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Good morning, Mr. Lewis.

Miss Dell's in the playroom.

Good morning, George. I'll find her.

Very good.

Not ladylike, but good.

Hello, Sam.

You find out where the genius is going?

Nope. He won't tell me anything.

They're in there mumbling.

Every time I try to listen, they shut up.

We'll find out in a minute.

Second legation.

But look at-- Hi, Sam.

Sam, how are you?

I'll know better after I hear your story.

You're going to love it, Sam.

All this mystery. I know what it is.

It's another western.

How do you know?

I looked in your closet.

You're taking your hiking boots.

I always take those boots on location.

Well, then it's a picture set in Alaska.

Why Alaska?

I saw your finger on the map before you snatched it away.

You're getting warmer. Keep trying.

I'm not interested. I probably won't like it anyway.

Did it ever occur to you that being your wife

is no guarantee I'll do your story, herr director?

No talk like that. You'll like it.

How do you know? You haven't heard it.

My nose tells me. Look at their faces.

Like a couple of kids with a new toy.

I smell a hit.

I smell his part's going to be fatter than mine.

It's about time.

It'll be rewritten. Never happen. Not this part.

Enough already. Save the suspense for the picture.

Let me hear something.

Sit down, Sam.

Are you ready? Yes, I'm ready.

Good. We are going to do...

Madame Butterfly.

Madame Butterfly?

I know what you think, but it's a wonderful love story.

Through the story,

I want to capture the real traditional Japan.

It's a country of yellow and red lacquer.

It was made for color film.

And that score has international appeal.

Well, I don't know.

I play Lieutenant Pinkerton.

I'm ideal for the part.

And I walk around in those wooden shoes and go chop, chop, chop.

You're not in the picture, Lucy.

She's not? I'm not?

No, you're not.

I'm going to use a real Japanese girl.

That's the kind of picture it's going to be--real.

Not just an opera, but real.

Well, that's a surprise.

A very unpleasant surprise.

Now look here, Paul.

I'm going to talk plainly.

Lucy is the biggest box office attraction we have.

When you said Madame Butterfly,

I thought you had a comic version...

Well, I haven't.

To do what she's famous for.

Lucy in the part of Madame Butterfly

would be offensive.

Well, that's a nice word.

You are a great comic, Lucy,

but Madame Bitterly is outside your range.

Outside, my foot! It's harder to get laughs

than crying into handkerchiefs.

I agree, but I don't see you in this part.

Sam, if you don't care to do it,

I can go with another studio.

I can't make that decision without talking to New York.

Why do you have to go to Japan so soon?

Our problem is beating the rainy season.

We're short of time as it is.

You're not too mad at me, Lucy?

Not too mad.

I was just thinking where there was a gun.

I'm sorry, but I have to do this picture.

It means more to me than you suspect.

I'll call you every day.

I don't want to kiss a telephone good night.

The luggage is packed now, sir.

Let's get the funeral procession over with.

BOB: Pick me up at my house, Pauly.

See you at the airport, Sam.

...via Honolulu is now boarding at Gate 10.

All aboard, please.

That's you, boys.

I've kissed Lucy so often in front of the camera

with him directing me,

I'm curious to see the master at work.

Carry on. I'll hold your library.

Take care of yourself.

Get enough rest.

Don't smoke too much.

Think of me.

Day and night, my love.

Well, it's not bad.

A little old-fashioned, perhaps.

My parents kissed like that.

( whistles )

Wow.

Well, not exactly like my parents--

Or not when I was around.

Oh, uh, Paul...

I've sent a long telegram to Leonard in New York.

I hope he goes along with the idea.

You have my vote. Thanks, Sam.

Goodbye, darling.

Bye.

Bye, Sam. Goodbye, Bob.

Bye, leading lady. Bye.

Goodbye, lover.

Good luck.

Tomorrow we find out if New York likes documentary opera.

That's the worst idea I ever heard of!

It isn't so terrible, Leonard.

Madame Butterfly is a masterpiece.

It should be done.

Let Sam Goldwyn do it!

Look, I like Madame Butterfly.

I'll even pay my $2.00 and go to see it,

but I won't pay $2 million

to have Robert Moore kissing a Japanese girl!

The film public wants to see

Robert Moore kissing you.

Your artistic husband should know that!

It's out of the question!

I forbid him to make it!

Tell him another studio might want it.

Leonard, you can't forbid him to make it.

He's only giving you first choice.

Another studio wants it.

Now, watch. He can't stand that.

Put Sam on the phone.

I can hear you from here.

We can hear you fine.

Sam, this is an order.

The film is not to cost more than $500,000.

That's all a Robert Moore picture without Lucy is worth!

You go to Japan and watch every penny!

I hold you responsible!

You can't make it for $500,000!

He hung up.

Can Madame Butterfly be done for $500,000?

No! But in the motion picture business,

$500,000 is roughly $700,000.

Maybe...

maybe with a little skimping and saving

and me watching the pennies,

we can make it for $800,000.

I better go to Japan right now.

There must be other ways of making a living.

Fortunately, I don't know any.

I'll be leaving tomorrow

before your husband starts making contracts

to use all of Japan as extras.

I'll kiss him for you.

Sam...can I kiss him myself?

Take me with you.

I'll come back any time you tell me to.

You miss him already?

Maybe you can help.

We'll have to tell him he has to make a cheap picture.

That won't be easy.

I'll phone you when we leave.

Thanks, Sam.

You know, he hasn't any other studio to back him.

Once in a while,

I don't mind making a little artistic gamble.

There are other things in life besides just money.

That's one of them.

Thank you, Sam.

Well, goodbye, darling.

I'll phone you. Thank you.

This is Tokyo Tower.

Make straight-in approach to Runway 3-3.

You are cleared to land. Over.

Oh, hello, Mr. Takata. How are you?

Fine, Mr. Lewis.

It's so nice to see you again.

It's nice to be back.

Lucy, this is Mr. Kenichi Takata,

the head of our office in Japan.

I was not informed you were coming.

There would have been the press.

No press is quite all right.

We're surprising my husband.

He will be surprised.

He awaits only Mr. Lewis at his hotel.

This way, please. Certainly.

Oh, uh, excuse me a moment.

Oh, Lucy, because the plane was late,

Paul and Bob asked me to meet them

at this teahouse restaurant.

Why don't you go freshen up a bit?

I'll see the boys,

and then I'll send the car back,

then you can really surprise them.

Stay head of the studio. You couldn't be an actor.

What do you mean?

You're afraid I'll catch Paul with someone.

Oh, no. Not at all. Yes, it is.

Well...

I'm not in favor of surprises,

especially out of town.

I had a very bad experience once

with two married stars in Pittsburgh.

There'll never be a Pittsburgh with us.

I'd bet my life on Paul.

Now let's freshen up. We'll both surprise him.

( speaking Japanese )

Lucy Dell-san. This is the mama-san.

How do you do?

They will take us to your husband.

We see your picture often. Thank you.

I have your photograph on my wall.

Thank you very much.

You're very big in Japan.

Thank you. Thank you very much.

Oh, that's nice.

It's really gorgeous in here.

Charming, isn't it? A lovely little bridge, too.

Very lovely.

( laughter )

( Japanese music plays )

* Ah ah ah ah ah **

( speaking Japanese )

They've got five dames waiting on them in there.

I heard it was a man's country, but this is ridiculous.

More.

Yes. They come and go all evening.

( speaking Japanese )

Why that different makeup?

The first one is a waitress,

and the other one is a geisha.

Geisha? Well, tell them they're wasting their time on my boy.

Or could it be we're in Pittsburgh?

You don't believe that of geisha?

You know better than that.

I don't know. I've heard conflicting stories.

Eenie minie mo!

I haven't won one yet.

Do you think this is crooked?

I don't see how. Maybe they're clairvoyant.

Eenie minie mo!

Eenie minie mo!

Eenie minie mo!

I'll be a monkey's uncle.

What's the monkey's uncle drinking?

Sake. It's rice wine.

