Killer's Kiss (1955) Movie Script

[train engine accelerating]
[train bell ringing]
[PA announcer] The silver arrow
to Pittsburgh and Chicago
is leaving at 1:00.
[train whistle blowing]
Track two.
Passengers for Philadelphia,
Harrisburg, Pittsburgh,
[indistinct] and Chicago--
[PA announcer continues]
[train bell ringing]
[train engine accelerating]
[train whistle blowing]
[Davey narrating]
It's crazy
how you can get yourself
in a mess sometimes
and not even be able to
think about it with any sense,
and yet not be able to
think about anything else.
You get so you're no good
for anything or anybody.
- [train bell ringing]
- Maybe it begins by
taking life too serious.
Anyway, I think that's
the way it began for me,
just before my fight
with Rodriguez three days ago.
- [phone rings]
- Hello?
- Hello, Davey.
- [Davey] What's keeping you?
- You're a half an hour late already.
- How are ya?
[Davey] Okay, but it's gettin' late.
I hate to wait around like this.
It makes me nervous.
You better hop a cab.
I had some trouble with the car.
It's still tied up at the shop.
I'll meet ya over
at the arena.
- [Davey] Okay. See you.
- Right. Bye.
- You doing all right for yourself.
- What do you mean?
- Oh, he just lives in the building.
- Oh.
- He used to be a pretty good fighter.
- A fighter?
Sure. He's fighting tonight,
as a matter of fact.
We can watch him
on the TV.
[George] Dear Davey.
We still haven't heard
from you yet this month
and we wondered whether everything
was still all right with ya.
Out here everything's
about the same.
I still get into Seattle every week
and the ranch is prospering nicely.
Last week, I finally bought
Mr. Henderson's chestnut Arabian stallion.
Your Aunt Grace's arthritis
is much better.
She can even take short rides
on Jumper now and then.
Well, I guess that's all now except
that we miss ya a lot, Davey.
Write soon.
Love, Uncle George and Aunt Grace.
[audience cheering]
[slow ballroom music]
[music continues]
[music continues]
[audience cheering]
[music continues]
[TV announcer] Tonight's main bout
brings together two very game boys:
the youngster, undefeated in 22
professional encounters, Kid Rodriguez,
and the veteran, Davey Gordon,
who's emerged victorious in 88 fights,
while losing nine
and drawing two.
Gordon's long career,
he is now 29,
has been one long promise
without fulfillment, at least thus far.
As hard a puncher as they come,
a clever boxer,
he's been plagued by a weak chin,
and the unlucky knack of
being at his worst for the big ones.
And tonight is
a big one indeed,
with a title bout in the offing
for the winner.
And now, let's take time out
for a friendly word from our sponsor.
How many times have you come home
in the evening and wanted to feel the--
[music continues]
[crowd cheering,
[door opening,
[bell rings]
One, two, three,
four, five, six,
seven, eight!
[cheering continues]
[cheering intensifies]
One, two, three,
four, five,
six... eight.
[bell ringing]
[crowd cheering, whistling]
[man shouting]
Go on home, Gordy! You're a bum!
Go on home, Gordon!
Why don't you get lost?
You're all through!
[TV announcer] Tonight we may very well
have seen ring history in the making
in the form of the sensational young
welterweight Rodriguez
and his impressive KO over
the experienced campaigner, Gordon.
But for Gordon, tonight must come
as a bitter pill indeed.
This was the fight for him to
prove his glass chin
had been remade into sterner stuff.
But unfortunately for him,
tonight again it was as fragile as ever.
It's a well-known ring adage
that too much education spoils a fighter.
[phone ringing]
[ringing continues]
[operator] Mr. Davey Gordon,
please. Seattle's calling.
- That's me.
- [operator] Just a moment.
Your party's on the line.
[George] Hi, Davey.
This is Uncle George.
- Hey, Uncle George.
- [George] How are ya?
- Fine. How are you?
- [George] We're all fine too.
Say, how would you like
to take a vacation out here,
come spend a little
time with us?
Country's mighty nice
this time of the year.
