The college year in Japan starts in October, so in the fall of 1999 I had an extra month of summer vacation. It was going to be tough committing to a year in such a different place, while navigating a long-distance relationship with my boyfriend in Toronto, but life is for adventure. I arrived at Kansai International Airport in the last week of September, planning to take a week’s diversion to catch up with my friend Ian, who had taken a job teaching English in a small town in Fukushima Prefecture, roughly 75 miles (120 km) North-East of Tokyo. After that, I would head down to my new home in Ohbaku – a suburb of Kyoto – for my stint as a foreign student at Kyoto University, or Kyodai, as it’s known locally.
I was impressed that the local school had provided Ian and his girlfriend an entire house, with traditional tatami floors and sliding paper doors. It seemed like such a grown-up way to live, especially after our previous haunt at the university residence back in Canada. I happily settled in for the first night in my new country.
The next morning, 30 miles (50km) away, Hisashi Ouchi, Masato Shinohara and Yutaka Yokokawa were preparing a small batch of uranium dioxide fuel for a nuclear reactor, and they were under considerable time pressure. They opted for 10-litre stainless steel buckets rather than a dissolving tank, and then they poured their mixture, including about 16 kg of enriched uranium, directly into a precipitation tank, rather than the buffer tank designed to preclude the onset of criticality. Midway through pouring the seventh bucket, Cherenkov radiation flashed a brilliant blue, illuminating the workers, one leaning over the edge of the tank, another holding a pouring filter.





I don’t have a problem with screenwriters fudging scientific truths as long as they: are internally consistent with their made-up science; and manipulate the facts in the name of telling a good story.