Frankie and Johnny Page #5

Synopsis: Johnny on his release from his jail joins the restaurant where Frankie works. Johnny discovered his talent for cooking when in jail. Love at first sight bites Johnny on seeing Frankie. He makes direct attempts to get her heart. But deep a wound in Frankie's heart would not let her give her heart to Johnny. Johnny's divorced wife and kids have moved to a new world of a different person. Frankie opens up her tragic story and Johnny promises to be with her in difficult times.
Genre: Comedy, Drama, Romance
Director(s): Garry Marshall
Production: Paramount Home Video
  Nominated for 1 Golden Globe. Another 4 wins & 1 nomination.
 
IMDB:
6.7
Metacritic:
66
Rotten Tomatoes:
78%
R
Year:
1991
118 min
2,448 Views


Sorry I'm late. Get off my back.

I think we should go to your place.

I think so.

I really like you

but does it have to be tonight?

Who says?

- I'm OK.

- Are you OK?

You got something?

- You mean rubbers?

- Yeah.

- Talk about a mood changer.

- Well, do you?

The truth is I didn't think this

was going to happen on a first date.

I just didn't think this...

The truth is, it's not going to.

- No.

- It's OK.

I don't know, I just...

If I'd brought something,

what would that look like?

It would look like I was planning

to do it with you.

No, it's OK. Maybe this

is just not such a good idea anyway.

Come on. I'm being penalised

for respecting you.

You're not being penalised,

you're just not getting laid.

Wait a minute now.

Is this about getting laid?

- Let's talk about...

- No. How about I make us a sandwich?

- You want a sandwich?

- A sandwich?

I hate wearing goddamn rubbers,

pardon my French. I know you have to.

I never thought I'd contemplate

sleeping with a man

who said "Pardon my French"

all the time.

Done.

I'll never say those words again.

Where do you pick up

an expression like that?

- This is good. You made this?

- No, my mum.

- Sh*t.

- Let me see that.

- It's all right.

- I'll get you something.

Just keep pressure on it. Don't

let any blood spill on the meatloaf.

I don't think this is gonna work out.

I can't hear what you're saying.

I'm a BLT-down sort of person,

I think you're looking for

someone a little more

pheasant-under-glass.

- What are you doing in there?

- I'm just looking for Band-Aids.

- What are you doing?

- Come on in. Sit down.

I know first aid.

Give me your finger.

Give me your thumb.

I'm 42.

- I'm 32.

- Really? You don't look it.

- I'm 44.

- Honest?

I'm gonna be 46 this year.

What do you want for your birthday?

I want to stop bullshitting

about things like my age.

I'll be 35 on the 11th of November.

You're a Scorpio?

Look in the medicine cabinet.

I have some.

I didn't want you

to get the wrong impression.

- They're behind the blue...

- I got 'em.

Is it on?

Not yet. You can't just

put it on until it's...

No, I know.

You know, I wouldn't have gotten

the wrong impression.

Let me hear you. I wanna hear you.

Come on, baby, let it go. Let it go.

Come on. Let it go. Come on.

I need eggs over-easy

and a roast chicken.

- Here you go.

- You wear bandanna, I wear bandanna.

So, the baby's coming soon?

Know what is it yet?

- Twin boys.

- Twins you got?!

- Can I touch?

- Yeah, be my guest.

This one just kicked the other one!

Cora, I never see you like this.

People think I'm a tough b*tch

but it ain't true.

Sh*t like this chokes me up.

Frankie, come here, touch the baby.

No, that's OK.

My hands are dirty. Next time.

This is your last chance.

I am never getting pregnant again.

You said last time!

Flora, the blue, remember?

Blue is for the morning.

The red one is for the evening.

- Thank you.

- You're welcome. Two eggs over-easy.

Hello to you, too.

I see you made it home all right.

Yes, I made it here this morning,

had time enough to put this together.

- Nice.

- I slept like a babe.

So, I saw you over there,

you like kids?

- They're OK.

- You look someone who likes kids.

Yeah? So did my father.

What does somebody

who likes kids look like?

I need an order

of liver and onions... Captain Ahab.

Thanks for loaning me the car, Nick.

He's lending me his car,

I got an errand to run.

- He's lending you his car?

- He likes my cooking.

How about we talk a walk?

I think we should.

- No. I gotta eat.

- We all gotta eat.

We'll eat. How about

I make a little picnic for us?

What's the menu?

Whatever you like.

You like tuna fish?

Tino tells me you like tuna.

- I'll make a tuna casserole.

- No! Not casserole.

- Tuna fish sandwich.

- I am defined by my tuna sandwich.

I take the tuna out of the can

and I work it between my fingers

till it's real soft.

I'm back.

It is kinda scary, you got to admit.

Two people coming together is scary.

You can't deny that it's happening.

I'll tell you how I really feel.

I feel like you're too needy for me.

I just feel like you want

everything that I am.

I do.

Nick tells me guys ask you

out and you keep saying no. Why?

I'm retired from dating.

What does that mean? Something

happened when you were a kid?

Why is it that any time

a women doesn't want to get involved,

men think it's because

they were messed with as a kid?

They were messed with as a woman.

I'm not gonna mess with you.

Do you like my tuna?

