Dead End

Synopsis: The Dead End Kids are introduced in their intricate East Side slum, overlooked by the apartments of the rich. Their antics, some funny, some vicious, alternate with subplots: unemployed architect Dave is torn between Drina, sweet but equally poor, and Kay, a rich man's mistress; gangster Baby Face Martin returns to his old neighborhood and finds that nobody is glad to see him. Then violent crime, both juvenile and adult, impacts the neighborhood and its people.
Director(s): William Wyler
Production: MGM
 
IMDB:
7.4
Rotten Tomatoes:
89%
APPROVED
Year:
1937
93 min
498 Views


Come on.

Move along. On your way.

- Hi, boys.

- Hi, Spit.

So he said they want to come down

and fight our gang, see,

but they got a guy

with his leg broke bad,

and maybe he can't go 'round

on account of poison.

So I says for him to shut up

because we got a guy with T.B.,

so that makes us even.

Hey, that's you

I was talkin' about. You.

- Hi.

- Hi, Spit.

Kinda early, ain't it?

Ain't too early for the old man

to wash the booze out of his mouth.

So I says we fight 'em anyway

and Tommy's the leader,

so he should come down

and make up the fight with Tommy.

Who says Tommy's the leader?

Who says? We all says.

Aw, you dog!

What's the matter?

I'll push you right in the river.

Yeah? Try it.

Don't be a wise guy.

How many times do I have to tell you?

Hey, look it. Get a load of that.

- Hey, what's that?

- It's the new kid moved on the block.

Boy, we could fix him fine.

- Yeah.

- And how.

- Hey, Dip.

- Cut it out, will ya?

How much longer

shall we have to use this entrance?

I'm sorry, sir. The other street

will be repaired in a few days.

Yes, but I can't even get my car

through this street.

No, sir.

- Oh, it's all right.

- It is not all right.

Good morning, sir.

That's what you see from the terrace.

- Oh, they're sweet.

- Yes, at a distance.

Don't worry about it.

They stuffed him

like something dead.

Hey, lady, does he smell?

Hello.

Hello, Phillip.

How are you this morning?

Oh, all right.

In French, Phillip, in French.

Yes, Mademoiselle.

Tommy.

It's gonna hurt the material.

It's gonna be all worn out,

washing and ironing it all the time.

Drina, I don't need no shirt.

What's the matter with this?

I'm late.

Late for what? For those no-good kids?

For playing in the street all day?

All right, so you'll be late...

late for not working.

Everybody's always asking what

your sister's doing going on strike.

They say...

The next time those busybodies

ask you what I'm striking for,

you tell them it's for money

that's coming to me for hard work.

That $3.50 extra a week would get you

out of these streets, for one thing.

If you think any of us like walking

up and down all day,

carrying signs and worrying how we're

going to eat the next day, you're crazy.

And don't you go around

being ashamed of what I do.

All right. Okay.

Something must be the matter with you.

You get so mad...

Good morning. Hot, isn't it?

Gonna be a scorcher.

- It came early this year, didn't it?

- Certainly did.

Drina, you were late last night.

That's why Dave didn't wait.

He didn't know whether

you were coming home or not.

I wasn't very late.

Just a few minutes late.

He used to wait for me.

But now...

She doesn't mean anything to him.

It's just they started talking like one day.

Why don't you speak to him, Drina?

I couldn't do that.

I haven't any right to.

I wouldn't anyway.

- Hey!

- All right.

Hiya, fellas.

Hiya, Angel.

Hiya, Tommy.

Hey, that's the new kid

moved on the block, ain't it?

Yes.

Hey, you!

Yeah, you.

Get up here. Hurry up.

Come on, lift it around.

We ain't got all day.

Hey. You're new kid

moved on the block, ain't you?

Yeah.

- What's your name?

- Milton.

- You wanna belong to this gang?

- Yeah, sure.

You got any dough?

You gotta be initiated.

- I got three cents.

- Gimme it.

Give it over.

Don't hold out.

Get it up. Get it up.

- It's all you got?

- Yeah.

- Sure?

- Honest.

- Search him.

- You don't have to.

Shut up.

If you wanna belong to this gang,

you gotta have a quarter, see?

A quarter? Where am I

gonna get a quarter from?

- From your old lady.

- She wouldn't give me no quarter.

Well, you know where

she keeps her dough, don't you?

Gimme back my three cents.

I don't wanna hang out with you.

Can it, will you, Moe?

Gimme back my three cents!

I want my money back.

Come on.

Come on, gimme back

my three cents.

- You want your three cents?

- Yeah.

Stop it!

Get away! Get away!

Stop it! Get out of here!

What are you doing,

watching life in the slums?

Is it funny?

Why didn't you stop them?

Lady, you're scaring me.

- Are you hurt?

- They took my three cents!

