That Girl (1966–1971): Season 3, Episode 1 - Sock It to Me - full transcript
After a verbal tirade against her agent for not getting her any auditions, Ann learns that he's gotten her one for "The Revolutionary Heart", a currently running hit Broadway play, the part a replacement one for an actress who needs to leave the show. Despite the reservations of the play's director Sidney Gold, Ann ends up getting the small but pivotal part on the want of the play's lead actor, Barry Sullivan. Ann's character first enters the play at the second act's climactic scene, where she is required to yell at Sullivan's character and slap him across the face, which during early rehearsals a non-violent Ann is unable to do. Sullivan does whatever he can to help Ann through this issue, at first since he does believe in her, but ultimately solely to prove Gold wrong. Due to circumstances, Ann is required to appear in the production immediately, without having yet being able to slap Sullivan. So in Ann's inaugural performance in the play, the climactic second act scene has more than one reason for being climactic.
Oh, I know a lot of actor"
agents don't call, Seymour.
Believe me, I
appreciate that you call.
It's just that... Yes,
I guess I'll hold.
Boy, agents are always
taking another call.
Who are they always talking to?
Other agents.
Seymour? Yeah.
Well, as I was saying,
you know the thing I've
noticed most about television?
I'm hardly ever on it.
There were 74
shows that had parts
that I could have
played last week.
74 shows, Seymour,
with an average of three parts
each that I could have played.
Do you know how many
parts that is that I didn't get?
221 parts. 222.
222 parts, Seymour.
And yesterday, on
Break a Mama's Heart,
what about the part of Nicky?
Well, suppose it was a man.
With a little selling...
Yes, I'll hold.
Boy, the minute I get rolling.
Well, don't cool off.
Stay angry.
Keep some bad thoughts.
Right, right.
Seymour?
All right, Seymour,
now you just listen.
[Seymour] Will you listen to me?
Okay, you talk.
You talk and I'll listen.
All right.
No, I'm quiet.
No more complaints from me.
No more criticizing.
No more tactless suggestions.
From now on I'm
just going to listen.
I'm all ears.
Some mouth, but mostly ears.
Yes, Seymour.
Yes, Seymour.
Will you please let
me... Let me talk?
What?
[Seymour chattering]
You're kidding?
Well, why didn't you say so?
Listen to me...
Oh, Seymour, of
course I'll be there!
Oh, Seymour, thank you.
You're the best
agent a girl ever had.
[hangs up phone] How did he go
from the worst to the best like that?
Donald, I've got an audition
for a Broadway show.
Which one?
The Revolutionary
Heart, starring,
are you ready for this?
Barry Sullivan.
Honey, that's a
very big hit. I know it.
Well, they have to
get a replacement
for this girl who has to
have her appendix taken out.
Oh, what a tough break for her.
Well, actually,
it's not that bad.
You don't really
need your appendix.
No, no, no. You're right.
Oh, Donald, this could really be
an important break for me.
I mean, we're talking
about the big time!
Playing opposite...
Barry Sullivan!
I suppose so.
I mean, not only is he a
man of tremendous stature,
but he's intelligent and
charming and attractive.
Take it easy.
You're leaving him nowhere
to go when you meet him.
Oh, Donald, this isn't a joke.
This could be a
marvelous opportunity.
Oh, honey, I'm teasing.
I couldn't be happier.
Oh, I know.
We're acting like I
already got the part.
I mean, I still have to
audition for it and everything.
I mean, there will be
other girls there trying out.
Well, all I can say is,
if I were an intelligent,
charming, attractive leading
man with tremendous stature,
who saw several
dozen pretty girls
walking across the stage,
it would still take me
only about a half a second
to decide I want that girl.
[doorbell buzzes]
Oh.
Just a minute.
[doorbell buzzes]
Coming!
Hello, dearest. Oh, hi, Daddy.
Oh, Daddy, I'd love
to visit, but I got to run.
I'm late. That's too bad.
I had some business
to take care of
and it struck me that
you ought to go along.
Why would anything
strike you like that?
It's an opportunity to learn
some tricks of my trade.
Oh, Daddy, I've got my own
trade to learn some tricks of.
That's fine,
but you have
nothing to fall back on.
Well, there are those who
might disagree with you on that.
I was referring
to my restaurant.
Some day it will all be yours,
and there are plenty
of things to learn.
For example?
For example, do you know how fast
the average heavy-duty napkin wears out?
Well, that would depend on whether
it's used by a man or a woman.
Why?
Well, a woman
wipes across smooth.
A man wipes across bristle.
That would scrape.
Here a scrape, there a scrape...
first thing you know,
good-bye napkin.
You know, you've
got a real feeling.
See? I don't have as
much to learn as you think.
And in the meantime
I'm up for a part in the
play opposite Barry Sullivan.
The Hollywood actor?
Is there another one?
You never know.