( speaking Japanese )

They're beautiful.

This is Miss Lucy Dell.

Are, uh, they wigs, or is that their own hair?

It's a wig.

Wigs. Uh-huh.

Could I put on one of those costumes

and make my face white like they do?

Yes.

( speaking Japanese )

You might fool him as you walk in,

but first straight look at you, he'll know you.

I'll bet you a hundred. All right, you've got it.

Not yet, but I think I will.

The bet's for one good straight look, okay?

Okay. What comes after?

Then I'm going to jump in his lap

and give him a big fat kiss.

It's worth losing just to see. Don't be long.

Okay.

Hi, Sam! Hi, Paul.

Pull up your knees and sit down.

Did you see Lucy before you left?

She came to the airport. She sends her love.

I'll drink to that.

To Lucy, the greatest wife both sides of the Pacific.

Thank you.

( speaking Japanese )

Thank you.

( speaking Japanese )

Here? I make you beautiful geisha.

Thank you. This is my makeup.

I put this on my face? Yes.

Like this?

But imagine, Sam,

imagine hearing Puccini's music over a shot of Fujiyama,

over those beautiful shrines, over a face like that.

Yes.

It will be fabulous.

Oh, brother, I got to stop eating.

My stomach's busting,

and my knees are killing me.

Paul, can we leave now?

Uh, look, Bob, we ought to stay another five minutes,

just as a matter of courtesy.

Okay.

Paul, I expect the music tomorrow morning.

I want you to listen to it.

They've done a wonderful recording job.

I'm sure you'll like it.

Fine. I want to hear them as soon as possible.

No, enough with sake.

Thank you. I like sake.

I'm going to have some cases sent to California.

I have to finish casting

before I look for locations.

Mr. Takata is sure to help you with the casting.

Certainly. He'll be very helpful.

We're overdoing this, aren't we?

I only want to see actors who speak English.

I understand. Does that limit my selection?

No, not very much.

Good. Good.

Ah. Let's see if my luck has changed any.

No.

Come on. Wang king pong.

Wang king boo.

I win! I knew I'd get the hang of it.

Come on, come on, young lady, drink up.

I quit while I'm ahead.

I don't want to break my winning streak.

Young lady, do you know that you were up against

one of the smartest gamblers

who ever floated down the Mississippi?

Floated up, too, which is even harder.

( giggling )

You are so funny.

Thank you, ma'am. And you are very charming.

And you are very pretty, too, miss.

Thank you.

You know, these people are very photogenic.

It's their bone structure--

high, full cheeks.

More so than Occidentals?

Oh, yeah. I mean, this girl, for instance,

is a better photographic subject than say, uh, Lucy?

Excuse me.

Absolutely.

Well, you're the expert. I know when I'm licked.

Mm-hmm. Well...

Enough polite. Goodbye, everybody.

Oh, miss, how do you say goodbye in Japanese?

Sayonara.

Oh, certainly.

What's the matter with me?

It's the only word in Japanese I do know.

It's the only word in Japanese a lot of people know.

Yeah. Well, sayonara, everybody.

Marlon Brando!

Thank you.

Go and come back.

Go on and come back.

All right.

( speaking Japanese )

Thank you so much.

Arigato. Domo arigato.

Thank you very much. Wonderful.

Thank you so much. Wonderful.

Madame, we'll be back again.

We had a wonderful time.

Sayonara. Sayonara, you all.

Sayonara.

Old Japanese saying--

"Fast pay make fast friends."

Sam, what chance has Paul got to make a good picture

on this cheap budget?

Not much. Tomorrow, I'm going to tell him

he can't shoot it in color.

It'll have to be in glorious black and white.

Without your name on the picture,

we can only spend so much and no more.

You thinking the same thing I'm thinking?

Exactly. And you'd be great in the part.

I'd love to do it, Sam.

It would really be something different for me.

Without hurting Paul, how can we talk him into it?

How are you hurting him?

Without you, he has a cheap picture--

black and white and without the best opera singers.

With you, the sky is the limit.

Color, famous singers,

he could shoot on location to his heart's content.

How are you hurting him?

It's a matter of pride.

He's so sold on using a real Japanese girl.

Well, then it's false pride.

He couldn't tell you from a Japanese,

and he was 6 inches from you.

We'll have to do it delicately.

Well, fine. Force him delicately.

How?

Let me do it.

I'll, uh, suggest you for the part.

He'll refuse. We'll argue for an hour.

Then I'll say, "Made up as Japanese,

you could fool anyone."

Sooner or later, take my word for it,

he'll say, "No, she could never fool me."

All right. We'll make that the deciding condition.

After he agrees,

we'll show him we fooled him already.

He'll stick to his bargain.

I know it. I guarantee it.

Sam, are producers born that way,

or do they teach you those things

when you join the studio?

Like the man said,

who was asked if he was a Communist,

"We're not allowed to tell."

Well, the local gals don't come blue-eyed,

so I'll need some contact lenses.

It's all right. We'll send to America

to have a man fit you.

Contact lenses were invented in Japan.

Really? Yes.

Well, live and learn.

* Don't dig my style, The way I dress *

* I try To make you look But then you aren't impressed *

* It's all right * * It's all right *

* It's all right *

* Right **

Thank you. Very nice.

We also dance. We do soft shoe, ballet, and classical.

We have a bicycle act we could show you.

I ride on my sister's shoulder and play a ukulele.

I'm afraid it would be a little difficult

to fit into Madame Butterfly.

Anyway, thank you, young ladies.

Mr. Takata will call you if we can use you.

Arigato. Domo arigato.

( speaking Japanese )

Good morning, Mr. Takata.

Good morning, Mr. Lewis.

Paul in there?

Yes. Please come in.

( speaking Japanese )

Morning, Paul.

Hello, Sam. That's all, Takata, thank you.

All right. How did you sleep?

Fine. I'm caught up. How are you making out?

I've seen 30 girls this morning.

Ukulele acts on bicycles

and rock 'n' roll singers.

They're more western than the girls at home.

I knew there was an American tendency,

but they are making a fetish of it.

They're not Japanese anymore.

Look at them.

I felt this problem when I got off the plane

and saw the neon signs.

That's why I want to do this picture.

I want to capture that other spirit of Japan

while it still exists.

The mistake I have made

was thinking I should use a Japanese actress.

Well, I'm glad to hear you say that.

Why?

Because I've come to recommend an American actress.

Who? Lucy.

I thought we settled that.

But you said you're not using a Japanese actress.

That's right. Not an actress.

I want to use a plain, old-fashioned,

real Japanese girl who doesn't sing rock 'n' roll.

You've got a built-in hostility to Lucy playing that part.

Now look, Paul, I say--

Lucy made up as a geisha in a roomful of geishas,

you'd never pick her out.

You're blowing your top. You had too much sake.

I say she'd fool you.

She'd never fool me.

I'd be willing to go by that test.

I haven't time for this foolishness.

I know the sort of girl I want.

Be fair.

Get a geisha we saw last night.

I know the very one.

The girl who came in last. The shy one.

The one I beat in the game.

I've got some respo--

There was something about that geisha.

I didn't know what it was.

Suddenly it came over me.

Do you know who she reminds me of?

Who? Lucy. Yes, Lucy.

You don't see it, but I do.

She's exactly as photogenic as Lucy.

I guarantee it.

What do you know?

What do I need out of this girl? A face.

But it must be a real face.

Madame Butterfly was a geisha.

This girl is a geisha.

She'll play it real because she doesn't know any other way.

Don't resist the idea.

I'm not resisting it.

Just let me think about it.

Sam, I'd like to pay you a compliment.

There is nobody like you in Hollywood.

I haven't said yes yet.

You agree to the principle?

Yes, in--in principle.

I don't hold you to that girl.

We'll find another geisha.

No, no, that girl.

Ah. That geisha was the best.

You think so, too?

I give you my word.

I couldn't take my eyes off her.

She's got something. I'll give her a screen test.

Sam, on this picture,

I want the real thing.

