Pickup on South Street Page #2

Synopsis: On a crowded subway, Skip McCoy picks the purse of Candy. Among his take, although he does not know it at the time, is a piece of top-secret microfilm that was being passed by Candy's consort, a Communist agent. Candy discovers the whereabouts of the film through Moe Williams, a police informer. She attempts to seduce McCoy to recover the film. She fails to get back the film and falls in love with him. The desperate agent exterminates Moe and savagely beats Candy. McCoy, now goaded into action, confronts the agent in a particularly brutal fight in a subway.
Director(s): Samuel Fuller
Production: Twentieth Century Fox
  Nominated for 1 Oscar. Another 1 win & 1 nomination.
 
IMDB:
7.8
Rotten Tomatoes:
90%
APPROVED
Year:
1953
80 min
318 Views


long enough to settle.

I know how he operates.

He's holed up somewhere.

A smart cannon lives quietly...

don't advertise

when he's just scored on a job.

Especially an ex-con like Skip.

He always had a knack for living

in out-of-way places -

places hard to find.

It's gonna be pretty hard to run him down,

the places he picks.

Might take you almost a week

to run him down.

What are you angling for, a side bet?

Well, every extra buck

has a meaning all its own.

It just so happens

I haven't got a red cent left.

Just so happens

I know where he's shacked up.

- That's part of the bet.

- Listen, Tiger...

do you realize that the cost of living

has gone up 50%?

- Moe, I got no more time.

- Then what are you stalling for?

- Why don't you make me a pitch?

- Next time I'll give you odds - 2-to-1.

- It's a promise?

- Yeah.

Well, all right, what are we

standing here for gibbling and gabbling?

Thanks, pal.

Well, hello, Winoki, Mac.

- This a visit or a pickup?

- Both. Tiger wants to see ya.

- You go with Mac. I'll stick around.

- Sure.

- Still hoarding all your loot, Skip?

- Take a look around. You're getting paid for it.

- You want a beer?

- Sure, I'll have a beer.

- How's the whip?

- You know the whip - always in the pink.

Yeah. I got no electricity here,

but the beer's always cold.

- You want one, Mac?

- Tiger's waitin'.

Okay. Here's the opener.

Come on. Let's go.

Oh, uh, Winoki, just two things.

After you give my place the broom,

leave it the way you found it, huh?

And when you got enough beer,

lower my icebox back in the drink.

Come on, Mac.

He's here.

That's fast work.

I hope he didn't throw that microfilm away.

- How do you want to handle this?

- He got me suspended twice for smacking him.

Cost me six months' pay.

Do you mind waiting outside?

I want to handle this my way.

Sure.

I was picked up.

No resistance.

- You better make this stick.

- You only been out a week...

and right away those fingers

gotta play the subway circuit.

What did you do with the wallet

you lifted from the girl?

Back up the pinch with a charge

or drive me back to my shack.

I'll drive you back in a hearse

if you don't get that kink out of your mouth.

Now, look, buster...

you've been whip of this squad

long enough to know...

that a guy with my rating

wouldn't grift a dame on the train -

not with three strikes on me.

Ah, you'll always be a two-bit cannon.

And when they pick you up in the gutter dead,

your hand'll be in a drunk's pocket.

- You were spotted lifting that wallet.

- Only amateurs are spotted.

- So?

- So it's my word against one of your whiz cops.

That girl was carrying T.N.T.,

and it's gonna blow up right in your face.

- What girl?

- I'm gonna jam that grin right down your teeth.

Go ahead, slug me. Go ahead.

I'll make a bigger stink than last time.

I'll see you hit the backyard

without pay for one year.

Go on, knothead. Slug me. Come on, hit me!

Come on, hit me, will ya?

What's the matter? You nervous?

- Come on.

- Zara.

All we want is the wallet.

If you got rid of it, tell us.

- If you tossed the film away, tell us where.

- Who's he?

None of your business.

Just answer the man.

Now, wait a minute.

I've been clean ever since I got out last week.

Wouldn't touch a nickel if it was

laying in the street. Word of honor.

Why don't you haul that girl down here

to identify me? It's my word against hers.

No. It's your word against mine.

I saw you close her purse.

All right. So it's your word.

But you gotta nail the goods on me,

and I'm clean.

Go ahead. Fan me.

Give me the works.

That film you stole had government

information on it - classified.

We've been following this girl for months.

And just as we were about to

grab a top Red agent...

receiving the film from her,

you broke up the ball game.

Can't you see how important this is?

We just want your cooperation,

and the charges will be dropped.

- Isn't that right, Captain?

- I'd like to make this rap stick...

but what he's got to do is more important.

You boys are talking in the wrong corner.

I'm just a guy keeping my hands in my pockets.

If you refuse to cooperate, you'll be as guilty

as the traitors that gave Stalin the A-bomb.

- Are you waving the flag at me?

- I know something inside you should give.

And I know you pinched me three times,

got me convicted three times...

and made me a three-time loser.

And I know you took an oath

to put me away for life.

Well, you're trying awful hard

with all this patriotic eyewash, but get this:

I didn't grift that film,

and you can't prove I did.

And if I said I did, you'd slap that fourth rap across

my teeth no matter what promises you made.

- Do you know what treason means?

- Who cares?

- Answer the man!

- Is there a law now I gotta listen to lectures?

MacGregor, get him out of here.

Get him out of this building.

Hello.

If that's Winoki,

ask him if he put my beer back on ice, huh?

Hey, Willie, what've you been

feeding the Tiger lately?

Watch it, bud.

Going up, please.

- May I help you?

- I'd like to see a copy of the New York Times...

January 5, 1947.

- Fill this out, please.

- Sure.

- So, who told you to ask me?

- The pinboy in the bowling alley.

So who told you to ask him?

The fella that works at

the Houston Street Auction Shop.

So why didn't you go to the cops?

Look, 20 bucks if you tell me

where I can find Lightning Louie.

- Put it on the table.

- Not till you tell me.

- I'm Lightning Louie.

- Then why'd you tell me your name was Godkin?

Look, blubbermouth, you give me back

my dough or there's gonna be trouble.

Lum.

- What's my name?

- Uptown or downtown?

- My downtown name.

- Lightning Louie.

For another 20 I'll give you the name of the stoolie

who knows everything about cannons.

I hope you bust.

174 Bowery.

Over a tattoo shop.

One flight up, head of the stairs.

Her name is Moe.

A woman?

Tell her I sent ya.

Lum, bring me another order of chow fun.

Cha siu bow.

Who is it?

Lightning Louie sent me.

- Who?

- Lightning Louie.

- Are you Moe?

- Who are you?

You've been recommended as the best

pickpocket stoolie in the business.

What kind of talk is that,

calling me a stoolie?

I was brought up to report

any injustice to the police authorities.

I call that being a solid citizen.

But you get paid for it.

You're gonna knock it?

I'm looking for the pickpocket who lifted

my wallet in the subway this morning.

Oh.

- So you're the muffin.

- What do you mean?

Oh, one cannon talks to another,

word gets around.

What was in the wallet?

That's pretty.

- Something personal.

- How personal?

What difference does it make?

He didn't know what was in it when he took it.

How do you know?

You got a boyfriend?

- Why?

- Like to buy him a tie?

I happen to carry a complete line

of personality neckwear.

- Bargain prices.

- Look, I'll tell you all the facts - nothing else.

- Now, you want to do business?

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside the conventional studio system. Fuller wrote his first screenplay for Hats Off in 1936, and made his directorial debut with the Western I Shot Jesse James (1949). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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