"Hiroshima Love" movie script
Screenwriter/[French] Margaret Durra
Director / Alain Resnais
Translated by Liu Shoukang
--Summary--
When: Summer 1957-August.
Location: Hiroshima.
A French woman in her mid-thirties travels to Hiroshima to film a film promoting peace.
The story happened the day before she returned to France. The film is basically over, and there's only one scene left.
Just the day before she returns home, the French woman who remains unnamed in the film—the unnamed woman—meets a Japanese (engineer or designer). Had a brief love affair with him.
The film doesn't mention how they met because it doesn't matter. There are encounters everywhere in the world, what matters is what happens after that.
At the beginning of the film, we can't see this pair of people who meet by chance, we can't see her, we can't see him. All we see are parts of the body - head, arms - wriggling - in the struggle of love or death - and covered in deadly atomic dust and dew - and lustful sweat.
Gradually, gradually, the bodies of the two men emerged from these deformed, nameless bodies.
They were lying in a hotel room. Naked, smooth body, unharmed.
What are they talking about? Talk about Hiroshima.
She told him that she had seen everything about Hiroshima. We have all seen those sights. Terrible. But his answer was no, he said the sights were made up, and he kept repeating, indifferently and intolerably, that she saw nothing in Hiroshima.
Therefore, their first conversation is allegorical. In a word, an operatic conversation. It is impossible to talk about Hiroshima. You can only talk about why you can't talk about Hiroshima. The situation in Hiroshima has been described above in typical fantasy.
This beginning—recalling the well-known official articles about the horrors of Hiroshima on a hotel bed—this blasphemous recollection was deliberate. People can talk about Hiroshima anywhere, even when two people who meet by chance are in a hotel bed while having illicit sex. The bodies of the two protagonists in the film who love each other remind us of this. If there is anything blasphemous, it is Hiroshima itself. Hypocrisy and avoidance are pointless.
Although the audience sees only so much in the Hiroshima memorial, these tragic relics in the bleak memorial should free them from all prejudice and be ready to accept any story about the two protagonists.
Now back to the two protagonists.
This is a very ordinary story that happens a million times a day. The Japanese is married and has children. The French woman also has a husband and two children. Their love affair was nothing but an overnight affair.
where? Hiroshima.
Their embrace - so ordinary, so familiar - took place in the most unimaginable city in the world: Hiroshima. In Hiroshima, everything is unknown. Every gesture, every sentence has an overtone that goes beyond the literal meaning. This is exactly one of the main purposes of the film: to subvert the depiction of terror in horror, as the Japanese have already used it; we want to resurrect terror from the ashes and combine it with a special, wonderful love . In this way, shooting the film in Hiroshima was more convincing than anywhere else in the world that didn't experience mass deaths.
These two people come from vastly different regions, with completely different philosophical, historical, economic, ethnic backgrounds... In Hiroshima (perhaps only in Hiroshima) they were able to show nakedly the sexuality, love, and suffering shared by human beings. Deception is tolerated anywhere in the world except Hiroshima. But not in Hiroshima, deception in Hiroshima is to be condemned.
They talked about Hiroshima again before going to sleep. But the way is different. Now it is with lust, maybe unconsciously, they have developed love for each other.
They talk about Hiroshima, but also about themselves. From now on, their languages are intertwined - with Hiroshima's opera - almost indistinguishable.
Their personal stories, however brief, have always ruled Hiroshima.
Without this premise, this film is just another general film, no better than any fictionalized documentary. With that premise, we'd make a documentary that isn't true, but one that goes deeper than any generalized documentary in terms of exploring the lessons of Hiroshima's history.
They woke up. While she was getting dressed, the two talked again. Talk about family life, but also about Hiroshima. why not? It's only natural that they are in Hiroshima.
Suddenly, she appeared in the uniform of a Red Cross nurse.
(The suit is the embodiment of official virtue, reawakening his lust. He wants to see her again. He is exactly the same as every man, and all men, and he does it because he pretends Seriousness always contains an erotic element that seduces men. The eternal nurse in the eternal war...)
Since she needed him too, why didn't she want to see him again? She didn't say why.
After they woke up, they talked about her past again. Nevels in the Nievre region is her hometown, where she grew up, and what happened there? Why did she become what she is now - slutty and charming, honest and hypocritical, ambiguous and hearty? Why is it so easy to commit to people? Why are you so timid in the face of love?
She told him that one day she went mad in Nevers, mad with hatred. She said it as if she was saying that she had been very sane for a while in Nevel. exactly the same.
She did not say whether the Nevel "incident" was related to her current behavior in Hiroshima. She talks about the Nevel "event" as she talks about anything else, without giving a reason.
She left, deciding not to see him again.
But they will meet again.
Four o'clock in the afternoon. Hiroshima Peace Plaza (or in front of the hospital). The photographers are leaving (every time they appear on screen, they are leaving the scene with their camera gear). Workers are tearing down stands and pulling flags.
The French woman was probably asleep in the shadows of the stands, which were being dismantled.
A progressive film promoting peace has just been made. It's by no means a ridiculous film, just another new film.
Once again the crowd swarmed to the set of the film just finished, and a Japanese man walked past the crowd. He was the man we saw in our hotel room this morning. He saw the French woman and stopped. Walk towards her and watch her sleep. His stare woke her up. They exchanged glances, and their hearts were filled with lust. He didn't come here by accident, he came to find her.
Almost immediately after they met, a parade began. This is the last scene of the film. There are students, children, dogs, cats, and some people hanging out in the film. The whole of Hiroshima was called out, and whenever world peace was threatened, there was always such a bizarre parade.
The weather is very hot and a storm is coming. They waited for the parade to pass. At this time, he told her: he felt he was in love with her.
He took her to his house. They talked briefly about their lives.
Their married lives were both happy and they didn't need to seek anything to make up for an unhappy marriage.
In the course of love, she begins to tell him what happened to Nevel.
She ran from his house and they "passed away the time before she left" in a coffee shop by the river. Night fell.
They stayed there for a few hours. The shorter it was until the plane took off the next morning, the more their love deepened.
She told him in this café how she had gone mad in Nevers.
In 1944, when she was twenty, Neveld had her head shaved. The object of her initial state was a German who was shot dead during the liberation of France.
She had been staying naked in a basement in Nevers. It was when Hiroshima was bombed that her hair grew to the point where she left the basement and into the street, into the maddened crowd.
Why is he talking about this painful personal experience? No doubt, because he was also a heretic. He understood that it was horribly and foolish for a girl to have her head shaved in love—really in love with the legal enemy of her homeland.
We saw Nevel as we saw it in a hotel room. They talked about personal matters again. Once again there is the overlap of Nevel and love, Hiroshima and love. Everything is mixed, there is no pre-arrangement, things are happening all the time and everywhere in the world, and they talk like all lovers who have just fallen in love.
