Pushover Page #3

Synopsis: A bank heist yields $210,000. Soon, sultry Lona McLane, girlfriend of one of the robbers, meets Paul Sheridan and has a torrid affair. When she finds out Paul's a cop, to save herself she sets out to corrupt him. He's a pushover. But it won't be easy for Paul to get his hands on the money when he's part of a complex, peeping-tom stakeout. Soon, he's in much deeper than he'd planned, amid atmospheric night scenes.
Director(s): Richard Quine
Production: Columbia Pictures Corporation
 
IMDB:
7.0
Rotten Tomatoes:
80%
APPROVED
Year:
1954
88 min
196 Views


see you, wanting you to call me.

I know.

This isn't going

to be easy.

We've got to keep our heads every second.

Your phone's tapped and there are

three men watching you day and night.

Harry's coming here.

Maybe tomorrow.

Tomorrow?

That soon?

You've got

to stop him.

How? I don't know

where he is.

Well, he'll call

first, won't he?

Yes, but he... Well then, stall him.

And don't answer your

phone unless I'm on the tap.

Paul, will you

listen to me?

It doesn't matter

if anyone hears.

Harry told me exactly

what to say when he calls.

And if I say anything else, he won't...

What did he tell

you to say?

When he calls, he'll ask me

what TV program I'm looking at.

If everything is clear, I'll

say I'm not looking at TV.

You're not

looking at TV.

Yes, and that's it.

He'll show up here

10 or 15 minutes later.

Here? Do you think he'll

have the money with him?

Yes.

Can't you tell him to

meet you someplace else?

No! If I say anything but what he

told me to say, it's a signal to run.

He'll show up right

after he calls?

10 or 15

minutes later.

All right.

All right.

Now remember,

you're not to answer your

phone until after 7:00

when I'm on the tap.

When Wheeler calls, you

give him the all-clear.

Then you leave, fast.

One man will tail you and I'll

change places with the man outside.

Have you got an extra

key to your apartment?

No, but maybe...

Never mind.

When you go, leave the

door open so I can get in.

How long

do I stay away?

You don't come back

until you call me first.

If it's all over, I'll

be there to take the call.

If you don't get

an answer, stay away.

Have you got it

all straight?

Yes.

You sure?

Uh-huh.

All right.

Now go down

in your car

and drive around for a

while and then come back.

I'll be right

behind you.

Couldn't I drive

to your place?

No.

No, we can't take any

more chances. Now, go on.

Be careful, Paul.

Man!

The redhead

on the third floor?

Isn't that the most...

Well, you only get out of a sweater

what you put into it, I always say.

Yeah. You said it

twice this morning.

Let me have a look.

Answer your

phone, Blondie.

What's going on?

Still in the bedroom.

She's not going

to answer it.

That's funny.

You just missed

something.

What happened?

Her phone rang,

half a dozen times.

She just

ignored it.

How'd she react?

Couldn't tell. She was in the bedroom.

Maybe she knows

her phone is tapped.

You're sure she wasn't in

the shower or something?

Just stood in the bedroom

and stared at the phone.

Almost hate

to leave.

This may be

the big night.

Yeah. I can hardly tear myself away.

Well, enjoy

the view.

We'll see you.

Good night.

If that call was supposed

to mean something,

she isn't

showing it.

Probably

her roommate's party.

Must be her night off

or something.

How do you know

it isn't her party?

She's tired.

I saw her come home

tonight, and she was beat.

You'd never know it

to look at her now.

Well, this thing will

probably go on all night.

What do you care?

I don't.

Maybe I do. I find myself watching

her like I was her father or something.

I wait for her

to come home.

When she's late,

I worry about her,

wonder what

she's doing.

And, uh, who she's doing

it with. Is that the idea?

Yeah, something like that.

At least I feel I know

her well enough to...

She's going

to answer it.

Hello.

Good evening. This is

the RTV Rating Service.

Would you tell me what program

you're watching right now?

TVprogram, that is.

I'm not watching TV.

I see. Thank you.

