

GYOU
But there is always the uncertainty

NAGAHARU
(Voice goes sharp and he ‘snaps’)
Don’t you think I know that? I know but you have to move on!
(Looks around the restaurant and notices the waitress looking at him, his voice quiets down)
If you don’t then it will consume you

GYOU
(Looks like he is about to say something)
Anyway maybe you need a change of scheme get away from her make a fresh start

NAGAHARU
(Speaks stiffly)
I will think about it

GYOU
You have a week maybe two
(Small pause)
It will be good to get a fresh start

GYOU takes a sip of his wine and NAGAHARU stares out into the dank warm august day.

FADE OUT

Int. Bathroom
REINA is standing outside the door to the bathroom and holding a cotton towel she knocks quietly

REINA
Juri?
(Knocks louder)
Juri?

She opens the door a bit and peers inside.

REINA
Madam Juri?

She takes a step into the misty bathroom and looks at the cooper bath. Juri’s hair flows down the side her head lolling motionless against the side. The water still. The water a deep red. 
REINA screams
MADAM SATO can be heard running up the stairs and coming into the bathroom pushes past REINA and towards the bath tub looking at her daughter. She glances at REINA with hatred and then grabs JURI’S arms and starts to drag her out. The cuts on her wrists still bleeding.

MADAM SATO
Come and help you stupid girl!

REINA goes over and gingerly helps MADAM SATO haul JURI out of the bath and to the floor. MADAM SATO kneels down next to JURI and looks at her critically then putting an ear to her chest listens. 

MADAM SATO
(Points at the towel)
Get me that

REINA
(Goes to get the towel)
Is she alive Madam?
(Hands the material to MADAM SATO and kneels down beside her)

MADAM SATO
(Starts to rip the towel and uses it to wrap up the cuts on the wrists)
She is alive. Go and fetch the doctor.
(REINA watches her wrap the cuts)
(MADAM SATO looks at REINA)
Now!

REINA stands up and hurries out the door, her steps heard running down the stairs.

MADAM SATO
(Looks at JURI tears forming slightly)
Oh Juri...

MADAM SATO bends down and kisses her forehead and moves her into a position where she is cradling JURI’S head. MADAM SATO gently sings/hums to JURI while gently rocking her head.

FADE OUT

Int. Office

FADE IN

The phone on NAGAHARU’S desk is ringing shrilly. After a few rings it stops, and a second after that the door is pushed open and NAGAHARU walks in briskly. Looking at the quiet phone he sighs then shuts the door and puts his coat and hat on their respective hooks. He goes over to his desk and pulling his chair out settles into it. Rotating round on it he picks up his phone and dials a short three numbers.

NAGAHARU
Can you send Mr... Toshi up

He puts the phone down with a click and shuffles some paper on his desk. He pauses and opens a draw in his desk slowly. He reaches in and pulls some paperwork to the side revealing a small bottle filled with a dark liquid nestled amongst the paperwork. He looks at it for a few seconds when a fierce knock comes at the door. 

NAGAHARU quickly closes the drawer with a sharp bang and stands up.

NAGAHARU
Come in

Into the room an old looking man enters looking at NAGAHARU with a mixed expression of fear, suspicion and hate.

NAGAHARU
Ah, Mr. Toshi. Please take a seat

FADE OUT

Int. Hallway outside Bedroom

FADE IN

The door to the bedroom opens up, and through the door walks a man (In his fifties and with dark graying hair), DR. KAI, stiffly and with a grave face. Past him JURI can be seen on the bed still, her breathing regular and her arms bandaged.
MADAM SATO is waiting outside the door and looks at DR. KAI expectantly. DR. KAI quietly closes the door and turns to MADAM SATO beckoning her to walk with him down the corridor.
After they have moved a little he turns to her

DR. KAI
I have sedated her, but she has lost a lot of blood

MADAM SATO
Will she recover?

DR. KAI
She will be weak for a few days and her cuts should heal

MADAM SATO
What about her state of mind?

DR. KAI
She is depressed. I can give you sedatives to give her to alleviate it but not much more

MADAM SATO
Is there nothing more you can do for her?