There are a lot of phonies
running around these days.
Yes, Daddy. I got to go.
Just you be careful. Of what?
You know about
those Hollywood guys,
with their women
and their carrying-on.
Daddy, Barry Sullivan happens
to be a very respected person.
There's never been one
word of scandal about him.
And besides, I'm up for a job,
not an assignation.
What? You know.
Yes, but how do you know?
I read.
I'm going to be
late for my audition.
And believe me,
the theater's not nearly
as wicked as you think.
Oh, yeah?
Then how come the first thing
they want is to see your legs?
Oh, Daddy.
That sort of thing went out
with the Gold Diggers of 1938.
Raise your skirts, girls.
I thought this sort of thing
went out with the
Gold Diggers of 1937.
38.
What do you think of
that dark-haired girl?
She's got a nice quality.
Sensitive, a little fire.
I like the redhead.
You have excellent
taste, Sidney,
but for a moment, study
that dark-haired girl.
She's got a kind of quality.
The redhead.
That wasn't a moment of study.
That was a blink of study.
Do you want me to agree with you
because you're a star?
Is that what you want?
Don't be ridiculous. I want you to
agree with me because I'm right.
Please hold your voice down
if you're going to ridicule me.
Miss Marie.
Okay, thank you, girls.
You can put your skirt down now.
It is down.
Miss Marie, this
is Mr. Sullivan.
Yes, I know.
How do you do? How do you do?
Mr. Sullivan feels
you're right for the part.
Oh, my gosh.
Oh, thank you, Mr. Sullivan.
Oh, don't thank me.
We need a girl
who's provocative,
sensitive, exciting.
You're very fortunate to
have all those qualities.
Thank you.
Okay, let's run through
the scene a few times.
Oh, fine.
Let's see.
Your dialogue is on page 63.
63?
Is that your unlucky number?
Oh, no! Of course not.
I just thought
maybe the character
arrived a little
earlier than that.
You come in late,
but very importantly.
Oh, great.
There.
This? "You pig."
Not "you pig."
"You pig!"
You pig!
You pig! You pig!
Would you like to try
it with Mr. Sullivan?
Oh, I'd love to.
Don't let Sidney upset you.
He's very temperamental,
but he's a very
talented director.
He does make
me a little nervous.
All right, sweetheart.
You're sitting right here.
Now, this scene is
the climax of the play.
O'Casey is on his last legs.
He's spent his life
as a revolutionary
and now he wonders if
it's all been worthwhile.
He remembers a
girl he loved and lost
and wonders if maybe that's
why he became what he became.
You got it?
Got it. He sees you.
There's something about you.
You grab him.
Where?
Figuratively speaking.
Oh. Oh, yes.
You get up.
He gives you a
long yearning look
and he says,
"Have you something
for me, woman?"
And then I say... You stop,
look at him, walk over.
Then you say... You pig.
You pig! You pig!
You pig! You pig!
Just once!
Right.
Then you slap his
face and walk off.
He breaks down and
gives his big curtain speech.
"What more can I ask, informer,
gutted, rotting hulk..."
Et cetera, et cetera.
All clear?
Oh, yeah. I think so.
Let's try it. Oh, fine.
That's all right.
Have you something
for me, woman?
You pig.
What more can I
expect, informer,
gutted, rotting hulk.
[Sidney] Hold it!
What was that?
That "eh?"
That wasn't right?
I'm sorry.
Well, let's try it
again, Miss Marie.
Oh, thank you.
Have you something
for me, woman?
You pig.
Miss Marie, you
can't possibly hurt me.
No, no, I know that.
I mean, I thought that I might,
but I know that I couldn't.
It's just that I knocked the
heck out of a panda bear
when I was 5, and...
Miss Marie, in order
to kick off this scene,
this climax to Act Two,
we need a real wallop here.
As an actor, Mr. Sullivan
needs a physical jolt
to release his tension.
It's a basic motivation.
Yes, I understand.
Well, "eh" won't do it.
No. No, I'm sorry about that.
You've slapped guys
before, haven't you?
Well, actually, no, I haven't.
Come on.
What, are you kidding?
Sidney!
Sidney, what's the
matter with you?
Can't you see Miss
Marie is a lady?
Ladies we got plenty.
What we need is an actress.
It's just that I'm not
a very hostile person.
We'll take a little break
and we'll try it again.
We're running out of time.
We've got plenty of time.
This time I don't
agree with you.
This time you're wrong.
This time I'm a star.
Ten minutes everybody!
I'll tell you the
truth, Miss Marie,
I really prefer the
stage to motion pictures.
Oh.
Well, you can't get a very
good look at you on the stage.
Well, it's not as
intimate a medium.
No, it isn't.
That's a shame, isn't it?
What I mean is in motion
pictures it's very easy
to create illusions,
but on the stage, Miss Marie,
I need to be slapped. Really?
