A Comparison of The Big Clock (1948) and No Way Out (1987)
A Few Lines from the Novel and the Films
From the Novel:

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
I first met Pauline Delos at one of those substantial parties Earl Janoth liked to give every two or three months, attended by members of the staff, his personal friends, private moguls, and public nobodies, all in haphazard rotation. It was at his home in the East Sixties. Although it was not exactly public, well over a hundred people came and went in the course of two or three hours.
Of Pauline Delos, I knew only the name. But although there could not have been anyone in the organization who hadn't heard a great deal about the lady, there were few who had actually seen her, and fewer still who had seen her on any occasion when Janoth was also present. She was tall, ice-blonde, and splendid. The eye saw nothing but innocence, but to the instincts she was undiluted sex, the brain said there was a perfect hell.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
The awfulness of Monday morning is the world's great common denominator. To the millionaire and the coolie it is the same, because there can be nothing worse.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
It came to me again that a child drinking milk has the same vacant, contented expression of the well-fed cow who originally gave it. There is a real spiritual kinship there.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
In short, the big clock was running as usual, and it was time to go home. Sometimes the hands of the clock actually raced and at other times they hardly moved at all. But that made no difference to the big clock. The hands could move backward, and the time it told would be right just the same. It would still be running as usual, because all other watches would have to be set by the big one, which is even more powerful than the calendar, and to which one automatically adjusts his entire life.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
...I prepared myself for the day by turning to the index and reading the gist of the news. If there was something there, I had it by the time the hundreds and thousands of us were intently journeying across the floor of the station's great ant heap, each of us knowing, in spite of the intricate patterns we wove, just where to go, just what to do.
And five minutes later, two blocks away I arrived at the Janoth Building, looming like an eternal stone deity among a forest of its fellows. It seemed to prefer human sacrifices, of the flesh and of the spirit, over any other token of devotion. Daily, we freely made them.
I turned into the echoing lobby, making mine.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
...half turning I saw the first speaker depart, and then I saw the other woman. It was Pauline Delos. The face, the voice, and the figure registered all at once.
We looked at each other across half the width of the room, and before I had quite placed her I had smiled and nodded. So did she, and in much the same manner.
I picked up my drink and went to her table. Why not?
I said of course she didn't remember me, and she said of course she did.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
But it would be a very rousing thing to spend an evening with this blonde mystery that certainly ought to be solved. And if I didn't solve it now, I never would. Nobody ever would. It would be something lost forever.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
1948--The Big Clock

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
The following
extended quote was found at ldsfilm.com. It illustrates the style of dialogue in the film, how it overlaps and swirls throughout. I have left the blogger's scene descriptions intact, but corrected spelling errors. The original blogger writes,
"The following dialogue begins a few minutes into the second scene, as George Stroud exits the building's elevator onto the floor occupied by the offices for
Crimeways magazine, where he is the managing editor:"
GRACE/WOMAN AT DESK (Frances Morris)
: Hold it. Mr. Stroud, Salt Lake's on the line, and your wife's trying to reach you.
[The woman, later identified as "Grace," is apparently the receptionist for the Crimeways magazine. Grace is played by actress Frances Morris, who appeared in over 150 films, including "Again... Pioneers" (1950).]
GEORGE STROUD (Ray Milland)
: Put Salt Lake on.
GRACE/WOMAN AT DESK: But they're on.
STROUD: All right, fine.
[Stroud has walked through the front lobby of the Crimeways magazine offices, and continues walking into his own office, followed by a man who works there.]
MAN IN OFFICE: The conference. It's almost 11:00.
STROUD: Plenty of time.
MAN IN OFFICE: But Mr. Janoth--
STROUD: [picking up phone] Hello. Yeah?... Yeah, this is Stroud... Oh, hello, Max. How are you makin' out?
MAN IN OFFICE: George--
[The Man, apparently a secretary or assistant to Stroud, is trying to urge Stroud to go to a scheduled meeting with all of the managing editors for Janoth's publishing company.]
STROUD: [still on the phone, ignoring the Man] Ya have? Oh, wonderful! Where was he? What did I tell ya? Once a seashell man, always a seashell man.
[Stroud here is talking on the phone with one of his reporters, currently in Salt Lake City, Utah. The reporter has located a fugitive that the Crimeways magazine has been running stories on. The fugitive is now in Utah. The fugitive has apparently gone to Utah to obtain rare seashells.]
MAN IN OFFICE: They're waiting.