She is gone again. She escaped from him again.
She wanted to go back to her hotel to calm down, but couldn't, so she walked out of the hotel and went back to the cafe. By this time the cafe was closed. There she recalls Nevel (inner monologue), that is, recalls love.
The Japanese man followed her. She noticed. She looked at him. They stared at each other and fell deeply in love. A hopeless love, smothered like Nevel's. So it has been forgotten. everything is over. Therefore it is eternal.
Yet she was not with him.
She wandered the streets aimlessly. He followed, as if following a woman he had never met. After some time, he caught up with her and, as if in a narration, asked her to stay in Hiroshima. She said no. Reject like everyone else. Cowardly like everyone else. (Note 1)
Their fate has been decided.
He didn't insist.
She strolled to the train station. He walked beside her. Two people you look at me, I look at you, like two shadows.
From now on, the two never spoke again. The urgency of the impending separation plunged them into a sad and solemn silence.
This is true love. They can only keep silent. The final scene was shot in a cafe. We saw another Japanese man sitting next to him.
At the other table, the man she loved sat motionless. He felt very desperate and could only resign, but his body was numb and could not feel pain, as if she already belonged to "someone else". He can only fully understand.
When dawn came, she went back to her house. After a few minutes, he knocked on the door. There was no way he could not. "I have to come," he said apologetically.
Nothing happened this time. Both were in a terrible, powerless state. The house, "customs" still surrounded them, and they stopped bothering it.
No eachother. No more representation.
They just call each other again. calling for what? Nevers, Hiroshima. Because in fact, in each other's minds, they are none of them. They are names of places, not names of names. As if through them, everything about Hiroshima fell in love with everything about Nevel.
She said to him, "Your name is - Hiroshima."
First
(Two pairs of naked shoulders are revealed little by little at the beginning of the film. All we can see are the two pairs of shoulders hugging together - the head and shoulders are off-paint and appear to be covered in dust , rain, dew or sweat, whatever. The main thing is to make us feel that these dew and sweat are polluted by the "mushroom cloud" that drifts away and gradually dissipates. It should create a strong and contradictory The feeling is fresh and full of sensuality. Two pairs of shoulders have different skin tones, one dark and one fair. Fusco's music is accompanied by this almost suffocating embrace. The hands of the two are also sharp. Different. The woman's hand rests on the darker shoulder. "Put" may not be the right word, "grab" may be more accurate. There is a flat, calm man's voice, as if reciting :)
Him: You saw nothing in Hiroshima, nothing.
(This sentence can be repeated arbitrarily. A woman's voice, equally flat, depressed and monotonous, seems to be reciting :)
Her: I saw it all, I saw it all.
(Fusko's music, which had faded away before the above dialogue began, gradually intensified as the woman's hand gripped the man's shoulder. Then, her hand relaxed and then stroked the man's shoulder. Darker Nail prints were left on his skin, which seemed to give the illusion that the man was punished for saying "No, you didn't see anything in Hiroshima." Then the woman's voice came, still It's calm, plain, like a mantra :)
Her: For example, the hospital, I saw it. I did see it. There is a hospital in Hiroshima, how can I not see it?
(Hospitals, hallways, stairs, patients, these shots were taken calmly and objectively (note 2). But we never see her there watching. And then we see the woman's hand grabbing -- holding on tight Live on darker-skinned shoulders.)
Him: You didn't see the hospital in Hiroshima. You see nothing in Hiroshima.
(The woman's voice becomes more and more indifferent. The footage from the museum. (Note 3) The same blinding lights, as annoying as the hospital lights. Various explanation boards, physical evidence after the atomic bomb, scaled models, Steel shards, human skin, charred hair, paraffin models, etc.)
Her: I've been to the museum four times...
Him: What museum in Hiroshima?
Her: I've been to the museum in Hiroshima four times. Saw people wandering inside. They wandered thoughtfully between photographs and replicas, trying to find something else. Wandering between photos, between photos and replicas, trying to find something else. Wandering among the commentary cards, trying to find something else.
I have been to the Hiroshima Museum four times.
I look at those people. I myself looked at the iron, charred, broken, and fragile like a muscle. I saw a lot of bottle caps: who would have expected to see this? Human skin is floating, life is continuing, and it is still struggling in pain. Stone. Burnt stone. crushed stone. Unknown whose strands of hair belonged, the Hiroshima woman woke up and found that her hair was all stripped off.
I was so hot in Peace Square. A full ten thousand degrees. I know 10,000 degrees. The temperature of the sun on the Peace Square. How could you not know? ...forget the grass on the ground...
Him: You didn't see anything in Hiroshima, nothing.
(More museum footage. Then a shot of Peace Square with a charred head in the foreground. Charred models on display in a glass display case. News footage from Hiroshima.)
She: The replica is made as realistic as possible.
The film was shot as realistically as possible.
The illusion is so realistic that people who visit are crying when they see it.
One can always laugh at others, but seriously, what can a tourist do but cry?
I always cry over the fate of Hiroshima. always cry over it.
(A panoramic shot of a post-bombing photo of Hiroshima, a "new desert" that has nothing in common with any other desert in the world.)
Him: Don't cry, why are you crying?
(Empty Peace Square, the blinding sunlight recalls the dazzling light of the atomic bomb. Newsreel filmed after August 6, 1945. Ants and earthworms emerge from the ground. Here are some shoulders inserted Shots. There's a woman's voice again, almost crazy, and the series of shots that follow are almost crazy.)
Her: I watched the newsreel.
The next day, history was written like this, not made by me, and the next day, some animals emerged from the ashes, from deep in the ground.
People took pictures of dogs.
Keep for permanent record.
I see them.
I watched newsreels.
I see them.
I saw the scene from the first day.
The scene of the second day.
The scene of the third day.
Him: (interrupting her) You didn't see anything, didn't see anything.
(A dog with a broken leg. Crowd. Children. Wounded people. Burned nine children screaming.)
She: ...and, on the fifteenth day.
Hiroshima is full of flowers. Cornflowers and gladiolus bloom everywhere. Morning glory blooming in the morning and lily peanut blooming in the daytime emerge vigorously from the ashes. Before this, I had never heard of flowers with such great vitality. (Note 4)
I didn't make up anything.
Him: You made it all up.
Her: I didn't make up.
Like a hallucination in love, an hallucination that will never be forgotten, I had this hallucination: I would never forget Hiroshima.
Just like in love.
(Preparing to remove one eye with surgical forceps. More news footage.)
I also saw people who survived and the fetuses that were in the wombs of women in Hiroshima at the time.
(Various shots of survivors: a beautiful child who turns his face and turns out to be blind in one eye; a girl looking at her burnt face in a mirror; a blind woman playing with her deformed hands a zither; a mother praying beside her dying child; a man who had been unable to sleep for several years was on the verge of death. Once a week, his child was brought to see him.)
