My Geisha Page #4

Madame Butterfly. Test.

Yoko Mori. Take one.

Are you nervous, Miss Mori?

Hai, I IittIe nervous.

That's very naturaI.

-May I caII you Yoko?

-I wouId be honored.

Yoko, we know very IittIe of geisha.

WouId you teII us something

about yourseIf,

where you were born,

how you were raised,

and how you came to be a geisha?

I was born the youngest of 1 1 chiIdren

to my poor but very honorabIe parents

in smaII viIIage not far from Tokyo.

When I was a few weeks oId,

my father died,

and mother unabIe to raise me,

she sent me to Iive

with honorabIe grandparents,

who raised me untiI I was five years oId.

Since they, too, were aIso quite poor,

it became necessary at that time

to seII me.

When I was soId...

HoId it a moment, Yoko.

HoId it.

Am I not speaking cIearIy?

No, you're speaking fine.

The part about you being soId,

couId you expIain that a IittIe more fuIIy?

My grandfather went to a man

who bought young girIs

to train as geisha.

He bought many girIs,

aIthough not aII girIs were abIe

to become a geisha.

I was most fortunate.

I became geisha.

Does this man stiII own you, Yoko?

No. I recentIy pay back Iast of money

to honorabIe gentIeman.

That's very commendabIe.

I do not understand the word.

Oh, it's a compIiment.

It means very nice.

I don't understand that word.

That means thank you very much.

Thank you.

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

Okay.

How much shorter is she than you?

Oh, quite a Iot.

I'd say three or four inches, at Ieast.

Yoko,

wouId you put your arms

around Mr. Moore and kiss him?

It is necessary?

Have you any objection

to kissing Mr. Moore?

No. OnIy I have never

kiss anyone before.

PauI, if...

Never?

You mean never in your whoIe Iife?

Kissing not Japanese custom.

However, I have seen it done

and wiII attempt it, if you wish.

PauI, if you don't mind,

I'II direct this part of the scene myseIf.

Honey? Put your arms out.

No, no.

This way.

That's it.

WeII.

What have you got to report, director?

Hey.

Oh.

WeII, if that's her first kiss,

I'm afraid to see what she'II be Iike

with a IittIe practice.

What do you think of kissing, Yoko?

It is most interesting.

She can take

kissing direction great, PauI.

Take my word for that.

AII right, cut.

You were very naturaI, Yoko.

I had him kiss you to see

if it wouId upset you.

It is good, this being naturaI?

It's the hardest kind of acting to do.

-Take my word for it.

-Oh, yeah.

Why don't you wait for me

in the dressing room, Miss Mori?

Thank you very much. Thank you.

I think the kid's just great. She's...

WeII, I mean, she's naturaI.

You know, that's what PauI said

the part caIIs for.

You're the producer, Sam.

How do you vote?

WeII, I'm not against her,

but I'd prefer a girI with options.

Come on, Sam.

Sam, this one-shot appearance

can be an asset to us.

We'II pubIicize that this girI

is going into a convent.

It'II be a tremendous emotionaI waIIop

to the audience.

-Yeah, yeah, you bet, you bet.

-WeII, you may be right.

I'II teII her she got the part.

Here, now. Just a minute, Bob.

Let me be the producer in something.

After aII, I stiII have

the business negotiations to make.

-You're right, Sam. Come on, Bob.

-Yeah, I just...

-How'd we do?

-WeII, you got the part.

They taIked me into it.

Attaboy, Sam.

You know, that convent idea did it.

Lucy, when you decide to retire

from acting,

I'II make you a producer.

-You're just dishonest enough.

-Thank you.

By the way, you're going to have

troubIe with Bob.

-What kind of troubIe?

-WeII, romantic troubIe.

He's anticipating Iaughs,

I can teII, with the geisha.

I aIways have that kind of troubIe

with Bob, Sam.

-What's that?

-Yeah.

I don't beIieve it.

Why, he's PauI's friend.

There's nothing wrong with Bob.

He's just a deIayed adoIescent,

that's aII.

Why do you think he's been married

four times?

He faIIs in Iove with the woman

who's nearest.

It doesn't bother me, though, Sam.

Who is it?

It's me, Yoko. Open the door.

Who is me, pIease?

Mr. Moore.

Mr. Moore.

PIease, dozo. Come in.

Yoko, honey, I...

I've just been thinking.

Maybe I couId heIp you a Iot.

How wouId you Iike to rehearse

at my hoteI this evening?

We...

The door was Iocked.

I thought you were aIone.

Now, Bob,

you might as weII get used to it.

I have to bring this girI back

to her uncIe every night.

He's made me responsibIe for her.

You know, these peopIe are very strict.

Come on.

For heaven's sake, Sam,

I wasn't going to eat her.

Thank you very much for offer,

Mr. Moore.

That's aII right, Yoko.

What's the matter with you?

Are you an animaI or something?

-Let me...

-Go on now, pIease.

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

but now I want to start to work.

I want to Iisten to the radio,

day and night,

and get the infIection in my ear.

I've been bIuffing it.

I want to move to a reaI Japanese hoteI,

and I want a coach, the best.

I'II show that husband of mine.

''You're a great comic, Luce,

''but the roIe of Madame ButterfIy

is outside your range.''

He'II eat those words

with nouvelle vague sauce,

my fine French genius.

Do it, Luce. Do it.

-Come in. Come in, Mr. Takata.

-Thank you.

I came as soon as I couId.

I hope you are pIeased with your room.

-I need a chair.

-No, nothing doing.

We don't want you sitting down

on the chair, in the middIe of a scene,

forget yourseIf Iike that.

Mr. Takata?

Now, the most important thing now

is to find the teacher for her.

Are there such things

as geisha teachers?

-There are.

-WeII, fine. We want the best.

Sworn to secrecy.

Takata, now, you get one over here,

say, at 3:
00.

I have an oId friend who is

one of the most famous teachers.

And perhaps he wiII

kindIy permit us to visit him.

WeII, we'd be very much obIiged,

Mr. Takata.

Of course, we'II pay him

whatever his time is worth,

and we'II appreciate it very much

if he'II teach Miss DeII.

I wiII present our pIea most earnestIy.

Thank you.

-May I Ieave now?

-Yes. CertainIy.

Thank you.

-WeII, thank you very much...

-It's a pIeasure.

...for the time you've given me.

-Goodbye.

-Thank you very much.

Goodbye.

-Goodbye.

-Goodbye.

Goodbye.

That was certainIy a boner,

asking him to bring the teacher here.

I forget how poIite these peopIe are.

-He is expecting us.

-Thank you.

WeIcome to my home. I am honored.

I am priviIeged to enter.

May I present my friends

Miss Lucy DeII and Mr. SamueI Lewis?

-How do you do?

-How do you do? How are you?

-How do you do?

-How do you do?

-How do you do?

-WouId you be seated?

-Thank you.

-Thank you.

It occurs to me,

our ceremony of cha-no-yu

may not be interesting to you.

It is the preparation and drinking of tea.

We drink tea in America

with Iemon, iced, creamed,

aII sorts of ways.

-We Iike tea.

-That's right.

Our main purpose in our tea ceremony

is not actuaIIy the drinking of it,

but to create

an atmosphere of tranquiIity.

Like our martini. Same principIe.

I understand your time is Iimited.

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