I wouldn't lie to you.
Oh, no. No, no.
I understand.
Come in.
Sarcasm.
Would you and your
protégé like to try it again?
I think Miss Marie and I
are ready to
give it another try.
Aren't we?
[sighs]
I feel a little bit like
Ann Marie Antoinette
on the way to the guillotine.
I have every confidence in you.
Oh, Mr. Sullivan, why are
you being so nice to me?
Well, to begin with, I
think you've got talent,
and I remember how it
was to be young and eager
and to need help to get started.
That sort of gives
you responsibility
to help the next fella
that comes along.
I use the word
"fella" advisedly.
How can I ever thank you?
It's very simple. Hit me!
[sighs]
Hi, there.
It's over. It's all over.
Between us?
Between me and Barry Sullivan.
Oh, honey.
You didn't get the part.
Oh, I got the part,
but I couldn't hit him, Donald.
Why didn't you call me?
I'd have hit him for you.
Why should you hit him?
I don't know. You
wanted to hit him.
That's good enough for me.
Oh, no, no. It's in the play.
He's this informer in
the Irish Republican Army
and I don't want to have
anything to do with him...
Oh.
Whose second act climax
depends on my slapping him,
and I couldn't slap him.
I can't slap anybody.
You know that I've never
slapped anybody, Donald?
Well, I find that
hard to believe.
Hasn't a man ever made
improper advances to you?
Of course.
Many men have made
improper advances to me.
I just don't happen
to react with violence.
That's reassuring.
But the thing that
upsets me so much
is letting Barry down.
Barry?
He's gone through
an awful lot for me.
I do that every day.
And that darn director.
I mean, acting as
if the only reason
that Barry was nice to me
was because, well, you know.
Because he thought there was
something personal between you?
Right. I mean, just
because Barry was being
attentive and considerate
in his dressing room...
And that was stupid, I suppose,
because every girl who auditions
winds up getting charmed into
Barry Sullivan's dressing room.
Yes! Yes, what?
It was stupid of
him. Oh, I don't know.
I imagine I might have
thought the same thing
under those circumstances.
Donald Hollinger, if
I were the kind of girl
who could slap
your face for that,
I'd slap your face for that.
I see. I see.
You might be able
to slap a nonentity.
It's only entities
you can't slap.
You, a nonentity?
Donald Hollinger,
promising young writer
who just last month
got a wave in the hall
from the editor in chief,
who calls you by name?
"Fellow." He called me "fellow."
That could be anybody.
Well, I'm surprised.
Well, we all have our own bag.
Barry Sullivan is
charming. I am surprising.
Donald, I have a
real problem to solve
and you're not
being very helpful.
I'm going.
This problem is outside
of my sphere of influence.
Well, you certainly
aren't yourself tonight.
That's entirely possible.
Whoever I am
bids you good night.
Good night, Donald.
"Fellow." Just call me "fellow."
You pig!
You pig!
You pig!
You pig.
You pig. [knock on door]
Just a minute.
Oh!
Good morning.
Oh, gosh. Mr. Sullivan.
Come in.
I hope you don't
mind me coming over.
I thought it might
be easier to talk here.
Oh, no. Are you
kidding? I appreciate it.
Have you been rehearsing?
How could you tell?
I heard you. "You pig!"
Good. Very good.
Strong. Exciting.
Yeah, up to there
I'm just great.
That's exactly why I'm here,
and I'm not leaving
until you learn to slap me.
I don't know why you
just don't get another girl.
I mean, it certainly
would be a lot easier.
Miss Marie, you remember
what I told you yesterday
about helping young and
eager people to get started?
Yes. Well, that was yesterday.
Today I'd rather
choke than tell Sidney
he was right about
you and I was wrong.
Life wouldn't be worth living.
So come on, slap me.
Yeah.
Well, I think I just have
to get into it a little bit.
Okay, okay. Get
yourself steamed up.
Well, you could help me.
All right, why don't we do
the scene from the play?
I'd have to get a
lot angrier than that.
Maybe we ought to just make
up something as we go along.
Fine, fine. We'll improvise.
Yeah, right.
Okay, now you'll
be you and I'll be me.
Good. Now I came here last night
in the middle of
the night uninvited.
Right. And you made
all these overtures to me.
Good. That's very good. And
here I am back this morning.
Right. Okay.
Now we'll just make
up something about that.
All right, let's go. Okay.
Mr. Sullivan!
Oh, wait a minute. That's not...
Mr. Sullivan!
I would think you'd be
ashamed to come back here
after what you did last night.
[chuckles] Look, kid,
you know how it is
with us actors from Hollywood.
We get hungry, we eat.
And it doesn't matter to
you who you hurt, does it?
Of course not.
There's a broken heart
for every light on Broadway.
All right, hit me.
Not yet.
Playthings, that's
all we are to you!
Just playthings.