I want to get away from a film studio.

I tell you, Sam, we can make screen history.

While you're making it, I'll run along.

I have some errands.

Thank you.

So long, Sam. I'm awfully fond of you.

I love you, too.

Ahh.

I hope my eyes don't blink too much.

I have to get used to these contact lenses.

The thing to stress is how old-fashioned you are.

That's the quality he says he's looking for.

I'll be old-fashioned.

Have you got a story prepared?

I have a story.

Well, aren't you nervous?

No, but I will be pretty soon. I'm sorry.

I think we must use psychology on Paul.

If he thinks he can't get me, he'll want me.

You have a chance to be a film star,

and you're going to play hard to get?

You going to listen or keep talking?

I'm listening. Tell Paul I'm a religious girl

and after my geisha time, I'm entering a Buddhist convent.

What's that?

Please. We haven't time to debate this. Do as I ask.

I hope you know what you're doing.

Convent?

Well, well. Well?

Maybe we ought to get another girl.

Why? This one is-- I don't know.

She won't give him options for more pictures.

More? She's not too interested in doing this one.

She's not? What?

I don't know. I can't get it clear,

but she's going into a convent or something.

Don't take on headaches you don't need.

I don't know.

A spiritual quality is what this role calls for.

Hmm. Not interested in the part, huh?

Oh, here-- here she comes.

Ohayo gozaimasu.

Good morning. Good morning.

I'm afraid I don't know your name.

Yoko Mori.

That is a very melodious name.

Yes, nice and short.

Looks fine on a marquee.

You remember Mr. Moore?

Ah, very famous American picture star.

I am honored.

Well, thank you.

I'm, um, likewise honored.

What pictures of mine have you seen?

I never see you in cinema.

I sorry, I do not go.

I thought the Japanese were big picture fans.

Hai. We in Japan admire greatly the American film.

But not you? I hope I not give offense.

We're just curious why you don't go.

I follow old tradition.

My honored grandmother never go cinema.

I'm afraid that the cinema wasn't invented

when your grandmother was around.

Well, let's begin, shall we?

Hai.

What is she, some kind of nut?

I say get somebody else.

You can't tell yet.

I can tell.

( speaking Japanese )

Okay, thank you, Shig. Thank you.

Now, here. Here, that way. That way.

Now. Now, Miss Moro, I-- Mori.

Yes, of course. I'm sorry. Miss Mori.

Can I have a little quiet, please?

Thank you very much.

Now, Miss Mori, this is mostly a photographic test.

We want to see how you look on film,

how your voice sounds, and how you move.

I ask a question from off-camera, and you answer me.

That's simple, isn't it?

Hai. Seems simple.

We go. Right?

Roll 'em.

( bell rings )

Madame Butterfly. Testo.

Yoko Mori. Take one.

Are you nervous, Miss Mori?

Hai, a little nervous.

That's very natural.

May I call you Yoko?

I would be honored.

Yoko, we know very little of geisha.

Would you tell us something about yourself--

where you were born, how you were raised,

and how you came to be a geisha?

I was born the youngest of 11 children

to my poor but very honorable parents

in small village not far from Tokyo.

When I was few weeks old, my father died,

and mother unable to raise me.

She sent me to live

with honorable grandparents

who raised me until I was, uh...

5 years old.

Since they, too, were also quite poor,

it became necessary at that time to sell me.

When I was sold--

Hold it a moment, Yoko. Hold it.

Am I not speaking clearly?

No, you're speaking fine.

The part about you being sold--

could you explain that a little more fully?

Hai.

My grandfather went to a man who bought young girls

to train as geisha.

He bought many girls,

although not all girls were able to become geisha.

I was most fortunate.

I became geisha.

Does this man still own you?

No. I recently pay back last of the money

to honorable gentleman.

Oh, that's very commendable.

I do not understand the word.

Oh, it's a compliment.

It means very nice.

Hai, domo arigato gozai mashita.

I don't understand that word.

That means thank you very much.

Oh, thank you.

Bob, why don't you stand next to Yoko?

Okay.

How much shorter is she than you?

Oh, quite a lot.

I'd say 3 or 4 inches, at least.

Mm-hmm.

Yoko, would you put your arms around Mr. Moore and kiss him?

It is necessary?

Have you any objection to kissing Mr. Moore?

No. Only I have never kiss anyone before.

Paul, if...

Never?

You mean never in your whole life?

Kissing not Japanese custom.

However, I have seen it done

and will attempt it if you wish.

Paul, if you don't mind,

I'll direct this part of the scene myself.

Honey, put your arms out.

No, no.

This way.

That's it.

Well, what have you got to report, director?

( whistles )

Hey! Hmm?

Oh. Well, if--if that's her first kiss,

uh, I'm afraid to see what she'll be like

with a little practice.

What do you think of kissing, Yoko?

It is most interesting.

Oh, she can take kissing direction great, Paul.

Take my word for that.

All right, cut.

( speaking Japanese )

You were very natural, Yoko.

I had him kiss you to see if it would upset you.

It is good, this being natural?

It's the hardest kind of acting to do.

Take my word for it.

SAM: Wait for me in the dressing room.

Hai. Domo arigato gozai mashita.

Thank you very much.

Arigato.

Oh, I think the kid's just great. She's--

I mean she's natural.

That's what Paul said the part calls for.

You're the producer, Sam. How do you vote?

I'm not against her,

but I'd prefer a girl with options.

This one-shot appearance can be an asset to us.

We'll publicize that this girl is going into a convent.

It'll be an emotional wallop to the audience.

You may be right.

I'll tell her she got the part.

Let me be the producer in something.

I still have the business negotiations to make.

You're right. Come on, Bob.

Yeah, I just-- I'd be happy...

How did we do?

You got the part. They talked me into it.

Attaboy, Sam. That convent idea did it.

Lucy, when you decide to retire from acting,

I'll make you a producer.

You're just dishonest enough. Thank you.

Oh, you're going to have trouble with Bob.

What kind? Well, romantic trouble.

He's anticipating.

Laughs. I can tell, for the geisha.

I always have that trouble with Bob, Sam.

What's that? Yeah.

I don't believe it.

Why, he's Paul's friend.

There's nothing wrong with Bob.

He's just a delayed adolescent.

Why has he been married four times?

He falls in love with the woman who's nearest.

It doesn't bother me.

( knock on door )

Who is it?

Uh, it's me, Yoko. Open the door.

It's him. Who is me, please?

Ha ha ha. Mr. Moore.

Ah, Mr. Moore.

Please. Dozo. Come in.

Um...

Yoko, honey, I, uh...

I've just been thinking.

Maybe I could help you.

How would you like to rehearse at my hotel?

We cou--

The door was locked. I thought you were alone.

Bob, you might as well get used to it.

I'm bringing her back to her uncle every night.

These people are very strict.

I wasn't going to eat her.

Thank you for offer.

That's all right, Yoko.

Are you an animal or something?

Go on now, please.

Sam, up to here, it's been a joke,

but now I want to work.

I want to listen to the radio

and get the inflection. I've been bluffing it.

I want to move to a real Japanese hotel,

and I want a coach, the best.

I'll show that husband of mine.

"You're a great comic, Luce,

but the role of Madame Butterfly is outside your range."

He'll eat those words with nouvelle vague sauce,

my fine French genius.

Do it, Luce. Do it.

( speaking Japanese )

Oh.

( knock on door )

Oh. Oh, come in. Come in, Mr. Takata.

Thank you.

I came as soon as I could.

I hope you are pleased with your room.

I need a chair. Nothing doing.

We don't want you sitting in a chair in a scene.

Uh, Mr. Takata.

Now, the most important thing now

is to find a teacher for her.

Are there such things as geisha teachers?

There are.

Fine. We want the best.

Sworn to secrecy.

Takata, get one over here, say, at 3:00.

I have an old friend

who is one of the most famous teachers.

Perhaps he will kindly permit us to visit him.

Well, we'd be very much obliged, Mr. Takata.

