Fourteen Hours Page #4

Synopsis: A young man, morally destroyed by his parents not loving him and by the fear of being not capable to make his girlfriend happy, rises on the ledge of a building with the intention of committing suicide. A policeman makes every effort to argue him out of that.
Director(s): Henry Hathaway
Production: 20th Century Fox Film Corporation
  Nominated for 1 Oscar. Another 2 wins & 3 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
100%
APPROVED
Year:
1951
92 min
130 Views


- Okay? Two.

Traffic has been cleared sufficiently.

The annual St. Patrick's Day

parade will be held.

This is the big day

for New York's finest.

There's still no word

from Robert's parents.

Who came in that car?

I don't know.

I'd like to talk to her

before you let her see him.

- Why?

- She might upset him. You never can tell.

Sure. While you psychoanalyze her,

he dives.

Tell Dunnigan the kid's mother's here.

Hello. Hello. Mrs. Cosick's in the hotel.

Keep this line open, will you?

Hold the line open.

Where is he? I'm his mother.

Mrs. Cosick, this is important.

Your son may be acting.

We don't know.

- He may jump at any moment.

- Please, let me see him!

- Wait. Please.

- Bobby!

Bobby.!

- Mrs. Cosick.

- Oh, I knew something was wrong!

- He hasn't written me in six months.

- Yes.

I didn't know where he was.

I wasn't even sure he was in New York until-

- Don't.

- I'm his mother.! Please.!

Don't let her talk to me.

- Please let me see him!

- Let her go.

Bobby! Bobby!

Oh.

Bobby? Bobby, it's Mother. Wait.

Why don't you talk to your mother

for a minute?

She's worried about you.

Bobby.

Bobby, look at me.

What's the matter?

Look at me, son.

What do you want to talk about?

I haven't got much time now.

Oh, please come in.

Please come in.

Nothing is this bad.

I know you haven't been happy,

but, oh, Bobby baby-

Mother! Don't call me that!

I'm sorry. I'm sorry.

But please come in now.

I want to talk to you.

I love you, Robert.

Don't do this.

I know you don't want

to do this to me.

Robert, you love me, don't you?

I haven't done anything, have I?

You haven't done anything.

Well, then...

what is it?

Are you in some sort of trouble?

Do you need money?

You haven't been eating right.

You'rejust upset.

You've seen your father, Robert.

Oh, nothing is really this bad, is it?

Robert!

Wh-What are you gonna do?

I don't know.

I haven't made up my mind yet.

Please, go away now.

Robert, come in here!

Would you like

to take a vacation with me, son?

We could go somewhere

on the beach.

We could go to Sea Bright.

You used to like Sea Bright.

- Then we could forget all about this.

- I can't come in now.

Oh, you can come in now

if you want to!

Oh, it's- it's easy, Robert.

Just take a step over here.

I said go away!

I've talked to you! Now go away!

I can't stand everybody crowding me...

trying to make me do things.

I've got to make up my own mind.

Take her away now!

Take her away from here!

Oh, Robert.!

Oh, Robert.!

- You ought to lie down for a while.

- Oh, let me see him!

The commissioner.

Yes, sir.

Deputy Chief Moksar. Emergency.

I don't know what more

we can do, sir.

Yes, sir.

We can't rig any kind of a net

without him seeing it.

Yes, sir.

Has he ever done

anything like this before?

No. I don't think so.

He's always been nervous.

He was in the hospital

when he was away at school...

but he- he wasn't sick.

He was just nervous.

- Why? I don't know.

- Why won't he talk to you?

Well, he's not himself.

You think he's busted up about a girl

or something like that?

I beg your pardon.

Can I get through, please?

- All right. Back.

- I'm the boy's father.

Oh, I'm sorry, Mr. Cosick.

Go right in.

I'm his father.

I don't know if there's anything that-

- Hello, Chris.

- Oh, Paul, you're shameless!

We're doing all we can! Please, Paul,

at this late date, this is indecent!

You think you can do anything with him?

You wanna talk-

- Haven't you done enough damage?

- Chris, for the love of-

Okay, okay, okay. Now, listen, both of you.

I got enough on my hands.

I'm trying to talk your kid out of takin' a dive.