DR. KAI
I am sorry but she is in anguish and if she is intent on killing herself all I can do is make sure she lives past those attempts
(A small pause)
If I knew more of the situation perhaps

MADAM SATO
(Looks at DR. KAI forcefully before her face softens)
It is a common story. She has lost a son during the war, which was around 2 years ago. He was in the air force

DR. KAI
(Puzzled)
Two years is along time, why now?

MADAM SATO
She has another son, who was last heard from three months ago. He is with the army and the location he was at was attacked by American’s. We haven’t heard since

DR. KAI
Ah
(Raises his head)
I understand

MADAM SATO
What do you suggest Doctor?

DR. KAI
A retreat. She needs to move on. Get away from the war, this house, this city. Once isolated from reminders she can come to terms with the uncertainty

MADAM SATO
I will discuss the matter with her husband when he returns from his work

DR. KAI
(Smiles dryly with no hint of humour)
She may be lucky, her son may still come home

MADAM SATO
Thank you Doctor
(She rings a small bell she has at her waist)

REINA comes up the stairs and into the hallway
REINA
Yes Madam?

MADAM SATO
Please show the Doctor out

REINA
Yes Madam
(She looks at the doctor)

DR. KAI
(To MADAM SATO)
Madam
(Bows)

DR. KAI after bowing turns away from MADAM SATO and walks to REINA following her downstairs. MADAM SATO walks back to the bedroom door opens it slightly and looks in at JURI still unconscious.

CUT TO
Int. Office
NAGAHARU’S office is empty, paperwork neatly piled up. His coat and hat not on the hooks. The phone starts to ring.

Int. Factory Floor
(Phone still ringing)
NAGAHARU can be seen walking back through the factory floor, machines whirling around him as he strides between them.

Ex. Factory
(Phone still ringing)
NAGAHARU is walking towards a wide road, bomb hit buildings line the road with some craters in the road cordoned off. Briefcase in hand he walks away, away from the large gate behind which the factory sits undamaged.

Int. Hallway of House #2
(The phone stops ringing)
A door opens into a hallway, markedly different from NAGAHARU’S home. NAGAHARU walks in, shuts the door behind him and places his briefcase down in a corner. He slips off his coat and chucks it over a chair and then places his hat on the coat. NAGAHARU kicks his shoes off and walks down the hallway and through a door.

Int. Sitting area
NAGAHARU walks into a sitting area. On a long recliner lies a beautiful woman in her late twenties, SAYANA, she is looking into a small handheld mirror touching up her makeup. The room is very plain and Spartan and no one else is present.

SAYANA
I was wondering when you would arrive

NAGAHARU
(Walks over to a seat and sits down)
I said I would come

SAYANA
(Looks up at him and smiles)
Yes, you did. Didn’t you?
(Puts her mirror down)
So why have you come?

NAGAHARU
To see you

SAYANA
Just to see me?
(She steps up and glides over to him and leaning down touches his chin with one finger and tilts his head up)
I am very grateful for the company

NAGAHARU
(Smirks)
You’re welcome

SAYANA
(Smiles sweetly and moves her face closer to his)
More so because you left your dear depressed wife for me

NAGAHARU
(Pulls back a bit)
I told you I won’t leave her... not now

SAYANA
(Sneers and stands tall)
You would rather stay with her than me
(Slides her hand over her figure)

NAGAHARU
You know things are complicated

SAYANA
But some things are so simple
(She moves in again and this time kisses NAGAHARU, after that she pulls back)
See simple

NAGAHARU
You have no idea

SAYANA
(She walks away from him)
Yes I do, you want me. You don’t want her. Simple

NAGAHARU
(Stands up)
All I need is time

SAYANA
(Turns to him, and raises her voice)
You have had a year

NAGAHARU
(Walks over to her)
If I leave her it will destroy her

SAYANA
Sounds like it’s a little late for that

NAGAHARU
I will also risk everything; you know all I have is from her family. It can’t be risked

SAYANA
I suppose... and I do like pretty things
(She starts to undo NAGAHARU’S jacket and shirt)
I think I can forgive you for now....

SAYANA smiles coyly at NAGAHARU and heads to one of the exits of the room, when she reaches the doorway she smiles  again at him and NAGAHARU follows her as she leaves the room. 