With patience, simplicity, and apparent meekness, I saw the temporary survivors of Hiroshima adapt themselves to such an unfair fate—a fate that even the most imaginative of ordinary people could not imagine.
(The camera returns to the two bodies hugging passionately.)
Her: listen...
I know……
I know everything.
Everything is working as usual.
Him: You don't know. you do not know any think.
(A cloud of atoms spiraling upwards. Raining, crowds marching down the street. Fishermen infected with radioactive material. Inedible fish. Burying thousands of inedible fish underground.)
She: Women risk birthing deformed babies and monsters, but business as usual.
Men risk sterilization, but business as usual.
People are afraid of rain.
Rain and dust fall on the Pacific Ocean.
Seawater poisoning organisms in the Pacific Ocean.
Fishermen in the Pacific are dead.
People are afraid of food.
A city's food is all thrown away.
In many cities, the food of the whole city was buried.
The whole city acted in anger.
Many cities, all acted in anger.
(News footage: Demonstrations.)
Who is the city's anger directed at?
The anger of the whole city, whether they like it or not, is directed at the principle of inequality that some people use to oppress others, some peoples use to oppress other peoples, and some classes use to oppress other classes.
(The demonstrators are advancing. Some are giving "silent" speeches in front of the megaphone.)
She: (softly speaking)...Listen to me. Like you, I know what it means to forget.
Him: No, you don't know what forgetting means.
Her: I have the same memory as you. I know what forgetting means.
Him: No, you have no memory.
She: Like you, I tried my best not to forget. But like you, I forgot. Like you, I wanted to remember an inconsolable memory, a memory of shadows and stones.
(Shadow shot, the shadow of a Hiroshima victim "reflected" on the stone.)
Me, I struggle every day with the fear of not being able to understand anymore why one needs memory. Like you, I forget...
(The shop houses hundreds of miniature models of the Industrial Pavilion, the only surviving remnant, with its crooked skeleton still standing after the bombing—and thus preserved. An empty shop. A cart A carload of Japanese tourists. They come to visit Peace Square. A cat walks across the square.)
Obviously, memory is necessary, why deny it? ...
(This sentence is interrupted from time to time by several shots of the skeleton of the Industrial Pavilion.)
...Listen to me, I know something else. Everything will start over.
Two hundred thousand people died.
Eighty thousand people were injured.
in nine seconds. Here are the official numbers. Everything will start over.
(Trees. Churches. Carousel. Rebuilding Hiroshima. Ordinary things.)
The temperature on the ground will be 10,000 degrees. They say that 10,000 suns will burn the asphalt.
(Church. Billboard in Japanese.)
There will be chaos everywhere. The whole city will rise from the ground and turn to ashes...
(Sand. A pack of Peace cigarettes. A thriving plant spreads out like a spider on the sand.)
New flowers will grow on the sand...
(Four dying students chat by the river. River. Tidewater. Rebuilt Hiroshima pier.)
Together, the four students await a legendary death.
The seven forks of the Daejeon River delta ebb and flow on time and are very accurate. The water is clear and the fishery is abundant, and the color of the river appears gray or blue according to the time of day or season. The tide rises slowly at the seven forks of the Daejeoncheon delta, and people no longer enjoy this view along the muddy banks.
(The incantation ceases. Streets of Hiroshima. More streets. Bridges of all kinds. Hidden alleys. Streets. Suburbs. Railways. Suburbs. Ordinary sights.)
Her: ...I met you.
I remember you.
who are you?
you ruined me.
How nice you are to me.
How can I know this city is just right for love?
How can I know that you are the right fit for my body?
you are amazing. Very good. you are amazing.
How slowly time flies all of a sudden.
How wonderful.
More beautiful than you could ever know.
you ruined me.
How nice you are to me.
you ruined me.
How nice you are to me.
There is time.
please.
possess me.
Destroy me, make me ugly.
Why don't you do it?
In this city, this night is no different than any other night, why don't you do it?
please.
(Suddenly, a woman's face, full of tenderness, emerges, turning towards the man.)
Her: Your skin is amazingly beautiful.
(He sighs.)
you……
(His face is shown. He smiles ecstatically, which has nothing to do with their conversation. He turns around.)
Him: Yes, it's me. you can see me.
(Two naked bodies reappear. The woman continues to make the same, indistinct voice, but this time in a non-recited tone.)
Her: Are you pure Japanese or not pure Japanese?
Him: I am pure Japanese.
Your eyes are green, right?
She: I think so... yes... I think they're green.
Him: (gently, looking at her) You are like a thousand women...
Her: That's because you don't know me. That's why.
Him: Maybe that's not the only reason.
She: It's a great idea to combine a thousand women into one person for you.
(She kisses his shoulder and hides her head in his pocket. Her head is towards the open window, towards Hiroshima, towards the night. There is a man walking down the street, coughing. [We can't see him] , only his voice is heard.] She lifts up.)
She: Listen... it's four o'clock...
Him: Why do you say it's four o'clock?
Her: I don't know who he is. He passed by here every morning at four o'clock and was always coughing.
(Silence. Look at each other.)
You were here that day, in Hiroshima...
Him: (laughs, as if to hear a child's question) Not... I'm not of course.
She: (stroking his bare shoulders again) Yes... how stupid I am. (Almost laughed.)
Him: (seriously, hesitantly) But my family is in Hiroshima. I'm fighting outside.
She: (shyly, smiling) Lucky, isn't it?
He: (without looking at her, hesitating whether to agree with this sentence) Right.
Her: This is my luck too.
(pause.)
Him: What are you doing in Hiroshima?
She: Making movies.
Him: What, making a movie?
Her: I have a role in a film.
Him: Where were you before you came to Hiroshima?
Her: In Paris.
(Longer pause.)
Him: Before Paris...
Her: Before Paris? ^ Nevers. Inside - Weir.
Him: Neville?
She: It's in the Nievre province. You don't know that place.
(Pause. Then, as if he has just discovered the connection between Hiroshima and Never, he asks:)
Him: Why do you want to see everything about Hiroshima?
She: (trying to be sincere) Because it interests me. I have my own opinion. For example, I think looking at things carefully is a skill that must be learned.
Part II
(A large group of bicycles swarm the street, the sound changing from soft to heavy, then fading away. She is standing on the hotel balcony in her dressing gown. She is looking at him, cup of coffee in hand. He is still asleep , lying on the bed, her arms crossed and her upper body exposed. She stared at his hands, they trembled slightly, like a child's hands tremble in sleep. His hands were beautiful and masculine.