Oh, it's really nice
of ya to ask me out, but, uh--
[George] Look, Dave.
We saw the fight on TV tonight.
- [George] Well, nothin'. We just saw it.
- It must a looked great.
- [George] Well, these things happen.
I don't know what happened, George.
I had him goin'.
[George] Forget it.
You need a vacation.
We haven't seen ya
for two years.
Why don't you make a reservation
and come on out?
Well, look.
Uh, I don't know. Uh...
Say, look. I feel a little dopey
right now, George,
but, uh, let me
think about it.
I'll, uh,
I'll call you.
[George] Well, you're not hurt,
are ya, Dave?
No, no. I'm just tired. That's all.
[George] Good. Then you'll let us know
as soon as you can?
[George] Oh, your Aunt Grace
sends her love.
Oh, tell her
the same from here.
[George] Okay. As it stands now,
you let us know when to expect you.
I certainly will, Uncle George.
Thanks for calling.
- It was nice hearing from you.
- [George] Take care of yourself.
And you too.
Good night.
[George] Good night, Davey.
[man shouting]
Go on home, Gordon! You're a bum!
Go on home, bum!
- Why don't you get lost?
- [woman screaming]
[man] You're all through!
[screaming continues]
Hey! What's goin' on in there?
[footsteps approaching]
- [door creaking]
- [footsteps continue]
[door opens]
[door closes]
There ya go.
That's better.
Look, if you don't
mind me, uh--
If you don't mind me asking you,
what happened?
Well, about an hour ago--
[knock on door]
What do you want?
I'm sorry.
I really am sorry.
It really doesn't matter
now, does it?
- I said I'm sorry. Can't you forgive me?
- No.
Gloria, please.
Go away.
Get out.
Ah, it figures to be.
All my life I've always spoiled the things
that meant the most to me...
all my life.
I really don't care.
I just want you to get out of here.
Gloria, please,
can't you understand?
If only you could know
how low and worthless I feel.
I didn't even know
you had any feelings.
Oh, you foolish girl.
I'm--I'm mad about you.
I want to get you outta here.
I'll set you up right.
I'll be your slave
for the rest of my life.
- You couldn't do anything for me.
- All right, don't forgive me.
Just tolerate me and let me
suffer knowing how you feel.
Can't you get it, Vinnie?
To me, you're just an old man
and you smell bad.
I'm mad about you.
I can't stand when I see those guys
dancing with you.
Every time I see it,
my insides burn.
Well, you won't have
to see it anymore.
Please. Please, just another chance.
No. No chance, no nothing.
- Please?
- Let go of me, or I'll scream!
[Davey] Don't think about it anymore.
Oh, he won't come back. Don't worry.
- I'm so tired now.
- Just close your eyes.
Don't worry about anything.
I'll sit here with ya
for a while.
[lullaby playing]
[Davey narrating]
I locked her door and went home.
But first thing in the morning,
I went back across to see how she was.
My knocking woke her up,
but she was all smiles and yawns,
and invited me in
for breakfast.
Later, over coffee,
she told me she had seen the fight
and I suppose that got me
started talking about myself,
about what a wash up I was and
how I was going back to Seattle
and work on my uncle's
horse ranch.
But when I think back
about it now,
I realize that all the time
I was talking,
the thing that was really in my mind was
to remember not to ask what it was
her boss, Rappalo,
was so sorry for.
Anyway, let's talk
about you, like...
who are those people
in that picture over there...
and how'd you ever get messed up
with that dance hall guy?
- What's the matter?
- Nothing.
Just that, it's so funny that you should
ask those questions that way,
together that way.
Well, they have both so much to do
with each other.
- How do you mean?
- It's a sort of involved story.
- Do you really wanna hear it?
- If you don't mind telling me.
- I would very much.
-I don't mind.
For some reason,
I feel like telling you.
I've never told anybody before.
This is my father
and this is my sister, Iris.
But I suppose it's really
Iris' story.
- [ballet music]
- She was a ballet dancer.
And everyone said she was very good.
She adored Daddy and,
of course, she was his favorite.
But let me start from the beginning.
Iris was eight years old.