Of course we'll pay him whatever his time's worth,

and we'll appreciate it very much

if he'll teach Miss Dell.

I will present our plea most earnestly.

Thank you. May I leave now?

Yes. Certainly. Thank you.

Well, thank you very much for your time.

Thank you very much.

Goodbye.

Goodbye. Goodbye.

Goodbye.

That was certainly a boner,

asking him to bring the teacher here.

I forget how polite these people are.

( speaking Japanese )

He is expecting us.

Thank you.

Welcome to my home. I am honored.

I am privileged to enter.

May I present my friends--

Miss Lucy Dell and Mr. Samuel Lewis.

How do you do?

How do you do?

Would you be seated?

Thank you. Thank you.

Ocha wo dozo.

It occurs to me our ceremony of cha-no-yu

may not be interesting to you.

It is the preparation and drinking of tea.

Oh. We drink tea in America

with lemon, iced, creamed, all sorts of ways.

We like tea.

Our main purpose in our tea ceremony

is not actually the drinking of it,

but to create an atmosphere of tranquility.

Like our martini. Same principle.

I understand your time is limited.

We may assume the atmosphere is tranquil

if you wish.

It is most kind of you.

We've come for advice and guidance.

I'll help if I can.

Miss Dell is a famous motion picture actress in America.

Mr. Lewis is Miss Dell's employer.

He wishes to film a motion picture

of Madame Butterfly.

Since Miss Dell will play the part

of a geisha,

he hopes that you may be able to instruct her.

She has a week to get up in it.

I'm not sure I understand.

Oh, I'm a quick study. I'll surprise you.

I would be truly surprised, Miss Dell.

The tea ceremony we are watching

takes many months to perfect.

There are 90 separate and exact steps.

Well, uh, say we skipped the tea ceremony.

Could she get the rest of it?

If I worked hard?

Perhaps I can best answer you

if I tell you what a geisha is,

a real geisha, as you say.

I have a particular girl in mind.

At 7 years of age, she became an apprentice.

In the coldest winters,

she would practice her musical instruments.

As her fingers became too numb to strike,

she would dip her hands, chapped and bleeding,

into a pan of ice water.

This is called kangeiko, or winter practice,

and is not intended for cruelty,

but discipline.

It has been estimated

that the hours required for study and work

to become a true geisha

equal that of a doctor.

The geisha whom I describe

speaks French and English and Chinese.

She plays excellent golf and tennis

and is a ski champion.

She dances the ancient dances

and the tango equally well.

She can converse with almost any man on his profession.

Should he be a stockbroker,

she will know the closing prices

of the franc in Geneva

and the pound in London.

She has been bred to please

and represents a flawless combination

of womanly grace and skills.

Of course I speak of our extraordinary geishas,

the ones who may marry cabinet ministers.

They are the ultimate, we believe, in womankind.

I do not believe

all these graces can be taught in one week,

I respectfully offer.

You couldn't teach me that in two lifetimes.

Would it be possible to see this geisha

that you spoke about?

May I present her? Kazumi Ito.

She came to visit me today,

and she was kind enough to offer

to act as my hostess.

How do you do? How do you do?

How do you do?

Mr. Takata.

Mr. Kaida, what's the purpose

of all this work and preparation?

What does this remarkable girl do?

She performs a service

which is peculiarly Japanese.

We conduct our business and social life

only in the teahouse, never in our home.

She entertains for us.

In America, you combine the functions

of childbearing and entertaining

in one woman.

I do not deny it is more efficient,

and it is possibly our way in the future.

But you must pardon an old man

who has devoted his life to the art of geisha

if he feels sad to see disappear

this distillation

of all that is wonderful in womanhood.

Well, could you help Miss Dell in little things

just so she'll look like a geisha?

She only has to fool an American.

I only know the old arts,

but may I suggest perhaps Kazumi could help you?

She would know your needs better than I.

Yes.

Sam, that's a great idea.

Sure. We could live together.

She could stick with me day and night.

Sign her, Sam! Sign her!

Yes, we'll take her,

that is, if it's all right with Kazumi.

Would it please you, master?

It is only for you to decide.

It would be an honor to see a geisha

truly portrayed on the screen.

I am most happy to be at your disposal.

Well, thank you, Kazumi.

Excuse me for being rude just now.

There is no need.

Truly, I was not offended.

Are you always this good-natured?

In the morning before coffee, too?

All the time.

She is a geisha.

Brother, have I got a lot to learn.

No, that I can shoot in Hollywood studio.

I keep saying real.

We will shoot everything outside.

You understand, Mr. Jorge?

Everything outside. Clear? Yes, sir.

Hi, Paul. You heard the music?

Yeah, a wonderful job.

It'll be absolutely sensational.

We're spending money like it will be sensational.

Don't lose your nerve, Sam.

I've got plenty of nerve.

It's money I'm thinking of.

( telephone rings )

Moshi moshi.

For you, Mr. Robaix.

Long distance call from Phoenix, Arizona.

Phoenix, Arizona?

Who'd call me from there?

Yes, hello?

Overseas operator. Yeah?

Phoenix, Arizona, calling Mr. Paul Robaix.

Yes, who's calling him?

Mrs. Robaix calling. One moment, please.

It's Lucy. In Arizona?

Yes. Hello.

Hello, Paul, darling.

Hello, Lucy. How are you?

I'm fine. Can you hear me?

Yes, very good. What's that?

I said I hear you very good.

You have to speak louder.

I said I hear you--

Oh, I can hear you very well.

What are you doing in Arizona?

I came down to the Cooper ranch.

They have lots of horses, and it's very quiet,

but they don't have a telephone.

I had to come down to the general store.

How long you staying there?

I think a few more weeks.

Then I thought I'd try the Elizabeth Arden health farm.

They don't take calls either,

so I'll always have to call you, okay?

Okay. Don't forget me.

I won't. I think of you all the time.

Yes.

How's everything going? Oh, fine.

We just received the opera voices from New York.

Oh, wonderful. What?

I think we're getting a weak connection now.

Oh, no. I'll call you again, Paul.

Lucy. Hello. I love you.

Hello, darling. I love you. Bye.

I love you.

That takes care of the telephone.

What an invention. Frustrating.

Mr. Robaix. Yeah?

Nagasaki is right here.

Fine. By the way, Sam,

where does Yoko live?

Oh, uh, she moved into the Saami Hotel

with a geisha friend of hers.

Get me the Saami Hotel.

Oh, no. Please. She's not in.

Where is she?

She said she was going shopping.

Maybe she's back.

See if she's in or leave my name.

What do you want her for?

There's sumo wrestling this afternoon,

and I thought Yoko could explain it.

( ring ring )

That'll be Sam calling to tell me about Paul.

Yoko?

Hello, Yoko?

Who's calling, please?

It's Mr. Robaix, Yoko.

Yes, Mr. Robaix. How are you?

How are you along in your English?

Fine. I practicing every day.

Good, good. What are you doing this afternoon?

I practicing with my friend.

I'm inviting you and your friend to the sumo wrestling

so you can explain it to us, okay?

Hello, Yoko? Uh...all right. All right.

Fine. We'll check later about time. Sayonara.

Sayonara.

Sam, you won't be bored this afternoon.

I'm sure I won't.

It had to be faced sooner or later.

He's never seen me in the daytime so close before.

When we make up your eyes

and with your cheekbones,

you are difficult to detect, I assure you.

I would not glance at you a second time.

He knows me a little better than you,

but I think we can get away with it.

I just need help.

Would you fill me in on sumo wrestling?

Sumo wrestling is Japan's most popular sport,

even ahead of your baseball.

It's performed by Japanese

who are bigger than people believe Japanese grow.

The small wrestlers are 200 pounds,

and the larger ones are 350.

You think we're going to miss this whole thing?

Look-- Oh, hello, Yoko. Yoko, I--

I'm sorry. I thought you were someone else.

Why don't you go in, and I'll be happy--

Good afternoon. Oh, hello, Yoko.

May I present my friend Kazumi Ito-san?

How do you do?