As she gazed at his hands, suddenly the body of a young man appeared in place of the Japanese, and he lay there, in the same but dying position, by the sunny river. [The light in the hotel room is half-dark. ] The young man was dying. He also has a pair of beautiful hands, very similar to the hands of the Japanese. Before dying, they shivered violently.
This shot is very brief.
She stood blankly against the window. He woke up and smiled at her. She didn't immediately return his smile, but kept staring at him. Then, she brought the coffee to him. )
Her: Would you like some coffee?
(He nods, takes the cup, and pauses.)
Her: What did you dream about just now?
Him: I can't remember... what's the matter?
(She wakes up, very gently.)
Her: I was looking at your hand just now. They move when you are asleep.
Him: (checking his hands, maybe moving his fingers) Maybe they were moving unconsciously in the dream.
She: (calmly, cheerfully, but doesn't seem to believe him) Uh, uh.
(They are showering together in the hotel room, in good spirits. He puts his hand on her forehead and makes her look up.)
Him: You are a beautiful woman, you know?
Her: Do you think so?
Him: I think so.
Her: A little old, right?
Him: (laughs) A little ugly.
Her: (his caress causes her to smile) Don't you mind?
Him: I found you a little ugly in the cafe last night. and……
She: (very calmly) Also? ...
Him: Also, you have a feeling of boredom.
She: (intrigued) You go on and on...
Him: Your kind of boredom makes men want to approach you as a woman.
She: (smiles, lowers eyelids) You speak French very well.
Him: (happily) No! You've finally noticed how good I speak French, which makes me so happy. (Pauses) I didn't notice that you didn't speak Japanese... Did you notice that people judge things the same way?
Her: No, I only pay attention to you, I don't care about anything else. (Laughter.)
(After the bath, her hair is all wet. She eats apples slowly, and stands on the balcony in her bathrobe, and he looks at him, stretching as if to gauge their situation with precision, and then slowly, carefully, tell him:)
She: At - Hiro - Island - Xiang - Meeting, this kind of thing doesn't happen every day.
(He's dressed - shirt collar open - walks to the balcony, sits across from her, and asks after some hesitation :)
He: What does Hiroshima mean to the French?
She: The war is over, that is, really over. I'm amazed...they dare to do this...I'm amazed that they succeeded. Later, we also developed a nameless fear. Then I felt it didn't matter. Also, it's scary to be indifferent...
Him: Where were you then?
Her: I just left Nevel. in Paris. on the street.
Him: It's a beautiful French word - Nevel.
She: (Pauses) It's no different than any other word. Just like no other city.
(She walks away. They start talking about family.)
(He sat on the bed, lit a cigarette, looked at her intently, and asked:)
Him: Do you know many Japanese people in Hiroshima?
Her: Yes, I know a few...but none like you...
Him: (smiling happily) Am I the first Japanese in your life?
Her: Yes.
(Her smiling face is missing. When she reappears, she is getting dressed.)
Her: Hiro-shima.
Him: (drops his eyes and says calmly) The whole world is happy. You are happy with the whole world. (Continuing in the same tone) I heard it was a nice day in Paris, a beautiful summer day, right?
Her: Yes, the weather was fine that day.
Him: How old were you then?
She: Twenty years old, how about you?
Him: Twenty-two years old.
Her: About the same age.
Him: Yes, almost.
(She is already dressed and is wearing her Red Cross hood. She suddenly bends down beside him, or lies beside him. She strokes his hand, kisses his shirtless shirt. They are talking about home .)
Her: What do you do?
Him: Doing construction. And politics.
Her: Oh, so you speak French so well.
Him: Not bad. In order to read books about the French Revolution.
(They laugh. There is absolutely no way to explicitly point out his political views, because that would immediately label him. Also, it would seem childish. Don't forget that only open-minded people can say that. )
Him: What kind of movie are you in?
She: A film about peace. Do you think they will make any other movies in Hiroshima besides about peace?
(A group of bicycles bustled past.)
Him: I hope to see you again.
She: (makes a negative gesture) At this time tomorrow, I'll be on my way back to France.
Him: Really? You didn't tell me.
Her: It's true. (Pauses) No need to tell you.
Him: (startled, serious) So you asked me to come to your room last night, didn't you? ...because this is your last night in Hiroshima.
Her: Not at all. The thought never crossed my mind.
Him: I really don't know if what you said is true or false.
Her: It's a lie, but it's also the truth. But I have no reason to lie to you. how……
Him: Tell me...things like this...do you see them often?
Her: Not too often. But there have been. I like men. (Pauses) You know, I'm a morally dubious person. (She laughs.)
Him: How do you call it morally questionable?
She: It is to doubt the morals of others.
(He laughs heartily.)
Him: Even if the plane takes off tomorrow, even if you are suspicious, I still want to see you again.
(Pause. Love waves again in the hearts of both of them.)
she's not.
Him: why?
She: (irritably) Because...
(He didn't ask anything.)
Her: You don't want to talk to Zou anymore?
Him: (pauses for a while) I want to see you again.
(They are in the hotel hallway.)
Him: Where are you going to France? Is it Nevel?
she's not. Go to Paris. (Pauses) I'm never going to Nevers again.
Him: Are you going no more?
She: (Making a weird look as she speaks) Never again. (Then, when she finds herself unable to justify herself, she says:) I was younger than ever when I was in Nevel...
Him: At the time of - Neville - very young.
Her: I was young when I was in Neville. Also, I went crazy once when I was in Neville.
(They walk slowly up and down in front of the hotel. She is waiting for the car that should come and take her to Peace Square. Not many pedestrians, but a lot of traffic. It's a boulevard. Because of the noise of traffic, Almost shouting when speaking.)
She: You know, of all the cities in the world, of all things, the one I dream about the most at night is Nevel. But it's Neville who thinks the least about it when I'm awake.
Him: How did you go crazy when you were in Nevers?
She: You know, madness, like wisdom, is inexplicable. It is the same as wisdom. It comes, your mind is full of it, and then you understand it. But after it leaves you, you don't understand it at all.
Him: Are you full of hatred in your heart?
Her: That's how I go crazy. I hate it madly. I think it's entirely possible for a person to hate hatred, because all I think about is hatred. do you understand?
Him: I understand.
Her: That's true. I think you must also understand that is true.
Him: Did this happen again?
She: No. (almost a whisper) It's all over.
Him: Was it something during the war?
Her: Just after it was over.
(pause.)
He: Was that a difficult part of life in post-war France?
Her: Yes, it's okay to say that.
Him: When did your madness end?
She: (in a low voice, as usual) It passed little by little. Of course, then I had children.
(The sound of passing vehicles gradually increases and decreases, inversely proportional to the seriousness of the conversation.)
Him: What did you just say?
Her: I said it passed bit by bit. Of course, then I had kids...
Him: I wish I could spend a few days with you when and where.
Her: Me too.