Father was a writer
with a growing reputation
and Mother was very beautiful
and very intelligent.
They loved each other very much
and they were very happy.
Then I was born and my mother died
on the same day.
They say father went on a two-week drunk
to celebrate the double event,
and after that, I don't think he ever
thought of another woman.
Time passed and Iris grew
more beautiful each day.
She was the image of her mother.
Everyone said so.
Iris was Daddy's favorite
and I was very jealous...
and maybe I began
to hate her.
Daddy was good to me and
maybe he loved me a little too.
By the time she was 20,
she was dancing with the Ballet Russe
and Daddy was so proud of her.
And then I remember
the day clearly.
It was my 13th birthday,
Sunday afternoon.
Iris came home excited,
and told us of her marriage proposal.
The man wasn't bad-looking,
in his early 30s and very rich.
Father knew him and liked him,
but he couldn't stop laughing
when Iris told how she said no
simply because the fella wanted her to
give up her dancing and just be his wife.
She never said
if she loved him or not.
Then a few months later,
Daddy took sick and didn't get better.
And it turned out
that he never would,
and that he would need
constant medical care until the end.
Six months to two years,
they said.
Iris' salary wasn't enough,
and in two months time,
all our savings were gone.
I couldn't work. I was only 13
and still in grade school.
The next thing I knew,
she married her rich suitor
and we were all living in great style
on his estate in Long Island.
Daddy had the best care
money could buy
and he seemed happy,
despite everything.
Iris gave up her dancing
according to the marriage bargain,
and did little else
but sit at Daddy's bedside.
Sick as he was, he always laughed a lot
when they were together.
I guess I hated her
more than ever now.
A year passed like that.
Her husband was a sweet man,
but none of us
paid much attention to him.
And by then I'm sure he knew
she didn't love him,
but he never said anything.
And then one cold, winter morning,
the maid woke us and said
that Daddy was dead.
Iris was like a stone.
She didn't even blink.
I began to cry and shout
that I hated her,
that she'd only pretended with Daddy,
and that she didn't ever love him.
She didn't say a word.
In his room she stood quietly
over his body for a long time and smiled.
Then she went upstairs to her room
and put on their favorite record
that was from one
of her ballets.
She played it very loud.
A short time later,
her husband found her in bed
with the covers drawn up to her neck.
She'd cut her wrists,
and she was dead.
[music ends]
She left me a note.
Said she loved me.
She was sorry for making a mess
of everything between us.
A few days later I was in the city
attending to some legal things
and I happened to pass
the dance hall.
The sign read, "Pleasure land.
Dancing partners wanted."
I don't know
what possessed me.
I went up.
I actually took the job.
I don't understand
any part of it.
Every night I worked
in that depraved place,
a human zoo.
I kept thinking at least Iris never
had to dance like this.
And then I started
to feel less unhappy.
Come on. Let's go out for a walk.
[Davey narrating] She got dressed
and we went out for a walk
and I bought her an ice-cream
and saw her laugh for the first time.
I suppose we must've walked for hours,
and slowly her mood changed,
and she became very happy and
optimistic about life in general.
But when I told her I was planning to take
the train back to Seattle the next day,
she got serious again
and very quiet.
I didn't know it then,
but I was already in over my head
and I couldn't have cared less.
We didn't get back until after lunch,
and then in her apartment...
Something's happened.
I know.
- Do ya know?
- Sure, you kissed me.
Is that all?
That's all I saw,
and I was watching all the time.
I love you.
Love me?
That's funny.
Why is it so funny?
It's a mistake
to confuse pity with love.
I love you, Gloria.
[Davey narrating] Lookin' back now
I really don't know
what her reasons were then,
but she agreed to come out
to Seattle with me.
I should've had sense enough, though,
to know that it was no good,
and that she was so scared
she'd grab at anything.
But I was kiddin' myself and all I could
think of was how much I wanted her.
We made train reservations and wired
Uncle George to brace himself for a niece,
and then we began to get
our finances together.
[phone buzzing]
- [Louie] This is Louie out front.
Gloria Price just called and said I should
tell you she's coming in tonight
to pick up
her last week's salary.