MONTAGE SEQUENCE
NAGAHARU and SAYANA kissing, their hands running over each other
SAYANA falling back onto a bed, NAGAHARU climbing next to her kissing her neck
Clothes being removed from SAYANA, revealing her breasts
Shirt being removed from NAGAHARU
Flash scene - two upper torsos entwined
Flash scene - SAYANA’S face in an expression of pleasure
Flash scene - legs entwined and moving
Flash scene – the ceiling of the bedroom shadows dancing on it. 

Int. Bedroom #2 
NAGAHARU is pulling his clothes on, currently buttoning on his shirt. SAYANA is lying on the bed next to him.

SAYANA
Stay a little longer

NAGAHARU
I have to go, I will be expected

SAYANA
(Circles his chest with her arms and starts to undo a shirt button)
Be late, it won’t hurt

NAGAHARU
(Stands, getting out of her hands)
I can’t

SAYANA
(Laughs)
Guilt!?! What do you have to feel guilty about?
(Silence)
She drove you to this, and I accepted you

NAGAHARU
(Turns to her)
She didn’t drive me to... to... this! I did!

SAYANA
You’ve been liking it for long enough
(Moves the covers showing herself to him)

NAGAHARU
I have a chance to change, a fresh start

SAYANA
(Puzzled)
What fresh start?

NAGAHARU
A new job

SAYANA
Where?

NAGAHARU
Not here!

SAYANA
Why didn’t you tell me? Ask me?

NAGAHARU
I have a son, I have a wife

SAYANA
That wasn’t bothering you now, and it never did before!

NAGAHARU
It does now

SAYANA
So you just came here as a final farewell!?!

NAGAHARU
I don’t have time for this, goodbye
(Grabs his jacket and walks out the door)

SAYANA
(Sitting up)
You can’t just go!

Int. Hallway in House #2
NAGAHARU enters the hall and picks up his shoes and starts to slip them on and tie them up when SAYANA in a wispy silk nightgown enters the hallway

SAYANA
You can’t just go!

NAGAHARU
Of course I can

SAYANA
I will tell her

NAGAHARU
You have said that for a very long time

SAYANA
Now I have no choice

NAGAHARU
(Looks up at her)
If you even try to contact her...

SAYANA
What? You will bribe me? Beat me? Kill me?

NAGAHARU
(Puts his hat on and grabs his coat)
I am sorry but I have a life

SAYANA
I am in that life!

NAGAHARU
(Pulling his coat on)
Not anymore, I have a chance and I have to try it

SAYANA
What about me?

NAGAHARU
(Picking up his briefcase)
You will manage
(Opens the main door)

SAYANA
I love you!

NAGAHARU
(Hesitates and stands in the doorway)
I’m sorry
(He walks out of the doorway to outside)

SAYANA
You will be back!

NAGAHARU closes the door without saying any more.

SAYANA
(Stares at the closed door and slumps against the wall, whispering)
You will be back

Ex. Street
NAGAHARU is walking through the early evening streets a few people pass him by. Buildings start to light up around him, some remain dark and sullen. It starts to rain and NAGAHARU walks faster.

Int. Hallway in House
The door opens and NAGAHARU steps through from the rain outside into the brightly lit, dry, hallway. His coat dripping wet. REINA comes down the hall and bows to the man. The man turns around, placing his briefcase down, and the young woman helps take his coat off and picks up the briefcase. As NAGAHARU starts to slip off his shoes REINA looks at him. NAGAHARU looks back, and smiling strokes her face.

REINA
Madam Sato is here

NAGAHARU
(Puzzled)
What for?

REINA
Madam Hayashi has fallen ill

NAGAHARU’S face goes pale and he kicks his shoes off and runs off down the corridor.

REINA
(Calling after him her voice meek and hopeless)
I tried to phone you

Int. Dining Room
NAGAHARU enters the dining area in a stride. MADAM SATO is sitting at the table sipping some tea. 

NAGAHARU
What is going on? Juri is ill?

MADAM SATO
(Looks up at him)
Welcome home, nice to see you this evening

NAGAHARU
Don’t play games. Is Juri fine?

MADAM SATO
Your wife, my daughter, is not fine
(Stands up and sneers at him)
If you were here you would know

NAGAHARU
(An edge to his voice)
What is wrong with her?

