Fourteen Hours Page #6

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
139 Views


You know what they're trying to do?

They're crazy!

I tried to talk them out of it.

Keep him from looking up.

That's all you can do.

Hi. How are ya?

You want a cigarette, kid?

No.

That looked like a pretty good thing

you had with Virginia, kid.

Why'd you throw her over?

She's probably been worried about you.

It wasn't any good.

It wasn't any good.

Why not?

It just wasn't-

Why can't they leave me alone?

Why did they have to go and find out about her?

I didn't want her to know.

Can't they stop torturing me?

Okay down here. Now, easy does it.

Here we go.

Shall we continue, Mrs. Fuller?

"It is further ordered,

judged and decreed...

"that the plaintiff have custody,

control and supervision...

"of the infant issue

of the marriage herein dissolved.

Thomas Edward Fuller and Louise Ann Fuller,

except as provided herein below. "

Uh, Mr. Fuller?

Okay.

- Mrs. Fuller?

- What?

We would like to establish agreement

on each paragraph as we go.

Do you have any comment?

Yes. I don't understand it.

It's too complicated.

"Issue. One issue. Both issue. "

You make it sound dirty.

They're children.

Why don't you say "children"?

I don't want to do it now anyway.

- Mrs. Fuller, isn't this a bit late-

- Wait a minute!

Ann, do you really mean that?

Are you serious?

- Yes.

- Mrs. Fuller, may I ask-

I told you, it's too complicated!

Custody hereinafter provided-

I- I can't remember who's plaintiff

or who's defendant.

- It'd be more trouble than being married!

- Oh, Ann-

If you had been on time

it would have been all right.

I wanted to do it, but I got tired

of waiting and thinking.

I'm sorry. I got mixed up

in that traffic jam.

Ann, we can make it work again.

Let's try.

Oh, Ann!

Keep it coming.

Now, look, don't throw until you

clear the bottom of this balcony...

so that you don't get your rope fouled.

Understand? All right.

- Keep it coming.

- Keep 'em going.

Look, kid- Robert-

Virginia was just trying to help you.

- Don't you understand that-

- Hey, mac.! Look out.!

- They're gonna get you!

- Look out, mac.!

Get away from me!

- Get away from me!

- Pull him up! Pull him up!

Pull him up.

You're nothin' but a stinkin' cop!

- You knew they were gonna do that. You were in on it.!

- Shut up!

Who do you think you're yelling at?

Who do you think you are?

You open your trap to me like that once more,

and I'll come over there and push you off.

You realize

he was risking his neck for you?

You realize half the police force in New York

is climbin' around on this hotel...

holding their breath

to see what you're gonna do?

You realize how much this city has paid

for this phony Dutch act of yours?

"I'm gonna jump. I'm not gonna jump.

Don't anybody touch me.

Give me a glass of water. "

Okay, kid, if you're gonna jump,

go ahead.! Jump.!

I got a bellyful of you. I don't know why

I bothered with you in the first place.

Go on.! Jump.!

Wait a minute.

I'm sorry.

I appreciate what you're trying to do.

I'm sorry.

I- I could never talk to anybody

the way I've been able to talk to you.

I could never talk to my father

the way I've talked to you.

I- I'm sorry.

I'm mixed up.

Don't you see your mother gave you

a wrong steer about your father, kid?

Don't you see he's really a good joe...

and he likes you?

I guess so. I-

I don't know.

I just don't know what to do.

He's right here. Why don't you

tell him you were wrong?

Why don't you?

Okay.

It's all right, Robert.

I understand.

I guess we both understand each other

a little better now.

Don't we?

Yes.

It doesn't matter anyway.

Why don't you come on in

a little while?

Tell you what I'll do.

I'll make a deal with you.

You've been out here

a long time now...

and it's pretty hot.

You're tired,

and you haven't had anything to eat.

I- I'll make a deal with you.

If you wanna come in and take a shower,

think things over...

I'll clear everybody out of the room,

give you the key and you can lock yourself in.

And if you wanna come back out here...

okay, that'll be your own decision.

How do I know that you'd do it?

Really?

Because I say so.

You got my word for it.

You'd didn't tell me

they were gonna try to grab me.

No, I didn't.

But I think that's a little bit different.

Don't you, kid?

You didn't ask me to promise

I wouldn't let 'em try to grab you.

Anyway, I couldn't have stopped 'em

if I'd wanted to.

This is just between us.

If I say so,

you've got my word for it.

All right.

Give me a couple of minutes

to clear out the room.

Come on.! Everybody out.!

You jokers, come on out!

Everybody clear the room!

Shh, shh, shh. Don't-

Let's go.

Everybody clear the room. Come on.

Let's clear the room.

Everybody out.

Who's got the key? Where's the key?

Okay. Okay, here's the key.

Now, the connecting doors are locked.

Just give me a couple seconds to get out.

I'll guard the door and see nobody

busts in till you get it locked.

- Okay?

- Yeah.

Kneel and pray, my boy.!

Kneel and pray! Be washed-

- Where did you come from?

- I'm the boy's pastor, I tell you.

Hey, Chief!

Robert? Robert, I-

I'm sorry. I didn't-

It was a mistake.

I don't know where he came from.

Kid.

Where did he come from?

Who let him in?

He had one leg on the floor.

I'm ready with the bracelets.

Why wasn't somebody watching the door?

We almost had him.

He'll never believe me now,

no matter what I say to him.

Okay, check in.

You got any other ideas?

The girl.

Have we got anything on the girl?

No. If your captain gives you any trouble,

tell him to call me.

Yeah, he's still out there.

Yeah, I know.

What?

Well, where is she now?

- Can I get a Bayside number on this thing?

- Hold on. Yeah.

- That's the operator. Where's the chief?

- He's in there. Thanks.

Uh, Bayside-9-9-9-7-0.

Bayside-9-9-9-7-0.

Just a minute, sir.

Helen? I'm gonna be a little late.

Yeah.

Yeah. Are the kids there?

Is Harry okay?

I don't know. I still have to check in.

- Hey. We got the girl.

- Wait a minute. What?

We got the girl. They're flying her down.

You'd better stick around.

Helen- I'll explain when I see ya.

No, no, it's-

It's okay. Go ahead without me.

Save me a piece of liver.

Darkness has transformed

this entire scene into-

Well, it's a strange, fantastic sight.

Many of these people

have been waiting here all day, and even now-

Wait just a minute.

They're bringing someone now.

Turn those off!

Who turned that light on?

Well, turn it off!

What? She's on the way up, huh?

Good.

Moksar.

I'd like to talk to her first.

- Virginia?

- Yes.

Virginia, this is Dr. Straus.

We'd like to talk to you a minute

about Robert.

Give me a rewrite. She's in the hotel now.

Virginia.

You were engaged.

Why did you break it off?

I didn't. He did.

He did? Why?

Well, he- he just said

that he couldn't, that-

that he'd make me unhappy,

it would be better-

- Did you have a fight?

- No, but he'd get mad.

- What about?

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. 24 Nov. 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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "EXT." stand for in a screenplay?
    A Extension
    B Exterior
    C Exit
    D Extra