You there, Mr. Rappalo?
Thanks. Good-bye.
[phone ringing]
- [Davey] Hello, Albert?
- Hello there, Davey. How are ya?
[Davey] Okay. Thanks.
Listen, Albert.
Have you got enough money on ya
to cash my check from yesterday?
What's the rush?
Bank's open in the morning.
I don't feel too good, Albert.
I think I'll go out to Seattle for a while
and take stock of things.
- Wait a minute. I'll see.
- [Davey] Thanks. I'd appreciate it.
Come on over.
Say, uh, how about
Pleasure land instead?
You know that dance hall
at 49th and Broadway.
Maybe around 8:00 tonight, huh?
I'll be there,
but it has to be 8:15 sharp.
I'm taking my wife to a show and
I'll just about make it.
[Davey] Right. I'll see you there.
Take it easy.
[playing "Oh, Susannah on harmonica]
[car horn honking]
[ballroom music]
- [Vinnie] Still feel the same way?
- Yes.
I understand you're
going away someplace.
- [Gloria] Yes.
- Where?
[Gloria] That's my business.
I came for my paycheck.
Oh, sure.
How much do I owe you?
[Gloria] For a week.
- Can't you tell me where you're going?
- [Gloria] No.
- [Vinnie] Will I ever see you again?
-I doubt it.
- [Vinnie] I couldn't take that.
- You'll have to.
- That's not true.
- [Gloria] Why isn't it?
I could kill you
right here and now.
[Gloria] Oh, I don't think you will.
I wouldn't be
too sure of that.
Look, Vinnie,
I really am in a hurry.
- [Vinnie] For what?
- Somebody's waiting downstairs.
You going away with him?
I don't have
to tell you anything.
All the same, you are,
though, aren't you?
You figure it out.
- Then you are.
- No comment.
Look, he's a bum. You'll spend the rest
of your life grubbing for him.
- Is that so?
- Sure.
Like the man said,
"Can happiness buy money?"
Well, you're a comedian too.
See what I'm missing?
Get out.
I'm not asking for favors,
but you owe it to me.
Get out!
[playing "Oh, Susannah on harmonica]
Hey. Hey.
Come on.
Give me back the scarf.
Come on.
Come on. Hey!
[ballroom music continues]
[music ends]
[salsa music]
Miss, the boss says he's sorry,
and if you go upstairs,
you can collect your money.
[music continues]
What do you guys want?
Who are ya?
Here. You want my money? Take it.
[music continues]
- Where'd you go?
- Some jerk grabbed my scarf.
Did you get the money?
First he said no, then
he gave me an extra hundred.
He's weird.
Did ya--did ya see Albert?
I don't--
somebody was here before.
I guess he got tired of waiting.
We'll call him when he gets home.
[Davey narrating]
We had some ham and eggs,
and took our time saying
good-bye to the bright lights,
then we went home.
Downstairs in the courtyard,
I suggested that we each
go and get packed,
and I'd come over
when I was through.
Open up in there!
I tell you, open the door!
[pounding continues]
Open the door!
- Looks like he's gone.
- You know where?
[landlord] No, sir.
[policeman] Where's he from?
[landlord] I don't know.
- [policeman 2] When did he leave?
- [landlord] I don't know.
- [policeman 2] How long's he lived here?
- [landlord] Oh, about a year.
Give me a hand with this drawer.
It's jammed.
[landlord] Yes, sir.
- Say, what kind of trouble is he in?
- [policeman] Bad trouble.
They found his manager's body about
an hour ago with his head bashed in.
[policeman 2]
Okay, let's go.
[car door closes]
Good morning, Mr. Rappalo.
Gee, I'm sorry I missed ya
at the arena last week.
But, uh, well, anyhow,
Mr. Albert told me to tell you...
That was my manager
you knocked off.
- I don't know what you're talking about.
- Where is she?
- Who do you mean?
- The girl! Where is she?
- I don't know.
- You don't know?
I'm gonna count to three,
and if you still don't know,
I'm gonna blow
your brains out!
One, two--
She's in a loft on 24th street.
- How'd she get there?
