Deadline at Dawn Page #3

Synopsis: Alex, a radio-specialist sailor on leave, recovers from a drink-induced blackout with a large sum of money belonging to Edna Bartelli, a B-girl who invited him home to fix her radio. He tries to return the money with the reluctant aid of June Goffe, a sweet but oh-so-tired dance hall girl. They find Edna murdered. Not quite sure he didn't do it himself, Alex and June have four hours in the dead of night to find the real killer before his leave ends. Their quest brings them into contact with a sleazy kaleidoscope of minor characters as the clues get more and more tangled.
Production: RKO Pictures
  1 nomination.
 
IMDB:
6.8
APPROVED
Year:
1946
83 min
151 Views


What?

The text.

It wasn't robbery.

All her jewelry is on her.

She lived alone, liked men, drank a lot.

It looks as if she put up a good fight.

This is the biggest city in the world

and somewhere in it, one man or woman...

I'm sorry. It's no use.

So I guess you're it.

- This her key?

- Yes, I saw her put it there.

- What are you looking at?

- You left and then you came back.

Why?

To leave me more alone?

But don't you see this is hopeless?

Why not admit it?

Anyway, it's not my problem.

All right then, it is my problem.

My brother's a belly gunner,

I decide to help you, but how?

Do what? Go where?

It's 2:
00 and we'd have to find a murderer

before you get on that 6:00 bus.

Or before a maid gets in to sweep up.

Well, tell me what to do.

Let's go downstairs, outside.

I'll take the key.

I think I'll call you June.

Now, concentrate.

- On what?

- You're the man who did it.

You come downstairs, nervous as a cat.

Now, here you are.

What do you do? Where do you go?

Where'd I go?

Anywhere, away from the police station.

This way.

Here you are.

Here I am.

- What do you do now?

- Well...

What I'd do is go right over and take

an orangeade because my throat's dry.

I'm not thirsty.

Neither am I.

Let's leave them.

Wait a minute. That's just

what that certain party might do.

- Would you settle a bet?

- Not only will I settle a bet...

...I'll lay you a bet.

You and your husband

are looking for a hotel.

My boyfriend bets we're the first

who walked away without drinking.

Is that all? It happens six, eight times a day.

People got things on their mind in this burg.

Why, just an hour ago, a woman did it.

A beautiful blond.

I near fell over when she stepped

into a cab. Beautiful and lame.

Lame? How lame?

Just enough to make you

wanna treat her like a sister.

Oh.

Thanks.

Drop in again.

Don't drink our grapeade next time.

She stepped into a cab right here,

a beautiful blond, lame.

- Shouldn't be hard. Is it worth a try?

- What do you think? You're smarter.

I think it might be worth it.

Wait a minute.

Say, my sister walked out on me

a while ago.

Did you maybe drive her somewhere?

A blond, limped a little?

Oh, that one. What was she crying about?

Don't she know life's too short for tears?

Where did you take her, philosopher?

Downtown on 11th Street,

in the Village, over a bakery.

Drive you down?

He knows where he took her.

It's bughouse, but it might be worth a try.

- Then we'll go.

- Not "we," me.

I can handle a woman alone.

Every minute counts.

You've gotta find a nervous man, Alex.

- Isn't that your name, Alex?

- Alex Winkler, yes.

Are you coming back, June?

That's a chance you'll have to take.

Be careful.

Cab!

Straight ahead.

Follow that cab, please.

That's not soda water in his gas tank.

Please don't lose him.

I'm a very stubborn man.

You'd be amazed.

Thank you.

Yes?

Is something wrong?

- Yes, yes. Something's wrong.

- He's not in.

- Who?

She's dying and he's not in.

- Who?

- My Snappy.

She swallowed a chicken bone.

It's stuck in her throat.

It's too late.

I see now.

It's too late.

My dearest friend in the whole world.

From a chicken bone.

You can't feed a cat chicken bones.

My dearest friend.

I'm a janitor in a house.

This is my companion.

She did everything but speak.

I'm no hawkshaw, lady,

but this looks like the corner.

- Will you wait here?

- The night is young and so am I.

Unh-unh. Don't stop here

if you're looking for a room.

- We don't want girls here.

- No, that's right.

Girls want kitchen privileges

and they wash their things in the sink.

- Friend of yours, you say?

- Yes.

- You ought to know where she lives.

- The number slipped my mind.

350. I'm the super there too.

I'm the super in four buildings

on this block.

- What about it?

- I don't get paid enough.

That's what about it.

- Yes?

- Sorry, my hand slipped.

Is the baby asleep?

I asked you a civil question.

Yes, she is asleep.

You ought to go to bed if you have

to open the store in the morning.

You're very considerate tonight.

That still don't answer my question.

Well, what about it?

Don't I have the right to ask my wife

where she's been till 2?

I told you I went uptown

and took in a picture.

You took in a picture.

Where'd you get this sudden love

for pictures?

- Isn't it too hot to argue, Jerry?

- Sure. You can nag me all day...

...I open my mouth, it's an argument.

Jerry, please don't wake the baby up.

"Don't wake the baby."

How about where you left her

for two, three hours?

Well, what do you want, Jerry?

Mrs. Daniels kept an eye on her.

- Don't I try to be a good wife?

- Maybe your best ain't good enough.

Oh, Jerry, please.

What are we fighting about?

Some people call it love.

- I can't stand here and listen to this.

- Well, jump out the window, then.

Where are you going?

Think I'll go downstairs...

...and sit on the stoop and cool off.

Mrs. Robinson?

No, don't turn around.

I know where you were tonight.

- Where was I?

- You left a lipstick there.

Come in here a minute.

That's right. You wouldn't want him

to know, would you?

- Wouldn't want him to know what?

- You left a fine mess in that room.

I don't know you. What do you want?

You took a cab from the corner

of 51st and Lexington.

- Did I?

- Yes.

You get out of this place

and leave me alone.

Helen? Helen, are you down there?

- Do you want him to know?

- No.

Then go sit on the step.

Fix your hair.

Helen?

I've got my eye on you, Helen.

I don't know you,

I don't want to talk to you.

You'll have to come back there with me.

- I don't know what you're talking about.

- Oh, no?

Is that why you tried

to beat my brains out?

Don't you know Edna Bartelli is dead?

I don't know who Edna Bartelli is.

I went to a party with a man.

I don't want my husband to know.

Please, he mustn't know.

- What party? Where?

- In the fifties, near there.

- Near where?

- Near where you said. Please.

Turn around.

Face the light.

- No lipstick?

- I don't use lipstick.

- Except when you go to parties?

- No, please.

Go upstairs and go to bed.

Don't leave tonight unless you want

the police at your door.

I won't leave.

Good night.

Did you cool that bird brain off?

Edna Bartelli has been killed.

You took in a movie uptown.

And you?

Where were you until 1:00?

I'm taking you

where I picked you up, right?

Right.

Beg your pardon?

What?

- You sigh like the end of summer. Troubles?

- Personal.

Oh.

Personal.

That's killed a lot of people in its day.

Yes.

Hey, by the way, if it's not too personal,

what was that all about down there?

Oh, personal.

All right, I'll buy it back. Forget I asked.

- Good night.

- Good night.

- What's the matter, sonny?

- Nothing.

Statistics tell us everyone has troubles.

Was that your last dollar? Busticated?

No?

Forget it.

Good night.

Good night.

Who is that?

Alex?

June?

If you hear a peculiar noise,

it's my skin creeping.

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Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

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    "Deadline at Dawn" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/deadline_at_dawn_6531>.

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