Pickup on South Street Page #4

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
325 Views


Things happen. That's how.

- Oh, look, don't get sore.

- Well, don't ask stupid questions.

I only ask 'cause...

I'm interested.

Interested, huh?

How much is it worth to ya?

What are you pushing me for?

You came here to buy, didn't you?

You're not gonna raise the ante

by smearing my lipstick.

Then why the pitch?

- 'Cause I really like you.

- Yeah? Why?

Everybody likes everybody

when they're kissing.

- And everybody's always different.

- So tomorrow you'll like somebody else.

I've kissed a lot of guys.

But, honest, Skip, I never felt like this.

You're talking like you got a fever.

I know what you mean now.

Look for oil and you hit a gusher.

How much did you bring?

I don't want to talk about it.

How much?

You tell that Commie I want a big score

for that film, and I want it in cash.

- Tonight.

- What are you talkin' about?

You tell me. You people are supposed

to have all the answers.

- Tell you what? I don't -

- Come on. Drop the act.

So you're a Red. Who cares?

Your money's as good as anybody else's.

Now get your stern up those stairs

and tell your old lady what I want.

- A Red?

- Take off!

- You think I'm a Red? Me?

- I don't think anything. I know.

I know what you're after.

I know what it's worth.

- I don't know what you're talking about.

- You know, all right.

But what you don't know

is that when I grifted your wallet...

I was pulled in by the cops.

You know how hard it is to spot

my fingers in action? Can't be done.

But a guy did it. You know how he did it?

He was watchin' you.

And that guy you were supposed

to pass the film to...

you don't know about him either, huh?

- He's still waitin'. He's itchin' for it.

- Look, Skip...

the way I feel about you,

I wouldn't lie to you.

- You gotta believe me.

- I gotta believe nobody.

I'll do business with a Red,

but I don't have to believe one.

I'm sorry, Skip. I -

Get out of here!

Now tell your old lady I'm shaking down

you Reds for 25 grand.

Get goin'!

He slapped me all over the place.

What a line he gave me.

And me falling for it.

Took the 500 right out of my bag.

You know what's crazy

about the whole thing?

You know what he wants?

$25,000.

25,000 for that film.

Did you ever hear of such a crazy thing?

You know why?

You know what he said?

He-He's crazy.

He-He said I was a Commie.

Did you ever hear

of such a thing?

What makes people like that?

Where do they get such ideas?

All right, he wants to shake us down.

- But to start calling us Commies.

- Sit down.

- And you know what else he told me?

- Sit down.

- You should have taken care of him yourself.

- You know I couldn't take a chance.

I know you're getting paid to take them.

Security isn't interested

in all this confusion.

Delivery must be made tomorrow night.

Get that film.

Joey! You can't do it.

- Where does he live?

- I know what kind of a guy he is. He'll kill you.

- Where does he live?

- If you kill him, you'll get the chair.

Joey, I know we're all washed up, but...

I still owe you somethin'

for the break you gave me.

I don't want to see you end up...

on a slab.

All right. I'll find him myself.

- I'll find him the way you did.

- Okay, Joey.

I'll tell ya.

He lives at...

704 West 47 th Street...

near 10th Avenue... in a basement.

I'm going crazy. I -

I didn't know where to go.

L- I didn't know who to talk to.

Why didn't you go to the cops?

Who'd believe I didn't know what I was passing?

Who'd believe me?

Who'd believe me?

Would you believe me?

Do you know what they do to people

who hand out government secrets?

Moe. Y-You got to promise me, Moe.

When Joey asks you,

you don't know where Skip lives.

- He won't find me.

- He knows where you live.

- Well, why ain't he here?

- I gave him a phony address for Skip.

He's lookin' for him now.

So why don't you tell Skip?

He won't believe a word I tell him.

Oh. So he crawled

under your skin, too, huh?

He's as shifty as smoke,

but I love him.

You sold him out for 50 bucks.

Oh, look. Some people peddle apples,

lamb chops, lumber.

I peddle information.

Skip ain't sore.

He understands.

We live in a different kind of a world.

Oh, once in a while,

he gets hot under the collar if I sell him short.

But you wouldn't sell him to a Commie.

What do you think I am, an informer?

Coffee.

Stay away from your shack, Skip.

There's -There's a guy gunnin' for ya.

He won't have any trouble finding me.

Everybody in town knows where I live.

I didn't pinpoint you, honest.

I give Tiger the name of eight cannons,

but that creep that was with him...

he fingered your picture like a shot.

Mm-hmm.

Confidentially, it sounded like

your kind of an act.

You think so, huh?

How much did you raise on me

for your stone and plot?

Oh, don't be sore. They'd have caught up

with you in a couple of hours anyways.

I... just chopped down

on the time a little.

That was mighty nice of ya.

Who's gunning for me?

What's the matter with you,

playin' footsies with the Commies?

You wavin' the flag, too?

Listen. I know you since

you was a little kid.

You was always a regular kind of crook. I -

- I never figured you for a louse.

- Stop. You're breakin' my heart.

Even in our crummy kind of business,

you gotta draw the line somewheres.

That muffin you grifted, she's okay.

Stuck her chin way out for you.

She's -

Hey, you look tired, Moe.

You better go home.

Go on.

Stop using your hands, Skip, and...

start using your head.

The kid loves you.

- Bye, Skip.

- See ya, Moe.

Tie, mister?

Wanna buy a tie, mister?

Latest 5th Avenue creations.

Buy a tie?

#A small caf, mam'selle #

# Our rendezvous, mam'selle #

#The violins #

#Were warm and sweet #

#And so were you, mam'selle #

#And as the night danced by #

#A kiss became a sigh #

#Your lovely eyes #

# Seemed to sparkle just like wine does #

# No heart ever yearned #

#The way that mine does #

# For you #

#And yet I know too well #

#Someday you'll say good-bye #

What are you buyin', mister?

The name and address of the pickpocket

you sold to a girl tonight.

Maybe I forgot.

There's a hundred to remember.

You pant like a dog.

What's this guy made out of, diamonds?

Just give me the answer.

Maybe it'll come to me

in a couple of days.

Maybe you won't be

around here in a couple of days.

You threatenin' to blow my head off?

Ask a silly question,

you get a dopey look.

Why are you holding back on me?

You'd sell anybody for buttons.

Yeah, but not to you, mister.

Look, I haven't got a lot of time.

You haven't got a lot of time?

Listen, mister...

when I come in here tonight...

you seen an old clock runnin' down.

I'm tired.

I'm through.

Happens to everybody sometime.

It'll happen to you, too, someday.

With me it's -

it's a little bit of everything. I -

Backaches and headaches.

I can't sleep nights.

It's so hard to get up

in the morning and...

and get dressed and...

walk the streets...

climb the stairs.

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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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