STROUD: Will he talk?... Well, pretend you're a fellow collector or something. Ask him if he was gonna spend the dough on oysters or blondes. Ha ha!... Yeah... Look, you've got an hour and 53 minutes to get the story... Attaboy, Max.
[Stroud hangs up the phone, and grabs his assistant (Man in office) by the shoulders, exclaiming to him excitedly.]
STROUD: We've just located Fleming.
MAN IN OFFICE: They're waiting for you.
[Stroud looks out his office door, addressing the receptionist]
STROUD: Grace, call the composing room. Tell 'em to hold everything. We're gonna replate.
GRACE/WOMAN AT DESK: Yes, Mr. S--
STROUD: And get my wife.
GRACE/WOMAN AT DESK: Yes, Mr. Stroud.
MAN IN OFFICE: George, you're the only one not there. Mr. Janoth will be furious. Time is money.
[Earl Janoth, the owner of the Janoth media company, is Stroud's boss, and the principle antagonist of the film. Janoth is played by Charles Laughton. Laughton received the Best Actor in a Leading Role Academy Award for "The Private Life of Henry VIII" (1933), and was later nominated the same award for "Mutiny on the Bounty" (1935) and "Witness for the Prosecution" (1957).]
STROUD: Fleming is in Salt Lake. Milner's gonna wire us a story. Here's the background and proofs of the story you already had set up.
[Phone buzzes. Stroud picks it up.]
STROUD: [To Man in office] Go on, Roy. Go on.
MR. STROUD: [on phone] Hello?... Oh, hello, darling... Yeah... Huh?... No bath and no oatmeal? Let me talk to him.
[Cut to inside of the Stroud family's New York City apartment. A maid is helping Stroud's son pack. Mr. Stroud's wife Georgette Stroud is one the phone with him. Georgette is played by actress Maureen O'Sullivan, who appeared in more than 70 films before passing away in Scottsdale, Arizona in 1998.]
MRS. STROUD (Maureen O'Sullivan)
: All right, but he doesn't believe he's going. He thinks it's just like the last trip and the time before... and all the other trips we didn't go on... I'll let you talk to him. George, Daddy wants to talk to you.
GEORGE STROUD, JR.: Hello, Daddy. But I don't believe we're going.
MR. STROUD: But this is the McCoy, an expedition. Your mother's gonna do the cooking. What? Yeah, I know it's tough but you'll do the hunting. That's why you should eat your oatmeal, build up your strength. Ya better believe me. Look under my pillow.
[Little George Stroud, Jr., a boy about 6 years old, retrieves toy gun from under his father's pillow.]
GEORGE STROUD, JR.: Oh, boy! Look, Mommy! An atomic disintegrator!
[Sound of gun clicking and popping.]
MRS. STROUD: I think you've sold him, Wonderman. I'll let you know at lunch.
MR. STROUD: A little child psychology, dear. All right, dear, 12:30 at the Van Barth, huh? Bye, darling.
[The film the cuts to a board room inside the Janoth building, where a meeting is being held about increasing circulation. An executive announces the purpose of the meeting, after which Earl Janoth (played by Charles Laughton) enters. He is a formidable presence. The meeting proceeds for a few minutes, until Mr. Stroud enters, late. An assistant editor is answering Mr. Janoth's question about how he intends to increase circulation for Crimeways, when Mr. Janoth and later Stroud interrupts:]
ASSISTANT EDITOR: Well, uh, I have one suggestion that might be of value: a new feature to be called "Solution of the Week." The most important part... or the most unique solution, highlighting the fact that crime does not pay. It's educational...
EARL JANOTH (Charles Laughton)
: Primigenous, stale, a hash-up of last week's news -- exactly what we don't want.
[Stroud is sitting next to the assistant editor, who is currently standing explaining his idea. Stroud quietly speaks to the assistant editor:]
STROUD: Fleming.
[Mr. Janoth overhears Stroud's aside.]
JANOTH: What was that, uh, Stroud?
STROUD: I was reminding him of Fleming.
JANOTH: The absconder?
STROUD: Yes. His story will sell a hundred thousand extra copies next week.
JANOTH: If you mean his personal story, I'd agree... but haven't you overlooked the necessity of finding him first?
STROUD: We have.
JANOTH: Have what?
STROUD: Found him. We have him in Salt Lake. We're replating one and two. It's too late to touch the cover now, but we'll do what we did with the Eisemann story. Run a three inch paper band around every copy with "Fleming Found" in block letters.
