Dial 1119 Page #5

Synopsis: A young mentally-ill killer, Gunther Wyckoff, escapes from a mental institution, murders a bus driver and, then, takes six hostages in a bar. The gun in Wyckoff's hand kills without emotion or pity, wielded by a man bare of emotion. It begins as a moral question whether an insane killer should or should not be sent to the electric chair, but goes elsewhere before it ends.
Director(s): Gerald Mayer
Production: MGM
  1 nomination.
 
IMDB:
6.7
PASSED
Year:
1950
75 min
60 Views


the argument, whatever it was about.

They're not gonna send him in.

I'd like to say right now no one

has more respect for Captain Keiver.

A man who has served the public for...

There's a way to make him, Wyckoff.

Higher authority.

The press. Power of the people.

My paper.

If he refused, it could break him.

If I call my city editor...

...tell him what you want,

have him turn the pressure on Keiver.

- Threaten him.

That's right, that's right.

My paper could order the police

to send in Faron.

Tell him what I want.

The boss. Nobody else.

Give me the city editor. Make it snappy.

This is Harry.

Harry.

I can't talk to anybody but Frank.

Don't argue with me.

Put him on the phone.

Whoever heard of a follow-up

without names?

Who are those people in the bar?

- What story is this?

- I'm trying to tell you.

- You can't...

- Don't give me that.

- What do you want?

- Harry's on the phone.

He sounds kind of peculiar.

He won't talk to anyone but you.

Boss, wait a minute.

He gave me that stale beef about

being washed-up, going to get loaded.

- This time he did it.

- Well he picked a fine night to get loaded.

Hey, wait a minute, chief.

You were on the desk yourself.

I heard you talk about getting plastered.

Telling the city editor off.

Do me a favor. Don't talk to him.

He won't mean anything he says.

All right, all right.

Tell him to go home and sleep it off.

He's very busy, Harry.

He'll talk to you in the morning.

Dorothy, listen.

Take some hot milk.

Get back over there.

Get back.

Let him call again. Let him try again.

No.

They don't wanna listen.

Eight fifty-eight twenty-five.

Check.

- All right.

After they pull the main switch,

wait for the man to get to the entrance.

Then blow the door.

It's strong.

Place used to be a speak-easy.

Have Ed use RDX,

enough to blow the locks and hinges.

- Right.

- Hank, that's the worst thing you can do.

The minute the lights go out,

he will become frantic and start firing.

- I demand...

- You demand nothing. I'm running this.

I demand the right to do my job.

You did it three years ago.

And that's gonna be awful hard to explain

to a policeman's widow.

Move the squad car,

put their spotlights on the door.

Get a light on that roof

across from the bar.

Borrow a floodlight but don't hit a switch

until the lights go out in the front door.

Yes, sir.

John!

John, come back!

Get over that cellar

and don't let them pull the lights.

I can't explain this, folks.

Your guess is as good as mine.

- Change to Camera 3.

Dr. Faron's going to that bar.

Camera 3, get that man crossing

the street in your camera and pan with him.

And change

to your eight-and-a-half-inch lens.

Climb up over there.

Fast!

Turn around.

Sit down.

Put your hands on the bar

and don't take them off.

Come in.

Come in, doctor.

Lock the door.

I tried to get here sooner.

Did you?

Put down the gun.

It's hard to talk over a gun.

You never had trouble talking before.

That's right.

- We've talked before.

- Don't come any closer, doctor.

We're friends.

No, doctor.

We've talked, but we're not friends.

Then why did you come back?

Why did you send for me?

Because I have to kill you.

No, you don't.

You don't have to kill anybody.

You're sick and I'm your doctor.

- And I wanna help you.

- I said stay away from me.

Stand over there.

You have to trust me, Gunther.

Trust you, doctor?

You did three years ago.

Yes.

You thought you fooled me, didn't you?

You said you could understand.

You were going to help me.

Well, you didn't fool me, doctor.

I knew you'd tell them,

and they sent me away.

But I've come back.

They'll never send me away again.

Unless you let me help you, Gunther,

you'll die.

I'm not afraid, doctor.

I wasn't afraid in the war.

Saw a lot of people die.

We've talked about that.

- Let's talk about it again.

- I don't wanna think about it.

Not with you.

- Gunther, put down that gun.

- No.

- Gunther...

- I like a gun in my hand.

They gave it to me.

Gave me a gun, told me to kill.

Now they try to stop me.

That's their mistake.

They gave me a uniform, made me a soldier.

They gave me a gun, told me to kill!

We faced this thing together before.

We must face it again.

It's wrong to kill.

You know that, Gunther.

You've known all your life.

You've known ever since

you've been a little boy.

From your parents,

from your teachers in school.

From your conscience

and from your religious training.

Everything that you've ever done

has told you that in the eyes of God...

...it's wrong to kill.

There was a war.

They gave me a uniform.

Yes, there was a war.

But you weren't in it.

Fifteen million others were in the war,

Gunther, but not you.

You never saw a uniform.

- Don't say anymore.

- You were never a soldier.

You were drafted and wanted to go

but were rejected.

- You better shut up.

- You couldn't face the reason.

You went out of your head. You killed.

Then to justify a killing you knew

was wrong, you invented a dream.

You made yourself believe

you were a soldier.

I was, I was.

Made yourself believe you were a soldier

because soldiers were the only people...

...permitted to kill

without committing a crime.

It's a dream, isn't it?

You know it isn't real, don't you?

You've gotta face it.

You've gotta face it now.

You've gotta face reality...

Let's go.

Turn around.

- The doctor lied.

- Sure, sure he lied.

No. I know, I can tell, you believed him.

I believed you. I know what it's like.

I was in the war myself. First war.

You all believed him.

No. No.

Listen to me, son. Dr. Faron's dead.

You killed him.

That's what you came for, wasn't it?

You don't have to kill us.

You heard what the doctor said.

Every one of you.

Please. Let me live.

You said you were lonely. Unhappy.

For myself, I don't care.

But my wife, my children, Wyckoff.

You said when your time's up,

you were ready.

That's the hospital.

- Don't move.

- I gotta know.

- Stay where you are.

You're all the same.

Every one of you.

You have nothing to live for.

You had no right to shoot me.

Make it snappy.

General Hospital?

Maternity ward, please.

What? Eight pounds?

And he said I got no reason to live.

How far does a man have to go

to prove that he's right?

This is Harry.

Give me the managing editor.

Not the city editor.

I want the man he works for.

The managing editor.

Here. Where have you been?

Dishing out parking tickets?

Might have known you'd be here.

You missed all the fun.

All right. And tell him to be sure

and use my full name.

Harrison D. Barnes.

I'm going. I'm going home.

My name would be on the radio.

Mother will be worried.

What was his first name?

Chuckles is the only one I have.

There was a gun in back of the bar.

- Wyckoff mustn't have been watching.

Where were you?

I gotta get to the hospital, see my wife.

All right, go ahead.

Captain would like to talk to you

when you get back.

Rate this script:0.0 / 0 votes

John Monks Jr.

John Cherry Monks Jr. (February 24, 1910 – December 10, 2004) was an author, actor, playwright, screenwriter, director, and a U.S. Marine. more…

All John Monks Jr. scripts | John Monks Jr. 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

    "Dial 1119" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/dial_1119_6865>.

    We need you!

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

    Watch the movie trailer

    Dial 1119

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of "scene headings" in a screenplay?
    A To provide dialogue for characters
    B To outline the plot
    C To describe the character's actions
    D To indicate the location and time of a scene