Him: Seeing you today, I can't really see you again. It can't be considered to meet again in such a short time. I really hope to see you again.
she's not.
(She stands before him stubbornly, silently, and motionless. He almost agrees.)
Him: All right.
(She laughs, but reluctantly, as though resentfully, really resentful. The taxi is coming.)
Her: Because you know I'm leaving tomorrow.
(They laugh. But he laughs harder. Pause.)
Him: Maybe that's part of the reason. But that's not a good reason, is it? The thought of never seeing you again...forever...in hours.
(The taxi came and stopped at the intersection. She gestured to it that she was coming. She looked at the Japanese calmly and said:)
she's not.
(His eyes follow hers. Maybe he smiled.)
Part 3
(Four o'clock in the afternoon at Hiroshima Peace Plaza. In the distance, a group of film technicians is leaving the plaza with cameras, lights and reflectors. Japanese workers are dismantling the official stands that had just been used up for the film's final scene.
Note: we always see technicians in the distance, but never know what film they are shooting in Hiroshima. All we see is the set being dismantled. Stage crews held signs in various languages - Japanese, French, German, etc., that read "Never again a second Hiroshima." Workers were busy tearing down official stands and pulling out decorative flags. We saw that French woman on set. She fell asleep. Half of her nurse hood fell off her head. She lay in the shade of a stand.
We're guessing they've just finished an illuminating peace-promoting film in Hiroshima. It doesn't have to be a very special film, it's just inspiring. A group of people passed by where they had just filmed. The crowd was so indifferent that no one watched it except for a few children, who were so used to filming in Hiroshima. But there was a man passing by, stopping to look closely, and he was the same man we had just seen in her hotel room. He approached the nurse and watched her sleep. He looked at her for a long time, and it was his stare that finally woke her up.
In this scene, perhaps we can still see distant scenes: for example, the model of the Industrial Museum, the tourists are watching the guide, a few disabled soldiers in white clothes are begging for food, and the family is standing on a street corner chatting. She woke up. Fatigue is gone. They suddenly find themselves caught up in the whirlpool of their own story, the personal story that forever dominates the Hiroshima story destined to manifest.
She stood up and walked up to him. He smiled, a little unnaturally. Then they got serious again.
Him: It's not difficult to find you in Hiroshima.
(She smiles happily. Pause. He stares at her again. Two workers pass between them, carrying a zoomed-in photo from the film "The Children of Hiroshima," of the smoky ruins of Hiroshima. A dead mother and a crying child. Neither of them looked at the picture, a picture of Einstein followed closely.)
Him: Are you shooting a French film?
she's not. is international. Promoting peace.
Him: Is it over?
Her: Yeah, my part is done. They also do some mass scenes... We have quite a few commercials promoting soap. So...to emphasize...maybe.
He: (with a very clear view on the subject) Yes, for emphasis. In Hiroshima we don't joke about peace movies.
(He turns his face to her. The few pictures he was holding are gone. They instinctively move closer to each other. She sorts out the hijab that came off in bed.)
Him: Are you tired?
She: (looks at him with teasing and tender eyes. Then smiles almost melancholy) No more tired than you.
Him: (meaningly) I think of Neville in France.
(She smiles.)
Him: I've been thinking about you. Does your plane still take off tomorrow?
Her: Still tomorrow.
Him: Can't change it?
Her: Yes. The movie didn't catch up, and a month ago, I was due to go back to Paris.
(She looks him in the eye. He slowly removes her turban. Her lips are either darkened by heavy clothing, or pale, pale in the sun.
The man's movements are very casual and unhurried, producing the same erotic effect at the beginning of the film. Her hair was as messy as it was last night in bed. She told him to tear off the turban. She let him do whatever he wanted, just as she had to let him do whatever she wanted last night when she was in love. [Here, let him play a sexually provocative role. ]
She lowered her eyes and pouted inexplicably. She fiddled with something on the ground, then raised her eyes again. )
Him: You arouse my strong lust.
(She doesn't answer right away. His words overwhelm her, and she drops her eyes again. Could it be a cat in Peace Square rubbing her feet?)
She: (slowly) It's always... a love meeting by chance... me too.
(Something bizarre, hard to tell what, passed through them. A square frame, with a vivid image [of the atomic bomb?], but no apparent purpose. They paid no attention. it.)
Him: No, not always. This you know.
(Shouting in the distance. Then the child sings. But none of this distracts him. She makes a puzzled look. [A slutty look, I should say.] She raises her eyes again, but this time it is Looking at the sky, while wiping the sweat on his forehead, he said inexplicably :)
She: They said there would be thunderstorms before dark.
(The shot of the sky as she sees it. The white clouds swept across the sky...the singing is clearer. Then the parade [the end of] begins.
They step back. She leans against him, [in a woman's magazine pose. ] put his hand on his shoulder. He pressed his face to her hair. She raised her eyes to look at him. He wanted to take her out of the parade. She wants to refuse. But no matter what, she left with him unknowingly.
Children marched with placards. )
first set of placards
first placard
If 14 atomic bombs equals 100 million ordinary bombs.
second placard
If one hydrogen bomb equals 1,500 atomic bombs.
third placard
The 40,000 atomic and hydrogen bombs actually made in the world are equivalent to how many ordinary bombs?
fourth placard
Dropping a hydrogen bomb on Earth would mean restoring prehistoric times.
fifth placard
What does 40,000 atomic and hydrogen bombs mean?
The second set of placards
Ⅰ
This remarkable achievement proves that human beings possess scientific ingenuity. (Note 5)
II
Sadly, human political intelligence is 100 times less than scientific intelligence.
Ⅲ
This keeps us from really praising humans.
[The men and women follow the singing children. The dog follows the child. The cat is hiding behind the window. [The cats in Peace Square have long been accustomed to the parade, and they fall asleep. ]
placard. More placards. Everyone was so hot. A storm is brewing over the parade. Dark clouds cover the sun. There are many children in the procession, beautiful children. They feel hot, and they sing with a passion that only children have. Involuntarily, almost imperceptibly, the Japanese pushed the French woman in the direction of—or against—the parade. She closed her eyes and sighed, when she was sighing,)
Him: I feel sad when I think of you leaving tomorrow. I think I am in love with you.
(He puts his lips to her hair. Her hands are tightly on Jia's shoulders. Her eyes slowly open. The parade continues. The children's faces are painted white. A little bit of white powder appears Sweat. Two kids fighting over an orange, both angry. A man dressed as if he had been burnt in a bombing went by. He probably played a part in the film. The wax on his neck melted, Falling down. Maybe annoying and scary, they you look at me and I look at you.)
Him: Come with me and do it again.
(She didn't answer. A beautiful Japanese woman passed by on a float. She released a flock of pigeons. [Or another float, an allegorical one—such as the Atomic Ballet Float.])