You're callous and indifferent!
That's right, baby. Hit me.
No, wait.
And now here you are back
at the scene of the crime,
taking advantage again
of this innocent young girl,
an innocent young girl
who had faith in you.
And what did you do?
You came here in the
middle of the night...
Oh, my gosh! Daddy!
Daddy, what have you done?
What did I do? I
avenged your honor.
Mr. Sullivan, are you all right?
Fine, fine. Are you sure?
It's not generally
known in show business,
but I've got a glass jaw.
A bigger man would give
credit where credit is due.
Mr. Sullivan, this is
my father, Mr. Marie.
How do you do, Mr. Marie?
Pleased to know you.
Oh, Daddy, you've
made a terrific mistake!
Actually, you came in at
a very awkward moment.
For you, sir.
No, you don't understand. I was
trying to teach your daughter to slap me.
It's a technical problem.
Well, I have no such problem.
I'm hip. A loose cap.
Oh, Mr. Sullivan, I'm so sorry.
My father just
didn't understand.
It's perfectly all right.
I'd better see a dentist
before the matinee.
[Ann] Well, you
don't have much time.
If you excuse me,
I'll see you later
at the theater.
Yes, I'll be there.
Good-bye, Mr. Marie.
It's been most
unusual meeting you.
Mr. Sullivan, I'm so sorry.
[chuckles]
Nice-looking fellow.
Yeah, I certainly hope
you haven't changed that.
Do you have any disinfectant?
My knuckles are bleeding.
Oh.
I've got some Mercurochrome
in the bathroom.
Don't you have anything
stronger than that?
What for?
There's lots of poison
on people's teeth.
Oh, Daddy.
Here. I got to get dressed
to go to the theater.
Well, I'll be going home as
long as you're all right now.
Daddy, I was always all right.
I know that now.
But a father has a right
to protect his daughter
from a top-notch movie star
who's making improper advances.
Daddy, we were
improvising a scene.
You tell it your way,
and I'll tell it mine.
[knock on door]
Come in.
Hello.
Well, hello, there. Come on in.
You see? Good as new.
Oh, I'm glad.
I really am glad.
I came to apologize
about my father.
He gets excited,
but he means well.
Oh, I understand perfectly.
You're a daughter
worth protecting.
Thank you. You're
really very nice.
I only wish I could live
up to your faith in me.
You will. I promise you.
We'll rehearse that scene
again today after the matinee,
and this time, you'll get it.
[door opens] Hey, Barry.
Have you seen that girl?
Oh, there you are. Listen...
the kid's appendix
couldn't wait until Saturday.
You're going on this afternoon.
Me? I don't like it
any better than you do,
but it's either you or
the stage manager,
and he can't fit
into the costume.
Well, you got what you wanted.
Good luck.
Ann, Ann, dear. I know about
this little problem of yours,
but try to forget yourself.
Try to think of my problem.
I-I'll try. If you have small
affection for me, any at all,
when you go out
on that stage today,
I want you to slap my
face and slap it hard.
I'll try. I need it.
Yes, I'll certainly do my
best. I've got to have it.
Yes, I know it. I know it. These are
the last minutes you lose your nerve.
If something inside you
says, "I can't slap his face,"
then hit me here, hard.
Right on the side of the neck.
It looks good, it won't
hurt. Yeah, are you sure?
I swear. It just
seems hard to believe.
I'll show you. Okay.
Hey! My cap!
Donald!
Donald, what's the
matter with you?
I can't stand to see
a man hit a woman.
I have a quirk.
Oh, dear. I only
came here to apologi...
The apology's accepted.
Now, will you please
help me lift him up?
Look, honey, I'm
sorry about last night.
I just got steamed up. Well, Donald,
last night you had a right to, but not now.
How is a guy to tell? Ask!
Mr. Sullivan, are you all right?
Oh, fine, fine.
Why is it that you're the
only one who can't hit me?
[Man onstage] Thus he'd be able
to gather a full thread of knowledge.
Later he'd pick that it
possible that Harry should see.
And his young, smooth
profile that stood standing out
against the moonlight.
And his father said, "Son,
forever you'll remember Ireland
"and this day
"when all of us together,
shoulder to shoulder
"walked across the
hills and the valleys
and said, 'Up the
rivers, up the rapids.'"
Have you something
for me, woman?
Please, please.
Have you something
for me, woman?
Hit him.
Hit him!
You pig.
Mr. Sullivan.
[whispering]
Mr. Sullivan, it's your line.
P-pig though he may
be, if he could but speak,
I... I know what he
would have told all of us...
here. All of us.
Me, included.
He'd... He'd have said, "What
more can I expect, an informer?"
If... If he could
just get to his feet
and look at us, then
he'd laugh, "Ha ha."
And cry out, "The cause!"
Th-That's what
he would've told us.
What more can I
expect, an informer?
