Detour Page #6

Synopsis: In flashback, New York nightclub pianist Al Roberts hitchhikes to Hollywood to join his girl Sue. On a rainy night, the sleazy gambler he's riding with mysteriously dies; afraid of the police, Roberts takes the man's identity. But thanks to a blackmailing dame, Roberts' every move plunges him deeper into trouble...
Director(s): Edgar G. Ulmer
Production: Film Chest
  1 win.
 
IMDB:
7.4
Rotten Tomatoes:
100%
NOT RATED
Year:
1945
68 min
Website
2,245 Views


Anyway,

I'm on my way and,

All they can do

is accelerated.

Right.

Think of the 1850 you lose.

I'd hate each other escape.

Take that risk.

- Want a drink?

-You act like a gangster.

Once you get

good dollars ...

You become greedy ...

and want more.

-More. More.

-Caesar.

- Who?

-Caesar, the emperor.

The Roman emperor, succeeded

an empire with their ambition ...

And was not satisfied ...

until he got more.

Two days ago

did not have a dime.

You were so bare that

you could not buy or a seal.

Now you have almost 700.

And 1850 more await you.

- Do not try to get more!

-I got tired of this game.

-Let's play Black Jack.

- Play a solitaire!

Irritated and throw things

not help.

This is how I feel!

I think you should think

better, Roberts ...

I'm doing you a favor.

I'll help you get through this ...

... Keeping his mouth shut.

I teach you to get money

easy. And thus you thank me?

Thank you!

Surely if I call the police

and tell them you killed ...

-I did not kill anyone.

Yes, you did. -No, I did.

Vale.

So suppose that

call the cops ...

If you're innocent ...,

What do you fear?

Well, call them, Vera.

Go ahead, call them.

At least they will give me

a fair deal.

- You want me to call?

-You heard me.

But I warn you.

If you ask me I will say that we were

together, that you helped me.

'If I get arrested, go together.

-Do not you dare, you coward!

No? Try and see.

Call them, go.

Okay, I will.

Does anyone know information?

I want the number of

Hollywood police.

Well, I have, thank you.

Wait a minute, Vera,

would not.

Do not do it? Let me show you

from what I can.

Calm down.

Let's talk about this.

That was early

afternoon. / i

The conversation was agitated,

but at least calmed down. / i

But while

minutes passed ... / i

... and more obstacles to their plan

exploded in my head ... / i

... the air was

becoming thick. / i

Every word out of

our lips ... / i

... snapped like a whip. / i

I reminded him that if he

Hazkel did not even know ... / i

... the name of my mother

or what school had gone ... / i

... the name of my best friend,

whether he had an aunt Emma ... / i

my religion ... or ever

had a dog. / i

not even know what it was

middle initial of my name. / i

also commented that

Hazkel true ... / i

had a scar ...

in the forearm. / i

His people never saw

that scar.

You told me that escaped

make the eye after the child.

Yes, but his father knew that

had any brand. - So what?

The old man has died ... will

in the morning paper.

Anyway, you could

cut off a little! No?

For that amount of money

I would cortases leg.

You're drunk and crazy, Vera.

Dennciame if you want,

but leave me out in this.

How do we know that Hazkel

was not a fraud?

Maybe not the child.

You dreamed Perhaps.

Well, there you will be the

I'm dreaming ...

... When the weight of the law

fall on your shoulders.

There is a nice gas chamber

waiting for you, Roberts.

And do not dream that extradition

can save you!

Where's the phone?

-Vera.

-Leave me alone.

Choose a phone

to call the police.

I hate you, smelly bastard.

Leave me alone!

I'll leave when I promise

leave the phone alone.

-You're hurting me,

- Do you promise?

Agreed.

You hurt me.

I'm sorry, but ...

It's hot here, open the window!

-Not hot.

-Or do you or I do.

You're not a gentleman, you see?

-Yes.

Well, I'll open the window.

Vera!

Open the door, please.

Open it, open it. Do not use

the phone, listen to me.

I do not like, Roberts.

You're a gentleman.

You hurt me.

And now I will do the same for you.

If you open the door

the'll throw down, Vera.

Vera, do not call the police,

listen to me.

Do anything you want.

Let me enter.

Tear off the phone!

The world is full

of skeptics ... / i

... I know I'm one of them. / i

Hazkel as the issue,

How many think, I dropped the car? / I

And now, after

Vera accidentally killed ... / i

How many of you believe

it was not premeditated / i

at trial, to the last

person, would proclaim that ... / i

she had me cornered and

My only defense was the strength. / i

The room was quiet. / i

So quiet for a moment

I wondered ... / i

... if I had gone deaf. / i

was pure fear ...

of course. / i

was hysterical. / i

But without a sound. / i

Vera was dead. / i

And I was the murderer. / i

Murderer / i

What word so awesome / i

But I was not

I wanted caught. / i

had to destroy

all the evidence. / i

apparently

there were so many. / i

Looking around the room,

the things we buy ... / i

... it was like seeing the faces of all

the people we met together. / i

I could not get rid

Such testimony. / i

No. It could burn your clothes and

bury bottles ... / i

... over the next five years.

There would always be witnesses. / I

home, for example. / i

The seller, the waitress,

the girl in the shop and ... / i

... the kind of liquor. / i

They could identify . / i

was trapped. Had

get out of there. / i

Once there

remained together ... / i

... a dead body, planning

how to avoid being accused ... / i

... of his murder.

This time I could not. / I

This time was guilty. / i

I knew it. / i

was like a man

suffering shock. / i

Things gave

around in my head. / i

could not think properly. / i

thought only the type of saxophone

and what was playing. / i

She was not a love song. / i

was like a lament. / i

But my problems

not resolved. / i

He must stay away

New York all the time. / i

Because Roberts was given by

dead, and so should remain. / i

could not go back

Hollywood ever. / i

Someone might recognize

as Hazkel ... / i

... and also was Sue. / i

I would never go to her with something

circling over my head. / i

could only pray that

where would be happy. / i

was in Bakersfield when I read

who had discovered the body. / i

Police looking for Hazkel

for the murder of his wife. / i

Is not it funny? / i

Hazkel got me into this and

Hazkel himself was taking me. / i

Police looking for

a dead man. / i

I try to forget

what happened. / i

I wonder what could

have been in my life ... / i

Hazkel ... if I had not stopped. / i

But one thing about

you can not stop thinking. / i

S .. / i

... that one day a

stop car ... / i

... without that it has made finger. / i

Yes .. the destination ... / i

... a mysterious force ... / i

... you put your finger

about me, or you ... / i

... for no particular reason. / i

Rate this script:0.0 / 0 votes

Martin Goldsmith

Martin M. Goldsmith (November 6, 1913 – May 24, 1994) was American screenwriter and novelist who wrote several classic B-movies including Detour (1945), which he adapted from his 1939 novel of the same name; Blind Spot (1947); and The Narrow Margin (1952), for which he earned an Academy Award nomination. Goldsmith, at one time the brother-in-law of actor Anthony Quinn, also contributed some stories to The Twilight Zone in 1964. more…

All Martin Goldsmith scripts | Martin Goldsmith Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Detour" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/detour_6804>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Detour

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which screenwriter wrote "Casablanca"?
    A Julius J. Epstein, Philip G. Epstein, and Howard Koch
    B John Huston
    C Raymond Chandler
    D Billy Wilder