Night and the City Page #6

Synopsis: Harry Fabian is a London hustler with ambitious plans that never work out. One day, when he encounters the most famous Greco-Roman wrestler in the world, Gregorius, at a London wrestling arena run by his son Kristo, he dreams up a scheme that he thinks will finally be his ticket to financial independence. As Fabian attempts to con everyone around him to get his scheme to work, he of course only ends up conning himself. This is an interesting tale of blind ambition, self-deception, broken dreams, and how a man who always thinks he's ahead of the game ends up tripping himself very badly.
Director(s): Jules Dassin
Production: Criterion Collection
 
IMDB:
8.0
Rotten Tomatoes:
79%
NOT RATED
Year:
1950
96 min
417 Views


- Well, dear boy, your time has come.

- What are you saying?

Consequently, I feel it my duty

to tell him about the Strangler.

What are you saying?

I'm saying that nobody-

nobody cuts in on Philip Nosseross.

No, dear boy, I am not

giving you 200 quid.

I am giving you

the sharp edge of the knife.

Hello? I'll wait.

You've been trying

to kill me.

- I have.

- Why?

Because you're a thief.

You tried to steal something from me,

something I bought and paid for.

Well, I--

Helen?

Helen? Oh, no.

No, no, no.

Phil, listen to me. Put down that phone.

Put that phone down!

I don't want Helen.

She means nothing to me. Nothing!

She gave you the money.

Yes, but I took it because I was desperate.

You wouldn't listen to me, remember?

But I didn't cross you.

I played it straight with you.

Hello? Well, find him, please.

It's very urgent.

Tell him to go at once

to Fabian's gymnasium.

He'll find the Strangler there.

Phil! Phil.

Now, please

don't make a scene.

You committed a crime

against me...

but it'll be Kristo who'll punish you

for betraying his father.

Now just leave quietly like the little gentleman

you've always wanted to be.

So you think

you've done me in, huh?

Well, you're wrong.

I have a little information for you, dear boy.

The old man, Gregorious,

he's standing by me.

Yes, he wants Nikolas to fight the Strangler.

I made him want it!

He wants it!

You are a wonder.

You did it,

and now you can get rich.

You've got Kristo stopped.

You've got the Strangler.

And Gregorious

is on your side.

It's a wonderful

situation...

because you've

got it all.

But you can't put the fight on

because you don't have the money...

and there isn't a man in all London

who'll let you have a shilling.

You've got it all...

but you're a dead man,

Harry Fabian.

A dead man.

Yes, Harry, I will.

Just stay where you are. I'll come at once.

Hello, Harry.

- Well, still living a life of ease and plenty?

- Oh, yeah.

Taxi! Taxi!

Taxi!

- Ta--

- Taxi, ma'am?

Oh, thanks, Adam.

I thought I'd have to stand here all night.

- Where can I drop you?

- I've got to go to Harry. I'm afraid he's in trouble.

Harry? You'd get to him much sooner

if you'd just walk back to your flat.

- Back to my flat?

- Yes. He just went by me...

like all the devils of Bashan

were after him.

Never mind.

What is it, Mary?

What's happened?

- Is there something I could do?

- Don't come up, not now.

Harry.

Do you know

what you're doing?

You're killing me.

You're killing me

and yourself.

I beg you-- I beg you,

don't do it to us, Harry.

Harry, don't!

It's not money

you're taking.

I won't let you do it.

I won't let you do it to me!

Harry.

Listen to Papa.

He knows what's good for you.

Dio. Back.

Treis. Tessera.

- That's your idea for running away?

- Let me--

- Strangler, stop that!

- Me?

- Come away from there.

- I only watch to learn from Nikolas good wrestling.

- I said come away from there!

- All right, Mickey, all right.

Let him. It'll make

a good grudge fight. Come on.

- Sign.

- Give.

It's a natural, Harry.

A sellout show.

- Maybe I should have a cut of it.

- Maybe you need a manager.

Sign.

Nikolas, a fine name for a dancing boy.

- Oh, please, Nikolas, please.

- Get out.

- Go teach a woman. I crush you like--

- Go away!

- I break your arm like chicken bone.

- That's enough of that!

Get behind old man,

shoeshine boy.

- Gregorious the Great.

- Strangler, get out of there!

Greatest wrestler

the world has ever known. He never lose.

- Never lose? He never wrestle.

- Stop it!

Stand in ring and make so.

Wrestling joke!

Stop it, will you, Strangler?

- Let me go.

- No!

Let me go!

Get out, will you?

Get out! Get out!

Let me go! Get out.

Nikolas, I told you

to get out.

Get out!

Nikolas, please!

Nikolas's wrist is broken!

It's broken, Gregorious! His wrist!

- Maniac!

- Fabian! Fabian, come out of there!

Fabian, come out

of that ring!

Beer, we gotta stop 'em!

We gotta stop 'em!

Can't. The only way to stop them now

is to shoot them like mad bulls.

Keep out of there. Keep out of there!

