Night and the City Page #7

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
420 Views


Let me go.

Go. Get out. But you'll end

where you started-- back on the dives.

- Then you'll come crawling back to me.

- To you?

If you had all the money in the world,

I couldn't stand you another minute.

- I wouldn't come back to you--

- No, Helen, you'll come back.

And I'll want

to take you back.

And if he was anywhere near here,

we'd have had him long ago.

One thousand quid!

- Good night.

- Good night, Constable.

What's up?

Oh, Constable,

there you are.

- My name is Reeves. I'm with that construction crew.

- Oh, yes.

We're putting up lamp platforms so we can load

lorries with cement from the exhibition site.

- I suppose you've got permission of the owner, sir?

- Oh, yes.

The superintendent's taken care of all that.

I had in mind to take--

- Who are those chaps in the car?

- They're not with you?

- They're not with our company. Might be loiterers.

- I'll have a word with them.

Yes, do no harm.

This time of night, you never know.

- Quite right, sir. Can I help you gentlemen?

- We seem to be lost.

We've been driving around.

Can you tell me how to get to York Road?

About 40 yards

on the other side there.

You get the shop!

- Hey, where are you going? Do you belong here?

- Where's Farley?

- Who?

- Farley! The engineer from the office.

- Oh, I don't know.

- Where's the phone?

Up in the shack, sir.

Up in the shack.

Figler here.

Figler? Fabian.

Listen, I need help,

a place to hide till I can get away.

Yes. Yes, I know, Harry.

I heard. Where are you?

It's only a few minutes away.

Please, Figler. Please let me come.

Yeah, sure. Come right away, Harry boy.

You'll be safe here.

Oh, thanks, Figler.

Thanks.

Hello. Hello.

Figler here.

Let me talk

to Mr. Kristo.

Find him.

Tell him to phone me at once-- urgent.

No, no, no.

I don't trust nobody.

I ain't doing business with

nobody but Mr. Kristo himself.

Not for 1,000 quid,

I ain't.

Keep his glass filled. There'll be a waiter

at your elbow all the time.

Oh. Good evening,

Officer.

Good evening, ma'am.

Begging your pardon, but I have this place listed

as being struck off for another year.

- I've had no word from the station.

- You will have. Here.

This your regular beat?

I hope so, ma'am.

Just finished training school last month.

Oh, good for you.

Let's have a drink to celebrate it.

No, I'm sorry, ma'am.

A police constable on duty is not permitted to--

Come on. You can't be breaking

many rules with a little ginger ale.

We're opening Saturday night.

You certainly can't refuse to wish me luck.

Thank you, ma'am.

All the best.

Well, everything seems

to be in order.

I'll just make a note

of the serial number.

Where did you obtain

this license, ma'am?

I'm afraid this

is not in order.

I shall have to take it up and deliver it

to the authorities at Bow Street.

I'm sure you'll be able to

explain everything at the police court.

I'm sorry, ma'am.

Good night.

Hello, Phil.

I've come back.

You said

I'd come back.

Oh, forgive me, Phil. I was out of my mind.

I didn't mean those things.

Take me back, Phil.

I'll be good to you.

I'll do everything for you.

I'll look after you.

Let's make that trip, Phil.

Oh, it'll be wonderful.

Phil. Take me back.

Please take me back.

Phil, give me another chance!

He didn't kill himself.

You killed him.

I've a right

to this bottle, see?

I can even throw bits of swill

on the floor and bring the mice.

And you can't throw me out, see?

You don't believe me, eh?

Just you have a look

in this strong box, deary. It's all here.

All written here in writing, it is.

Black and white.

You're afraid, ain't you, deary?

You know what he wrote.

Left everything to old Molly, he did.

Good as new.

Feel all right now.

Think I'll move.

- Where? Why?

- It's getting light. I gotta get out of London.

- I'll use the back way.

- You're crazy, Harry. Not tonight.

Tonight the whole underworld's after you.

Stay here. You're safe here.

No, thanks. One of your beggars

will pop in, it'll be all over.

I won't let him see ya.

I won't let him in.

I'll lock the door.

That's right. I'll lock the door.

Then no one will come in.

What I mean, Harry-

Stay here. Go upstairs.

I'll nip out and have a look round.

If I see anybody, I'll tip you off.

I'll come and tell you.

Okay, Harry.

You're right.

One of my beggars might come in.

I'll nip out and get me lorry.

I'll hide you in the back.

Hello?

Yes, this is Figler.

Yes. Yes, I did.

No. I can't.

I can't.

Yes, of course I do.

Yes, sir.

That would be

a bit difficult.

Yes. Yes.

Right on the premises.

How much are you

selling me for?

Harry, you--

Who's there?

- Harry.

- Hello, Anna.

It's no good coming to me.

I can't help you.

Nobody can help you.

I don't want any help.

I just want to--

I just want to

sit down and rest.

I can't run anymore.

Come on in.

You're a sorry sight.

Come on.

It won't do much good.

I know the riverfront's

alive with them.

Just alive with them.

- Hungry?

- No.

- Anna?

- Yes, Harry?

All my life

I've been running.

From welfare officers...

thugs...

my father.

See?

There they are.

There on the bridge.

I'm a dead man,

Anna.

Nosseross

told me that.

He told me.

He said,

"You've got it all...

but you're a dead man,

Harry Fabian."

Mary said it too.

She said it.

She said...

"You're killing me,

and you're killing yourself."

Oh, Anna,

the things I did.

The things I did.

She loved me.

Such a nice kid.

She loved me.

Oh, the things I did.

Here, Harry.

Thanks.

But I was so close

to being on top, Anna.

You know what I had right here--

right here in the palm of my hand?

Control of wrestling

in all London.

Yes.

Yes, I did, Anna.

The newspapermen,

they came.

"What is your opinion,

Mr. Fabian?"

To me they came.

Oh, you don't know

how close, Anna.

So close.

An accident.

Just an accident.

And then...

everything fell apart.

Harry Fabian.

Stop running.

You better go upstairs,

Anna.

I've been looking

for you everywhere.

Mary.

You gotta get out

of London, Harry.

I got some money

for you.

Don't.

Don't be kind to me.

Maybe it was

all my fault, Harry.

I didn't know how

to help you.

No woman could love anybody

like I loved you...

but you-- you kept me

shut out from so much.

I couldn't keep up

with you.

Harry.

Harry.

You could have

been anything.

Anything.

You had brains...

ambition.

You worked harder

than any 10 men.

But the wrong things.

Always the wrong things.

Mary, listen. Listen.

I've got an idea.

Harry Fabian's

not through yet.

I always promised you

a life of ease and plenty, didn't I?

- Oh, Harry.

- I can still make you rich.

The money I took from you,

that's chicken feed. Listen. Pay attention.

There's a reward for my head,

a thousand pounds. A thousand pounds.

- No, Harry, don't.

- Out you go on the bridge. Kristo's there.

He doesn't know where I am.

You tell him where I am, and it's a thousand quid.

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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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    "Night and the City" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/night_and_the_city_14755>.

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