1955
Marty, a lonely butcher, faces immense pressure from his family and friends to marry, leading him to the Stardust Ballroom. There, he meets Clara, a similarly lonely chemistry teacher, and they form a deep connection over their shared insecurities, despite the disapproval of Marty's social circle. The next day, the relentless mockery from his friends and family's concerns about Clara's suitability cause Marty to doubt his feelings. However, after realizing the emptiness of his old life, Marty defiantly calls Clara, choosing to pursue a relationship with her.
Save the Cat beat sheet
Marty, a lonely butcher pressured by family and friends to settle down, finds unexpected connection with Clara at a local ballroom.
Open full beat sheetMarty Pilletti is listed as Protagonist. A mild-mannered, short, stout, balding butcher of thirty-four with good humor. In the parsed data, Marty Pilletti is connected to 30 scenes, 104 dialogue lines, 105 text mentions, first appearing around scene 1.
30 scenes / 104 dialogue linesClara Snyder is listed as Love Interest. A plain, sensitive chemistry teacher in her late twenties. In the parsed data, Clara Snyder is connected to 15 scenes, 23 dialogue lines, 23 text mentions, first appearing around scene 14.
15 scenes / 23 dialogue linesAngie is listed as Marty's Best Friend. A small, waspish man in his mid-thirties. In the parsed data, Angie is connected to 12 scenes, 23 dialogue lines, 30 text mentions, first appearing around scene 2.
12 scenes / 23 dialogue linesMrs. Pilletti is listed as Marty's Mother. A round, dark, traditional Italian woman. In the parsed data, Mrs. Pilletti is connected to 9 scenes, 40 dialogue lines, 40 text mentions, first appearing around scene 5.
9 scenes / 40 dialogue linesThomas is listed as Marty's Cousin. An accountant, husband to Virginia. In the parsed data, Thomas is connected to 6 scenes, 21 dialogue lines, 32 text mentions, first appearing around scene 32.
6 scenes / 21 dialogue linesVirginia is listed as Thomas's Wife. A young woman struggling with her mother-in-law. In the parsed data, Virginia is connected to 6 scenes, 12 dialogue lines, 16 text mentions, first appearing around scene 3.
6 scenes / 12 dialogue linesCatherine is listed as Mrs. Pilletti's Sister. A gaunt, embittered, and tough woman. In the parsed data, Catherine is connected to 5 scenes, 25 dialogue lines, 34 text mentions, first appearing around scene 13.
5 scenes / 25 dialogue linesLeo is listed as Acquaintance. A friend of the group. In the parsed data, Leo is connected to 5 scenes, 5 dialogue lines, 5 text mentions, first appearing around scene 36.
5 scenes / 5 dialogue linesDr. Keegan is listed as Acquaintance. A hospital resident. In the parsed data, Dr. Keegan is connected to 5 scenes, 1 dialogue line, 1 text mention, first appearing around scene 10.
5 scenes / 1 dialogue linesJoe is listed as Acquaintance. A man who reads girlie magazines and discusses Mickey Spillane. In the parsed data, Joe is connected to 4 scenes, 10 dialogue lines, 12 text mentions, first appearing around scene 36.
4 scenes / 10 dialogue linesRalph is listed as Acquaintance. A well-dressed man who frequents the bar. In the parsed data, Ralph is connected to 4 scenes, 2 dialogue lines, 5 text mentions, first appearing around scene 24.
4 scenes / 2 dialogue linesMrs. Fusari is listed as Customer. A neighborhood matron. In the parsed data, Mrs. Fusari is connected to 1 scene, 1 dialogue line, 1 text mention, first appearing around scene 1.
1 scenes / 1 dialogue linesMrs. Canduso is listed as Customer. A neighborhood woman. In the parsed data, Mrs. Canduso is connected to 1 scene, first appearing around scene 1.
1 scenes / 0 dialogue linesMarty works in the butcher shop and chats with customers while being pressured to get married.
