52 Pick-Up Page #7

Synopsis: Harry Mitchell, an L.A. manufacturer with a fancy car, a nice house, and a wife running for city council, has his life overturned when three masked blackmailers appear with a video tape of Harry and his young mistress. He's been set up, and they want $105,000. To protect his wife's political ambitions, Harry won't go to the police; instead, he shines them on and then doesn't pay. They up their demands, so he goes on the offensive, tracking them down and trying to turn one against the other. Their sociopathic leader, Alan, responds with violence toward the mistress and menace toward Harry's wife. Will Harry let up and pay off Alan or can he find some other solution?
Genre: Crime, Thriller
Director(s): John Frankenheimer
Production: Cannon Group
  1 nomination.
 
IMDB:
6.4
Rotten Tomatoes:
43%
R
Year:
1986
110 min
451 Views


No!

That's why I didn't show you the note.

You want Robert Lee Shy here?

I don't have it all,

but when he was 13 in Los Angeles,

he did three years in a juvenile facility

for bludgeoning his step-uncle to death.

God damn it.

Alan Raimy was arrested twice

for rape and convicted.

On the phone,

you said you talked to Leo Franks

and he said for his own protection

and for your protection, tough guy,

he was willing to testify.

Yeah.

Well, why don't we let him?

657-1333.

(RINGING)

LEO:
Let it ring.

(WOMAN CHA TTERING ON TV)

$1 10? That's it? $1 10?

- It's been slow.

- "It's been slow."

(PHONE CONTINUES RINGING)

Don't touch it!

Just let it ring.

We're getting out of here, Grady, tonight.

- Christ. How did you get in?

- I walked in the back.

You know, I ain't seen you or Alan around.

I'm beginning to wonder.

If you'd pick up the motherfucking phone,

you wouldn't have to wonder.

Yeah. Yeah.

How come you're closed, Leo?

No. No, no, no. We're counting the money.

(STUTTERS) You know,

I'm opening up right now. Wait.

I mean, you know,

I ain't heard from you guys.

You know, 'cause of weird sh*t like

maybe you're cutting me out, huh?

Nobody's cutting you out, Leo.

You're part of the group.

Yeah.

Bobby, you don't think that

I told that Mitchell guy anything, do you?

I wouldn't do that.

I wouldn't tell him Alan's name.

- I wouldn't tell anybody anything.

- You're whimpering, Leo.

Now, Alan wants to see you at the club

at 1 1:
00.

I'll be there. Can you give me a lift?

Leo, I think we ought

to get out of here right now.

No, we're fine.

(PHONE RINGING)

No!

(CAR HORN BLARING)

ALAN:
Now this won't be hot.

Maybe a little warm going in.

Lady, it's just scag.

It'll give you a nice slow ride uptown,

see the lights.

Oh, Jesus, I'm not hooking you.

I just... I wanna make you

quiet and easy to handle.

Now put your leg out, either one.

No!

(GRUNTING)

There. There.

It'll make you warm and quiet.

(HEAVING)

That's okay. That happens.

That's okay. That's okay.

Just don't let it ruin your high, though.

Don't touch it.

(PHONE RINGING)

Yes?

ALAN. :
Hey, sport, it's me.

- I know who it is.

- How're you doing?

I've got a friend of yours here.

- Put her on.

- Yeah, okay, here she is.

Say something. Go on.

- There you go. Up.

- BARBARA. :
Honey...

Barbara, don't... Don't...

- That's it, sport.

- Hey, Raimy.

- See, I wouldn't lie to you?

- Alan.

- Listen to me.

- No, you listen to me. I want the money.

- You'll get the money.

- But no police.

- No. No. No police.

- You sure?

Look, let's quit the dancing.

I've got the money.

You know, I've been thinking about you

and I've been getting bad vibes.

Well, if you're nervous, see a doctor.

(LAUGHS) Look, I want you

to meet me tonight at 8.:00

at the old Terminal Island railroad bridge.

The Long Beach side.

- You know where that is?

- Yeah, I know where that is.

- All right. Now, Alan, you listen to me.

- Yeah?

You like my car, huh?

Why don't I throw that in?

I've always wanted an E Jag.

Is it the 6 or the 12?

The 6. It's yours. All yours.

That's real white of you, sport.

Yeah. But Barbara, one hair,

and I'll get you, you f***er.

You've got my word, sport.

Good.

8.:
00 at the old Terminal Island

railroad bridge, the Long Beach side.

- Enjoy your Sunday, sport.

- I'll be there.

O'BOYLE:
When?

Tonight.

- Did you talk to Barbara?

- A second.

- Mitch...

- No. No police.

I'll do this. I know how.

ALAN:
Bobby, I liked it.

(LAUGHS) Yeah. You're a f***ing cowboy.

Now listen, it's set for tonight. Yeah.

I want you to meet me at the warehouse

at 7:
00.

But... No, we don't want two cars,

so get Doreen to drive you up,

drop you off.

Yeah. Okay. So I'll meet you at 7:00, slick.

On the button. 7:00.

You know enough not to be stupid, right?

Hey, cowboy, how you doing?

I see. Hi, baby.

Come on.

Oh, I've got something to show you.

Something that's gonna knock you out.

(GASPS)

Come on, sport!

That's fine.

- You got it?

- Yeah.

Terrific.

Come on, baby, let's go.

Come on. Hey, come on. Move your ass.

That-a-girl. That-a-girl.

Let's see it.

Let's see it.

- You wanna count it?

- No, I trust you.

Put it back in the car, passenger side.

Come on!

You fix that shitty radio speaker?

Yeah. It's fixed.

If you're fixing to do anything to us,

you better think twice.

There's a lawyer sitting in my office

looking at your fingerprints on my ledgers.

If he doesn't hear from us within an hour,

he'll know what to do with them.

Well, this is it, then.

Adios amigos, it's been fun. Beat it.

Beat it!

You got a fine b*tch there.

There's a lot of mileage on her,

but she still cooks!

Hey, sport, hey!

This is so you don't do something stupid.

(ENGINE ROARS)

HARRY. :
Hi, Alan.

This is the first and last 10 seconds

of the rest of your life.

(PA TRIOTIC MUSIC PLA YING)

No!

So long, sport.

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Elmore Leonard

Elmore John Leonard Jr. (October 11, 1925 – August 20, 2013) was an American novelist, short story writer, and screenwriter. His earliest novels, published in the 1950s, were Westerns, but he went on to specialize in crime fiction and suspense thrillers, many of which have been adapted into motion pictures. Among his best-known works are Get Shorty, Out of Sight, Swag, Hombre, Mr. Majestyk, and Rum Punch (adapted as the movie Jackie Brown). Leonard's writings include short stories that became the films 3:10 to Yuma and The Tall T, as well as the FX television series Justified. more…

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Submitted on August 05, 2018

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