MADAM SATO
She tried to kill herself, cut her wrists

NAGAHARU
(His voice suddenly hollow)
Kill herself?
(He gracefully ‘falls’ into a seat)

MADAM SATO
Yes. Thankfully Dr. Kai managed to treat her wounds.
(Tilts her head at him and venom enters her voice)
And where were you? Busy?

NAGAHARU
(Looking straight ahead)
I didn’t know

MADAM SATO
You may not know about your wife, but I know about you
(Looks him in the eye)
I know

NAGAHARU
(His face goes paler)
Know? I have nothing to hide

MADAM SATO
(Scoffs at him)
Ha! You have secrets, everyone does. But I am not going to hurt my daughter by revealing yours... not while she is like this

NAGAHARU
(He appears to regain some composure)
You will blackmail me?

MADAM SATO
I will do what is best for my family

NAGAHARU
(Standing up)
Juri is part of my family and has been for 25 years. You have no control over her or me

MADAM SATO
I will not watch you kill her

NAGAHARU
I will not kill her

MADAM SATO
(In a sharp tone)
You are not here for her, you prefer the company of your mistress to your wife!

NAGAHARU
(In a controlled tone, with anger hidden under it)
I think it is time for you to leave

MADAM SATO
(Raises her chin)
I will be back tomorrow, to check on her

NAGAHARU
I will be here to greet you

MADAM SATO
(Starts to walk out of the room stopping near NAGAHARU)
I will protect her

NAGAHARU
She doesn’t need your protection

MADAM SATO sneers and walks out of the room. NAGAHARU falls back into his chair and raises his hands to his face, sighing. He looks up at the ceiling and looks pained.

Int. Bedroom
NAGAHARU opens the door to the bedroom slowly, JURI is lying on the bed asleep, her arms bandaged, blood can be seen seeping into them near the wrist. On the table next to her lies a small glass bottle full of small tablets. 

NAGAHARU walks over to one side of the room and picks up a chair quietly. Walking to the bed he places it down and sits in it. NAGAHARU looks at JURI intently and reaches out a hand to hers. Grasping her hand he looks at her and tears start to form in his eyes, which he blinks away.

FADE OUT

Int. Bedroom: On subtitles 7:50AM THURSDAY AUGUST THE 9TH
Early morning light is shining into the bedroom and onto NAGAHARU. He is still sitting in the chair slumped over the bed, which is empty. NAGAHARU starts to stir a bit and pulls himself up. Looking at the bed for a brief second puzzled he swears when he realizes it is empty and then stands up and heads to the door, knocking the chair over onto the floor which a deep thud.

Int. Sitting Area
NAGAHARU walks into the sitting area briskly and breathes out deeply when he sees JURI sitting down leafing through some old photos. He calms himself and then walks forward.

JURI looks at him and nods
JURI
Good morning husband

NAGAHARU
Good morning

REINA walks into the room, NAGAHARU spinning round to see who it is.

REINA
Would sir, madam like some tea?

JURI
That would be wonderful

NAGAHARU
Yes

REINA bows and walks out of the room

NAGAHARU
(Sits down behind JURI so he can see what she is looking at)
What are you looking at?

JURI
Memories
(She holds up one of NAGAHARU slightly younger with a boy standing next to him)
See?

NAGAHARU
I see

There is a silence for a bit while JURI flips through the old photos and NAGAHARU looks at her.

NAGAHARU
Do you have plans today?

JURI
No... I am told I need to relax

NAGAHARU
Wise words

JURI
When will you go to work today and when may I expect you back?

NAGAHARU
I will not be going today

JURI
(Turns round to look at him)
Not going?

NAGAHARU
No

JURI
Why?

NAGAHARU
I have some things to do here... and around

JURI turns back to the pictures holding one up of a young boy, which NAGAHARU can see over her shoulder, and gazes at it. At that point REINA enters the room carrying a tray with the tea on it. 

NAGAHARU stands up and walks over to her looking like he is helping; his hand dips into his pocket and pulls out the bottle that was in the bedroom. Pulling the top off quickly he takes two of the tablets and drops them in a cup, makes some tea and then hands it to JURI who is still gazing at the one picture. 

