Armored Car Robbery Page #5

Synopsis: Dave Purvis takes pride in being unknown to the law, though famed among fellow crooks as a planner He plots a holdup in meticulous detail; but things go wrong, a cop and two robbers are killed, and Purvis hides out with the money while Lieut. Cordell, friend of the dead cop, investigates. Purvis's new getaway plan shows promise, but may have one tiny flaw.
Director(s): Richard Fleischer
Production: RKO Pictures
  1 nomination.
 
IMDB:
7.0
PASSED
Year:
1950
67 min
199 Views


You just can't up and quit me with

no notice or anything. I'm in a spot.

Sorry. My contract's up tonight.

All right, let's talk

about a new deal, as of now.

You know me, Yvonne. I'm reasonable.

Are you? Well, I'm not.

KIMBALL:
Now, wait a minute,

Yvonne. You can't do this to me.

There's our break. Follow her.

She'll take us right to Purvis.

Maybe. Maybe not.

If she starts traveling over the border,

we'll have a rough time tailing her.

- What are we gonna do? Let her walk out?

- No, no, not exactly.

- Maybe we can force her hand.

- How? You can't hammer it out of her.

- Mapes was going to, remember?

- Yeah.

He had the same problem: find Purvis.

- Isn't that what you'd do in the same spot?

- Sure, lieutenant. But I'm not Mapes.

Yeah, but she doesn't know that.

I see, you want me to make

like I'm Mapes? Go undercover?

Why not?

- What do you think?

- I think it's a great idea.

- Go ahead. What do we got to lose?

- Nothing.

Only me.

[JAZZ MUSIC PLAYING OVER SPEAKERS]

- What's the idea?

- Take it easy.

I'm a friend of Dave Purvis.

I don't care who you are. Just let me alone.

You ever hear of Al Mapes? He and Purvis

and your husband pulled off a little deal.

- Why tell me about it?

- Need your help to get in touch with Purvis.

He owes me dough.

I feel real sorry for you.

- Where is he?

- I don't know.

[YVONNE GRUNTS]

Okay, if that's the way you want it.

I'll call him for you.

That's better.

Why the sudden change?

Maybe I really am sorry for you.

What do you care? You

want me to call him or not?

Okay.

But look at me good. No tricks.

I'll be just as close to you.

[PHONE RINGS]

- Hello?

- Dave, I'm glad I caught you home.

- What's wrong, baby?

- A guy here says you owe him money.

Al Mapes. He wants to see you.

Listen, baby. Don't lose your head.

That guy is not Mapes. That's a cop.

What do I do?

Now, listen, stall him as long as you can.

Then go out the back way and go fast.

There are probably cops

out front. You got it, baby?

Yes, I have it.

Okay. Start stalling.

But, Dave, I told him I

didn't wanna call you...

...but he kept insisting.

Uh-huh. All right.

He says it's okay. He'll talk to you.

Here he is, Dave.

- I said no tricks. I said

no... PURVIS:
Don't move.

Hey, up.

Turn around.

Around the car. Get in the front seat.

RYAN:
Hey, look, mac... PURVIS: Shut up.

Keep your hands down.

Put your hands on the dashboard.

Take the alley. Get going, baby.

[ENGINE STARTS]

[ENGINE REVS OVER RADIO]

MAN:
Lieutenant.

The girl's car just started,

I'm picking up engine noises.

They've gone out the back

way. This deal's working.

- You mind telling me where you're going?

- That's Purvis. Something's gone wrong.

It was a nice try, copper.

You almost got away with it. Almost.

Beat that signal. It's gonna change.

RYAN:
You're in a hurry,

why did you take Figueroa?

PURVIS:
Shut up. Nobody asked you.

Figueroa? That's for our benefit. Hit it.

Next corner. Follow that truck.

Why did you take Jefferson?

You don't live here.

No cracks, copper.

Jefferson? East. Kid's all right.

YVONNE:
You think they're after us? PURVIS:

I don't know. I don't trust this guy...

...or this car either. We're

gonna get rid of them both.

Get off this street and don't talk.

What'd she turn down the alley for?

[GRUNTS]

[TRANSMISSION CUTS OUT]

That cuts us off. They've stopped.

Car 22. Code 3.

All units stand by.

- What's the matter?

- Gotta ditch your car, get a cab.

- Where are we going?

- Metropolitan Airport. I've got a plane.

Sorry you won't be going with us, copper.

- Walk.

- Honey, don't do it.

You're over your head

now. This isn't gonna help.

Shut up and walk.

[GUNSHOT]

[RYAN GROANS]

Dave, stop it, please.

No loose ends, baby.

[CAR APPROACHING]

Come on. Let's get out of here.

Come on.

[GRUNTING]

Ryan. Code 3.

[OVER RADIO] city Lumber company.

- You heard him. Get going.

- Yes, sir.

Danny?

Danny, it's me, Cordell.

Hi, lieutenant.

An ambulance is on its way. Don't talk.

Listen.

Purvis and the girl...

...Metropolitan Airport...

...chartered plane.

Chartered...

I got it, kid.

I got it.

Stay with him.

Car 22 at 221 Major.

Contact Metropolitan Airport. Keep

all private planes on the ground.

Dave Purvis attempting escape.

PILOT:
Cleared with customs? PURVIS: Yeah.

- I can lose my license.

- They'll never know we're aboard.

Anyway, you're getting paid to

take the risk. Come on, let's move.

Fasten your seatbelts, please.

Tower to 12 on runway.

Are you carrying passengers,

a man and a woman?

Verify.

1-2 to tower.

Yeah, I guess I am. Something wrong?

They're wanted. Police

instruct us to hold your plane.

Pull into the east runway.

Stand by for orders.

- You stopped. What you waiting for?

- Orders from the tower.

You're taking orders from me.

Get on that runway and take off.

There are wise to you, mister. I can't do it.

You heard what I told you. Take off.

Tower to 12. Craig, keep that plane off

the runway. You're disregarding orders.

Tower to 12. Pull her up.

Another plane coming in on main runway.

- Now, what are you doing? - See

for yourself. Want a head-on crash?

Dave, look. The police.

[SIRENS WAILING]

[GASPS]

Purvis, look out!

[ENGINE ROARING]

- Oh, Miss Paxton. PAXTON:

Oh, hello, lieutenant.

- How's he doing today?

- You'll find him in there, on his own power.

We put him in a wheelchair this morning.

- Oh, better and better.

- He sure is, lieutenant.

He gets more mileage out of

that thing than I do on the bus.

[CORDELL CHUCKLES]

Hello, Jim. What's doing?

- I can see you're back to normal.

- Well, I'm trying.

You got quite a write-up, Danny.

How does it feel to be famous?

- What page?

- Thirty-seven.

Thirty-seven.

It's not often they pay a police

officer a tribute and a rookie at that.

But I don't see your name. I don't see mine.

- Look. Here. At the bottom of the page.

- Oh, yeah. Right.

"This case was solved by Lt. James

Cordell, Los Angeles Police Department.

He was assisted by Officer...

...Danny Ryan."

[RYAN CHUCKLES]

[BOTH LAUGHING]

- US - SDH]

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Earl Felton

Earl Felton (1909–1972) was an American screenwriter.He was a regular collaborator with Richard Fleischer, who later wrote that "Earl was crippled from childhood with polio. He had no use of his legs, but he navigated beautifully with a crutch and cane... Earl normally hated anybody [helping]... him and would sometimes lay about him with his cane."Fleischer added that "in spite of his lifeless legs and total reliance of a crutch and cane to get around, Felton was much given to self-indulgences and debaucheries." more…

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Submitted on August 05, 2018

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