The Roaring Twenties Page #8

Synopsis: After the WWI Armistice Lloyd Hart goes back to practice law, former saloon keeper George Hally turns to bootlegging, and out-of-work Eddie Bartlett becomes a cab driver. Eddie builds a fleet of cabs through delivery of bootleg liquor and hires Lloyd as his lawyer. George becomes Eddie's partner and the rackets flourish until love and rivalry interfere.
Genre: Action, Crime, Drama
Director(s): Raoul Walsh
Production: Warner Home Video
  2 wins.
 
IMDB:
7.9
Rotten Tomatoes:
100%
NOT RATED
Year:
1939
106 min
952 Views


You'll get yourself in so deep,

you'll never be able to get out.

- Well, what do you want me to do?

- Tell him the truth.

Tell him that you don't love him,

that you...

That I what, Lloyd?

Just tell him that you don't love him.

Lloyd, you're gonna stay

and see the show, aren't you?

- Yeah.

- Oh, there's my cue.

I'll see you out there.

Here he comes.

You two guys think you're pretty cute.

- Shut up. The girl is singing.

- Now, you listen to me.

You tipped off the feds I was running in

a load last night, and they took it from me.

He makes noise

when he eats spaghetti too.

- And you lifted it from them.

- Quit talking through your hat.

The watchman you knocked off

didn't die right away.

- He talked.

- He was off his nut.

You're cute, but not cute enough.

Hey, wait a minute, folks!

You're not gonna go home just because

some of the boys have a friendly argument!

Come on, stick around.

We're gonna give away more loot.

- What's your hurry?

- Man, get your boss.

Come on.

Get this guy out of here.

Throw him out in the street.

Put your hat on. You'll catch cold.

I hope.

Wait a minute.

Put these in water for me...

...tramp.

- Don't be frightened. It's all over.

- You all right?

Yes, but there were

innocent people there.

I didn't have time to think of them.

Get to your dressing room, rest up.

Take it easy. Go ahead. Go on.

You can't come in my club

and make a shooting gallery out of it.

I'll bet there's over $5000 of damage.

Oh, crying again, huh? I'll tell you

what I'll do. You make a price...

...on this rattrap and I'll buy it.

- You'll buy it?

Yeah. I think a big boy like me

should have his own playground.

- You two get together, draw up a contract.

- I'm not drawing up...

...any more contracts for you.

What's the matter? The shooting

give you the jitters too? Go on, beat it.

Eddie, you stuck up that warehouse

tonight, didn't you?

- You have good ears.

- You killed the watchman.

- I wasn't anywhere near him.

- You were responsible.

It couldn't be helped.

You're getting excited over nothing.

Let's talk it over.

No, Eddie, it won't work.

This is where I draw the line.

I said I'm through, and I mean it.

- Don't you wish it was that easy?

- Get out of my way.

- Put that gun away.

- When I get good and ready.

Friendship don't mean a thing to me.

This guy's got enough on us to...

- He won't talk.

- He'd better not.

Listen, you came into this racket

with your eyes open.

You learned a lot and know a lot.

If any of it gets out, you'll go out with

your eyes open, only with pennies on them.

Now, scram. Get out of here.

Go on home and chase ambulances.

- Where do you think you're going?

- To look for excitement.

There's a lull in the joint.

Now, look. Now that we got things fixed

with the right people in office...

...we got to sort of arrange things

among ourselves, you hear?

Which means that instead of shooting

things out, we gotta talk things out.

We got to get a setup where

we work together.

- Where's Nick Brown?

- I sent Danny after him.

I figured he might have forgot.

There's no sense in going on without him.

He's gotta be in on this.

Look, you guys go out to the bar,

get yourselves a drink on the house.

- Good idea.

- I'd enjoy a good drink.

You must have been reading

about Napoleon.

What's bothering you?

First, you used to ask me about things,

then you told me, now you ignore me.

My feelings is getting hurt.

Oh, my poor, delicate, little rosebud.

Ain't that a shame?