- Boys were waiting at her apartment.
- Is she all right?
- Yeah, sure. She's all right.
I had to do it.
She saw the boys
at the dance hall.
She was a witness.
I thought you were dead.
They grabbed her and made it look like
she packed up and left.
I--I thought you were dead.
I didn't want murder.
It's all gone wrong.
Get goin'.
[car engine starts]
[ship horn blowing]
Get 'em up.
Is that you,
Mr. Rappalo?
[Vinnie] Yes, it's me, boys.
. Up!
very body up!
Against the wall.
Lean on your hands.
Come on.
- How are ya, baby?
- [Gloria] I'm okay.
[Davey] I can't cut the rope.
Be careful.
You. Yeah, you.
Untie her.
Listen, Vinnie.
Don't kill me.
I don't wanna die.
I'll do anything you say.
You love him though.
Don't ya?
I don't know.
I don't think so.
- I've only known him two days.
- Two days.
Please, Vinnie.
Please don't kill me.
You said you were mad about me.
I'm just an old man and I smell bad.
I didn't mean it.
You know
I didn't mean it.
- We could go away.
- Sure.
Sure. I got lots of money. We could have
loads of fun someplace. Sure.
London. Paris. Sicily.
I'll do anything you want.
Maybe we could get married,
settle down,
have a couple of kids.
- Sure.
- Sure.
What do you take me for,
a 14-carat sucker?
You and lover boy
aren't gonna put me in the hot seat.
[Gloria] Vinnie, you liked me once.
You remember how nice it was?
It could be like that again, Vinnie.
It could be like that again.
- [Vinnie] You forgettin' about him?
- [Gloria] I don't care about him.
[Vinnie] Look, baby. You could a had
anything once, but no.
You were too good for me.
So you come up to my office,
and you get me mad;
so I send the boys down
to work over lover boy;
so they grab the wrong guy;
so he bangs his head too hard
on the sidewalk;
so that makes me the sucker, huh?
Not on your life, baby.
not on your life.
Don't shoot. Come on!
You stay with her.
Go ahead!
He went down there.
[Vinnie] Be careful. It's a dead-end
alley. He'll never get out.
- [Vinnie] Look out!
- [board landing]
[Vinnie] Get that down.
Come on. Hurry!
Oh! Oh!
- What's the matter?
- My leg. Oh!
- Come on!
-I can't!
I got 'im.
I gotta get outta here.
[sirens blaring]
[police dispatcher
on radio, indistinct]
- I don't see anything. Do you, Joe?
- [dispatcher] Car 14. Car 14.
Well, let's go up to the roof
and take a look anyway.
[train whistle screeching]
[Davey narrating] When the cops came,
I took them back to free Gloria.
The guy on the roof
was picked up later.
On the ride to the police station,
Gloria didn't say very much.
I guess she was trying to work out
in her own mind
why I ran and left her alone like that.
I don't suppose she ever thought
about how I might have felt,
listening to her talk
to Rappalo that way.
At the station house,
they separated us for questioning.
Five hours later, they chalked off
Rappalo as self-defense,
and had worked a confession from
the hoods in Albert's murder.
I was free.
On my way out, the desk sergeant said
Gloria had left an hour before.
There was no message for me,
and I haven't heard from her
or seen her since.
And now I don't suppose
I ever will again.
Well, anyway, I guess the whole thing
was pretty silly.
- [train whistle blowing]
- Know a girl for two days
and fall in love.
So I cashed my check,
sent flowers to Albert's widow,
cleaned up, and here I am.
[PA announcer] The Pathfinder
to Chicago and Seattle
is leaving at 2:00,
west gate, track 13.
Passengers for Pittsburgh,
Chicago, St. Louis,
and Seattle.
This train has dessert cars,
dining cars,
and sleeping cars.
Designated as 4-9-4,
- 4-9-3, 4-9-2...
- [train whistle blowing]
...4-9-1 and 490.
The Pathfinder to Chicago
and Seattle is leaving...
[train whistle blowing]
[PA announcer] Passengers for Pittsburgh,
Chicago, St. Louis...
Davey! Davey!