Him: Answer me.
(She doesn't answer. He leans down and whispers into her ear:)
Him: Are you afraid?
She: (shaking her head with a smile) No.
(The changing children's singing continues, but gradually fades away. The monitor scolds the two children who are robbing oranges. The older children take the oranges and start eating. These scenes took longer than they should have been. Crying children A procession of five hundred students came from behind. It was a bit scary. He pulled her to his side. They seemed a little uneasy. He looked at her, she looked at the parade. The audience should feel that the parade is taking away their A little bit of the rest of the time. They were silent. He pulled her forward. She asked him to hold hands. They walked out of the crowd and went against the direction of the parade. We couldn't see them anymore. (Note 6) )
(They reappeared in a large Japanese-style room. Soft light. A refreshing feeling after a frenetic parade. It's a modern house with chairs and the like. She Standing there like a guest, hesitant. He came towards her from the far end of the room. [As if he had just closed the door, or came from the garage, etc.])
Him: Sit down.
(She doesn't sit down. The two continue to stand there. We feel that love is preventing them from having sex, at least for now. He faces her. It's a little awkward to stay like this for a while. A man has this Such an unexpected opportunity will not do like him.)
She: (looking for words) Are you alone in Hiroshima? ... where is your wife?
Him: She was in the hot spring, on the mountain. I am alone now.
Her: When will she be back?
Him: In a few days.
She: (softly, as if narrating) How does your wife look?
Him: (intentionally) Pretty. I am a man who lives happily with his wife.
(pause.)
Her: Me too. I am a woman who lives happily with her husband.
(When these words are said, the feelings of the two people are sincere, and this feeling continues.)
Her: Don't you work in the afternoon?
He: Yes, there are a lot of things, mainly working in the afternoon.
Her: This whole thing is stupid enough...
(It's like saying "I love you". The phone rang while they were kissing. He didn't answer.)
Her: Did I get in the way of your afternoon work?
(He still doesn't answer the phone.)
Her: Tell me, is there any impact?
(Hiroshima. After they fell in love. The light is different.)
Him: Was the man you loved in the war years French?
(Never. A German passes the square at dusk.)
She: No...he's not French.
(Hiroshima. She's in bed, tired but comfortable. It's getting darker.)
She: No praseodymium, it's Nevel.
(Never. A shot of love. Bicycles galloping. Woods, etc.)
Her: Initially, we met in the barn. Then in the ruins, then in the house, as in any other place.
(Hiroshima. In the room, the light is even darker. They hug each other quietly.)
Her: Then he died.
(Never. Several shots of Nevers. River. Pier. Poplar trees blowing in the wind, etc. Pier is empty. Garden. Hiroshima again.)
Her: At that time, I was eighteen and he was twenty-three.
(Never. In a "hut" at night. Neville's "marriage" shot. During the screening of the Neville scene, suppose he asked some questions, and she was answering, but not very loudly , Neville's footage continues. And then :)
She: (quietly) Why not talk about anything else, just about him?
Him: Why not?
she's not. why?
Him: For Neville. I'm just beginning to get to know you. Among the thousands of things in your life, I choose Nevel.
Her: Like you might choose somewhere else?
Him: Yes.
(Do we know he's lying? We suspect he's lying. She's almost pissed off, find something to say ;)
Her: No, it's not accidental. (Pauses) You have to tell me why.
(He can - which is a very important point in the film - answer this way :)
Him: There, I think, you must be very young... so young that you don't belong to a person. I like this.
Her: No, it's not true.
(or:)
Him: There, I think, I almost...lose you...probably didn't get a chance to know you.
(or:)
Him: There, I think, you must have begun to gradually form who you are today.
(Choose one of these three possibilities, or use all three, one after the other, or separate, and randomly intervene in the sex action on the bed. I like the last option if it doesn't make the scene too Long words. (Note 7))
She: (shouting loudly) I'm getting out of here. (She hugs him almost roughly.)
(They get dressed and stay in the room they were in earlier. The lights are on now. Both are standing.)
Him: (quietly) We can only kill time before you go. Sixteen hours before the plane takes off.
Her: (distraught, very distressed) It's been too long...
Him: (gently) No, you mustn't be afraid.
Part 4
(Night falls on Hiroshima, leaving only long strands of light. The river ebbs and flows on time. The tide. People sometimes observe the slowly rising tide along the muddy banks.
There is a cafe across the river. A modern, Americanized cafe with a wide bay window, customers sitting behind the cafe can only see the river, not the bank. The outline on the other side of the estuary is even more indistinct. There is the end of Hiroshima and the beginning of the Pacific Ocean. The cafe is half empty. They sat face to face at a table in the back half of the room, face to face or forehead to forehead. In the last scene, they were overwhelmed by the idea of saying goodbye in sixteen hours. Seeing them now, they are almost happy, not noticing the passage of time because a miracle has happened. What miracle? Neville was resurrected. Filled with this hopeless and happy love, he said:)
Him: Besides that, doesn't Nevel mean by in French?
Her: No, no.
Him: Would you feel cold in the basement if we were in love in Nevers?
Her: Yes. Neville's basement is cold, both in summer and winter. Because the city was built along the Loire.
Him: I can't imagine what Neville is like.
(Several shots of Neville. Loire.)
She: Neville. Forty thousand inhabitants. It's built like a capital -- but even a child can walk around the city. (She left him.) I was born in Neville, (she drank) grew up in Neville. I studied there and grew up there until I was twenty.
Him: What is the Loire like?
(He holds her head in his hands. Neville.)
She: It's a completely unnavigable river, it's always empty. Because of the twists and turns of the water, there are sandbars in the river. In France, people think the Loire is a very beautiful river, especially its light... so soft, if only you knew.
(Voice of ecstasy. He lets go of her head and listens.)
Him: Did I die when you were in the basement?
Her: You're dead...and...
(Never: The German was dying slowly on the dock.)
Her: How can you endure such pain? The basement is small.
(She pulls her face back from his and gestures with her hand how small the basement is. Then she goes on, still close, but not touching him. No flirtatious expression. She speaks to him earnestly and passionately. )
Her: ... very small. The tones of the Marseillaise floated over my head. singing...deafening...
(She covers her ears in the cafe [in Hiroshima]. The cafe is suddenly very quiet. Insert a few shots of Nevel. Liwa's bloody hand.)
Her: In the basement, hands become useless. They can only be used to dig holes. Grind all the skins off... on the wall...
(Blood hand, somewhere in Neville. Her hand on the table isn't hurt. Liwa licks her own blood.)
She: ...it's the only thing you can do, it makes you feel a little better...and to remember...since I've tasted your blood, I love blood.
(They seldom looked at each other while she was talking. They were looking at Nevel. Both seemed fascinated by Nevel. There were two glasses on the table. She drank greedily. He drank slowly . their hands are on the table.)