- Tommy!

- I ain't got it.

- You?

- Not me. Don't look at me.

- You?

- I ain't got it.

- Go on. Give it back to her, Spit.

- Yeah.

- Come on. Quick.

- Shut up.

I'll crack you.

And I'll sock you

where it won't do you so much...

No dame gonna smack me first

and get away with it.

- Give her that dough.

- What for?

Give her that dough

or I'll have to smack you.

I can do my own fighting.

I don't need your help. Come on.

Give her that dough.

Here. Come on.

You look like a nice kid.

Stay away from them.

- They're no good.

- Yes, ma'am.

It was a good fight.

Too bad it couldn't go to the finish.

Tough kids.

- You like?

- Sure, what's it mean?

He doesn't care what it means.

He saw it on Park Avenue,

so he thinks if he puts it up,

he'll get trade from our rich neighbors.

I ran up to your place last night,

but you hadn't come home.

Kay Burton and I went over to the park,

listened to music.

I wanted you to come along

and meet her.

I was late.

Very late.

Who are the choir boys?

I don't know.

That short one looks familiar.

We had a strike meeting last night.

I thought I told you.

I was telling Kay about you,

how when you was a kid

I used to come home from school

and tell you

everything I'd learned that day.

I was telling her what a swell girl you were

and how hard you've worked.

There. Picketing all day

is hard on the shoes.

The paper keeps 'em

from wearing out.

It may save the shoes,

but it's hard on the feet.

I'm complaining.

When I think of the other people

who are striking,

most of them with big families.

I've only got Tommy and me

to worry about.

What's the matter, Drina?

Nothing. Nothing.

Boy, ain't that something?

You should've seen what used to be there.

What for?

I don't want to even see it now.

I don't wanna hear you

say it every minute.

Nobody knows us, so shut up.

- Hiya, Dave.

- Hiya, T.B.

Come on, Dippy.

Let's see you dive in.

Okay, okay, I'm goin'.

Look at me, look at me.

I'm divin'. A back-jack!

Get someone to knock you in.

I'm comin', I'm comin'.

My head acts funny.

Aw, get out and let me alone.

I'll go in. Get out of here, will ya?

- Hey, kid.

- What?

You got sense enough

to run an errand?

Sure, where?

What are you doing? I'll go.

418, third floor, second door.

Tell the old lady there

a friend wants to see her.

Okay. 418. Okay.

I know you, don't I?

No.

- Why, you're...

- He said no, didn't he?

Why, you're Martin.

Baby Face Martin.

My name is Johnson, get it?

Johnson.

Sure. And my name is Dave Connell.

Remember me?

I used to be one of the gang

of kids here... Johnson.

Yeah. Yeah, sure.

You weren't such a bad kid.

Still good at keepin' your lips

buttoned up?

Depends on how good you are

keeping your hands buttoned up.

Don't worry.

I ain't looking for trouble.

What are you gonna do about him?

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Lillian Hellman

Lillian Florence Hellman (June 20, 1905 – June 30, 1984) was an American dramatist and screenwriter known for her success as a playwright on Broadway, as well as her left-wing sympathies and political activism. She was blacklisted after her appearance before the House Committee on Un-American Activities (HUAC) at the height of the anti-communist campaigns of 1947–52. Although she continued to work on Broadway in the 1950s, her blacklisting by the American film industry caused a drop in her income. Many praised Hellman for refusing to answer questions by HUAC, but others believed, despite her denial, that she had belonged to the Communist Party. As a playwright, Hellman had many successes on Broadway, including Watch on the Rhine, The Autumn Garden, Toys in the Attic, Another Part of the Forest, The Children's Hour and The Little Foxes. She adapted her semi-autobiographical play The Little Foxes into a screenplay, which starred Bette Davis and received an Academy Award nomination in 1942. Hellman was romantically involved with fellow writer and political activist Dashiell Hammett, author of the classic detective novels The Maltese Falcon and The Thin Man, who also was blacklisted for 10 years until his death in 1961. The couple never married. Hellman's accuracy was challenged after she brought a libel suit against Mary McCarthy. In 1979, on The Dick Cavett Show, McCarthy said that "every word she writes is a lie, including 'and' and 'the'." During the libel suit, investigators found errors in Hellman's popular memoirs such as Pentimento. They said that the "Julia" section of Pentimento, which had been the basis for the Oscar-winning 1977 movie of the same name, was actually based on the life of Muriel Gardiner. Martha Gellhorn, one of the most prominent war correspondents of the twentieth century, as well as Ernest Hemingway's third wife, said that Hellman's remembrances of Hemingway and the Spanish Civil War were wrong. McCarthy, Gellhorn and others accused Hellman of lying about her membership in the Communist Party and being an unrepentant Stalinist. more…

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    "Dead End" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/dead_end_6481>.

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