( pretending to speak Japanese )

Mr. Bob Moore.

How do you do? Ohayo kon'ban wa.

Mr. Sam Lewis.

Shall we go in?

Shall we go in now?

Domo arigato.

Was that real Japanese?

I don't understand it. I only speak it.

Sumo wrestling is over 300 years old.

It is Japan's most popular sport.

How much do those fellows weigh?

The little one weigh 200 poundo,

the larger, 350 poundo.

Sam, we ought to import a half a dozen

for the Los Angeles Rams.

We'd lead the league.

Let's finish the picture first.

Why do they stop? What are they throwing?

They are throwing salt. It is traditional.

It will be done several times

to appease gods.

For heaven's sake.

Hai. Like for heaven's sake.

No, Yoko. I didn't mean it that way.

We say "For heaven's sake"--

Well, it's sort of complicated,

but it means "What do you think of that?"

Ah. Yeah.

( pretending to speak Japanese )

She's showing off. Tell her to quit it.

In Japanese?

( speaking Japanese )

( speaking Japanese )

May I introduce one of our champions, Edo-no-yama?

BOB: Hi. Enjoyed your work.

( speaking Japanese )

( speaking Japanese )

( pretending to speak Japanese )

You see? Everything all right?

How would you like to learn an aria in Japanese?

Would you like to do it in Italian?

Oh, no. Just skip it.

Let's tell Paul who I am. What?

He should be convinced I can play it.

What if he discovers-- Oh, no. Just...

What's going on here?

Oh, nothing. Nothing at all.

Studying your lines for the wedding scene?

Hai. I have memorized already.

We should do a little rehearsing.

Kazumi, sit back with Mr. Takata.

Do you think that's wise?

Paul might want her unrehearsed.

Paul told me to do it.

Thank you very much, Kazumi, honey.

Well, where shall we start?

Um, here's to the happy couple?

Hai, if you like.

Here's to the happy couple.

May-- Oh.

Thank you. You're welcome.

You don't have to light my cigarettes anymore.

You're not a geisha now.

You're my leading lady.

I like to light your cigarette.

Really? Why?

I like to please.

It is my pleasure in life to please.

Don't you like to have people do nice things for you?

Hai. Yes, sometimes,

but I have been taught

it's more pleasure to give than to receive.

That is also your teachings, ne?

Yeah, but we've sort of forgotten about it, I'm afraid.

Yoko, I've been married four times.

What do you think about that?

You must be very desirable.

What? Oh, yeah, well, only in the beginning, Yoko.

They even light cigarettes in the beginning,

but it, uh, it wears off.

I'll bet it wouldn't wear off with a Japanese girl.

Yoko...

would you take alimony from a man?

Alimony? Yeah.

I--I do not understand.

What is alimony, please?

Forget it. It's a very dirty word.

I'll wash my mouth out with soap.

Let's do the lines now.

All right. Cut.

Okay. For you, Shig? Wonderful.

Good. Print that one.

What's the matter? Didn't you like it?

There is something peculiar about this girl.

What do you mean?

I've directed many beginners,

and she takes direction too easily.

Really? There's only one explanation.

What's that?

The geisha training.

She's like a sponge, absorbs everything.

Yeah, I guess that must be it.

Good evening, Mr. Robaix.

Good evening. Any mail?

Not for you. I hope all went well today.

It went very well, thank you.

Now I would like to bake

in one your famous Japanese baths.

I'll bake separately if you don't mind.

Certainly. Separately?

That's what I said. Not together.

I know it's a custom. I'm not that fond of this guy.

Oh, uh...

You have separate baths.

I had one this morning.

They're all booked this evening.

You did not reserve one, Mr. Robaix.

Oh, no!

Sam, my contract says I've got to have a hot bath.

If it doesn't, my agent's going to be in hot water.

Ha ha. What's wrong?

We forgot to reserve private baths,

and we're not used to community bathing.

We have reserved private baths. Perhaps you may have ours.

Just daijobu-deska?

Iie. It is all right.

Thank you, Yoko.

Are you sure you don't mind?

No matter. We think bathing together more friendly anyway.

She's got something.

I'm not saying anything against it,

but, uh, I can't explain.

Men and women all bathing together is something--

The shame is in your head.

Yeah. You're probably right.

Thank you very much, Yoko, Kazumi.

Are you coming, Sam?

No, I'm going to have a drink.

Okay, see you tomorrow.

Thank you again, Yoko.

Hai. Do itashimashite. Oyasumi nasai. Good night.

See why I love him, Sam?

'Cause he takes baths?

Because he's not interested in community bathing.

You see, that's why I'd bet my life on Paul.

Most men would smirk about bathing with strangers.

Not Paul. You're absolutely right.

It's all in your head.

I'm going to take a bath with you.

You are?

You didn't think I had the nerve, did you?

Cancel my bath. We're all bathing together.

Maybe you shouldn't, Paul. We're foreigners here.

All the more reason to follow local custom.

Anyway, I'm doing a Japanese picture.

This might give me a further view into their culture.

What about you, Sam? I had a bath this morning.

I'm against it. See you girls at the bath.

In the bath.

Hai. Good night.

Sam, get me out of that!

How? I don't care how.

He'll never recognize you.

He will. I have an appendicitis scar.

He'll never look. He won't, will he?

He's a gentleman. He's doing this for research.

That's it. Think of him as a doctor.

How about Dr. Bob?

He'll never recognize your scar,

or will he?

We're being very witty today, aren't we, Sam?

Well, you better think of something.

Maybe I have an idea which can help you.

Kazumi, if you can get us out of this,

I'll--I'll kiss you.

I must make some preparation. Excuse me.

Thank you so much, Kazumi.

What's she going to do?

I don't know.

I hope it's something where I keep my clothes on.

Kon'ban wa. Kon'ban wa.

You already clean?

Yes, we washed in our room.

Yeah. And now we want to soak.

Yeah. Where are the dames?

You know, the ba--

Are the young ladies here yet?

The young girls-- cootchie cootchie--in there?

Ah, yes. Girls in bath.

Wait for you. Go in, please.

Thank you. Arigato gozaimasu.

I'll say. Oh, brother.

Ha ha ha!

Oh, boy, oh, boy, oh, boy.

After you, mon capitan.

Well...

here goes nothing.

PAUL: Where are we?

BOB: Yankee Stadium.

Can you see anything?

I can't see a thing.

( women laughing )

Too late. Missed her.

Which way is the ocean?

Here, hold on to me.

I used to be an Eagle Scout.

Oh, I got it. I got it. Hot water, dead ahead.

Feel it?

Roger. How deep do you think?

Well, I don't know.

We're taller than they are.

Let go of my hand. I'm going in.

( splash )

Oh, I'm sorry, ma'am.

Well, I said I was sorry, lady.

( splash )

Sorry, sir.

I mean madame. No, I think sir.

Is that you, Bob?

Ha ha ha! Ha ha ha!

Where are those girls? Yoko? Yoko!

Yoko!

Kazumi! Yoko!

Yoko? Kazumi!

Yoko.

Oh, sorry, sir--or madame, whichever you are,

and let's get out of here, Bob.

You mean you've had enough culture, huh?

Yeah, enough.

Boy, east is east, and west is west,

but it's not going to ever meet in this bathtub.

You finished already?

Yeah, we weren't very dirty.

Steaming up that bath was genius, Kazumi, really.

It was a solution.

( laughing )

Where's Paul?

He went to bed.

What are you playing?

I'm teaching her gin.

You're teaching her?

I didn't say I was beating her.

I said I was teaching her.

Where's Yoko? She had dinner in her room.

She went to sleep early.

Yeah, I'm, um...

I'm just a little bushed.

I think I'll, uh, turn in, too.

Good night.

You playing her for money?

A yen a point.

I'll probably be working for you in the morning.

I wouldn't be surprised.

Yeah, well, good night, all.

I'd better get busy before you blitz me on the other two.

Thanks, honey.

Kazumi?

No, it's me, Yoko. Bob.