Marty Pilletti, Mrs. Fusari, Mrs. CandusoMarty meets his friend Angie at the bar and they discuss their lack of plans for Saturday night.
Marty Pilletti, Angie, Ralph, Joe, LeoMarty's mother talks to him on the phone while Thomas and Virginia discuss their family conflict.
Marty Pilletti, Mrs. Pilletti, Thomas, VirginiaMarty attempts to call Mary Feeney to ask her out.
Marty PillettiMarty eats dinner while his mother pressures him to go out to the Stardust Ballroom.
Marty Pilletti, Mrs. PillettiEstablishment of the Stardust Ballroom environment.
Clara, Andy, Millie, and Dr. Keegan arrive at the ballroom.
Clara Snyder, Thomas, Virginia, Dr. KeeganDr. Keegan encounters an old acquaintance.
Dr. KeeganThe group settles in; Dr. Keegan plots to ditch Clara.
Clara Snyder, Thomas, Virginia, Dr. KeeganMarty and Angie look for dance partners; Dr. Keegan approaches Marty with a proposition.
Marty Pilletti, Angie, Dr. KeeganMarty observes Clara's rejection and comforts her on the fire escape.
Marty Pilletti, Clara Snyder, Dr. KeeganMrs. Pilletti visits Thomas and Virginia to discuss Aunt Catherine.
Mrs. Pilletti, Catherine, Thomas, VirginiaMrs. Pilletti and Catherine discuss the tensions with Thomas and Virginia, and Mrs. Pilletti invites Catherine to move in with her and Marty.
Mrs. Pilletti, CatherineMarty and Clara dance and share their feelings about being lonely and misunderstood.
Marty Pilletti, Clara SnyderMarty and Clara walk down the stairs while Marty talks incessantly about his past.
Marty Pilletti, Clara SnyderMarty continues talking about his academic history as they exit.
Marty Pilletti, Clara SnyderMarty and Clara walk and Marty talks about his father's death.
Marty Pilletti, Clara SnyderMarty and Clara share coffee and laughter, then have a serious conversation about Marty's future.
Marty Pilletti, Clara SnyderAngie searches for Marty at the ballroom.
AngieAngie walks to the neighborhood bar.
AngieAngie enters the bar where people are drinking.
AngieAngie enters the bar looking for Marty, but only finds two Irish women gossiping. He asks the bartender about Marty's whereabouts, gets no useful information, and leaves in frustration.
Angie, Marty PillettiMarty and Clara walk and talk about their lives and fears. Marty encourages Clara to be more independent.
Marty Pilletti, Clara SnyderRalph, Leo, and some women in a car try to convince Marty to join them, but Marty refuses to leave Clara.
Marty Pilletti, Clara Snyder, Ralph, LeoMarty and Clara arrive at his home. They share an intimate moment, then Mrs. Pilletti returns and engages in a tense conversation with Clara about family dynamics.
Marty Pilletti, Clara Snyder, Mrs. PillettiAngie spots Marty and Clara at a bus stop and confronts Marty, expressing jealousy and frustration before storming off.
Angie, Marty Pilletti, Clara SnyderMarty and Clara say goodbye to Angie, who leaves in a jealous huff, before they head toward Clara's apartment.
Marty Pilletti, Angie, Clara SnyderMarty and Clara arrive at her building and make plans to talk the next day.
Marty Pilletti, Clara SnyderMarty leaves the building feeling a sense of exhilaration.
Marty PillettiMarty wanders the streets, unsure of his direction, eventually calling for a taxi.
Marty PillettiMarty prepares for the day, whistling happily.
Marty Pilletti, Mrs. PillettiThomas and Virginia argue about their living situation and Thomas's mother.
Catherine, Thomas, VirginiaThe family gathers before church; Marty discusses business with Thomas.
Marty Pilletti, Mrs. Pilletti, Catherine, Thomas, VirginiaMrs. Pilletti criticizes Marty's date while they attend mass.
Marty Pilletti, Mrs. PillettiMarty visits the bar and hears that Angie has been badmouthing his date.