Mr. Sullivan. My life
has been parceled in...
I told them. I told them!
Hey, look what's in
the theatrical section.
The Revolutionary Heart
is moving to a larger theater.
Does it say who they're moving
to a larger theater without?
You mean Rocky
Marie at 108 pounds
from Brewster, New
York, in the purple trunks?
Mm-hmm. Nope,
there's no mention of her.
Oh, well, no wonder. You're
looking in the wrong place.
You better try
the sports section.
Pow! [bell rings]
agents don't call, Seymour.
Believe me, I
appreciate that you call.
It's just that... Yes,
I guess I'll hold.
Boy, agents are always
taking another call.
Who are they always talking to?
Other agents.
Seymour? Yeah.
Well, as I was saying,
you know the thing I've
noticed most about television?
I'm hardly ever on it.
There were 74
shows that had parts
that I could have
played last week.
74 shows, Seymour,
with an average of three parts
each that I could have played.
Do you know how many
parts that is that I didn't get?
221 parts. 222.
222 parts, Seymour.
And yesterday, on
Break a Mama's Heart,
what about the part of Nicky?
Well, suppose it was a man.
With a little selling...
Yes, I'll hold.
Boy, the minute I get rolling.
Well, don't cool off.
Stay angry.
Keep some bad thoughts.
Right, right.
Seymour?
All right, Seymour,
now you just listen.
[Seymour] Will you listen to me?
Okay, you talk.
You talk and I'll listen.
All right.
No, I'm quiet.
No more complaints from me.
No more criticizing.
No more tactless suggestions.
From now on I'm
just going to listen.
I'm all ears.
Some mouth, but mostly ears.
Yes, Seymour.
Yes, Seymour.
Will you please let
me... Let me talk?
What?
[Seymour chattering]
You're kidding?
Well, why didn't you say so?
Listen to me...
Oh, Seymour, of
course I'll be there!
Oh, Seymour, thank you.
You're the best
agent a girl ever had.
[hangs up phone] How did he go
from the worst to the best like that?
Donald, I've got an audition
for a Broadway show.
Which one?
The Revolutionary
Heart, starring,
are you ready for this?
Barry Sullivan.
Honey, that's a
very big hit. I know it.
Well, they have to
get a replacement
for this girl who has to
have her appendix taken out.
Oh, what a tough break for her.
Well, actually,
it's not that bad.
You don't really
need your appendix.
No, no, no. You're right.
Oh, Donald, this could really be
an important break for me.
I mean, we're talking
about the big time!
Playing opposite...
Barry Sullivan!
I suppose so.
I mean, not only is he a
man of tremendous stature,
but he's intelligent and
charming and attractive.
Take it easy.
You're leaving him nowhere
to go when you meet him.
Oh, Donald, this isn't a joke.
This could be a
marvelous opportunity.
Oh, honey, I'm teasing.
I couldn't be happier.
Oh, I know.
We're acting like I
already got the part.
I mean, I still have to
audition for it and everything.
I mean, there will be
other girls there trying out.
Well, all I can say is,
if I were an intelligent,
charming, attractive leading
man with tremendous stature,
who saw several
dozen pretty girls
walking across the stage,
it would still take me
only about a half a second
to decide I want that girl.
[doorbell buzzes]
Oh.
Just a minute.
[doorbell buzzes]
Coming!
Hello, dearest. Oh, hi, Daddy.
Oh, Daddy, I'd love
to visit, but I got to run.
I'm late. That's too bad.
I had some business
to take care of
and it struck me that
you ought to go along.
Why would anything
strike you like that?
It's an opportunity to learn
some tricks of my trade.
Oh, Daddy, I've got my own
trade to learn some tricks of.
That's fine,
but you have
nothing to fall back on.
Well, there are those who
might disagree with you on that.
I was referring
to my restaurant.
Some day it will all be yours,
and there are plenty
of things to learn.
For example?
For example, do you know how fast
the average heavy-duty napkin wears out?
Well, that would depend on whether
it's used by a man or a woman.
Why?
Well, a woman
wipes across smooth.
A man wipes across bristle.
That would scrape.
Here a scrape, there a scrape...
first thing you know,
good-bye napkin.
You know, you've
got a real feeling.
See? I don't have as
much to learn as you think.
And in the meantime
I'm up for a part in the
play opposite Barry Sullivan.
The Hollywood actor?
Is there another one?
You never know.
There are a lot of phonies
running around these days.
Yes, Daddy. I got to go.
Just you be careful. Of what?
You know about
those Hollywood guys,
with their women
and their carrying-on.
Daddy, Barry Sullivan happens
to be a very respected person.
There's never been one
word of scandal about him.
And besides, I'm up for a job,
not an assignation.
What? You know.
Yes, but how do you know?
I read.
I'm going to be
late for my audition.
And believe me,
the theater's not nearly
as wicked as you think.
