My Geisha Page #10

You mean, have the premiere

without teIIing Lucy you know.

Without teIIing anyone I know.

Without teIIing Life and Look and Time

and Newsweek and aII the rest.

-Look, we don't have to do that now.

-I insist on it.

She has earned her triumph,

Iet her have it.

She's entitIed to it.

What about after the picture?

I thought you didn't beIieve in interfering

between a husband and wife.

Now, PauI,

I've known you and Lucy for a Iong time.

You know, what you two have together

is something rare.

Yours isn't just a marriage,

it's a Iove 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 Iover.

-A Iover?

-Yes, a Iover.

-Her career.

-Oh, career.

That's her first Iove, Sam, ahead of me.

I come after.

And, Sam,

-I won't come after.

-WeII, that you can expIain to her.

No, you can't expIain in a Iove affair.

Not in a reaI Iove affair.

-PauI, now, pIease.

-Enough, Sam!

I want your word

you won't teII Lucy I know.

Have I got it?

-You have it.

-Thank you. Good night, Sam.

Good night.

-Have you seen Miss Mori?

-Yes, sir.

Here. Very nice.

I wouId Iike to get it the first take.

I have an idea it'II be her best, Sam.

I just Ieft her.

She's in the mood, aII right.

WeII, it wiII heIp the scene.

And the onIy important thing

is a good picture.

Isn't that right?

Nothing eIse reaIIy matters.

She is coming.

WeII, I wouId Iike to shoot it now.

You don't need another rehearsaI,

do you?

-No.

-Good. Take your pIace, pIease.

AII right, everybody.

Come on, come on, come on.

Cut.

-It's okay for you?

-Fine.

That's it, everyone.

Thank you aII very much.

It's over, Lucy. PIease, Lucy.

I'm aII right, Sam.

WeII, you were carried away,

it happens often. You did it fine.

It wasn't the scene.

He wanted to sIeep with Yoko.

It was Pittsburgh after aII, Sam.

Pittsburgh with chopsticks.

Oh, no, no, no. PIease, pIease, Lucy.

Put him on, pIease.

Your caII to Japan, Mr. Lewis.

HeIIo, Sam?

-Do you hear me?

-Yes, I hear you.

Say, everything is fine from this end.

The pIane Ieaves tonight

with aII the press.

Now, how you gonna do it exactIy?

TeII me.

WeII, Lucy's gonna put on

a geisha outfit backstage.

Yeah.

And then when the audience begins

to caII for the star and the director,

she's going to puII her wig off.

Oh, that's wonderfuI! MarveIous!

It'II be a sensation.

Sam, I compIiment you.

And if I compIiment you,

it must be marveIous.

WeII, thanks.

Sam, I feeI great, just great.

-WeII, why shouIdn't you feeI great?

-Huh?

Look, and stop spending

so much money on Iong-distance caIIs!

I own as many shares in the company

as you do.

-What's your probIem?

-I just got a Ietter from Yoko.

I'II read it to you.

Sam.

''Dear sir,

''thank you for your kind offer

of marriage.

''I'm afraid it's impossibIe.

''I'II aIways feeI Iike a sister to you.

Sayonara, Yoko.''

But at Ieast I've got a Japanese sister.

I wrote her a 10-page proposaI.

Ten pages!

-I say that PauI ruined it for me.

-WeII, that's Iife.

Is that the best you can teII me?

What am I? A phiIosopher?

I'm a movie producer.

-Sam, what's...

-Oh, come on, come on.

Let's go and get something to eat.

Sam, usuaIIy when PauI and I

have been separated for a Iong time,

we jump at each other.

I'd Iike to skip that.

I understand.

You just mention I have a headache.

I'd Iike not to be aIone with him.

Okay.

Come in.

-Been a Iong time, Iover.

-Too Iong.

I couIdn't get to the airport.

I was at the Iab, checking the reeIs.

It's aII right.

-How was your fIight?

-Fine.

-Good.

-She doesn't feeI weII, PauI.

-Oh, I feeI aII right.

-ReaIIy?

The truth of the matter is,

she has a spIitting headache.

-Oh, no.

-WeII, I'II be over it by the opening.

I just have to Iie down awhiIe, that's aII.

I'II teII you what we'II do then.

I didn't finish checking aII the reeIs.

I'II go back to the Iab.

You go to the theater with Sam.

I'm too nervous to sit,

and I'II be waIking around the theater.

AII right, darIing.

I'II see you after the picture.

-I hope you'II feeI better.

-Thank you.

-Good.

-Good Iuck.

And keep your fingers crossed.

-Yes.

-Thank you.

WeII, that was easy.

Was it?

-It's Lucy DeII!

-Lucy DeII.

It's Lucy DeII!

Oh, thank you.

Is it going weII?

Great.

Oh, never mind, never mind,

I'm going right out.

You know, HoIIywood's a funny town.

SIapstick comedienne Iike you

puIIing off a stunt Iike this.

They just might give you the Oscar,

you know, they might.

I'II take it.

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

WeII, I'II nose around.

Is she changing into the geisha outfit?

What do you intend to do

after she takes off her wig?

Nothing.

You sure?

I'II pIay surprised.

That's what the script caIIs for,

doesn't it?

What comes after?

What usuaIIy happens

when two peopIe break up.

She was wonderfuI in that scene.

Yeah.

You know,

I've gotten used to sitting Iike this.

May I offer you a smaII gift

in tiny repayment for the friendship

and pIeasure you've shown me?

Why, Kazumi,

how very thoughtfuI of you.

Thank you.

Oh!

Oh, it's beautifuI, just beautifuI!

It used to beIong

to a very famous geisha.

ReaIIy? What's this?

An oId 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 IittIe too interesting, Kazumi.

Why did you pick that proverb?

I did not pick the proverb.

It was the fan I seIected.

-Bravo! Bravo!

-PauI!

PauI! Way to go!

Go on, PauI. They want you.

Go on, now. Come on.

Come on. Get up there.

Thank you very much,

Iadies and gentIemen,

for your warm receptions,

which has moved me

more than I can say.

I know you must be eager to meet

a remarkabIe young Iady

who heIped tremendousIy

to make this picture

worthy of your response.

May I present

Miss Yoko Mori.

PauI.

-Now, pIease. No, pIease.

-Let me... Let me go.

It's Lucy DeII.

Where's Yoko Mori?

Lucy DeII.

Ladies and gentIemen, I've been asked

to make an announcement.

Miss Yoko Mori, whom you've just seen

as Madame ButterfIy,

wiII not be with us tonight.

She has pIayed

her first and Iast performance

and has entered a convent.

We wiII see her no more.

But I'm sure you'II aII join me

in wishing her every happiness.

And now I know you'II understand

how proud I am

of the director of this wonderfuI picture,

Mr. PauI Robaix, my husband.

Lucy?

Yes?

I Iove you very much.

I'm gIad, darIing.

-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 IittIe ham.

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