You'll get killed.

Gregorious, arm lever.

Arm lever!

Gregorious, arm lever!

Lever, Gregorious, now!

Get your arms around him!

Bear hug, Gregorious!

Bear hug! Bear hug!

Hold on.

Now! Now you've got him!

Hold it.

Hold it, hold it!

Stop! Stop it! Stop!

Keep it up, Gregorious!

Keep it up, keep it up, keep it up!

The bear hug, Gregorious.

The bear hug!

That's it! Don't let him go!

Hold on!

Hold on, Gregorious!

Hold on. That's it.

You've got him!

You've got him. You've got him.

Papa.

That's...

what I do to your clowns.

I am all right.

My son, you do wrong.

Greco-Roman, great art.

Great beauty.

Must fight to keep.

Please lie down, Papa.

Oh, my son.

Close the window.

Is cold wind.

A little fight...

make me--

I tired.

My son...

I ask you to close window.

Please, close window.

Is cold.

All right, Papa.

It's closed.

Thank you, my son.

Papa! Papa!

I have good life.

Hermis...

my son.

Let go of me. Let go!

- I caught him on the stairs.

- Where is Fabian?

- Where is Fabian?

- He got away before I--

Please, Mr. Kristo.

It was Fabian.

I didn't know what he was up to.

Fabian did it all.

He went to work on the Strangler.

He needled him.

He insulted him.

He brought him here.

He gave him whiskey.

He pushed the Strangler into it.

Why, he drove him so crazy, he didn't know

what he was doing. Please, we had no idea.

I want Fabian.

Get the word around

the East End...

Soho, the Embankment.

A thousand pounds

for the man who gets Fabian.

I want him.

He-- Here!

Here! Mind my-

Just a minute. You can't come in here.

Mr. Nosseross! Mr. Nosseross!

- Fabian! I want Fabian!

- Jerry, ring for the police.

- He's not here. Get out!

- Kristo find out.

You hide him,

you hide murderer!

- What are you talking about?

- Nobody say I kill Gregorious.

Fabian kill him!

- You all right, sir?

- Yes, I'm all right.

- Jerry's phoning for the police.

- Oh, never mind.

- Uh, tell him to clear up the mess.

- That's a bit of an ape.

On the contrary,

he's a friend of mine.

A very particular

and dear friend of mine.

- What is it, pet?

- I'm leaving you, Phil.

- Helen.

- You'll be all right.

A week will go by, a month--

you'll be all right.

Helen,

how will you live?

I've been making plans for a long time, Phil.

Now I'm set.

- I'm in business with Harry Fabian.

- No, Helen.

You don't know what

you're walking into.

I know what

I'm walking out of.

Helen, believe me--

believe me,

there's no future with Fabian.

I'll make one.

I know Fabian, and I'll control him.

I-- I've been

good to you.

I've done everything

for you.

I love you.

For goodness' sake, Phil.

At least say good-bye like a man.

- Helen, you'll come back.

- Oh, no, I won't.

Look! Black and white.

The license for my club. My birth certificate.

Believe me, Helen.

I know.

Why don't you get out of my way?

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Jo Eisinger

Jo Eisinger (1909 - 1991) was a film and television writer whose career spanned more than forty years from the early forties well into the eighties. He is widely recognized as the writer of two of the most psychologically complex film noirs: Gilda (1946) and Night and the City (1950). His credits also include The Sleeping City (1950) and Crime of Passion (1957), a coda to the films of the noir style, for which he wrote the story as well as the screenplay. Starring Barbara Stanwyck, it is a strikingly modern commentary about how women were driven mad by the limitations imposed upon them in the postwar period. Jo Eisinger started writing for radio penning numerous segments for the Adventures of Sam Spade series. He returned to thriller and private eye adventure series writing for the ITC television series Danger Man (1960–61) and the mid-1980s HBO series Philip Marlowe, Private Eye. His script for an episode of the latter show, "The Pencil", earned him a 1984 Edgar Award. Eisinger's credits also include several films that departed from his accustomed genres of mystery, adventure and crime. Among them are Oscar Wilde (1960), starring Robert Morley and Sir Ralph Richardson, The Rover (L'Avventuriero, 1967), from the novel by Joseph Conrad and starring Rita Hayworth and Anthony Quinn, and The Jigsaw Man (1983), starring Laurence Olivier and directed by Terence Young. Eisinger wrote the books on which the Broadway plays What Big Ears! (1942) and A Point of Honor (1937) were based. His novel The Walls Came Tumbling Down (1943) was adapted for the long-running radio drama program Suspense in 1944; the episode featured screen and radio actors Keenan Wynn and Hans Conried. A film version of The Walls Came Tumbling Down starring Edgar Buchanan and George Macready was released in 1946. Jo Eisinger's second marriage was to Lorain Beaumont. Eisinger used his wife's maiden name for Mr. Beaumont, one of the characters in The Walls Came Tumbling Down. more…

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Submitted on August 05, 2018

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