Oh, yeah?
Then how come the first thing
they want is to see your legs?
Oh, Daddy.
That sort of thing went out
with the Gold Diggers of 1938.
Raise your skirts, girls.
I thought this sort of thing
went out with the
Gold Diggers of 1937.
38.
What do you think of
that dark-haired girl?
She's got a nice quality.
Sensitive, a little fire.
I like the redhead.
You have excellent
taste, Sidney,
but for a moment, study
that dark-haired girl.
She's got a kind of quality.
The redhead.
That wasn't a moment of study.
That was a blink of study.
Do you want me to agree with you
because you're a star?
Is that what you want?
Don't be ridiculous. I want you to
agree with me because I'm right.
Please hold your voice down
if you're going to ridicule me.
Miss Marie.
Okay, thank you, girls.
You can put your skirt down now.
It is down.
Miss Marie, this
is Mr. Sullivan.
Yes, I know.
How do you do? How do you do?
Mr. Sullivan feels
you're right for the part.
Oh, my gosh.
Oh, thank you, Mr. Sullivan.
Oh, don't thank me.
We need a girl
who's provocative,
sensitive, exciting.
You're very fortunate to
have all those qualities.
Thank you.
Okay, let's run through
the scene a few times.
Oh, fine.
Let's see.
Your dialogue is on page 63.
63?
Is that your unlucky number?
Oh, no! Of course not.
I just thought
maybe the character
arrived a little
earlier than that.
You come in late,
but very importantly.
Oh, great.
There.
This? "You pig."
Not "you pig."
"You pig!"
You pig!
You pig! You pig!
Would you like to try
it with Mr. Sullivan?
Oh, I'd love to.
Don't let Sidney upset you.
He's very temperamental,
but he's a very
talented director.
He does make
me a little nervous.
All right, sweetheart.
You're sitting right here.
Now, this scene is
the climax of the play.
O'Casey is on his last legs.
He's spent his life
as a revolutionary
and now he wonders if
it's all been worthwhile.
He remembers a
girl he loved and lost
and wonders if maybe that's
why he became what he became.
You got it?
Got it. He sees you.
There's something about you.
You grab him.
Where?
Figuratively speaking.
Oh. Oh, yes.
You get up.
He gives you a
long yearning look
and he says,
"Have you something
for me, woman?"
And then I say... You stop,
look at him, walk over.
Then you say... You pig.
You pig! You pig!
You pig! You pig!
Just once!
Right.
Then you slap his
face and walk off.
He breaks down and
gives his big curtain speech.
"What more can I ask, informer,
gutted, rotting hulk..."
Et cetera, et cetera.
All clear?
Oh, yeah. I think so.
Let's try it. Oh, fine.
That's all right.
Have you something
for me, woman?
You pig.
What more can I
expect, informer,
gutted, rotting hulk.
[Sidney] Hold it!
What was that?
That "eh?"
That wasn't right?
I'm sorry.
Well, let's try it
again, Miss Marie.
Oh, thank you.
Have you something
for me, woman?
You pig.
Miss Marie, you
can't possibly hurt me.
No, no, I know that.
I mean, I thought that I might,
but I know that I couldn't.
It's just that I knocked the
heck out of a panda bear
when I was 5, and...
Miss Marie, in order
to kick off this scene,
this climax to Act Two,
we need a real wallop here.
As an actor, Mr. Sullivan
needs a physical jolt
to release his tension.
It's a basic motivation.
Yes, I understand.
Well, "eh" won't do it.
No. No, I'm sorry about that.
You've slapped guys
before, haven't you?
Well, actually, no, I haven't.
Come on.
What, are you kidding?
Sidney!
Sidney, what's the
matter with you?
Can't you see Miss
Marie is a lady?
Ladies we got plenty.
What we need is an actress.
It's just that I'm not
a very hostile person.
We'll take a little break
and we'll try it again.
We're running out of time.
We've got plenty of time.
This time I don't
agree with you.
This time you're wrong.
This time I'm a star.
Ten minutes everybody!
I'll tell you the
truth, Miss Marie,
I really prefer the
stage to motion pictures.
Oh.
Well, you can't get a very
good look at you on the stage.
Well, it's not as
intimate a medium.
No, it isn't.
That's a shame, isn't it?
What I mean is in motion
pictures it's very easy
to create illusions,
but on the stage, Miss Marie,
I need to be slapped. Really?
I wouldn't lie to you.
Oh, no. No, no.
I understand.
Come in.
Sarcasm.
Would you and your
protégé like to try it again?
I think Miss Marie and I
are ready to
give it another try.
Aren't we?
[sighs]
I feel a little bit like
Ann Marie Antoinette
on the way to the guillotine.
I have every confidence in you.
Oh, Mr. Sullivan, why are
you being so nice to me?
Well, to begin with, I
think you've got talent,
and I remember how it
was to be young and eager
and to need help to get started.