Uh, uh, do not put on light, please.

Don't you worry. I'm not going to.

Yoko, honey, it's all right.

Nobody's going to bother us. Here.

Please, Mr. Moore! Yoko, look.

This is the first time I've gotten you alone.

Mr. Lewis is always around, or Kazumi.

This--This is our chance.

Please, Mr. Moore. I'm not that kind!

Oh, here, Yoko. Let me take--

( glass breaks )

( metal clatters )

Yoko, what's the...

You geishas are...

Yo...Yoko?

Yoko, honey, I--I...

Yoko, let...

Yoko, don't you like me?

Hai. I like you, Mr. Moore,

but this is forbidden.

Oh, honey, you can trust me.

I won't tell.

Please, Mr. Moore!

Yoko.

No, Mr. Moore!

Yoko, look, con-control yourself, honey.

Look. Relax. You're a grown girl.

Mr. Moore, you're dishonoring me.

No, I'm not. I respect you.

Mr. Moore, if I'm dishonored,

I'll be on your conscience.

Well, that's all right.

If I'm dishonored, I must commit hara-kiri.

What was that?

Hai. I must. It is my faith.

You mean hara-kiri with a knife?

Hai. Even now I am somewhat dishonored.

No, you're not. I haven't touched you.

I must go to temple and ask what to do.

No. You don't have to ask them anything.

This was nothing at all. Mr. Moore, please go.

Yeah, I'll go. I'll go, yeah.

Yoko, honey, you won't do anything foolish, will you?

I must talk to honorable ancestors.

Talk to them. That's a good idea.

Good night. Sayonara.

Sayonara.

( speaking Japanese )

I beg your pardon?

I'm talking to honorable grandfather.

Oh, very good. Talk to him a lot.

That's an excellent thought. That'll straighten it out.

( pretending to speak Japanese )

Well, see you tomorrow and... sayonara.

( laughing )

Paul. Paul.

Paul, wake up, boy.

Qu'est-ce qui se passe? What's the matter?

I can't sleep. Would you believe it?

I haven't been able to close my eyes.

What do you want me to do, sing to you?

Take a pill, you idiot. Let me alone!

This is your answer to me?

Me, your best friend?

You're not my best friend anymore. Go away.

How selfish can you get? I'm on the threshold of a decision

that may mean my last chance for happiness,

and you say go away!

Very well. In a crisis, a man knows his true friends.

All right, what is it?

Talk, talk. Unburden yourself.

You're quite sure that you're up to listening?

Yes, I'm sure. I'm all ears.

Paul, I've been doing some serious soul searching.

My qualities of life are shoddy,

cheap and shoddy.

Yes, they are.

Paul, I've just had a revelation.

It's come to me...

like a blinding light.

Really?

I've been comparing Yoko

to the four dames I married.

They don't come off so good, Paul.

Oh, I wouldn't say that. Well, I would.

Paul, there's a difference-- a great, great difference.

You think that Japanese women take alimony? No.

Do you know what they do when you split with them?

They jump in volcanoes.

You're exaggerating. Paul, listen.

Paul, I've just come to a giant decision.

If Yoko will have me,

I'm going to marry her.

Good.

Marry her? That's right.

Are you crazy?

Paul, I hope I'm not going to see any prejudice in you.

That's not it at all.

You hardly know her.

I know her better than I knew half my wives.

She's all those things I said she is.

She's good, kind, decent--

Oh, brother, is she decent.

I can testify to that.

What more could a man want?

Paul! Yes?

You've made up my mind for me.

I'm going to marry her. It's settled!

Listen, Bob. Bob!

Oh, now I can sleep like a baby.

Shig, I asked you to pull the camera low!

It's clear? Low!

Pull the camera low! I want it this way!

Mr. Robaix! What?

A letter from your wife.

Thank you.

Quiet! Quiet!

Let's have a bit more quiet on the set!

You can talk. Go ahead.

( duet from Madame Butterfly plays )

Shig. It's okay, hmm?

And keep the camera low to get the reflection.

And start here with the dolly

and track slowly.

Yes, Mr. Robaix.

Hi, Paul.

Hey, what are you doing here?

Well...

You know.

Ah, yes. Have you asked her yet?

No. That's what I want to talk about.

Shig. 20 feet of track, at least.

Right. 20 feet.

Paul, I've been thinking.

I thought maybe you could help me.

I've been reading up on their marriage customs.

The man doesn't propose himself.

He gets a friend to do it for him.

What? Well, you're my best friend.

A dog is a man's best friend.

Do your own proposing.

Listen to me, Paul.

Enough of this nonsense.

This picture winds up tomorrow,

and she wants to enter a convent.

We got to talk her out of that.

You want me to be happy, don't you?

Hey. Are you sure you want to marry her?

I'm positive. Absolutely positive.

Now, Paul, listen.

Build me up to her.

Tell her how very nice I am.

Well... lie a little.

I don't have to lie.

Oh, Paul, you're wonderful. Just wonderful.

Thank you very, very much.

Shig, you need me?

Not for half an hour.

Keep the camera low as you track.

Go for the reflection.

Okay.

Well...

Paul, tell her about my good qualities.

Yeah. Paul.

Uh, you better be careful, though.

Yeah. Yeah.

Your husband is coming.

He's a very handsome man.

I'm entitled to him.

He's married to a very beautiful girl.

I would not like to be married

to a very handsome man.

Why not?

I have a most jealous nature.

You are fortunate you have not.

No one's more jealous than I am, Kazumi.

Then you hide it well.

I'm even jealous that my husband likes Yoko.

But you are Yoko.

How's that for being jealous?

And don't think I won't run down that Yoko

the first chance I get.

That dame's getting too cute.

( knock on door )

Ohayo gozaimasu.

Ohayo gozaimasu.

I am ready.

We're not set up yet.

I just came in for a chat.

May I be excused?

Sayonara, Kazumi.

Dozo. Please sit down.

Ohayo gozaimasu.

There is something you wish say to me?

Well, uh, do you know your lines for today?

For today, there are no lines,

only silent scene before temple.

Have I misunderstood?

No. My mistake.

Ahem.

Yes?

You know, my friend Bob is a very nice person.

Hai. I find him so.

Arigato gozaimasu.

He finds you so.

I am flattered.

He's rather shy.

You wouldn't know it, but he is.

I am surprised.

Oh, yes. We were discussing you.

In his opinion and in mine,

the western woman is no match for the Japanese woman.

You are very kind but, I think, unfair.

No. The western woman can learn a lot from you

in the observance of the homely virtues.

There is lot we can learn from her.

That's right.

But, uh,

not in the art of pleasing men.

Perhaps.

Our upbringing is to please men.

That's right.

Does Mr. Bob find me sympathy?

Oh, yes. Oh.

Maybe Mr. Bob would like make love to me.

What?

I would be happy to please him.

What do you mean, please him?

Make love to him.

It cannot be so different between us.

I don't think I understand you.

In what way I can explain more fully?

You let a man make love to you?

Hai, if he entitled.

Entitled? Who would be entitled to make love to you?

Oh, all nice, sympathy people.

All ni--

Are there many people sympathy with you?

Hai. Oh, there are very many.

Uh, let me see.

My patron who lend me money

and his friends.

His friends? Hai.

But what if you don't like his friends?

Oh. That very impolite.

Isn't that carrying courtesy a little too far?

As you say, we have the homely virtues.

That's not exactly what I meant by virtues.

Whew. I must say, this surprises me.

I-- Oh, I hope I have not offended you.

No, no. No.

You are sympathy to me.

I am? Hai.

Well, thank you, Yoko. I'm much obliged.

It is small courtesy.

Not in my country. No?

How strange.

How very unfriendly.

Yes. I mean no.

It's only in the head probably,

like mixed company bathing.

I'm afraid our cultures are more different

than I thought, Yoko.

Very much.

You have worked hard.

Now you must relax.

Yeah.

Oh, yeah.

Yes, we've all been working hard,

and it's been worth it, Yoko.

I've seen most of the picture.