JANOTH: Make them red. Steve, advertise this in the morning papers. Use the 25 key cities. Young man, you've stumbled on something -- perhaps not exactly what I've been looking for, but nonetheless valuable. You've struck 12:00.
STROUD: Thank you.
[End of scene.]
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Pauline York: You know, Earl has a passion for obscurity. He won't even have his biography in 'Who's Who'.
George Stroud: Sure. He doesn't want to let his left hand know whose pocket the right one is picking.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Louise Patterson: Isn’t it a pity? The wrong people always have money.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
George Stroud: I thought he was only interested in clocks?
Pauline York: Maybe I have a clock.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Janoth: It would be most unpleasant for me if he were to insist he saw me entering her apartment. I shall have to call him a liar.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Don Klausmeyer: I'm Don Klausmeyer, from Artways magazine.
Louise Patterson: Yes.
[giggles] Oh, yes. Didn't you review my show in '41?
Don Klausmeyer: I think I did.
Louise Patterson: Oh, come in, Mr. Klausmann.
Don Klausmeyer: KlausMEYER.
Louise Patterson: [laughs gleefully] I've been planning to kill you for years.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
IMDb quotes page for The Big Clock.
1987--No Way Out

... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Susan Atwell: [to man gawking at her cleavage] If you want to look down my dress, you better grow a few inches.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Susan Atwell: [Susan walks through a metal detector at a ball] Thank God its not a bullshit detector or none of us would get in.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Susan Atwell: I'll call you later tonight.
Tom Farrell: I'll wait by the phone.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Tom Farrell: [one of the Contras tries to follow Farrell into the bathroom] I would rather do this myself. You can listen if you want to.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
[Tom and Susan are making out in the limo when Tom notices the driver is watching them]
Tom Farrell: What's your name?
Bill the Limo driver: Bill.
Tom Farrell: Hi Bill. Could you close the slide, please.
Bill the Limo driver: Uh, sure.
Susan Atwell: [as the window goes up] Sorry, Bill.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Susan Atwell: It's David Brice, Secretary of Defense. Satisfied?
Tom Farrell: You know I work for Brice?
Susan Atwell: I guess that makes two of us.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Susan Atwell: [as Brice is approaching the house] I-I'm begging you. Please just go now out the back door. I-I'm sorry. It's...
Tom Farrell: When I go, it'll be through the front door.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Scott Pritchard: [about Brice] He's the most extraordinary person I've ever met in my life. If it came to it, I'd lay down my life for him.
Tom Farrell: Is that a job requirement?
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
CIA Director Marshall: What's all this top secret business I've been hearing about over at the Pentagon?
Kevin O'Brien: Here's what we do have. CID is running a phone check. They're looking for all calls placed to a Susan Atwell.
CIA Director Marshall: Who's she?
Kevin O'Brien: Well, she's in the morgue at Fort Meade. She was murdered last night.
CIA Director Marshall: We know anything about it?
Kevin O'Brien: Get ready for this. We think she's either David Brice's or Scott Pritchard's mistress. Well she was seen with both of them.
[Marshall laughs ironically]
Kevin O'Brien: It didn't seem a high priority matter, so my people have been a little lax in following it up.
CIA Director Marshall: Well, spilt milk.
[Wryly laughing] And you can forget about Pritchard. He's homosexual.
Kevin O'Brien: I'll be damned.
CIA Director Marshall: Ah, so will he, if you believe the Old Testament.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
Scott Pritchard: Tom is the one who saw you at Susan's. He's known about you all along, isn't that right? We do know what that means. If Commander Farrell is the man who was with Miss Atwell, then Commander Farrell is the man who killed Miss Atwell. And we know that the man who killed Miss Atwell is Yuri. Therefore, Commander Farrell IS Yuri,
quod erat demonstrandum.
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
[Contra has chased Tom right up to the Secretary's Office when they are stopped by the MPs]
Tom Farrell: [to nearest MP] I am your superior officer and I am giving you a direct order to arrest this man!
Contra #2: I have orders from Pritchard!
Tom Farrell: DO IT!
Contra #2: I have my orders from Pritchard!
Tom Farrell: [to Contra] SHUT UP!
[Tom kicks Contra 2 in the groin. Contra is dragged away by the MPs] And if he resists, SHOOT HIM!
MP: Yes, sir!
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
IMDb quotes page for No Way Out.

Go back using these buttons.