That sort of gives
you responsibility
to help the next fella
that comes along.
I use the word
"fella" advisedly.
How can I ever thank you?
It's very simple. Hit me!
[sighs]
Hi, there.
It's over. It's all over.
Between us?
Between me and Barry Sullivan.
Oh, honey.
You didn't get the part.
Oh, I got the part,
but I couldn't hit him, Donald.
Why didn't you call me?
I'd have hit him for you.
Why should you hit him?
I don't know. You
wanted to hit him.
That's good enough for me.
Oh, no, no. It's in the play.
He's this informer in
the Irish Republican Army
and I don't want to have
anything to do with him...
Oh.
Whose second act climax
depends on my slapping him,
and I couldn't slap him.
I can't slap anybody.
You know that I've never
slapped anybody, Donald?
Well, I find that
hard to believe.
Hasn't a man ever made
improper advances to you?
Of course.
Many men have made
improper advances to me.
I just don't happen
to react with violence.
That's reassuring.
But the thing that
upsets me so much
is letting Barry down.
Barry?
He's gone through
an awful lot for me.
I do that every day.
And that darn director.
I mean, acting as
if the only reason
that Barry was nice to me
was because, well, you know.
Because he thought there was
something personal between you?
Right. I mean, just
because Barry was being
attentive and considerate
in his dressing room...
And that was stupid, I suppose,
because every girl who auditions
winds up getting charmed into
Barry Sullivan's dressing room.
Yes! Yes, what?
It was stupid of
him. Oh, I don't know.
I imagine I might have
thought the same thing
under those circumstances.
Donald Hollinger, if
I were the kind of girl
who could slap
your face for that,
I'd slap your face for that.
I see. I see.
You might be able
to slap a nonentity.
It's only entities
you can't slap.
You, a nonentity?
Donald Hollinger,
promising young writer
who just last month
got a wave in the hall
from the editor in chief,
who calls you by name?
"Fellow." He called me "fellow."
That could be anybody.
Well, I'm surprised.
Well, we all have our own bag.
Barry Sullivan is
charming. I am surprising.
Donald, I have a
real problem to solve
and you're not
being very helpful.
I'm going.
This problem is outside
of my sphere of influence.
Well, you certainly
aren't yourself tonight.
That's entirely possible.
Whoever I am
bids you good night.
Good night, Donald.
"Fellow." Just call me "fellow."
You pig!
You pig!
You pig!
You pig.
You pig. [knock on door]
Just a minute.
Oh!
Good morning.
Oh, gosh. Mr. Sullivan.
Come in.
I hope you don't
mind me coming over.
I thought it might
be easier to talk here.
Oh, no. Are you
kidding? I appreciate it.
Have you been rehearsing?
How could you tell?
I heard you. "You pig!"
Good. Very good.
Strong. Exciting.
Yeah, up to there
I'm just great.
That's exactly why I'm here,
and I'm not leaving
until you learn to slap me.
I don't know why you
just don't get another girl.
I mean, it certainly
would be a lot easier.
Miss Marie, you remember
what I told you yesterday
about helping young and
eager people to get started?
Yes. Well, that was yesterday.
Today I'd rather
choke than tell Sidney
he was right about
you and I was wrong.
Life wouldn't be worth living.
So come on, slap me.
Yeah.
Well, I think I just have
to get into it a little bit.
Okay, okay. Get
yourself steamed up.
Well, you could help me.
All right, why don't we do
the scene from the play?
I'd have to get a
lot angrier than that.
Maybe we ought to just make
up something as we go along.
Fine, fine. We'll improvise.
Yeah, right.
Okay, now you'll
be you and I'll be me.
Good. Now I came here last night
in the middle of
the night uninvited.
Right. And you made
all these overtures to me.
Good. That's very good. And
here I am back this morning.
Right. Okay.
Now we'll just make
up something about that.
All right, let's go. Okay.
Mr. Sullivan!
Oh, wait a minute. That's not...
Mr. Sullivan!
I would think you'd be
ashamed to come back here
after what you did last night.
[chuckles] Look, kid,
you know how it is
with us actors from Hollywood.
We get hungry, we eat.
And it doesn't matter to
you who you hurt, does it?
Of course not.
There's a broken heart
for every light on Broadway.
All right, hit me.
Not yet.
Playthings, that's
all we are to you!
Just playthings.
You're callous and indifferent!
That's right, baby. Hit me.
No, wait.
And now here you are back
at the scene of the crime,
taking advantage again
of this innocent young girl,
an innocent young girl
who had faith in you.
And what did you do?
You came here in the
middle of the night...
Oh, my gosh! Daddy!
Daddy, what have you done?
What did I do? I
avenged your honor.
Mr. Sullivan, are you all right?
Fine, fine. Are you sure?
It's not generally
known in show business,
but I've got a glass jaw.
