The Country Girl Page #4

Give the company a one o'clock call.

I'm going out for some fresh air.

Then we'll discuss that spot.

Larry, hold Frank and Helen.

Run the scene in front of the church.

Find out what caused the mix-up.

You talked about the scenery

but not about our real problem.

Elgin was terrible.

That's why you go out of town.

Actors improve. The scenery can't.

If he spoke the script,

I never heard it.

He trips on a rug, there's no chair,

the door won't open.

What do you expect of him?

Besides, his wife was backstage

during the performance.

- She's enough to upset anyone.

- What are you going to do?

- Lower the boom on her.

- He's your problem. I got my own.

The union insists I take on

three more stagehands.

Mr Cook, excuse me.

May I ask you something?

- Do you think Frank needs a dresser?

- No, but I suppose you do.

Well, those two fast changes.

It's a very large part, after all.

Bernie, every time you nod your head

like that, it costs us $200.

You're going to nod us

out of business.

Don't worry. We'll get him a dresser.

Mr Cook is almost what the bad fairy

promised Frank at his cradle.

He's not too bad.

Gruff, but with a heart of stone.

You smoke too much.

That's obvious.

A whole pack since 10.30.

Careful you don't catch cold.

After every first dress rehearsal,

I always hope to catch pneumonia.

It never works. Oh, for the peaceful

quiet of an oxygen tent.

Mr Dodd, who is that tall, gloomy man

that hangs around backstage?

Lucas, is that the name?

Yes. General understudy.

Not much personality but competent.

Well, excuse me for saying this,

but must he stay backstage?

It seems to bother Frank.

I'll watch him.

Is Frank that insecure?

He's working well, in good humour.

Don't you know what hides

behind that good humour?

Certain men are very strange.

Business couldn't be better,

wife and kids are fine,

jokes with the boys at the club.

The next day, he's hung himself

from the chandelier.

Is that supposed to be

a picture of Frank?

Yes and no.

Frank doesn't like to make a remark

that might lose him people's regard.

If anything has to be said

that might cause antagonism,

well, that's my job.

I hate to say this,

but I hired a good performer.

I may want him without

his sisters, cousins and aunts.

I never meant to interfere. I was

just offering myself as a liaison...

I have no problems with Frank.

Don't make any.

Before this is over,

you may face a couple of beauties.

- Is that a threat?

- No.

It's just a simple statement

based on experience.

Whether you like it or not,

Frank's weak. He's a leaner.

I happen to be the one he leans on.

A good, strong helpmate.

You and your strength might be

the very reason he is weak.

I don't like strong women.

I'm not here to audition for you.

I'm here for the same reason you are,

to do everything in my power

to make him a success in this.

I want to see Frank stand on his own

two feet for very personal reasons.

Then don't overplay your hand. Frank

can go anywhere, right to the top.

Or he may go back to

that smelly room, and you with him!

I got that line straightened out.

Helen was throwing me the wrong cue.

I'm glad you got it fixed.

Frank, I noticed the understudy

backstage. Does that bother you?

No, never even noticed. How else

is he going to learn his business?

- Is that you, Georgie?

- Yes.

- Are you coming in?

- In a minute.

I want to get a breath of fresh air.

I can't come out. I'm still soggy.

What did they say about the dresser?

You'll get him.

It looks like they've got a little

respect for the old man after all.

Yes, they have respect for you.

I'll be out in a second.

- It's a different kind of a show.

- Yes, but I'm enjoying it.

It's a beautiful production.

I bet the costumes cost $50,000.

I think it's the most exciting thing!

- Where did you get it?

- From George, for my birthday.

You've seen him before, years ago,

in that show in Central Park.

- Was he the same one?

- So easy-going and likeable.

- Are you catching cold?

- That's all I need.

You're smoking too much. Go to sleep.

- I want to see the review first.

- You can see it at breakfast.

I can't sleep. What time do they

deliver the paper? In the afternoon?

I don't know why they picked

this place to open in.

It's like getting locked

in a deep freeze.

Just came in, Mr Elgin.

I'll get you another sleeping pill.

- Hello.

- I didn't think I'd be waking you.

The only important ones

are the New York notices.

Yeah, I don't worry about

these out-of-town critics.

They don't bother me.

Georgie was a little upset,

but I reminded her of Lonesome Town.

The Philadelphia critics murdered us,

but in New York we were a smash.

We've got five weeks. Opening night

in New York, it'll be great.

But let's not kid ourselves.

It'll take an awful lot of work.

You've got a big day tomorrow,

a rehearsal, a performance

and production stills after that,

so get all the rest you can.

- OK.

- Good night.

The dame in this paper

puts her finger right on it.

She says, "Elgin lacks authority

in a role that cries for it."

- No authority. That's it.

- You know why he lacks authority?

Because his wife has too much of it.

She's got to go back to New York.

We ought to make it

transportation for two.

If you don't like what I'm doing,

make it transportation for three.

Now, we were discussing that scene

in front of the town hall.

We go past the climax. Let's cut

the scene here tomorrow night.

- Over a little more. That's it.

- Everybody out front, keep quiet.

Sit down and keep quiet

or you'll be here all night.

Settle down.

All right, here we go.

Stay! Hold it!

- OK, go ahead.

- Hold it. Thank you.

Hold those positions.

I want to change one thing here.

While Frank is speaking,

I want you to look directly at him.

And no movement, nothing that will

distract the audience from him.

He's got to be

the centre of attention.

You really think

it would be better that way?

I thought it would be kind of nice

and natural if I was in the crowd.

No, it's all wrong.

The words lose importance.

He's asking these people

to have faith in him, to trust him.

He's accepting responsibility for

their future. It's got to be important.

We'll rehearse it tomorrow.

I just wanted to tell you about it.

We've got one more shot where

you're here looking at the poster.

Yell when you're ready.

Turn your head towards the poster.

- Would you look at the poster?

- Yeah, sure.

WANTED FOR MURDER

- Hold it.

- Put your hands on the record.

Hold it.

- Frank, what's the matter?

- I got a cold.

I've got some stuff in the room.

I'll be right back.

- All finished?

- No.

Frank, I don't like that cough syrup.

- Why not? It's a buck a bottle.

- You can read labels.

It's 22% alcohol. I'll get you

some lemon and honey in the morning.

Cook didn't come back after the show.

No, he didn't.

I'm glad I got that two-weeks clause.

I can quit any time I want.

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