Did you ever hear

of an RTV Rating Service?

No.

See what she's doing.

She's gone

into the bedroom.

She's going out, Paul.

This may be it.

Like me to take her

this time?

I'd give my right arm to nail

that babe and her boyfriend.

Okay, Rick. Go ahead. Good luck.

Operator.

Mobile operator.

One moment, please.

Mobile operator.

Give me

WJ 8-2-3-1-1.

Your name and number?

Sheridan.

Hollywood 9-5-2-6-4.

Hurry it up, please.

Yes, sir.

There's no answer, sir.

No answer?

There's got to be an answer. Try it again.

Yes, sir.

WJ 8-2-3-1-1.

What's up, Paul? Your

job, that's what's up.

The effects from... I'm sorry,

Paul, but all I did was...

I know. We'll talk

about it later.

I'll take over in the car. You go upstairs.

Sure, Paul, but I...

What is it?

Wheeler.

He's gone in. We've got to call Rick.

No! No, Rick's

not up there.

The girl went out.

He's tailing her.

Then what'll we do?

Well?

When he finds out

she's not up there,

he may get scared

and run.

If he doesn't, we'll go up

and take him there. Come on.

Eckstrom don't need to know

about what happened, does he?

What?

Eckstrom.

Does he have to

know about...

If nothing

goes wrong, no.

I don't want to lose

my pension, Paul.

But I

guess you'll do

what you got to do.

I'll give you

every break I can.

If you'd been on the job, I'd

have taken him at the elevator,

the way Eckstrom

wanted it.

You better hope

nothing goes wrong.

Hold it, Wheeler!

I got him!

Now, let's go.

Where?

Downtown.

But first we'll pick up the money, huh?

You got it

in your car?

Let's go

find out, huh?

This it?

Yeah.

Locked?

Yeah.

Let's have

the keys.

Looks like

the whole bundle.

What'd you do with your

partner, Wheeler? Kill him?

Okay, Paddy,

close the satchel.

What happened? He jumped you. What else?

Why'd you shoot him?

I could have handled him.

Why, you're half-drunk. For

all I knew he had your gun.

Well, what now?

I don't know.

Eckstrom will crucify us.

He wanted him alive.

There'll only

be one goat.

Me.

No.

No, there's a way out.

Give me a hand, Paddy.

What're you doing?

I'm saving your skin.

Tomorrow, I'll drive the

car someplace and leave it.

They'll find it and we'll be in the clear.

All we have to do is keep our mouths shut.

What's the gimmick?

Gimmick? You doing all this for me?

Why not?

I don't know.

But I'd rather lose

my pension than...

When they find Wheeler, will

they find that money, too?

What kind

of a crack is that?

Maybe I'd better call Eckstrom right now?

I gotta know, Paul.

I gotta know the money will be there.

Sure, it will be there!

Then give me

the keys.

We'll both drive the car away tomorrow.

Okay, Paddy.

You keep them.

We'd better get back.

What'll it be?

Same as hers.

Hello.

I'm afraid I gave you

the wrong impression.

I doubt it.

No really, you remind me of someone.

Haven't you

ever met me before?

Hundreds of times.

I don't get it.

And you won't,

so try someplace else.

No. You've got

the wrong idea.

I'm not just fresh, I'm sure

that I've met you someplace.

What...

Uh, will there be

anything else, sir?

Hello.

It's me, Paul.

It's done.

Is everything all right?

There's a complication,

but I can handle it.

Get back here.

What happened? I'll talk to you later.

Oh, I'm sorry.

We're having a little party next

door and ran out of ice cubes.

Could I borrow some? I'm

sorry. I can't help you.

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Roy Huggins

Roy Huggins (July 18, 1914 – April 3, 2002) was an American novelist and an influential writer/creator and producer of character-driven television series, including Maverick, The Fugitive, and The Rockford Files. A noted writer and producer using his own name, much of his later television scriptwriting was done using the pseudonyms Thomas Fitzroy, John Thomas James, and John Francis O'Mara. more…

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Submitted on August 05, 2018

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