It's good, Yoko. It is.

I very happy for you.

And I am happy for me.

I needed this picture.

I needed it badly.

Needed? Oh, yeah.

Use of the word not clear to me.

I needed it to be successful, Yoko.

You are most successful.

You are director of wife's pictures.

That was it. My wife's pictures.

Not mine. My wife's.

You are not pleased directing wife's pictures?

Well, I was grateful, but not pleased.

They're not the same.

There does not seem to me

to be much difference.

Hmm. There is a difference.

You're Japanese, Yoko. You don't understand.

I am most anxious to understand.

Well, uh, nobody said it to my face,

but I wasn't Mr. Robaix.

I was Mr. Lucy Dell.

That couldn't happen to a Japanese man.

He is born a big man to his wife.

In the western world,

a man must be a big man to his wife, too.

But often this is difficult.

And I think the western world is wrong,

and your world is right.

Yeah.

You are unhappy your wife successful?

No, Yoko.

I'm very proud of her, very much,

but it only became necessary

that I was successful, too.

A little for my vanity,

a little for my dignity,

but mostly so that I could be the man

so she could be the woman.

Yeah.

Say, do you know what you are doing?

You are being my geisha.

So this is what you do

for the tired Japanese businessman, huh?

You make him tell his troubles.

Why, you geisha are nothing but analysts without couches.

Yoko.

Sayonara.

And thank you for the massage.

Ahh.

What did she say? About what?

Did you tell her all--

About what?

About marrying me.

Oh, that.

We have to give that a lot more thought.

There's no time for thought, Paul.

She's a wonderful person,

but are you considering

the practical side of marrying her?

Of course--

What would she be like in Beverly Hills?

Great. Everybody would envy me.

She's been raised differently from our women.

Not just going around

lighting everybody's cigarettes.

What's wrong with that? I think that's cute.

To tell you the truth,

she'd go around doing more than that.

Mr. Robaix! Mr. Robaix!

The laboratory just called.

There's something the matter with yesterday's film.

Oh, no! There's a flutter in it.

A flutter? Do we have to shoot it again?

Can't tell. They're waiting for us at the lab.

Go ahead. I'm coming.

Did you ask Yoko to marry me, or didn't you?

As much as I admire her,

you shouldn't marry her.

Who's asking for your opinion?

I just asked you to deliver a message.

I don't need your permission.

You won't get into one of your hasty marriages again.

You don't know anything about this girl.

I know enough about--

No, you don't.

They've been raised to please everybody.

Their morality is different.

Now, Paul--

They're friendly, like puppies.

Yeah? Yeah.

Well, she's my puppy.

And not one more word against her,

because I'm marrying her.

I won't let you do it. Clear?

Mr. Robaix, you'll find nothing in our contract

about your giving me permission whom I can marry.

This is legal. I'll read it to yo--

Paul! Paul!

You're only going to see the negative,

and the colors will be reversed.

Yes. I understand.

The colors will be odd.

Let's go. Come on.

I can show you the color print by tomorrow.

That's not important.

It's the flutter that bothers me.

Aren't these negative colors crazy?

There it is.

Mm-hmm. Hmm.

It's okay. I'll cut away before that.

No problem.

We'll get by.

Is there more?

Just one shot--of Yoko towards the end.

Mm-hmm.

Ah, there it is.

A redhead geisha with blue eyes?

Very strange, Mr. Robaix.

Yes. Very strange.

Do you have to shoot it again? No.

Oh, fine.

We're lucky.

Yes, aren't we?

Well, we better get back.

Shig, you do the scene.

It's a silent shot.

I have some thinking to do, you know?

Okay.

Run the last shot again, please.

Certainly.

Run the last one again.

You shouldn't have done it, Lucy.

I wish you hadn't.

You're a clever girl. I give you that.

You're too clever for me.

Paul.

There you are.

Where have you been?

We thought you had an accident.

No, no.

No accident.

I've been walking.

You had your dinner? Mm-mmm.

How about a drink? No, thanks.

Shig tells me we don't need to retake anything.

That's right.

Sam...

I'm curious about something.

What's that?

You've been making some plans

about the opening of the picture.

What are they?

The opening's set up great.

The world premiere will be right here in Japan.

We're flying in the American press--

Life, Look, Time, Newsweek,

A.P., U.P., everybody.

We'll get international coverage.

Not bad, eh?

Not bad.

Seems almost too much.

Are you sure it merits bringing all that press?

Certainly it merits it.

They might be expecting a stunt of some kind.

That's what these press boys usually call for.

No, no. This is a fine artistic effort,

and the company's going all out.

I've got a surprise for you.

Really? What is it?

Lucy is flying here for the opening.

Surprised?

Not exactly. Why not?

Lucy would surely come to wish me success

on my first picture without her.

Yeah.

Well, she's, uh, flying in just the same.

I thought you would be happy to hear that.

I'm very happy.

Well, where have you been?

Walking.

Take it easy. He's moody.

Well, he should be.

His conscience is killing him. What about?

I asked for a simple favor--

something that means my entire life's happiness.

What did you want him to do?

To ask Yoko to marry me.

You want him to ask Yoko to marry you?

I suppose you've got something against that.

Oh, no. I haven't said anything.

Are you going to, or aren't you?

I'm thinking about it.

Paul, listen. I haven't got much time.

Hey.

Hey, maybe I could ask her myself.

No, no. He'd do it better.

She likes him. She'd listen to him.

That man is standing between Yoko and me.

You're right.

I mean, uh, she'd listen to him.

( knock on door )

Who is it?

It's Paul, Yoko. I want to talk to you.

I'm not dressed, Mr. Robaix,

but I'll be only one minute.

Sorry. No hurry.

I should have called first.

I won't be long.

Would you like me to come back later?

No. I'm almost ready, Mr. Robaix.

It won't be much longer.

Please excuse me.

Very sorry to keep you waiting.

Perfectly all right.

Dozo. Please come in.

May I make tea?

No, thank you.

Very honored for this visit.

Dozo. Please sit down.

I couldn't get back to the set.

Did the scene go well?

Hai. Very well. Thank you.

Today no dialogue. Simpler.

Mm-hmm. Well, tomorrow's the last day, Yoko.

Hai. I know.

Have you enjoyed making the picture?

Very much, Mr. Robaix. Very much.

Oh, call me Paul. Paul.

That's right. That's more friendly, isn't it?

Yes.

Hmm.

The scene tomorrow is very important.

I understand.

You must project great unhappiness.

A girl giving up her baby to her husband's new wife

and killing herself is pretty strong.

And if it isn't done well, it can be laughed at.

And it's a very famous scene. The critics know it.

I will do my best.

You see, the camera is a large magnifying glass.

Just as it can enlarge truth,

it can enlarge falsity.

Can you be sincerely unhappy?

I will try.

How can I help you?

You have been most helpful already.

You have rehearsed me many times in scene.

I agree, but, uh,

rehearsals can accomplish only so much.

One must feel it inside.

I will make every effort.

I'm sure you will.

Yoko,

you're a cute kid.

Thank you very much.

I am sympathy to you,

and you're sympathy to me.

Isn't that right?

Yes.

In fact...

I would say we are sympathy to each other.

Why don't we celebrate the end of the picture?

What's the matter, Yoko?

Need a little more romance?

I tell you my philosophy in these things.

Never chase a woman.

I say, if they don't meet you halfway...

let them go.

Well, sayonara, Yoko.

You'll never know what you missed.

( pat pat )

See you on the set.

Key, please. Yes, sir.

Paul. Oh, uh, 510, please.

Yes, sir.

Were you with Yoko just now? Yes.

Everything all right? Fine.

That's an important scene tomorrow.

Think she'll do it all right?

I don't see why not.

Four, please. Five.

You know, you've done a remarkable job on that girl.

Really remarkable.

Why, thank you, Sam.

No, no. I mean it sincerely.

All that painstaking rehearsal has certainly paid off.

The proof is in the performance.

She's marvelous.

I really didn't have to rehearse her that much.

