Deadline at Dawn Page #8

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
149 Views


Did you ever rob a house before?

What did you do with her rings?

Ate them with mustard.

Now, I ask you one thing,

let my wife go home.

I told you I did it.

This gun you shot her with,

you bought it?

I bought it. What's the diff?

The diff is she wasn't robbed

and she was strangled, not shot.

- Yes, Jerry, that's so. She wasn't shot.

How do you know?

Shut your mouth.

How do you know?

She knows because she did it.

No, no, no.

Mrs. Robinson,

how do you know she wasn't shot?

Because she was there.

My daughter is innocent.

She's protecting me. He's protecting her.

She followed me to the apartment.

Too late.

Sit down.

Jerry met Miss Bartelli in the course

of his dry cleaning business.

Met and was conquered.

My grandchild was about to be born.

At that time, I visited with the lady

and begged her to cut it out.

She refused. Jerry's romance continued

after the child was born.

Naturally, my daughter was very unhappy.

I visited Miss Bartelli a second time.

Useless.

Last night, I visited the lady again.

The lady was very abusive.

At the best, I am not a happy man,

but the years bring you discipline.

She made me break that discipline.

I took her...

Sit down, Bartelli.

Oh, anything can happen in this heat

and it happened.

And yet I felt calm and satisfied,

as if I did the right thing.

That woman's heart was made of ice.

She made people suffer. People I love.

Maybe you won't believe it,

but I murdered her for love.

Statistics tell us...

Oh, I forgot what they tell us.

Then I picked up the boy.

Innocence personified.

I tried to chase him away.

He wouldn't go. So I had to tag along.

Every hour it got more involved.

Myself I could have saved a dozen times,

but not at that boy's expense.

Between you and me

and the lamppost, captain...

...happiness is no laughing matter.

No. No. No, don't cry, Helen.

Jerry, take her home.

You earned the right tonight.

Cherish her. Cherish anyone who loves

the unselfish way she does.

Yeah. Yeah.

We'll be back this afternoon.

Better lock him up.

Release the boy now.

He has a bus to catch.

June, he's a very fine character.

He'll give you real incentive.

Pack your bag. Move closer to him.

Go back to Norfolk together.

- Take a later bus.

- Yes.

Push through the daily shell shock

of life together.

Go ahead.

Imagine, at my age,

to have to learn to play a harp.

Mr. Bartelli.

It's terrible what happened, all of it.

So no hard feelings.

What's the matter? Afraid you hurt him?

I didn't hit him enough.

I should've hit him more.

It'll have to wait, character.

We've got a bus to catch.

- To Norfolk?

- Mm-hm.

Home.

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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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