JURI shaken out of her gaze by the tea being thrust at her looks up at NAGAHARU blankly and accepts the tea with a courteous smile. NAGAHARU takes his own tea and takes a seat next to JURI who looks at him surprised. REINA not saying anything takes the tray with the remaining items on and walks out of the room.

JURI sips her tea while NAGAHARU looks at her.

NAGAHARU
(Points at the pictures)
Can I have a look?

JURI slips some over

MONTAGE SEQUENCE
Of the various pictures of the family with hands moving them, them being lifted up

INT. Sitting Area
The tea cups are empty and JURI is still looking at the photo

NAGAHARU
Let’s go for a walk?

JURI
I don’t feel like walking

JURI comes to the bottom of the photo pile and gasps there is a photo of a young man in his military equipment on the docks of Nagasaki.

JURI drops the picture to the floor and starts to breath heavy and then curls up sobbing. NAGAHARU with a pained expression moves over to her holding her in his arms.

NAGAHARU
Juri I’m here

JURI
(Whilst sobbing)
I’ve lost them, both of them

NAGAHARU
We don’t know that

JURI
I do

NAGAHARU
Even if we have lost them, we still remember them

JURI
But I will never see them, talk to them, touch them....

NAGAHARU
It was their choice

JURI
You should have stopped them... we should have....

NAGAHARU
It would have done no good

JURI
(Voice starts to get weaker as the drugs begin to kick in)
We still should have tried....

NAGAHARU
I have been offered a job by Gyou in Tottori. We will move there as soon as possible, it will do us both good

JURI
(Looks at him sharply)
What if Naru comes back and we are not here to greet him?

NAGAHARU
Others will tell him where we have gone

JURI
(Getting more sleepy)
But what... what... if he is injured and can’t travel?

NAGAHARU
We will come back

JURI
(Eyes closing)
I miss them

NAGAHARU
I miss them too
(Looks at JURI as she enters a deep sleep and whispers)
I miss you

NAGAHARU looks at JURI in his lap and sighs.

FADE OUT

Int. Bedroom

FADE IN

JURI is back in the bed asleep NAGAHARU is over her looking at her sleeping form. He gently turns around and walks out of the bedroom closing the door behind him. JURI moves slightly in her sleep.

Int. Hallway of House 
NAGAHARU walks into the hallway and grabs his coat off the hook and starts to shrug it on, REINA starts to approach

REINA
You are going out for the day? Shall I inform Madam Sato

NAGAHARU
No need for that, I will not be long just some things that need doing
(He starts to put his shoes on)
Will you watch Juri while I am out?

REINA
Of course, sir. Is there anything else?

NAGAHARU
(Reaches for his hat and puts it on)
If Madam Sato does come tell her to come back later

REINA
Yes, sir

NAGAHARU smiles at her and opens the door just as he does an unusual sound fills the room, NAGAHARU looks around puzzlement turning to worry as he realizes what it is... a bomb. Leaving the door open he runs past a stunned REINA down the corridor coat flapping after him.

Int. Hallway outside Bedroom
NAGAHARU runs along the upstairs corridor the sound still penetrating the house. He gets to the door of the bedroom and charges in.

Int. Bedroom
NAGAHARU has burst into the bedroom and then stops. JURI is still asleep on the bed looking serene and at peace. All sound goes as NAGAHARU looks at her. 

Suddenly the sound jumps back and NAGAHARU runs over to JURI and shakes her, trying to wake her, to no avail. 
The sound stops and in a split second NAGAHARU looks towards the window

WHITE LIGHT FILLS THE SCREEN

FADE OUT TO BLACK SCREEN
After a few seconds the following text comes on

The nuclear bomb Fat Man hit Nagasaki at 11:02 am on Thursday August the 9th 1945
70,000 people are estimated to have been killed instantly

Japan surrendered on August the 14th 1945

(FADE IN AFTER 5 SECONDS)
Juri and Nagaharu Hayashi’s son came home...
He died 30 years later in relation to the radiation from the attack

(TEXT FADES OUT)

“Freedom itself was attacked this morning by a faceless coward.” - September 11, 2001 
                                                                                                                                                      G. W. Bush

END