Lost in Translation

FADE IN:

EXT. NARITA AIRPORT - NIGHT

We hear the sound of a plane landing over black.

CUT TO:

INT. CHARLOTTE'S ROOM - NIGHT

The back of a GIRL in pink underwear, she leans at a big

window, looking out over Tokyo.

CUT TO:

Melodramatic music swells over the Girl's butt in pink sheer

underwear as she lies on the bed.

TITLE CARDS OVER IMAGE.

LOST IN TRANSLATION

INT. CAR - NIGHT

POV from a car window - the colors and lights of Tokyo neon

at night blur by.

CUT TO:

In the backseat of a Presidential limousine, BOB (late-

forties), tired and depressed, leans against a little doily,

staring out the window.

P.O.V. from car window- We see buildings covered in bright

signs, a billboard of Brad Pitt selling jeans, another of

Bob in black & white,looking distinguished with a bottle of

whiskey in a Suntory ad... more signs, a huge TV with perky

Japanese pop stars singing.

CUT TO:

EXT. PARK HYATT - NIGHT

Bob's black Presidential (looks like a 60's diplomat's car)

pulls up at the entrance of the Park Hyatt, a modern sky

rise.

The automatic doors open on the car, as Bob gets out. Eager

BELLHOPS with white gloves approach at the sight of the car,

welcoming Bob and helping him with his bags.

CUT TO:

INT. PARK HYATT - NIGHT

Bob stands in the back of a crowded elevator surrounded by

Japanese businessmen below his shoulders.

The elevator stops at the 50th floor and the doors open onto

the massive, streamline lobby of the Park Hyatt.

Bob follows the JAPANESE BUSINESSMEN out into the marble and

glass lobby that frames the view of Tokyo.

The CONCIERGE and several eager HOTEL MANAGERS greet Bob. He

just wants to sleep, but more STAFF continue to greet him,

ask him about his fright. They lead him to reception.

INT. HOTEL RECEPTION - NIGHT

At the reception area four JAPANESE BUSINESSMEN and two WOMEN

quickly sit up from their seats on sight of Bob, and extend

handshakes and gifts. They bow and introduce themselves from

the commercial company, extend name cards and welcome him

enthusiastically.

More staff welcomes him and offer their service during his

stay.

One of them presents a fax that has come for him.

INSERT -

"TO:
BOB HARRIS

FROM:
LYDIA HARRIS

YOU FORGOT ADAM'S BIRTHDAY.

I'M SURE HE'LL UNDERSTAND.

HAVE A GOOD TRIP, L"

He doesn't know what to do with it, and stuffs it in his

pocket.

The commercial people tell him when they'll be picking him

up, and ask if he needs anything else.

Some JAPANESE ROCK STARS with shag haircuts and skinny leather

pants pass by. Each commercial person has to shake Bob's

hand before leaving.

CUT TO:

INT. BOB'S HOTEL ROOM - NIGHT

Bob sits on the end of the bed in a too small hotel kimono.

INT. PARK HYATT BAR - NIGHT

Bob sits at the bar. A few minutes pass as he sits in silence

looking around, drinking a scotch. Chet Baker sings "The

Thrill is Gone" over the stereo.

We see Bob's POV of tables of people talking. JAPANESE WOMEN

SMOKING, AMERICAN BUSINESSMEN tying one on, talking about

software sales. A WAITER carefully setting down a coaster,

and pouring a beer very, very slowly. It's all very foreign.

CUT TO:

INT. BOB'S HOTEL ROOM - MORNING

The automatic hotel curtains open, pouring light into the

room.

CUT TO:

INT.HOTEL BATHROOM - DAY

Bob gets in the shower overlooking the view of Tokyo. The

shower head is at his elbows, he raises it as high as it

goes, and leans down to have a shower. This hotel was not

designed with him in mind.

CUT TO:

INT. STUDIO - DAY

Whiskey commercial shoot.

The set is full of activity as the JAPANESE CREW work. Bob,

in a shawl collared tuxedo sits at a European style bar set

with a cut crystal glass of whiskey. A JAPANESE GIRL quickly

powders his face as they adjust lights and the DIRECTOR and

crew speak in hurried Japanese.

The Director (with blue contact lenses) says a few long

sentences in Japanese.

TRANSLATOR, a middle-aged woman in a coordinated outfit,

translates but it is only a short sentence now.

TRANSLATOR:

He wants you to turn, look in camera

and say the lines.

Bob wonders what she's leaving out, or if that's the way it

works from Japanese to English.

BOB:

That's all he said?

TRANSLATOR:

Yes, turn to camera.

Bob thinks let's just get it over with.

BOB:

Turn left or right?

The Translator blots her face with a tissue, and asks the

director in a Japanese sentence 5 times as long. The Director

answers her in a long excited phrase.

TRANSLATOR:

Right side. And with intensity.

BOB:

Is that everything? It seemed like

he was saying a lot more.

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