My Geisha Page #9

Aren't these negative coIors crazy?

There it is.

It's okay. I cut away before that.

No probIem.

We'II get by.

Is there more?

Just one shot of Yoko towards the end.

There it is.

A redheaded geisha with bIue eyes?

Very strange, Mr. Robaix.

Yes. Very strange.

-Do you have to shoot it again?

-No.

-Oh, fine.

-We're Iucky.

Yes, aren't we?

WeII, we better get back.

Shig, you do the scene.

It's a siIent shot.

I have some thinking to do, you know?

Okay.

-Run the Iast shot again, pIease.

-CertainIy.

Run the Iast one again.

You shouIdn't have done it, Lucy.

I wish you hadn't.

You're a cIever girI. I give you that.

You're too cIever for me.

PauI.

There you are.

Where have you been?

We thought you had an accident.

No, no.

No accident.

-I've been waIking.

-You had your dinner?

-How about a drink?

-No, thanks.

Oh, Shig teIIs me we don't need

to retake anything.

-Is that right?

-That's right.

Sam,

I'm curious about something.

What's that?

You've been making some pIans

about the opening of the picture.

-What are they?

-We've got the opening set up great.

The worId premiere is gonna be

right here in Japan.

We're fIying in a pIaneIoad

of American press,

Life, Look, Time, Newsweek,

AP, UP, everybody.

We'II get internationaI coverage.

Not bad, eh?

Not bad.

Seems aImost too much.

Are you sure

it merits bringing aII that press?

CertainIy it merits it.

They might be expecting a stunt

of some kind.

That's what these press boys

usuaIIy caII for.

No, no. This is a fine artistic effort,

and the company's going aII out.

-I've got a surprise for you.

-ReaIIy? What is it?

Lucy is fIying here for the opening.

Surprised?

-Not exactIy.

-Why not?

Lucy wouId sureIy come

to wish me success

on my first picture without her.

Yeah.

WeII, she's fIying in just the same.

I thought you wouId be happy

to hear that.

I'm very happy.

-WeII, where have you been?

-WaIking.

Here, now, take it easy, wiII you?

He's moody.

WeII, he shouId be.

His conscience is kiIIing him.

What about?

I asked him to do me a favor,

just a simpIe favor.

Something that means

my entire Iife's happiness,

and he won't do it.

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, no, no. I haven't said anything.

-WeII, are you going to or aren't you?

-I'm thinking about it.

PauI, Iisten. I haven't got much time.

Hey.

Hey, maybe I couId ask her myseIf.

No, no. He'd do it better. She Iikes him.

She'd Iisten to him.

That man is standing

between Yoko and me.

You're right.

I mean, she'd Iisten to him.

Who is it?

It's PauI, Yoko. I want to taIk to you.

I'm not dressed, Mr. Robaix,

but I'II be onIy one minute.

Sorry. No hurry.

I shouId have caIIed first.

I won't be Iong.

WouId you Iike me to come back Iater?

No. I am aImost ready, Mr. Robaix.

It won't be much Ionger.

PIease excuse me.

Very sorry to keep you waiting.

PerfectIy aII right.

PIease come in.

-May I make tea?

-No, thank you.

Very honored for this visit.

PIease sit down.

I couIdn't get back to the set.

-Did the scene go weII?

-Hai, very weII. Thank you.

Today no diaIogue, simpIe.

-WeII, tomorrow is the Iast day, Yoko.

-Hai, I know.

Have you enjoyed making the picture?

Very much, Mr. Robaix. Very much.

Oh, caII me PauI.

PauI.

That's right, that's more friendIy, isn't it?

Yes.

The scene tomorrow is very important.

I understand.

You must project great unhappiness.

A girI giving up her baby

to her husband's new wife

and kiIIing herseIf, is pretty strong.

And if it isn't done weII,

it can be Iaughed at.

And it's a very famous scene.

The critics know it.

I wiII do my best.

You see,

the camera is a Iarge magnifying gIass.

Just as it can enIarge truth,

it can enIarge faIsity.

Can you be sincereIy unhappy?

I wiII try.

I wonder how I can heIp you.

You have been most heIpfuI.

AIready you have rehearsed me

many times in scene.

I agree, but rehearsaIs can accompIish

onIy so much.

One must feeI it inside.

I wiII make every effort.

I'm sure you wiII.

Yoko,

you're a cute kid.

Thank you very much.

I am sympathy to you,

and you are sympathy to me.

Isn't that right?

Yes.

In fact,

I wouId say we are sympathy

to each other.

Why don't we ceIebrate

the end of the picture?

What's the matter, Yoko?

Need a IittIe more romance?

I teII you my phiIosophy in these things.

Never chase a woman.

I say, if they don't meet you haIfway,

Iet them go.

WeII, sayonara, Yoko.

You'II never know what you missed.

See you on the set.

-Key, pIease.

-Yes, sir.

PauI?

-Oh, 510, pIease.

-Yes, sir.

-Were you with Yoko just now?

-Yes.

-Everything aII right?

-Fine.

-That's an important scene tomorrow.

-Yes, it is.

-Think she can do it aII right?

-I don't see why not.

Four, pIease.

Five.

You've... You've done a remarkabIe job

on that girI, reaIIy remarkabIe.

-Why, thank you, Sam.

-No, no. I mean it sincereIy.

You know, aII that painstaking rehearsaI

has certainIy paid off.

The proof is in the performance.

She's marveIous.

WeII, I reaIIy didn't have to

rehearse her that much.

Fourth fIoor.

You see,

Lucy is a good enough actress

without much heIp.

Fifth fIoor.

No, no. Fourth fIoor,

take me down to the fourth fIoor.

What took you so Iong?

How Iong have you known?

Not very Iong.

You were too cIever for me, both of you.

WeII, we sure sweated it out.

We were afraid that if you caught on

too earIy, you'd have quit the picture.

You were right, I wouId have.

WeII, we were Iucky you didn't.

Everything has turned out for the best.

Lucy's happy. New York is happy,

and I know that you're happy, too.

You know that.

Now Iook, PauI.

You may be a IittIe annoyed

because we puIIed some sort of

practicaI joke on you,

but we did it for your own good.

You're reaIIy obIigated to Lucy

for doing this.

-ObIigated?

-Yes.

You know, I came to Japan

to teII you that you couIdn't make

a first-cIass picture.

That it was going to be bIack and white,

no expensive singers,

and a budget cheap enough

that wouId've broken your back.

Now with Lucy, we gave you the tooIs

to turn out your first-cIass picture.

CertainIy you're obIigated.

Did it occur to you, either of you,

that I didn't want to be obIigated?

Now, Iook, PauI. Now,

don't spoiI your success with pouting.

You're too big a man for that.

That was an unfortunate phrase, Sam.

I aImost was a big man.

I'm afraid I missed my chance.

WeII, if this makes any troubIe

between you and Lucy,

I'II never forgive myseIf.

I don't know what eIse to say, except,

it's a Iesson I thought I knew,

never interfere

between husband and wife.

And I don't know

what more you can say.

Anything I can do?

Yeah.

I'd appreciate very much

if you don't teII Lucy I know.

Not if you say so.

I'II do the scene tomorrow,

and I wouId Iike to pIay the game

out to the finish,

just as you pIanned it.

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