David Corn

Regular readers might know that I was the first journalist to report that the leak in Novak's July 14, 2003, column--which the conservative columnist had attributed to two administration sources--was possible evidence of a White House crime. And ever since then, some rightwingers have blamed me for kicking off the whole Plamegate scandal and the consequent investigations that eventually led to the indictment and conviction of Scooter Libby.

And here was Penn playing the scene in which Joe Wilson is informed by Chris Matthews that Karl Rove had told Matthews that the White House, upset with Wilson's charge that it had misled the public about WMDs in Iraq, considered Valerie Wilson "fair game."

"Good book," Penn said to me. I replied, "I never thought that one story would lead to this."

"Well," Penn said, sweeping his hands across the fine suit he was wearing, "I'm glad it did."

"Anything to help your career," I said. "And congratulations," I added, referring to his recent Oscar win.

I left the building and walked past the film crew, readying to shoot Penn exiting the studio and getting into the Jaguar--the same make and model--that Wilson drove in those days. After I got into my car, one of the producers came over. He had recognized me and said that the film's writers would like to meet me. So we all chatted for a while, standing in the rain, as Penn-as-Wilson walked back and forth between the studio's entrance and the Jag. The writers told me that they had practically memorized Hubris, noting that the book had helped them.

Matthews came out and joined in, recounting his role in the Wilson affair, as the shooting proceeded. When the scene was done, I was introduced to director Doug Liman (his other films include The Bourne Identity, Go, Mr. & Mrs. Smith). I recalled how I had put off doing that first column on the leak for two days because at the time I was at work on another story, which I can no longer remember. "None of this might have happened," someone said. Who knows? I said.

Then it was time for Penn, Liman, and the crew to head off to another shot. In the morning, they would be heading to New York, where they will be filming many of the movie's interior scenes. "Great seeing you here," Penn said. It was a rather appropriate coincidence.

Back home, I told my two young daughters about the encounter. "Will you get any credit in the film," the older one asked. No, I said, explaining that the filmmakers could use any facts in our book without having to acknowledge us or pay us. Oliver Stone's W., I told them, contains several scenes drawn from Hubris (and then changed), and Stone credited our book only on the film's website as a source (or inspiration) for parts of his movie. "It's like they just barge in," my daughter said. In a way, yes.

But I write for reality, not for Hollywood. (At least, not yet.) And there's only so much control a reporter has once he or she has unleashed a story. It was somewhat odd to see Penn standing in the drizzle as Joe Wilson. I can't say that I had put him there, though clearly I had played a part. Maybe a cameo.