My Geisha Page #2

WeII, goodbye, darIing. I'II phone you.

Thank you.

This is Tokyo tower.

Make straight-in approach to runway 33.

You are cIeared to Iand. Over.

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

Fine, Mr. Lewis.

It's so nice to see you again

in our country.

WeII, it's nice to be back here.

Lucy, this is Mr. Kenichi Takata,

-the head of our office in Japan.

-How do you do?

-Miss Lucy DeII.

-How do you do?

I was not informed you were coming.

There wouId have been the press.

Oh, no. No press is quite aII right.

I used a fake name, anyway.

We're surprising my husband.

He wiII be surprised.

He awaits onIy Mr. Lewis at his hoteI.

-This way, pIease.

-CertainIy.

Excuse me a moment.

Lucy, because the pIane was Iate,

PauI and Bob asked me to meet them

at this teahouse restaurant.

So why don't you go upstairs

and freshen up a bit?

I'II go and see the boys,

and then I'II send the car back,

and then you can come in

and reaIIy surprise them. How's that?

Stay head of the studio, Sam.

You couIdn't be an actor.

What do you mean?

You're afraid I'II catch PauI

with someone, isn't that right?

-Oh, no, no. Not at aII.

-Yes, it is.

WeII,

I'm not in favor of surprises,

especiaIIy out of town.

I had a very bad experience once

with two married stars in Pittsburgh.

There'II never be

a Pittsburgh with us, Sam.

Take my word for it.

I'd bet my Iife on PauI.

Now Iet's freshen up.

We'II both surprise him.

Lucy DeII-san.

This is the mama-san.

How do you do?

They wiII take us to your husband.

-Thank you.

-Miss DeII.

We see your picture often.

-Thank you.

-I have a photograph of you on my waII.

Thank you very much.

You're very big in Japan.

-Thank you.

-Thank you very much.

That's nice.

It's reaIIy gorgeous in here.

Charming, isn't it?

What a IoveIy IittIe bridge, too.

Very IoveIy, yes.

They've got five dames

waiting on them in there.

I heard it was a man's country,

but this is ridicuIous.

More!

Yes. They come and go aII evening.

Why that different makeup?

The first one is a waitress,

and the other one is a geisha.

Geisha?

WeII, teII them they're wasting their time

on my boy.

Or couId it be we're in Pittsburgh?

Lucy, you don't beIieve that of geisha,

do you?

CertainIy you know better than that.

I don't know.

I've heard confIicting stories.

I haven't won one yet.

Do you think this is crooked?

I don't see how.

Maybe they're cIairvoyant.

I'II be a monkey's uncIe.

What's the monkey's uncIe drinking?

Sake. It's rice wine.

They're beautifuI.

This is Miss Lucy DeII.

HeIIo.

Are they wigs, or is that their own hair?

It's a wig.

Wigs.

CouId I put on one of those costumes

and make my face white Iike they do?

Yes.

You might fooI him as you waIk in,

but first straight Iook at you,

he'II know you.

-I'II bet you $100.

-AII right, you've got it.

Not yet, but I think I wiII.

The bet's for one good

straight Iook, okay?

Okay. What comes after?

Then I'm gonna jump in his Iap

and give him a big fat kiss

and see how Mr. NonchaIant

reacts to that.

It's worth Iosing just to see.

Don't be Iong.

Okay.

Hiya, Sam!

-Hi, PauI.

-Hi, Sam.

PuII up your knees and sit down.

TeII me, did you see Lucy

before you Ieft?

We went to the airport together.

She sends her Iove.

I'II drink to that.

To Lucy, the greatest wife

both sides of the Pacific.

Thank you.

Thank you.

Here?

I make you a beautifuI geisha.

Thank you.

This is white 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 beautifuI shrines,

over a face Iike that.

Yes.

It'II be fabuIous.

Oh, brother, I got to stop eating.

My stomach's busting,

and my knees are kiIIing me.

PauI, can't we Ieave now?

Look, Bob,

we ought to stay another five minutes,

just as a matter of courtesy.

Okay.

By the way, PauI,

I expect the music tomorrow morning.

I want you to Iisten to it.

They've done a wonderfuI recording job.

I'm sure you'II Iike it.

Fine. I want to hear them

as soon as possibIe.

No, no, no, enough with sake.

Sake. You know, I Iike sake.

I'm gonna have a coupIe of cases

sent out to CaIifornia.

You know, I have to finish casting

before I Iook for Iocations.

WeII, they certainIy shouId heIp you

with aII the casting.

-CertainIy.

-They can be very heIpfuI, I'm sure.

Good. Thank you.

We're overdoing this, aren't we?

I onIy want to see actors

who speak EngIish, of course.

I understand.

Does that Iimit my seIection?

No, not very much.

Good. Good.

Let's see if my Iuck has changed any.

No.

Come on.

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

Come on, come on,

young Iady, drink up.

I quit whiIe I'm ahead.

I don't want to break my winning streak.

Young Iady, do you know

that you were up against

one of the smartest gambIers

who ever fIoated down the Mississippi?

FIoated up, too, which is even harder.

You are so funny.

Thank you, ma'am.

And you're very charming.

And you are very pretty, too, miss.

Thank you.

You know, these peopIe

are very photogenic.

It's their bone structure,

high, fuII cheeks.

More so than occidentaIs?

Oh, yeah.

I mean, this girI, for instance,

is a better photographic subject

than, say, Lucy?

Excuse me.

AbsoIuteIy.

WeII, you're the expert.

I know when I'm Iicked.

WeII,

enough poIite. Goodbye, everybody.

Miss, how do you say

goodbye in Japanese?

Sayonara.

CertainIy. What's the matter with me?

It's the onIy word in Japanese

I do know.

It's the onIy word in Japanese

a Iot of peopIe know.

-Yeah.

-WeII, sayonara, everybody.

MarIon Brando.

Thank you.

-Go and come back.

-Why?

-Go on and come back.

-AII right.

Thank you so much.

Thank you very much. WonderfuI.

Thank you so much. WonderfuI.

Madame, we'II be back again.

-We had a wonderfuI time.

-Thank you very much.

Sayonara, you aII!

OId Japanese saying,

''Fast pay make fast friends.''

Sam, what chance has PauI got

to make a good picture

on this cheap budget?

Not much.

Tomorrow, I'm going to teII him

he can't shoot it in coIor.

It'II have to be

in gIorious bIack and white.

Without your name on the picture,

we can onIy spend so much

and no more.

Are you thinking the same thing

I'm thinking?

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

I'd Iove to do it, Sam.

And it'd reaIIy be

something different for me.

Without hurting PauI,

how can we taIk him into it?

WeII, how are you hurting him?

Without you, he has a cheap picture,

bIack and white,

and without the best opera singers.

With you, the sky is the Iimit.

CoIor, famous singers,

and he couId shoot on Iocation

untiI he's... To his heart's content.

So, how are you hurting him?

WeII, it's a matter of pride.

He's so soId on using

a reaI Japanese girI.

WeII, then it's faIse pride.

He couIdn't teII you from a Japanese,

and he was six inches from you.

We'II have to do it deIicateIy.

WeII, fine. Force him deIicateIy.

How?

Let me do it.

I'II suggest you for the part.

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