The Killing Page #2

Synopsis: After getting out of prison, Johnny Clay masterminds a complex race-track heist, but his scheme is complicated by the intervention of the wife of a teller (George Peatty) in on the scheme, the boyfriend of the wife, airport regulations, and a small dog.
Director(s): Stanley Kubrick
Production: United Artists
 
IMDB:
8.0
Rotten Tomatoes:
97%
NOT RATED
Year:
1956
85 min
Website
2,175 Views


- Oh, there's nothing I wouldn't do for Johnny.

I'll see you.

A half an hour earlier,

at approximately 6:30...

Mike O'Reilly,

the track bartender, came home.

Ruthie? I'm home.

At 7:
15 that same night...

George Peatty, the track cashier,

arrived at his apartment.

-

- Hello.

Hello.

- Feelin' okay?

- Fine.

I been kinda sick today.

I keep gettin' pains in my stomach.

Maybe you got a hole in it, George.

Do you suppose you have?

A hole in it?

How would I get a hole in my stomach?

How would you get one in your head?

Go fix me a drink, George.

I think I'm developing some pains myself.

Sherry, can't I ever say anything at all

without you joking to me about it?

Hurry up with that drink, George.

The pains are gettin' worse.

I saw somethin' kinda nice

comin' home on the train tonight.

Somethin', well, kinda sweet.

A candy bar, George?

No, not a candy bar, doughnut.

It was people.

This couple sittin' just in front of me.

Oh, they weren't young, exactly.

I guess the woman was about your age.

A little senile, you mean?

With one foot and a big toe in the grave?

You wanna hear this or not?

Do you or not, Sherry?

I can't wait.

Go ahead and thrill me, George.

Well, anyway, like I say,

they were sittin' just in front of me...

and I could hear what they were sayin' -

well, part of it.

They weren't young, exactly,

and they weren't really old.

She was about my age, you said.

Not anymore.

Maybe she was when you started

telling this story, but not now.

Anyway, she was calling him Papa,

and he was calling her Mama.

And the climax to this exciting story?

The moral? The punch line, George?

Forget it, Sherry.

Just thought I'd tell you about it,

but I might have known.

Oh, I know. You want to bet I know?

I'll give you seven-to-five.

Cut it out, will you, Sherry?

I'm tired. I don't feel so good.

You want me to call you Papa, isn't that it,

George? And you wanna call me Mama.

- You know all the answers.

- Go right ahead.

Course, it may be the last word you ever say,

but I'll try to kill you as painlessly as possible.

- I gotta go out tonight.

I don't suppose there's anything for dinner.

Of course there is, darling.

There are all sorts of things.

- We have steak and asparagus and potatoes.

- I don't smell nothin'.

Well, that figures.

'Cause you're too far away from it.

- Too far away from it?

- Certainly. You don't think

I had it all cooked, do you?

It's all down in the shopping center.

Tell me something, would you, Sherry?

Just tell me one thing.

Why did you ever marry me anyway?

George, when a man has to ask his wife that,

well, he just hadn't better, that's all.

Why talk about it?

Maybe it's all to the good in the long run.

After all, if people didn't have headaches,

what would happen to the aspirin industry?

You used to love me.

You said you did, anyway.

I seem to recall you made

a memorable statement too.

Something about hitting it rich

and having an apartment on Park Avenue...

and a different car

for every day of the week.

Not that I really care about such things,

understand...

as long as I have a big, handsome,

intelligent brute like you.

It would make a difference, wouldn't it?

If I had money, I mean.

How would you define money, George?

If you're thinkin' of giving me

your collection of Roosevelt dimes -

I mean big money.

Hundreds of thousands of dollars.

You really don't feel well, do you?

You sure that pain's in your stomach?

I'm gonna have it, Sherry. Hundreds

of thousands, maybe a half a million.

Of course you are, darling.

Did you put the right address on the envelope

when you sent it to the North Pole?

Go ahead and laugh.

Wait and see.

Maybe you won't be laughing so hard

in a few days.

You're really serious. You really think

you're gonna have a lot of money.

I don't think nothin'. I know it.

You've never been a liar, George.

You don't have enough imagination to lie.

So what makes you think,

or know, that you're gonna have

several hundred thousand dollars?

'Cause I do.

I just can't talk about it, that's all.

Not even to me, your little Sherry?

I shouldn't have even mentioned

I was going to have it.

It's not that I mind.

I know I can trust you.

- But if these other guys ever -

- "These other guys"?

I can't talk about it, Sherry.

I just can't.

"These other guys" - Is that why you're

going out tonight, to meet with them?

They got nothin' to do with that.

I just gotta go uptown for a little while.

I see. Well, you go right ahead, George.

If you wanna act that way,

I certainly won't try to stop you.

Sherry, no.

Sherry, honey, don't be sore at me.

Well, after all, when a woman's

been married for five years,

and her own husband doesn't trust her -

Why, you think more of them

than you do of me.

What right have you got

to say a thing like that?

You know I'm crazy about you.

I'd do anything in the world for you.

Honey, you're the one I'm doing it for.

If I didn't love you so much -

Look, I don't want you to do anything for me.

I don't even wanna talk to you anymore.

You go up and see your fella,

whatever you wanna do.

Sherry!

But don't you be surprised

if I'm not here when you get home.

Don't you at all be surprised.

You better be here, you hear me, Sherry?

You will be, won't you?

You wouldn't do anything foolish,

would you?

I certainly wouldn't want to,

but as long as you don't trust me

or have the slightest bit of faith in me -

Sherry, if I ever found you

with another man -

But why? You have no use for me.

Oh, you say you do, but when it comes

to a showdown or proving it...

well, you say one thing,

then you do the opposite.

Well, I could tell you

a little bit about it, I guess.

Well, most of it.

- But you got to promise to keep quiet.

- Why, of course, darling.

Just a second.

- Well!

- Hello.

Hello.

- How'd you get away from George tonight?

- He had to go somewhere.

That's a break.

I'm glad you called me.

Something wrong, baby?

No, nothing's wrong.

- Can I get you a drink?

- No, I don't think so.

Come on, now. That's not my baby.

- Val, I called you last night.

- Oh, yeah?

- There was no answer.

- Mmm. I guess I stepped out.

I called you four times.

Honey, I guess I was out somewhere.

Oh? What'd you do?

I don't know. I guess I was goofin' off

at a movie or something.

Val, why are you doing this to me?

- I don't know what you mean.

- I think you do.

Oh, look, Mrs. Peatty.

What I do is my own business.

I never tried to pin you down, did I?

I never asked you how you got your kicks

before you met me, did I?

That hurt, Val.

You didn't used to talk to me like that.

I'm sorry, baby, but don't bug me.

I gotta live my life a certain way.

I can't stand it when the walls

start closin' in.

But you know how crazy I am about ya.

And I'm crazy about you too, sweetheart.

I've given you sufficient proof of that.

Well, I know.

It's just that lately every time I call -

Rate this script:3.0 / 2 votes

Stanley Kubrick

Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in 1940 to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films. more…

All Stanley Kubrick scripts | Stanley Kubrick Scripts

4 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

    "The Killing" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/the_killing_11805>.

    We need you!

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

    Watch the movie trailer

    The Killing

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is a "MacGuffin" in screenwriting?
    A A type of camera shot
    B A character's inner monologue
    C A subplot
    D An object or goal that drives the plot