Deadline at Dawn Page #5

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


Don't look around.

My cab is just beyond the door.

Every minute brings Alex closer

to his last hour of freedom, doesn't it?

We'll do the best we can.

He's such a baby.

But a sweet baby?

Yes.

Golly wolly, it's hot tonight.

Not since the old days...

Is he there?

Yes.

Don't lose him.

Oh, he's right behind us.

We'll shoot up on the west side,

catch him uptown.

Changed my mind.

I'll make a sharp right turn down there.

There's a police booth to intimidate him.

Say, what's this all about?

- Don't get tough.

- My fare asked to follow you.

- Who's your fare?

Ask him.

- What are you following the lady for?

It's a mistake.

What do you mean, "it's a mistake"?

June.

What kind of a lounge lizard are you,

following a helpless lady in the night?

- Do you know this man?

- I can't see him in there.

- Well, get out, kind sir.

I won't.

- There's a police booth.

I don't wanna get in no trouble.

I work. I'm just a parasite on parasites.

What are you following her for?

Uh...

You know him?

Meaning no disrespect.

- My admiration, Miss Goffe...

- Let him go, Gus.

No disrespect, you understand.

I am Edward Honig, 5265th Avenue.

Honig Accordion Company.

I am foreign-born, but since last month,

I am a citizen of your great country.

My citizenship papers.

American.

No, don't go. Please.

Come on, Gus.

No. Meaning no disrespect.

Quiet, Mr. Honig, quiet.

Take the American citizen home.

That poor rag of a man actually proposed

to me tonight on the dance floor.

Why are you crying, June?

I don't know.

I thought this chase would lead

to something.

What'll happen to that boy?

I don't know.

He can't take care of himself.

It's hot and I feel unnerved.

Electric storms always unnerve me.

Life in this crazy city unnerves me too,

but I pretend it doesn't.

Where's the logic to it?

Where's the logic?

The storm clouds have passed us.

Over Jersey now.

Statistics tell us we'll see the stars again.

Golly, the misery that walks around

in this pretty, quiet night.

June.

The logic you're looking for...

...the logic is that there is no logic.

The horror and terror you feel, my dear,

comes from being alive.

Die and there is no trouble,

live and you struggle.

At your age, I think it's beautiful

to struggle for the human possibilities...

...not to say I hate the sun

because it don't light my cigarette.

You're so young, June, you're a baby.

Love's waiting outside

any door you open.

Some people say,

"Love is a superstition."

Dismiss those people,

those Miss Bartellis, from your mind.

They put poison-bottle labels

on the sweetest facts of life.

You are 23, June.

Believe in love and its possibilities

the way I do at 53.

What's wrong here?

This man bothering you?

He's the only man in four years

in New York who hasn't.

No place to park.

Let's face it, Val.

After all, you and I are partners

in a $42,000 investment.

That's why I called you, Val.

You own a 20 percent piece of my show...

...but if it doesn't open Tuesday,

you own dirt.

We got better grapes in the restaurant.

Why won't the show open Tuesday?

- And who's this twist here?

- Oh, you know Mrs. Raymond, don't you?

Her husband has pledged

to put up the extra 10 G's to open the show.

But if he finds out his wife and I are friends,

we're ruined.

If she cut off her head,

she'd be very pretty.

Yeah. Frankly, what would you do

in my place?

- Why should her husband find out?

- Because your sister has some letters.

Uh, little notes

that she wrote to me last spring.

Your sister says she'll show those

to Mr. Raymond...

...unless she gets a piece of the show.

People with wax heads

should keep out of the sun.

- I don't know anything about it, Lester.

- Wait a minute, Val.

I happen to know you tried

to buy those letters back from Edna.

But you go and give her a bad check.

So why be surprised she got sore?

Don't go, Val. Uh...

Frankly, I don't know how to tell you this,

but we've gotta get those letters...

...because, uh, right now, your sister...

...is lying dead in a room.

Take it easy.

Yeah.

- Mrs. Raymond just came from there.

- You shut your mouth, you hear me?

Now, you play it again and play it sweet.

It's true, Val.

I swear on my mother's life I didn't do it.

- Who done it? Her?

- When she got there...

...there were a lot of people.

Tried to hold her up.

- A sailor and a cabby and a dame.

- Who was there and what's their name?

- The boy is coming here.

- What boy?

- Stay where you are.

- Well, that must be him now.

Don't I know how to talk to a boy?

Yeah?

Who's this?

Come right up, sailor boy.

Put on your clothes, Lester.

Come in.

Uh, put the check on the table.

Going somewhere?

- You wanna be paid first, is that it?

- I wanna make sure it belongs to you.

Well, let's face it, out of 7 million people

you found me, it must belong to me.

Some grapes.

Frankly, you kids are the limit.

Frankly, I could put you behind bars

for that.

In some states, they put you behind bars

for passing bad checks.

I wouldn't hit you if you didn't.

Where'd you get that check?

Cab.

- Where?

- In a cab.

Where'd you get it?

Who's that?

Call me "sweetheart."

Shut that transom so it don't rain in.

- Didn't you go home with my sister, Romeo?

- Yes.

- You killed her.

No.

Val, don't make a fuss here.

We can take him to Edna's place, not here.

Val, let's face it. This is a hotel.

A public place.

- You go home to your husband.

- Go on. Do as he tells you.

- Keep your mouth shut.

- He means keep your mouth shut.

Yes. Yes, I will.

But how can you love a boy

you've just met?

How can a casual passing stranger

change your entire life?

You'd be amazed.

My wife I met and loved in a minute.

In a dentist's office.

With all the vitamins too.

I love her to this day...

...although it's 16 years she's been gone.

- No children?

- A girl. She's married now.

Last year, I put her husband

in a dry-cleaning establishment.

I had some savings.

I'd die for that girl.

- Does she remember her mother?

- My daughter? Oh, very well.

She even remembers the man.

What man?

The man my wife ran off with.

You won't believe it, the first six years,

I shaved every night before I went to bed.

I thought she might come back.

There's no papers in there anywhere.

She was no lullaby,

but she had the brains like a man.

I'll take her inside.

Val, stop it. For Pete's sake.

The cops are right across the street.

- I'll stop it. I'll... Do you have a priest?

Val, stop!

I hope nobody heard that.

I was in the deep water there a minute.

Drop that gun and don't turn around.

- Is he hurt?

- He's punched black and blue.

Get some water.

Now you can turn around.

- Who are you?

Who likes to know?

A man with a gun in his hand.

Don't move.

The human body bleeds very easy.

Don't move.

- Where is the body?

- I put my sister in her bed.

I'm a friend of his. Lester Brady.

Are you hurt?

Pretty weak. I can't deny that.

- What did you beat that boy up for?

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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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Submitted on August 05, 2018

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