(Never.)
Her: The earth is spinning above my head. Of course... I see not the sky... but the earth moving. Monday to Saturday passed quickly, Sunday passed slowly. - People don't know I'm in the basement. They pretended that I was dead, far away from Nevel. That's what my father wanted. Because I disgraced him, that's what my father wanted.
(Neville, father, a Neville pharmacist, stands behind the window of his pharmacy.)
Him: Are you screaming?
(A house in Nevers.)
Her: I didn't shout at the beginning, no. I call you softly.
Him: But I'm dead.
She: I called you even though you were dead, and then, one day, I screamed, screaming like a deaf man. So they put me in the basement. to punish me.
Him: What did you call?
Her: Your German name. Just call your name. I only remember one thing - your name.
(A room in Neville, no screams can be heard.)
Her: I promised not to call again, so they let me go back to the house.
(A room in Neville. She lies on the bed, one leg arched, full of lust.)
Her: I really need you, I can't stand it anymore.
Him: Are you afraid?
Her: I'm afraid. I am afraid wherever I am. Either in the basement or in my house.
Him: What are you afraid of?
(Spots on the ceiling of Nevel, all sorts of horrible things in Neville.)
Her: I'm afraid I'll never see you again. Never, never see you.
(They are leaning against each other again, as in the beginning of this scene.)
Her: One day, when I turned twenty. I am in the basement. My mother came in and told me that I was twenty years old. (Pauses, as if reminiscing) My mother cried.
Him: You spit in your mother's face?
Her: Yes.
(They seem to feel these things together. He moves away a bit.)
Him: Drink something.
Her: Okay.
(He hands the cup over to drink. She looks tired from the memory.)
Her: (suddenly) After that, I can't remember anything. Can't remember anything...
He: (trying to remind her) These basements are very old, very damp, these Nevels' basements... you were saying...
Her: Yes, there is nitrate everywhere.
(She rests her mouth against the wall of Nevel's basement, nibbling at the wall.)
Her: There's a cat that sometimes runs in and looks around. This cat is not annoying. I can't remember anything.
(A cat runs into Neville's basement and looks at the woman.)
Her: Later, I can't remember anything.
Him: How long has it been like this?
Her: (still in a trance) Never ending.
(There was a man, a lone man, who chose a record of French bagpipe ball music on the jukebox. To keep the miracle of Neville's lost memories going, and to keep everything "still", the Japanese Pour the wine from his glass into hers.
In Nevel's basement, the cat's eyes and Liwa's eyes gleamed. She [drunk or crazy] laughed and yelled when she heard the music on the record :)
Her: Oh! How young I used to be!
(Her heart goes back to Nevel, never actually. She's obsessed [any adjective here].)
She: At night...my mother took me to the garden. She looked at my head and looked at my head carefully every night. She still didn't dare to come near me...I can only see the square at night, so I looked at it, it's huge! (gestures) The middle of the square sinks down.
(Vent hole in Neville's basement. Through it, a rainbow of bicycle wheels can be seen passing by at dawn.)
Her: I fell asleep at dawn.
Him: Does it rain sometimes over there?
She: ... down the wall.
(She's looking, looking, looking.)
She: (almost maliciously) I miss you, but I won't mention it again.
(They come closer again.)
He's crazy.
Her: I love you madly. (Pauses) My hair is growing out. I can feel it in my hands every day. I don't care. But anyway, my hair is growing back. ...
(Lida lies on Nevel's own bed, reaches into her hair and runs her fingers through it.)
Him: Did you shout before moving into the basement?
Her: No, I'm numb.
(They face-to-face, eyes half-closed. Hiroshima.)
She: They shaved my hair very carefully. They consider it their duty to shave women's heads well.
Him: (Very clearly) Honey, you're ashamed of them, aren't you?
(Cutting hair.)
Her: No, you are dead. I'm in so much pain. (It's getting darker. She speaks in a cold voice.) All I hear is the sound of scissors above my head. It makes me feel a little bit more comfortable about... your death, like... like..., oh, I can't give a better example, like when I'm angry... I just dig with my fingernails wall……
(She goes on, in Hiroshima, leaning desperately against him.)
Her: Ah! How painful! How painful my heart is. Simply unbelievable. The whole city is singing the Marseillaise. it's dark. My dead love is the enemy of France. Some say she should be dragged to the street to be seen. My father's pharmacy closed due to shame. I am alone. Some people are making fun of me. I went home that night.
(Never's Square. She screamed, but couldn't hear anything, but from her mouth, she guessed that it was a child of any nationality calling for mother. He still clings to her, pulling her hand.)
Him: Then, one day, my dear, you were freed from endless suffering.
(Lida paces back and forth in Nevel's room. Knocks things over, furious like a beast.)
She: Yes, after a long time. They told me that a long, long time passed. Whether it's winter or summer, the bells of the Saint-Etienne Cathedral ring every night at six o'clock. One day, I actually heard the bell.
I remember hearing that before—before—when we were in love, when we were happy.
I'm starting to see things clearly
I remember seeing it before—before—when we were in love, when we were happy.
I remember.
I see ink.
I saw the day.
I see my life. your death.
My life goes on. Your death continues.
(Never's room and basement.)
Now the shadows cover the corners of the house later than before, and the shadows cover the corners of the basement later than before, about half past six.
Winter is over.
(Pause. Hiroshima. The ground is shaking, and she moves her face away from him.)
Her: Ah! Terrible. My memory of you is starting to fade away.
(He drinks resignedly with his glass in hand. She is shocked by herself.)
Her: ...I'm starting to forget. I tremble because I can forget such a deep love...
...more love. (He gives her another drink.)
(She lingers in the past. This time, alone. He has lost his grip.)
Her: We have an appointment to meet at the Loire terminal at noon. I'm going with him. When I arrived at the pier at noon, he was still alive. Someone shot him from the garden.
(In the garden above the quays of the Loire. She becomes delirious and no longer looks at him.)
Her: I stayed with him all day and night. The next morning, they loaded him into a truck. That night Nevel was liberated. The bells of the Saint-Etienne Cathedral kept ringing through the night... Little by little he was getting colder under my body. what! What a long time he was dying! At what time did he die? I don't know either. I lay on top of him...yeah...I really don't know when he died because...because even then, even after the fact, yes, even after the fact, I couldn't tell the difference between his body and mine body of. I just felt his body merged with mine, you understand? (shouting) He was my first love...
(The Japanese slaps her in the face. [Or, you'd rather have him squeeze her hand as hard as you can.] She doesn't seem to know how to get into the slap, but suddenly wakes up and seems to understand that he needs to do it. of.)
Her: Then, one day... I screamed again, so they put me in the basement again.