Yeah, it's good.

You didn't graduate high school,

so what? You can go back.

Go back? I don't think so. I had one

highlight in high school, one.

What was that?

I played Sister Sarah

in our production of Guys And Dolls.

No kidding.

- Frankie and Johnny.

- I've heard the song.

- We were a couple before we met.

- Didn't they kill each other?

No. She killed him.

You got the edge there.

Come on.

What are you doing tonight?

- It's my bowling night.

- Great! I love bowling.

No. It's a league and besides,

you have your errand.

- After my errand.

- No. I need a night to get over you.

OK, I'm on Meadow Brook. 14...

Meadow Brook.

111? What is 111?

So, am I close? There it is.

Let's bowl.

Now, concentrate, Cora.

Here we go, Frankie.

Need this spare, honey. Go!

Watch this. Watch! Beautiful!

- Hell.

- Great, Nedda.

- It was two.

- It was better than last time.

- You see that?

- Where'd you learn to bowl so good?

Altoona, PA.

That's about all I learned.

You're from Altoona?

I think I'm going to have

some kind of fit.

I was born in Altoona.

- Very funny.

- No! Are you kidding?

I was born in St Stephen's Hospital.

We lived on Martell Street.

I suppose you went

to Moody High School?

No, because we left when I was eight.

I went to

Park Lane Elementary, though.

Are you really from Altoona?

Why would anyone pretend

to be from Altoona?

To keep up this silly coincidence

theory. Don't encourage him.

My mother ran off with a guy

she met at an AA meeting,

my father took us to Baltimore,

to his sister.

- Cora, it's your turn.

- No, this is better. Go on.

She couldn't cope with us

so they put us in foster homes.

Now, I'm 18 years old

and I'm with the carnival.

This guy, Mr Memory, he's 85

years old, he's got a memory...

Instant recall, he's got things

in his head - entire books,

- palindromes, speeches...

- What's that?

Something you can spell backwards

and forwards the same way.

- Madam.

- Otto.

Boob, b-o-o-b.

- Puppy!

- Close enough.

Anyway, the old guy says to me...

Are we bowling or what?

Sorry. Shall we bowl?

That's why he has such a good memory.

He can't bowl in those shoes.

What is wrong with him?

I'm gonna use my own little ball.

Come on, Frankie, pull another one!

- How you doin'?

- OK.

You all right?

I know I wasn't supposed to come.

I don't know how you feel about it.

- It's OK.

- It's OK?

Really?

Rate this script:0.0 / 0 votes

Terrence McNally

Terrence McNally (born November 3, 1938) is an American playwright, librettist, and screenwriter. McNally has been described as "a probing and enduring dramatist" and "one of the greatest contemporary playwrights the theater world has yet produced". He has received the Tony Award for Best Play for Love! Valour! Compassion! and Master Class, as well as the Tony Award for Best Book of a Musical for Kiss of the Spider Woman and Ragtime. His other accolades include an Emmy Award, two Guggenheim Fellowships, a Rockefeller Grant, four Drama Desk Awards, two Lucille Lortel Awards, two Obie Awards, three Hull-Warriner Awards, and a citation from the American Academy of Arts and Letters. He is a recipient of the Dramatists Guild Lifetime Achievement Award as well as the Lucille Lortel Lifetime Achievement Award. In 2016, the Lotos Club honored McNally at their annual "State Dinner," which has previously honored such luminaries as W.S. Gilbert and Arthur Sullivan, George M. Cohan, Moss Hart, Richard Rodgers and Oscar Hammerstein, Saul Bellow, and Arthur Miller. In addition to his award-winning plays and musicals, he also written two operas, multiple screenplays, teleplays, and a memoir.He has been a member of the Council of the Dramatists Guild since 1970 and served as vice-president from 1981 to 2001, and was inducted into the American Theater Hall of Fame in 1996. In 1998, McNally was awarded an honorary degree from The Juilliard School in recognition for reviving The Lily Acheson Wallace American Playwrights Program with the playwright, John Guare. In 2013, he returned to his alma mater, Columbia University, where he was the keynote speaker of the graduating class of 2013 on Class Day. He is a 2018 inductee of the American Academy of Arts and Letters. The honor of election is considered the highest form of recognition of artistic merit in the United States.He has a career spanning six decades, and his plays, musicals, and operas are routinely performed all over the world. The diversity and range of his work is remarkable, with McNally resisting identification with any particular cultural scene. Simultaneously active in the regional and off-Broadway theatre movements as well as Broadway, he is one of the few playwrights of his generation to have successfully passed from the avant-garde to mainstream acclaim. His work centers on the difficulties of and urgent need for human connection. For McNally, the most important function of theatre is to create community by bridging rifts opened between people by difference in religion, race, gender, and particularly sexual orientation.In an address to members of the League of American Theatres and Producers he remarked, "I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself." more…

All Terrence McNally scripts | Terrence McNally Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Frankie and Johnny" Scripts.com. STANDS4 LLC, 2024. Web. 25 Nov. 2024. <https://www.scripts.com/script/frankie_and_johnny_8528>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what is a "montage"?
    A A musical sequence in a film
    B A series of short scenes that show the passage of time
    C A single long scene with no cuts
    D The opening scene of a screenplay