Fourth floor.

You see, Lucy is a good enough actress

without much help.

Fifth floor.

No, no. Take me down to the fourth floor.

What took you so long?

Hmm?

How long have you known?

Not very long.

You were too clever for me, both of you.

We sure sweated it out.

We were afraid if you caught on too early,

you'd have quit the picture.

You were right. I would have.

We were lucky you didn't.

Everything has turned out for the best.

Lucy's happy. New York's happy.

I know you're happy, too.

You know that.

You may be annoyed

because we pulled a practical joke on you,

but we did it for your own good.

You're obligated to Lucy for this.

Obligated?

Yes. I came to Japan to tell you

you couldn't make a first-class picture.

It was to be black and white

and a cheap budget that would've broken your back.

With Lucy, we gave you tools

to turn out your first-class picture.

Certainly, you're obligated.

Did it occur to either of you

that I didn't want to be obligated?

Now, don't spoil your success with pouting.

You're too big a man for that.

That was an unfortunate phrase, Sam.

I almost was a big man. I'm afraid I missed my chance.

If this makes any trouble between you and Lucy,

I'll never forgive myself.

I don't know what else to say except...

it's a lesson I thought I knew--

never interfere between husband and wife.

No, I don't know what more you can say.

Anything I can do?

Yeah. I'd appreciate it very much

if you don't tell Lucy I know.

Well, if you say so.

I'll do the scene tomorrow,

and I'd like to play the game out to the finish,

just as you planned it.

You mean have the premiere without telling Lucy you know?

Without telling anyone I know.

Without telling Life, Look, Time, Newsweek,

and all the rest.

We don't have to now. I insist on it.

She has earned her triumph.

Let her have it.

She's entitled to it.

What about after the picture?

I thought you didn't believe in interfering

between a husband and wife.

Now, Paul, I've known you and Lucy for a long time.

You know, what you two have together is something rare.

Yours isn't just a marriage, it's a love affair,

you're the envy of everyone who knows you.

You're not going to break up a marriage that perfect.

That's why it has to break up--

because it's been that perfect,

and it isn't anymore.

I discovered she has a lover.

A lover? Yes, a lover--

her career.

Oh! Career.

That's her first love, Sam,

ahead of me.

I come after.

And, Sam...

I won't come after.

That you can explain to her.

No, you can't explain in a love affair,

not a real love affair.

Paul, please. Enough, Sam!

I want your word you won't tell Lucy I know.

Have I got it?

You have it.

Thank you. Good night.

Good night.

Have you seen Miss Mori? Yes, sir.

Here. Very nice.

I want to get it the first take.

I have an idea it'll be her best.

I just left her. She's in the mood.

It will help the scene.

All that's important is a good picture, right?

Nothing else really matters.

She's coming.

I'd like to shoot it now.

You don't need another rehearsal, do you?

No.

Good. Take your place, please.

All right, everybody. Come on, come on, come on.

( speaking Japanese )

( music plays )

( soprano singing )

( crying )

PINKERTON: * Butterfly *

* Butterfly *

* Butterfly **

Cut.

It's okay for you? Fine!

That's it, everyone. Thank you all very much.

It's over, Lucy.

Please, Lucy.

I'm all right, Sam.

Well, you were carried away.

It happens often. You did it fine.

It wasn't the scene.

He wanted to sleep with Yoko.

It was Pittsburgh after all, Sam.

Pittsburgh with chopsticks.

No, no, no, please. Please, Lucy.

Put him on, please.

Your call to Japan. Mr. Lewis.

Hello, Sam? Do you hear me?

Yes, I hear you.

Everything's fine from this end.

The plane leaves tonight with all the press.

How you going to do it exactly?

Lucy's going to put on a geisha outfit backstage.

When the audience begins to call

for the star and director,

she'll pull her wig off.

Oh, that's wonderful! Marvelous!

It'll be a sensation!

Sam, I compliment you.

If I compliment you, it must be marvelous!

Well, thanks. I feel great, just great!

Why shouldn't you feel great? Huh?

Stop spending so much on long distance calls.

I own as many shares in the company as you.

What's your problem?

I just got a letter from Yoko.

I'll read it to you.

Sam.

"Dear sir."

Hmm! "Thank you for your kind offer of marriage.

"I'm afraid it's impossible.

"I'll always feel like a sister to you.

Sayonara, Yoko."

At least I've got a Japanese sister.

I wrote her a 10-page proposal.

I say that Paul ruined it for me.

Well, that's life.

Is that the best you can tell me?

What am I, a philosopher? I'm a movie producer.

Sam--Sam, what's...

Let's get something to eat.

Usually when Paul and I

have been separated for a long time,

we jump at each other.

I'd like to skip that. I understand.

Just mention I have a headache.

I'd like not to be alone with him.

Okay.

Come in.

Been a long time, lover.

Too long. I couldn't get to the airport.

I was at the lab, checking the reels.

It's all right.

How was your flight? Fine.

Good. She doesn't feel well, Paul.

Oh, I feel all right.

She has a splitting headache.

I'll be over it by the opening.

I just have to lie down a while.

I didn't finish checking the reels.

I'll go back to the lab.

You go to the theater with Sam.

I'm too nervous to sit.

I'll be walking around the theater.

All right. See you after the picture.

I hope you'll feel better.

Thank you. Good luck.

Keep your fingers crossed.

Yes. Thank you.

Well, that was easy.

Was it?

( shouting )

It's Lucy Dell!

Lucy Dell!

It's Lucy Dell!

Oh. Oh, thanks.

Domo arigato.

Oh, thank you.

( gong chimes )

( gong )

( gong )

( overture plays )

Is it going well?

Great.

No, never mind. Never mind.

I'm going right out.

You know, uh... Hollywood's a funny town--

a slapstick comedienne like you pulling off a stunt like this,

they just might give you the Oscar.

I'll take it.

I didn't think you'd turn it down.

Well, I'll nose around.

( singing Un Bel Di in Japanese )

Is she changing into the geisha outfit?

Mm-hmm.

What do you intend to do

after she takes off her wig?

Nothing.

You sure?

I'll play surprised.

That's what the script calls for, doesn't it?

What comes after?

What usually happens when two people break up.

She was wonderful in that scene.

Yeah.

You know, I've gotten used to sitting like this.

May I offer you a small gift

in tiny repayment for the friendship

and pleasure you've shown me?

Why, Kazumi, how very thoughtful of you.

Thank you.

Oh!

Oh, it's beautiful, just beautiful!

It used to belong to a very famous geisha.

Really? What's this?

An old proverb.

What does it say?

"No one before you, my husband, not even I."

"No one before you, my husband,

not even I."

Interesting, is it not?

A little too interesting, Kazumi.

Why did you pick that proverb?

I did not pick the proverb.

It was the fan I selected.

PINKERTON: * Butterfly *

* Butterfly *

* Butterfly **

Director!

Director!

Paul!

Paul!

Paul! Director!

Go on, Paul. They want you.

Go on. Come on. Get up there.

Thank you very much, ladies and gentlemen,

for your warm reception

which has moved me more than I can say.

I know you must be eager to meet

a remarkable young lady

who helped tremendously to make this picture

worthy of your response.

May I present...

Miss Yoko Mori.

Paul...now, please. No, please.

It's Lucy Dell.

Where's Yoko Mori?

( applause )

Lucy Dell.

Ladies and gentlemen,

I've been asked to make an announcement.

Miss Yoko Mori,

whom you've just seen as Madame Butterfly,

will not be with us tonight.

She has played her first and last performance

and has entered a convent.

We will see her no more.

But I'm sure you all join me

in wishing her every happiness.

And now I know you'll understand

how proud I am of the director

of this wonderful picture--

Mr. Paul Robaix, my husband.

Lucy... Yes?

I love you very much.

I'm glad, darling.

Promise me something, dear.

What is it?

Don't be sympathy to anybody but me, my geisha.

You knew.

I knew.

It wasn't Pittsburgh.

Keep bowing, you little ham.