16. INT. RESTAURANT – NIGHT
KAY and FRANKIE are seated at a table.
KAY
Don’t you understand how you embarrassed me in there? Who do you think you are, Frankie, just who do you think you are?
FRANKIE
I’m me. And that’s plenty good enough. I’m just as good as that creep salesman at Kleinmetz, or your phony actor friends.
KAY
Sometimes I get the feeling, Frankie, you ought to be chained up with a ring in your nose. Now, here, I’ve worked so hard to get these costumes accepted and this is the first group that has given me a chance. You are incorrigible, you’re absolutely incorrigi . . .
SOPHIE enters the restaurant and finds them at their table.
SOPHIE
May I sit down?
KAY
Oh, please do. Miss Sophie Cantaro, Mr. Frankie Fane.
FRANKIE
Hi.
SOPHIE
Now, about Frankie.
FRANKIE
I’ve already had one lecture on my bad manners.
SOPHIE
What you did on that stage was very realistic.
FRANKIE
Once you’ve been on the noisy end of a knife you don’t forget what that guy looked like comin’ at you.
SOPHIE
Very impressive. An actor has to draw from all his experience.
KAY
Oh, Miss Cantaro, Frankie isn’t an actor. He doesn’t belong to our group.
FRANKIE
And the opinions expressed were strictly my own, and not necessarily those of the director, the designer, or the so-called actors.
SOPHIE
I see. What do you do?
FRANKIE
I push a dress cart in garment center. Strong back, weak mind.
SOPHIE
Ah, do you think you could tear yourself away long enough for a little stage experience?
KAY
Frankie, Miss Cantaro is from Hollywood.
FRANKIE
Swingin’! And I’m from Ohio. How many Green Stamps is that?
KAY
Frankie, please.
SOPHIE
(laughing)
I’ll just charge that up to Frankie’s youthful exuberance.
FRANKIE
You can call me Mr. Fane.
KAY
Frankie, stop being rude and listen, please.
FRANKIE
All right, I’ll listen. What’s on your mind?
SOPHIE
I’m in New York trying to find young talent for my studio.
FRANKIE
What studio?
SOPHIE
An important studio. Important enough, even for you, Mr. Fane.
FRANKIE
And you want to make me a star, is that right? Haven’t we got this all backwards? Isn’t it me that’s supposed to be hustlin’ you?
KAY
Frankie, you are rude and nasty and impossible. Absolutely impossible.
FRANKIE
Will you stop beating on my ears! I’m up to here with all this bring-down. I’m me. You don’t like what you see then change the scenery. Go.
Kay stands ready to leave.
FRANKIE (CONT’D)
That’s right, go! I’m not good enough, take off.
Struck dumb, she leaves.
FRANKIE (CONT’D)
Wait Kay! Don’t! Come back, please.
(to Sophie)
I didn’t mean that. Why do I always try to destroy the people I love? I’ve lost her. Look, the only one in the world who means anything to me. I can’t make it without her. I can’t!
Frankie puts his head in his arms and starts to cry. Sophie, deeply moved by the outburst, looks on and is at a loss as to what to do.
SOPHIE
(hesitantly)
Ah, Mr. Fane. Mr. Fane . . .
Frankie raises his head from his arms and smiles.
FRANKIE
You can call me Frankie.
SOPHIE
(realizing it was an act)
Oh, that’s twice in one night you’ve impressed me. Oh, I think you’d like to become an actor.
FRANKIE
If that’s all it takes.
SOPHIE
It takes a lot more. But if you’re willing to learn.
FRANKIE
I’m willing to learn.
SOPHIE
It means you do exactly as I say. I don’t like wasting my time.
FRANKIE
That makes two of us . . . Sophie.