Pickup on South Street Page #5

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
332 Views


I go right on doing it.

Well, what am I gonna do, knock it?

- I have to go on makin' a living so I can die.

- # The violins were sweet #

#And so were you #

But even a fancy funeral ain't worth

waitin' for if I've gotta do business...

with crumbs like you.

And I know what you're after.

What do you know?

I know you Commies are looking

for some film that don't belong to you.

# Your lovely eyes seemed to sparkle

just like wine does #

You just talked yourself into an early grave.

What else do you know?

What do I know about Commies?

Nothin'.

I know one thing.

- I just don't like them.

- #And yet I know too well #

#Someday you'll say good-bye #

# Then violins will cry #

- So I don't get to have the fancy funeral after all.

- #And so #

# Will I #

- Anyway, I tried.

- #Mam'selle ##

Look, mister...

I'm so tired...

you'd be doin' me a big favor

if you'd blow my head off.

- All right, on your feet. Come on.

- What is this, a stickup?

- Put your hands up against that wall.

- Oh, cops. Sure.

For a minute there I thought it was a stickup.

- No weapon.

- Course not. I never used a gun in my life.

- Turn around.

- Sure.

- Hey, wait a minute. What is this?

- A homicide rap. Come on. Let's go.

- Homicide? You got the wrong guy. Take it easy.

- Come on.

You can't pull me in like this.

What's the charge?

We're pullin' in every pickpocket

in Moe's book.

When did you see her last?

You mean Moe got it?

- Somebody shot her head off.

- What?

Lieutenant.

Hey, Eddie.

Yeah?

Hang on to him.

Yeah?

- Lieutenant Campion?

- Yes?

- My name is Enyart.

- Yes, sir.

Your driver just told me what time it happened.

McCoy's not your man.

I'm sorry, Mr. Enyart,

but my orders are to bring him in.

I've been here the whole time,

Lieutenant, watching him.

Have the captain of your homicide squad

check with Mr. Zara.

All right. Come on.

Yeah, I know, but I thought they were supposed

to hold on to her till somebody claims her.

Nobody'll claim her.

She'll complete the morning load to potter's field.

Oh.

All right, Captain. Yeah.

Yeah, I understand. Okay.

- Hey, Eddie.

- Yeah.

- Take 'em off.

- Huh?

Take 'em off. Let's go.

Well.

- Somethin' wrong?

- I got a clearance to pick up number 11.

The name's Moe. Moe Williams.

Steve, 11 goes back.

Give him a lift.

- Relative?

- Nope.

What are you gonna do with him?

I'm gonna bury her.

Moe's dead, Skip.

She was shot in the head last night.

It's in the papers.

What are you doing here

without the dough?

I went to her last night.

I begged her not to tellJoey

where you lived.

Sh-She wouldn't sell ya, Skip.

- She really loved you.

- Who's Joey? Your old lady?

- You're not listening.

- Is Joey your old lady?

Yes.

But I told her all about him.

I knew he'd find her.

- You think he did it?

- I'm sure of it.

He was ordered to find you.

I was there. L-I saw him take the gun.

But, honest, Skip,

I didn't think he'd kill her.

Shut up.

- It's my fault. I didn't know.

- I didn't mean it. I was thinking about Moe.

She just didn't figure to go that way.

- It's all right. It's okay.

- It's my fault.

I've been up all night walking the streets.

I didn't know where to go.

When I read about it in the papers,

I had to see ya, Skip.

I had to tell ya how it happened.

You've been so wrong about me, Skip.

- I had nothing to do with it

- It's all right.

I see the whole picture now.

Where does he live?

He's got a gun.

I'll let the cops handle him.

Where does he live?

340 West 96th Street.

He better have that 25 grand ready.

- That's it.

- Skip!

Skip!

I'll be seein' ya.

Skip? Skip.

Oh.

Okay, lady.

- You the head of the pickpocket squad?

- Yep.

There's the film you've been looking for-

the film the Commies want.

Skip told me to bring it right to you.

- Skip told ya?

- Yeah.

Hey, I was followed here,

and not by friends.

I followed you.

This film is marked, all right.

Would you sit down over here, please?

Now, just relax and answer a few questions.

How did you contact Skip McCoy?

A lady called Moe.

- Your friends have anything

to do with her murder?

- Yes.

- Will you say that under oath?

- I'll tell you everything I know under oath.

Do you know what was on that film

when Skip lifted it from your purse?

Look, mister...

I didn't say anything about anybody

lifting anything from my purse.

I came here to help you out.

That's the way Skip wanted it.

He's been fightin' something inside him.

Something decent trying to crawl out.

Well, what's the difference

why he sent me?

I'm here with the film.

That's enough.

How long have you known

Joey was a Communist agent?

I didn't know till Skip told me.

Honest.

You want to help us fight Communism,

don't you?

That's why Skip sent me: To help you.

What I'm gonna ask you to do

might be dangerous.

I'm here.

All right.

Go back toJoey with this film.

Carry through with the original plan.

Whether you make delivery orJoey,

it doesn't matter.

We'll jump when this film passes

to the man we want.

Are you ready?

Sure.

PhoneJoey.

Tell him you've got the film.

I told you there was a big difference

between a traitor and a pickpocket.

Hello. Joey?

This is Candy.

Candy? Candy!

Joey?

- Where are ya?

- I'm in the tub.

That's why I left the door unlocked.

Pour yourself a cup of coffee.

Come on out here.

Did you hear me? I said come on out here.

Come on. Quit stalling.

Did you hear me?

I said come out.!

Candy.

Why did you give me a phony address?

- I had to.

- Why?

I didn't want you to kill him.

I didn't want you to go to the chair.

- Where you been all night?

- With him.

I'm gonna beat the truth out of you.

What are you up to?

Go ahead!

Beat up on me if you don't believe me.

But I got the film.

How'd you get it?

He wanted 25,000.

How did you do it?

How do you think?

I wasn't lyin' to ya, Joey.

L- I just didn't want to see you

get the chair.

You know how I feel about you.

I'd do anything for you, Joey.

- I'd give you anything I -

- There's a frame missing.

You'd do anything for me, huh?

Where does he live?

He's moved.

- Where does he live?

- He's gone!

- Joey!

- Where does he live?

I don't -

- Where does he live?

- I - Oh!

- No!

- Where does he live?

Where does he live?

She's still alive.

Get an ambulance, quick.

Give me headquarters,

police headquarters.

He's in the building somewhere.

Try every floor, every stairway.

Send an ambulance. A woman's been shot

at 607 West 74th Street, apartment 302.

And notify Homicide.

- He's not on the roof.

- Throw some more men at the entrance.

Check the janitor closets on all floors.

Gibbs. Gibbs.

Gibbs.

He's not down here.

Well, he's in the building somewhere.

Check everything.

Check the dumbwaiter.

No, Gibbs didn't make it.

He died a few minutes ago.

No. She's got a fifty-fifty chance.

Yes. General alarm is in effect right now.

Every man in the police department's

cooperating with us.

Yes, sir. Hundreds of prints

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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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