Kid Galahad Page #10

Synopsis: When a bellhop knocks out fighter Chuck McGraw, promoter Nick Donati realizes he's a potential champ. "Kid Galahad" justifies Nick's confidence, but Nick's mistress Fluff falls for him; in turn, the Kid falls for Nick's young sister. Now overprotective brother Nick turns against his new fighter, leading to a near- disastrous title fight and a murderous confrontation.
Genre: Crime, Drama, Romance
Director(s): Michael Curtiz
Production: Warner Home Video
  1 win & 1 nomination.
 
IMDB:
7.3
APPROVED
Year:
1937
102 min
156 Views


-Oh, Iet me have your gun.

[BELL RINGS]

-How do you feeI, Kid?

-Oh, I don't know.

Wake up, wake up.

What round is it?

Eighth coming up.

-I thought we were just beginning.

-That's it.

-Know me?

-Yeah, Nick.

That's it, Kid.

Now, Iisten, we're changing now,

understand? We're changing.

He shot his boIt. He's on his heeIs

and breathing through his mouth.

Now, stay away from him,

run him off his feet, staII him.

Rest up now, Kid.

[WHISTLE BLOWS]

Rest up.

Don't forget, keep that Ieft hand up high

and keep moving.

[BELL RINGS]

-Nick switched on us.

-Yeah.

A compIete change of pace.

GaIahad's boxing.

He's shooting them Iong range,

staying away, counter-punching.

He's making McGraw force the fight.

-GIad you changed, Nick.

-Yeah.

-Come on, you can go back after this round.

-Thanks.

Look, he means it.

He's sending SiIver back in again.

[BELL RINGS]

Did you see him eat it up

when you staggered?

Now we go to work.

He thinks you're gone, he's wide open.

PuII it this round

when I give you the office.

[WHISTLE BLOWS]

[BELL RINGS]

Archie.

We got a date when this is over.

Stand by.

Okay.

Two, three....

Four, five, six, seven, eight....

Two, three, four, five...

-...six, seven, eight...

-Chuck, on your feet, come on.

...nine, ten.

MAN:

Back up, back up, back up.

You can't get in. AII right. Back up.

OnIy the press,

wait a minute, wait a minute.

Fat chance of getting in.

Go get yourseIf a badge.

-You got a match?

-Yeah, I got one here.

Put them up.

Get back there.

[GUNSHOT]

Hey, the man's down. HeIp, heIp, poIice!

PoIice, poIice.

MAN 1 :

How about it? Come on.

MAN 2:
We need just a second.

MAN 3:
WiII you say a few words?

-Hey, they just shot a feIIow outside.

-What?

Down in TunneI B.

-Who did it?

-They don't know.

-Who got shot?

-Some insurance guy from Ohio.

First time in town.

-Oh, that's too bad.

-I'II say it is.

-SiIver.

-Yeah, Nick?

-Get the Kid under the showers.

-Come on.

WARD:
Yeah, I've had enough of this.

NICK:
Get some medicine.

MAN:

Get out of the way, come on.

Pack my things, wiII you?

Marie's waiting for me.

-Okay, champ.

-Come on.

Get your hands up and turn around.

WADE:
What's the idea?

-Get over there.

I shouId've taken care of you mugs

in FIorida.

You ain't gonna catch no train

this time.

NICK:
Come over to the hoteI.

We're having a ceIebration.

You'II get aII the dope you want.

-Take care of the champ now.

-Hey, SuIIy.

Watch this door,

don't Iet anybody come in.

AII right, Nick.

-So Iong, see you Iater, boys.

-Good night, Nick.

Oh, I beg your pardon, Mr. Donati.

You gave aII the other guys a break

before I got here.

You rushed the Kid out of the ring

before I couId get shots.

Just one picture of you and the champ?

-You're from out of town?

-Yeah.

Just got a wire tonight to do the job on you

and, weII, I'II get fired if I don't deIiver.

It wiII onIy take a minute.

We can grab one in the shower room.

-Okay, anything for the press.

-Oh, thanks for the break.

Go on, get over there with them

and keep your hands up.

You, duck out that way.

This is my business.

Okay.

[LOCK CLICKS]

I've been aching to fiII you fuII of sIugs.

Use your head.

You can't get away with it in here.

There's cops aII over the pIace.

I'II square it with you.

Yeah, Iike you aIways have.

You're starting to crawI, eh?

Anything, I'II settIe with you any way

you want it, but Ieave those two aIone.

So they can put the tag on me?

You're too used to a machine gun.

You might miss with that peashooter.

-If we were to rush you--

-I'II settIe with you, you doubIe--

You shouIdn't have thrown away

that machine gun.

-Nick.

-Get him over on the tabIe.

MAN:

Open up.

Nick.

WeII, get an ambuIance, wiII you?

Get a doctor.

-Outside, boys.

-Go get Louise and Marie, wiII you?

Send an ambuIance to the stadium.

Connect me with the Homicide bureau.

Nicky.

Nicky.

HeIIo, Marie.

There's an ambuIance coming, Nick.

You'II be aII right.

Oh, no, he wasn't that bad a shot.

Nicky, you've got to get weII.

For Nina.

For aII of us.

I was wrong, Marie, about the Kid.

I guess I been wrong

about a Iot of things.

You two go on being happy,

being in Iove.

-Be carefuI how you teII Mama about this.

-I wiII.

Am I out of the doghouse?

Yes.

You know,

I never shouId have gone away.

Oh, forget it. It's just the breaks.

You've aIways been sweII.

The Kid put up a great fight, didn't he?

Took us a Iong time, you and me...

...but we did what we set out to do.

We got a champ.

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Seton I. Miller

Seton Ingersoll Miller (May 3, 1902 – March 29, 1974) was an American screenwriter and producer. During his career, he worked with many notable film directors such as Howard Hawks and Michael Curtiz. Miller received two Oscar nominations and won once for Best Screenplay for fantasy romantic comedy film Here Comes Mr. Jordan (1941) along with Sidney Buchman. more…

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Submitted on August 05, 2018

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