Just as long as your bankroll ain't hurt,

you got nothing to squawk about.

When Brown comes, you can call me.

I'll be out in the club.

Lefty, how do you like being a stooge?

Oh, chief, I don't care.

Well, I do.

I think maybe I'll have to

do something about it.

- I'm going in with you.

- Please, Lloyd, I want to tell him.

All right, but tell him.

I'm getting tired of sneaking around

back alleys in order to see you.

If you don't tell him tonight, I will.

I'll tell him. Tonight.

Bye, darling.

- I'll meet you here after the show.

- Okay.

- Good evening, Miss Sherman.

- Good evening.

- Eddie! Eddie!

- What's the matter?

Danny!

Go on inside.

Bartlett, is this one of your boys?

Yeah.

He was.

Well, Danny...

...I told you this wasn't your racket.

Get back there, now. Get back.

Come on. Get back there.

What was all the screaming about?

Brown just delivered Danny's body.

- Get the boys together. We're on our way.

- Where?

- Brown's.

- Not me. You're the big shot around here.

I'm only the office boy.

All right, little man.

Polish up the cuspidors. When you

get through with your work, go home early.

He'll be home early, feet first.

Hello. Hello. Get me Orchard-8591.

You know, I hate to do this to Eddie.

Him and me have been such good pals.

- Hello, Nick Brown?

- Yeah. Yeah, this is Brown.

- Who is this?

- It's your Aunt Sadie from Jersey City.

Listen, Eddie Bartlett's

on his way over to pay you a call.

Yeah. Okay.

I always say when you got a job to do,

get somebody else to do it.

Dinner's over. Get out.

- Just a minute.

- I said, get out.

The check is on me.

I hope you enjoyed it.

Come on.

We're closing up the place.

- But we haven't eaten yet.

- We've run out of food. Get out of here.

Go on. Beat it. Scram, sisters,

spaghetti ain't good for you.

Puts fat on the wrong places.

Get rid of these people.

What's wrong?

You try to ruin my business?

That ain't all that's gonna be ruined.

Hey, wait a minute. You stay.

- It's all right. We've finished.

- No. You're wrong. You're hungry.

Bring these people another

order of spaghetti.

But I've eaten

all the spaghetti that I can take.

You'll eat more spaghetti and like it.

Now, shut up and sit down.

Luigi, keep that electric piano going.

Boys, Bartlett's on his way over.

Now, you know what to do.

Charlie, in the kitchen.

Manny, under the counter.

Rocco, the phone booth, but keep low.

Joey, you take the cloakroom.

That's it. You stand around with that towel

as if nothing was going on.

Now, eat as if you enjoyed it.

When Bartlett arrives, give him

the courtesy of the place.

Show him that old Southern hospitality.

- Where's Brown?

- Brown?

Oh, yes. He go out one hour ago,

but he's coming back.

We can wait.

Take it easy, boys.

Make yourselves comfortable.

What are you sweating about?

Nothing.

It's hot here.

- What's the matter, Mama?

- We want to get out of here.

We want to get out of here!

We have a special news bulletin.

Gang violence flared up again

in New York tonight...

...when three men died in a spaghetti

restaurant on the East Side.

All were the victims of a gang battle

which transpired...

...when one mob was trapped

in the restaurant by another faction.

Among those who met their deaths are Nick

Brown, powerful East Side gang leader...

...also Rocco, Brown's lieutenant,

and Manny Eckert.

We return you now to the

marine room of the Edgecomb Hotel...

Rate this script:0.0 / 0 votes

Jerry Wald

Jerry Wald (September 16, 1911 – July 13, 1962) was an American screenwriter and a producer of films and radio programs. more…

All Jerry Wald scripts | Jerry Wald 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

    "The Roaring Twenties" Scripts.com. STANDS4 LLC, 2024. Web. 24 Nov. 2024. <https://www.scripts.com/script/the_roaring_twenties_21220>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does "O.S." stand for in a screenplay?
    A Original Sound
    B On Stage
    C Opening Scene
    D Off Screen