(Her voice returns to a normal rhythm. Now it's the glass ball: the glass ball rolls into the basement, she picks it up, holds the human-warm glass ball in her hand, etc., and then takes it back to the children outside, etc.)
She: ...it's warm...
(He doesn't understand what she's talking about, but lets her go on. She goes on.)
She: (Pause) I think I forgot about the hatred at that point. (Pauses) I don't shout anymore. (Pauses) I regained my senses. They said, "She's back to her senses." (Pause) They let me out one holiday night.
(Dawn. Nevers. Riverside.)
Her: the banks of the Loire. dawn. People are crossing the bridge, sometimes in large numbers, sometimes in small numbers, depending on the time of day. There was no one in the distance.
(Republic Square, Nevers, evening.)
She: Soon after, my mother told me I had to go to Paris in the evening. She gave me some money. I went to Paris by bike at night. It was summer, and the weather was warm at night. When I arrived in Paris two days later, the newspapers were full of news about Hiroshima. My hair has grown quite nicely. I went to the crowd in the street.
(Someone put another bagpipe ball record on the jukebox.)
She: (as if just waking up) Fourteen years have passed.
(He hands her something to drink. She drinks, apparently calming down. They break free from Neville's past.
Her: I don't even remember his hands...the pain, I remember a little bit of that pain.
Him: Tonight?
Her: Yes, I remembered that pain tonight. But one day I will forget it too. Completely forget. Forget everything.
She: (looking up at him) By this time tomorrow, you and I will be thousands of miles apart.
Him: Does your husband know about this?
She: (hesitates) I don't know.
Him: So, am I the only one who knows?
Her: Yes.
(He gets up, hugs her, pulls her up, hugs her tightly and desperately. People look at them. They don't pay attention. He is very happy. He smiles.)
Him: Only I know. Does no one else know?
She: (closes her eyes) Stop talking.
(She moves closer to him, raises her hand and strokes his lips lightly. Then, all of a sudden, she seems very happy :)
Her: Ah, sometimes it's nice to have someone by your side!
(They part slowly, and he sits down again.)
Him: Yes.
(One of the lights goes out, maybe the light by the river, maybe the light in the bar. She jumps up. She pulls back the hand that was stroking his lips again. He didn't forget that time flies.)
Him: Tell me a little more.
Her: All right.
(Thinking, can't think of anything.)
Him: Tell me a little more.
Her: I have to go through that moment again. That eternal moment.
(She's drinking. He's talking, he seems out of reality.)
Him: Years later, when I've forgotten you, when I'm out of habit, and there are such things, I'll still miss you as a symbol of love forgetting. When I think of our encounter, I think of the horror of forgetting. I know I will be like that.
(People are walking into the cafe. She looks at them.)
She: (hopefully) In Hiroshima, will there be no activities at night?
(They start playing one last game of cheating on each other.)
Him: Never, Hiroshima will never stop moving at night.
(She puts down her glass and smiles with sadness hidden in her smile.)
She: I like that... like cities where people are awake day and night—
(The proprietress in the bar turns off a light. The record player also stops. They are in semi-darkness. The closing time of the cafe is coming soon. They all close their eyes, as if suddenly shy. The world kicked them out because there was no room for their adventures in this world. There was no need to fight. She suddenly understood this. When they opened their eyes again, they did laugh, "To stop crying." ". She. Stand up. He didn't stop her. They walked out of the cafe and stood in front of the cafe in the dark. She stood facing him.)
She: Sometimes you need to forget about the difficulties caused by society, or you will suffocate.
(The cafe turns off the last light. Both men drop their eyes.)
Her: Come on, leave me.
(He starts walking, looking up at the sky.)
Him: It's not yet dawn...
Her: No (pause) Maybe we'll never meet again.
Him: Yes, probably so. (Pauses) Unless, maybe one day, war breaks out...
(pause.)
She: (sarcastically) Yes, war...
Part 5
(Some time later. We see her on the street, walking very fast. Then, on the porch of the hotel, taking the room key. Then, we see her on the stairs. Then, she opens the The door of her room, walked in, suddenly stopped, as if facing the abyss, or found someone in the room. She backed out and closed the door softly.
Upstairs, down, upstairs, and so on. She folded back and walked up and down the aisle. Wringing her hands, thinking about what to do, she couldn't think of a way, and suddenly returned to her room. This time, he stayed in the room.
She went to the washbasin and splashed some water on her face. We hear her first inner monologue. )
Her: You think you know, no, you don't.
In Nevelt, in her youth, she had a German lover. ...
We're going to Bavaria, my dear, and we're going to get married there.
She never went into Bavaria. (look in the mirror)
I'd like to see who dares to talk about love to her who hasn't been to Bavaria.
You are not quite dead yet.
I told others about our story.
I was unfaithful to you tonight in front of this stranger.
I told him our story.
You see, this is a story to tell others.
For fourteen years, I haven't tasted...unfulfilled love.
Since Neville.
See how I'm forgetting about you...
See how I have forgotten you.
look at me.
(Looking through the open window, we see the newly built Hiroshima, which is sleeping peacefully. Suddenly she looks up and sees in the mirror her wet face--like tears, old and haggard. Once, she closed her eyes wearily. She dried her face and left the house quickly and out on the porch.)
(When we see her again, she's sitting on a bench or a pile of rocks about fifty feet away from the cafe where they've spent the night. The cafe's light hits her eyes. Her eyes are dull, almost Empty, because he's not there anymore. She continues to look at the cafe on the rock [lie down, sits]. [There's only one light left in the bar. The room where they sat just now is empty. A door leading to the room was slightly open, and the dim light just made one see where the tables and chairs were placed. They really were vague, illusory shadows.]
She closed her eyes, then opened them again. She seemed to be asleep, but she wasn't. When she opened her eyes, they opened suddenly like a cat. Then, we hear her voice - inner monologue :)
Her: I'm staying in Hiroshima. Be with her every night. in Hiroshima. (opens eyes) I'm staying here, here.
(She takes her eyes off the cafe and looks around blankly. Then suddenly she huddles into a tight ball like a child, holding her head in her hands and curling her feet. The Japanese approaches her. She sees him, but doesn't move. , no response. Both start to get a little distracted. No surprise to each other. He's smoking.)
Him: Stay in Hiroshima.
She: (glances at him) Of course I'm staying in Hiroshima with you. (She puts her head down again, in a childish voice) Oh, I'm so sick...
(He approaches her.)
Her: I didn't expect this to happen, really... go away.
Him: (walks away) I can't leave you.
(They are on the boulevard now. The background is the neon sign of the nightclub. The boulevard is straight. She walks in front, he stays behind. We see one, then the other. Their faces It's full of grief. He catches up with her.)
Him: (gently) Stay with me in Hiroshima.
(She didn't answer. Then, we heard her inner monologue, very loud and unabl
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