Deadline at Dawn Page #3

Synopsis: Alex, a radio-specialist sailor on leave, recovers from a drink-induced blackout with a large sum of money belonging to Edna Bartelli, a B-girl who invited him home to fix her radio. He tries to return the money with the reluctant aid of June Goffe, a sweet but oh-so-tired dance hall girl. They find Edna murdered. Not quite sure he didn't do it himself, Alex and June have four hours in the dead of night to find the real killer before his leave ends. Their quest brings them into contact with a sleazy kaleidoscope of minor characters as the clues get more and more tangled.
Production: RKO Pictures
  1 nomination.
 
IMDB:
6.8
APPROVED
Year:
1946
83 min
133 Views


Is that what you'd tell to a lady

with a daughter, a son...

...a belly gunner somewhere over Japan?

- Just a minute...

Do you get out or do I throw you out?

I'm sorry. l...

Would you do me a favor, Miss Goffe?

It's not my intention

to burden you with my problems...

...but I have a lot of money here.

It's no good to me. You could use it.

Go back to Norfolk. Surprise your mother.

This is real money, son.

I took it.

Let us pause for station identification.

- You stole this money?

- I did and I didn't.

In my book, you do or you don't.

She made me mad.

I didn't know what I was doing.

She and her brother run this Italian place

where I went in to eat.

He comes over, the brother. Gives me

a drink and asks me if I care to play casino.

We played two hours.

He was cheating like a skunk.

Then I was broke.

- Why didn't you stop him if you saw him?

- I was too embarrassed.

They closed up and the sister asked

would I come home and fix her radio?

Because that's my rating in the Navy.

Up her house, she kept...

...drinking and being disgusting

in general.

But I fixed the radio.

By this time, I had a few drinks,

which resulted in a real blackout for me.

- When I turned around, she was fast asleep.

- Passed out.

Yes.

I remember I demanded

if she'd pay me for the radio, I would go.

Then I worked it out in my mind.

I'd take the money myself

for fixing the radio.

- And that's as far as I remember.

- Until when?

Until I was sitting at a newsstand drinking

black coffee, which the fellow gave to me.

Then this roll of bills

fell out of my pocket.

So you see what I did in this uniform?

Fourteen hundred dollars

and some checks.

She's probably still out. Put it back.

Suppose I'm caught. Her brother,

he's got a face like the back of a hairbrush.

- He knows where I'm from.

- Then put it back.

Don't go into prayer and fasting

about it.

Might I leave my radio here?

You might not.

I'd be asleep when you got back.

I wonder if you would help me,

Miss Goffe.

- All you'd have to do is wait downstairs...

- No. No.

I should say not.

It's just because I'm in the uniform.

I'd take my medicine standing up

if not for that.

You see, Miss Goffe?

Suppose I was your brother,

the belly gunner, Miss Goffe.

What an operator.

There any more at home like you?

Which house?

That one.

Opposite the place with the two lights.

That's a police station,

that place with the two lights.

This is it, Miss Goffe.

Call me June. It rhymes with moon.

I'll turn on the radio

if anybody starts up after you.

Yes, thanks.

Come on. Come along now.

No. No, you don't, Pop. No, you don't.

You can't come in here.

Take my advice,

don't make the sergeant mad.

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Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

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    "Deadline at Dawn" Scripts.com. STANDS4 LLC, 2024. Web. 3 May 2024. <https://www.scripts.com/script/deadline_at_dawn_6531>.

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