All language subtitles for My Geisha 1962 1.080 wbrip

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.