A bigger man would give
credit where credit is due.
Mr. Sullivan, this is
my father, Mr. Marie.
How do you do, Mr. Marie?
Pleased to know you.
Oh, Daddy, you've
made a terrific mistake!
Actually, you came in at
a very awkward moment.
For you, sir.
No, you don't understand. I was
trying to teach your daughter to slap me.
It's a technical problem.
Well, I have no such problem.
I'm hip. A loose cap.
Oh, Mr. Sullivan, I'm so sorry.
My father just
didn't understand.
It's perfectly all right.
I'd better see a dentist
before the matinee.
[Ann] Well, you
don't have much time.
If you excuse me,
I'll see you later
at the theater.
Yes, I'll be there.
Good-bye, Mr. Marie.
It's been most
unusual meeting you.
Mr. Sullivan, I'm so sorry.
[chuckles]
Nice-looking fellow.
Yeah, I certainly hope
you haven't changed that.
Do you have any disinfectant?
My knuckles are bleeding.
Oh.
I've got some Mercurochrome
in the bathroom.
Don't you have anything
stronger than that?
What for?
There's lots of poison
on people's teeth.
Oh, Daddy.
Here. I got to get dressed
to go to the theater.
Well, I'll be going home as
long as you're all right now.
Daddy, I was always all right.
I know that now.
But a father has a right
to protect his daughter
from a top-notch movie star
who's making improper advances.
Daddy, we were
improvising a scene.
You tell it your way,
and I'll tell it mine.
[knock on door]
Come in.
Hello.
Well, hello, there. Come on in.
You see? Good as new.
Oh, I'm glad.
I really am glad.
I came to apologize
about my father.
He gets excited,
but he means well.
Oh, I understand perfectly.
You're a daughter
worth protecting.
Thank you. You're
really very nice.
I only wish I could live
up to your faith in me.
You will. I promise you.
We'll rehearse that scene
again today after the matinee,
and this time, you'll get it.
[door opens] Hey, Barry.
Have you seen that girl?
Oh, there you are. Listen...
the kid's appendix
couldn't wait until Saturday.
You're going on this afternoon.
Me? I don't like it
any better than you do,
but it's either you or
the stage manager,
and he can't fit
into the costume.
Well, you got what you wanted.
Good luck.
Ann, Ann, dear. I know about
this little problem of yours,
but try to forget yourself.
Try to think of my problem.
I-I'll try. If you have small
affection for me, any at all,
when you go out
on that stage today,
I want you to slap my
face and slap it hard.
I'll try. I need it.
Yes, I'll certainly do my
best. I've got to have it.
Yes, I know it. I know it. These are
the last minutes you lose your nerve.
If something inside you
says, "I can't slap his face,"
then hit me here, hard.
Right on the side of the neck.
It looks good, it won't
hurt. Yeah, are you sure?
I swear. It just
seems hard to believe.
I'll show you. Okay.
Hey! My cap!
Donald!
Donald, what's the
matter with you?
I can't stand to see
a man hit a woman.
I have a quirk.
Oh, dear. I only
came here to apologi...
The apology's accepted.
Now, will you please
help me lift him up?
Look, honey, I'm
sorry about last night.
I just got steamed up. Well, Donald,
last night you had a right to, but not now.
How is a guy to tell? Ask!
Mr. Sullivan, are you all right?
Oh, fine, fine.
Why is it that you're the
only one who can't hit me?
[Man onstage] Thus he'd be able
to gather a full thread of knowledge.
Later he'd pick that it
possible that Harry should see.
And his young, smooth
profile that stood standing out
against the moonlight.
And his father said, "Son,
forever you'll remember Ireland
"and this day
"when all of us together,
shoulder to shoulder
"walked across the
hills and the valleys
and said, 'Up the
rivers, up the rapids.'"
Have you something
for me, woman?
Please, please.
Have you something
for me, woman?
Hit him.
Hit him!
You pig.
Mr. Sullivan.
[whispering]
Mr. Sullivan, it's your line.
P-pig though he may
be, if he could but speak,
I... I know what he
would have told all of us...
here. All of us.
Me, included.
He'd... He'd have said, "What
more can I expect, an informer?"
If... If he could
just get to his feet
and look at us, then
he'd laugh, "Ha ha."
And cry out, "The cause!"
Th-That's what
he would've told us.
What more can I
expect, an informer?
Mr. Sullivan. My life
has been parceled in...
I told them. I told them!
Hey, look what's in
the theatrical section.
The Revolutionary Heart
is moving to a larger theater.
Does it say who they're moving
to a larger theater without?
You mean Rocky
Marie at 108 pounds
from Brewster, New
York, in the purple trunks?
Mm-hmm. Nope,
there's no mention of her.
Oh, well, no wonder. You're
looking in the wrong place.
You better try
the sports section.
Pow! [bell rings]