Marty Pilletti, RalphMarty eats lunch with his friends while they discuss crime novels.
Marty Pilletti, Angie, Joe, LeoMarty and his friends discuss Mickey Spillane and Marty's plans to call a girl he met.
Marty Pilletti, Angie, Ralph, Joe, LeoClara watches television with her parents while crying.
Clara SnyderMarty eats dinner with his mother and aunt, feeling the repetition of his life.
Marty Pilletti, Mrs. Pilletti, CatherineMarty snaps at his friends for their aimless behavior and decides to call Clara.
Marty Pilletti, Angie, Joe, LeoMarty confronts Angie and calls Clara.
Marty Pilletti, Angie...When I got outta the army, Clara, I was lost. I didn't know what I wanted to do. I was twenny-five years old, what was I gonna do, go back to my old job, forty cents an hour. I thought maybe I go to college under the G.I. Biller Rights, you know? But I wouldn't graduate till I was twenny-eight, twenny-nine years old, even if I made it in three years. And my brother Freddie wanted to get married, and I had three unmarried sisters -- in an Italian home, that's a terrible thing. And my kid brother Nickie, he's a one got married last week. So I just went to pieces. I used to walk inna streets till three, four o'clock inna mornings. My mother used to be so worried about me. My uncle Mario come over one time. He offered me a job driving his hack onna night shift. He got his own cab, you know. And God forgive me for what I'm gonna say now, but I used to thinka doing away with myself. I used to stand sometimes in the subway, and God forgive me what I'm going to say, I used to feel the tracks sucking me down under the wheels.
You know what they say. They say things are no good in this house. Catherine, your son is married. Leave him in peace. He wantsa be alone with his wife. They don't want no old lady sitting inna balcony. Now I tell you what I think. I want you come live with me in my house with Marty and me. In my house, you have your own room. You don't have to sleep onna couch inna living room like here. We will cook inna kitchen and talk like when we were girls. You are dear to me, and you are dear to Marty. We are pleased for you to come.
These are the worst years. I tell you. It's gonna happen to you. I'm afraida look inna mirror. I'm afraid I'm gonna see an old lady with white hair, like the old ladies inna park, little bundles inna black shawl, waiting for the coffin. I'm fifty-six years old. What am I to do with myself? I have strength in my hands. I wanna cook. I wanna clean. I wanna make dinner for my children. Am I an old dog to lie in fronta the fire til my eyes close? These are the terrible years, Theresa! Terrible years!
Wadda you wanna buy a shop for, will you tell me? You gotta good job, you got no wife, you got no responsibilities. Boy, I wish I was you, boy. Waddaya wanna tie yourself down with a shop? What's he want? Five thousand down? You're gonna have to carry a mortgage sixty, seventy bucks a month. A mortgage anna note from the bank. For Pete's sake, you're a single man with no responsibilities. Stay that way, boy. Take my advice.
...so the whole book winds up, Mike Hammer, he's inna room there with this doll. So he says, "You rat, you are the murderer." So she begins to con him, you know? She tells him how she loves him. And then Bam! He shoots her in the stomach. So she's laying there, gasping for breath, and she says, "How could you do that?" And he says, "It was easy."
Marty, I know you for three hours, but I know you're a good butcher. You're an intelligent, sensitive, decent man. I have a feeling about you like sometimes a kid comes in to see me for one reason or another. And some of these kids, Marty, in my classes, they have so much warmth in them, so much capacity. And that's the feeling I get about you.
Catherine, don't make an opera outta this. The three-a you anna baby live in three skinny rooms. You are an old goat, and she has an Italian temper. She is a good girl, but you drive her crazy. Catherine, you are no fool. You know this is no good, an old woman living with a husband and wife. Two women inna same kitchen, anna house burns down.
Well, the last time I was up here, that's where I sat. I sat there for an hour and a half, without moving a muscle. Now and then, some fellow would sort of walk up to me and then change his mind. I'll never forget just sitting there for an hour and a half with my hands in my lap. Then I began to cry, and I had to get up and go home.
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