No wonder he's cuckoo.

You wanna put on the gloves, do it outside.

Both of you. Get 'em outside in the hall.

After 15 years of neglect and selfish

unconcern, to come back here!

- If there's anybody to blame, you're to blame!

- Okay, nobody's to blame!

- You want to talk to him?

- If you think it'll do any good, but he's closer to his mother.

I've had the whole burden. If you'd been

able to give him any kind of a living!

- If you'd been able to make him any kind of a home!

- Chris, shut up!

- How did you feel-

- Let's get these characters out of here!

Look, I almost had him

a couple of times.

I- I know I can con him in...

if I can just get my hands

on what's botherin' him.

Do you know what's botherin' him?

You're his father.

I don't know.

I don't know him very well.

I hardly recognized him

when I saw him on television.

- I was in a bar downtown.

- Where else?

- Pipe down, will ya?

- I'd like to talk to him.

Yeah, I'd like to talk to him.

Ask him, will ya?

I wanted to see him,

but I didn't think he wanted to see me.

Oh, this is ridiculous!

Let me go! Let me go! Bobby!

Bobby!

Bobby.

Bobby,

I won't let the doctors touch you.

I won't let them do anything to you.

I know what Virginia thinks,

but Virginia is wrong.

You're not sick.

Don't listen to her, Bobby.

You don't have to do

anything you don't-

Keep her away from here, will ya?

- Hey, ask him if he'll see his old man.

- Yeah, but she just-

Go ahead out there.

Take up that slack in the rope.

My father's in there.

He's no good.

He wants to see you, Robert, but he's afraid

you got something against him.

You got nothing against him, have ya?

Who's Virginia?

I don't know.

I don't know anybody by that name.

How long since you saw your father, kid?

Hey, can I have a cigarette?

Sure.

I don't see him much anymore.

They fought all the time.

It was his fault. He's no good.

Look, this is none of my business...

so don't get sore.

I'm just a guy here talkin'.

But I have to call 'em as I see 'em.

You're sure you're not just

taking your mother's word for that?

For what?

Uh, about your father being no good.

Maybe you'd like him

if you gave him a chance.

Why don't you talk to him

and give him a chance?

Why don't you talk to him?

Look, Mrs. Cosick,

we've got a room down the hall.

- Why don't you go down there and rest?

- No, I wanna stay here.

He feels worthless, empty.

We can be sure of that.

It starts early, usually...

something that happens

between children and parents.

So you may be the key.

We don't know.

We can't know until we can get him in

and have time to help him.

Just do the best you can.

I can't stand looking down very well.

Well, then don't look down.

Try to be casual.

Look, Robert...

you don't have to talk to your father

any longer than you want to.

Anytime you want to break it off,

just yell like before.

Okay?

Okay.

Good. Good.

Robert, I want to help you if I can.

I've meant to look you up, Robert.

I wanted to talk to you.

I know this isn't a very good place...

but let me say a few things.

I- I've got so much that-

Now, look, I'm not gonna ask you

to tell me why you're doing this...

if you don't want to.

I understand. It's- It's difficult.

Things are difficult.

It's been difficult for me too.

Why-

Why did it turn out like this?

Rate this script:0.0 / 0 votes

John Paxton

John Paxton (May 21, 1911, Kansas City, Missouri - January 5, 1985, Santa Monica, California) was an American screenwriter. He was married to Sarah Jane, who worked in public relations for 20th Century Fox.Some of his films include Murder, My Sweet in 1944, Cornered in 1945, Crossfire in 1947 (an adaptation of the controversial novel The Brick Foxhole that earned him his only Oscar nomination). He helped adapt the screenplay for the controversial movie The Wild One in 1953 starring Marlon Brando. Paxton's work twice received the Mystery Writers of America's Edgar Award for Best Motion Picture Screenplay, for Murder, My Sweet and Crossfire. more…

All John Paxton scripts | John Paxton 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

    "Fourteen Hours" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/fourteen_hours_8493>.

    We need you!

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

    Watch the movie trailer

    Fourteen Hours

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Which film production company made the film Shrek?
    A DreamWorks Animation
    B Pixar Animation Studios
    C Walt Disney Animation Studios
    D Blue Sky Studios