Pushover Page #4

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


How'd it go, Rick?

Another dry run.

I think she spotted me.

Why?

She made a call from the Twilight

Room and came right back here.

It means she spotted me or

knows her phone's tapped.

Or both.

Or neither.

Maybe.

Hey, you're up

kind of late, Lieutenant.

Something break?

Our man's in town.

Spotted in a drug store on the

east side earlier this evening.

I'd hoped you might

have him here for me.

Well, we'd hoped

the same thing.

I'm afraid

I haven't.

Why not?

The dame acts like she

knows her phone's tapped.

Made a call

from a bar tonight.

Probably touted

him off.

Then you've

been here alone.

For the last

hour, yeah.

All quiet?

Her phone rang once. That's all.

Check the neighborhood,

Sheridan.

Parked cars, alleys.

I'll wait here

a while.

Right.

What time did you leave

tonight, Rick, to tail her?

About 10:
30.

What time did you

get back?

A minute ago. Why?

I phoned here a half dozen

times between 10:50 and 11:15.

No answer.

Some thing from the car parked outside.

I gave him a chance to

explain. Why didn't he?

Talk to Paddy?

He had nothing

to offer either.

But he's scared

to death.

You and Sheridan are

fairly close, aren't you?

That's right.

But I'm not trying

to cover for him.

Maybe Paul's trying to

do it for Dolan.

Why?

Why not ask Dolan?

I'm asking you.

And I want an answer.

When I followed her I

drove past the lookout car.

Paddy wasn't in it.

When I got to

the intersection,

I saw him go

into a bar.

I guess that bar was

just a little too close.

Paul, we... Shut up

and get back in the car.

Eckstrom talk to you?

He knows something's

up. What'd you tell him?

Nothing I didn't

have to. He knew.

He doesn't know anything.

He just thinks he does.

He gave me a phony job

to get me out of the room.

Give me the keys

to Wheeler's car.

I'll get it out of here while

we've still got a chance.

Come on!

Give me the keys!

We're only making things worse, Paul.

I'm goin' up and tell Eckstrom

just the way it happened.

You're not going

to tell him anything.

I'm in this, too,

remember?

Why?

You were just

coverin' for me.

Isn't that right? And

Eckstrom'll throw the book at me.

Who do you think

you're kiddin'?

You'll come out

sweet as a rose.

A hero for trying

to protect a buddy.

Look, Paddy, Eckstrom

can't prove a thing.

Why throw away

your pension?

Because I spent 25 years

being a dumb, honest cop.

And I'm stuck with it. Wait a minute.

What's the idea?

You didn't do

anything for me.

You're after

that dough.

That's why you came down looking for me.

You knew Wheeler

was going to show.

Now wait a minute, Paddy.

Nope. We're both going up

and tell it just like it...

Doesn't answer.

Come on.

Tell 'em to get here as fast

as they can, but no sirens.

And keep this

from the press boys!

I heard a shot!

Paddy?

Dead?

Rick, get those people

back to bed.

We don't want a crowd

around here.

All right, folks,

back on the sidewalk.

What's going on, officer?

We heard the shot.

Just a slight accident.

Back on the sidewalk, please.

What do you think?

I don't know.

Powder burns,

his own gun.

Why would he

kill himself?

I didn't say that.

Then you think

he didn't?

Where were you tonight

around 11:
00?

I was upstairs. Why?

No, you weren't.

We know where Dolan was. Where were you?

You know

where Dolan was?

McAllister saw him.

I told him

I'd cover for him.

I tried to get him on the car

phone about 10:
30, he didn't answer.

I know.

The operator gave me

the message just now.

I came down to see what

had happened to him.

Found he'd gone over to the bar.

He was scared. He kept

talking about his pension.

I brought him back here.

I tried to make him understand

I wouldn't say anything,

but I guess

he wasn't listening.

Well, you'd better

get back upstairs.

We've still got

a job to do here.

Yeah.

There's not much point keeping

a stakeout now, is there?

You got any

better ideas?

Yeah, right away.

Oh, look, there's

been an accident.

Wonder what happened?

Wanna go over?

Maybe you can help.

No, they don't

need us.

They'd be the first to say so.

Oh, it's so late.

Come on.

Are you sure you won't change

your mind and come with us, Ann?

No, you all go on.

All right.

And have fun.

You know the Crockett's

number if you need me.

Oh, don't worry.

Give us a call. All right. Bye.

Nighty night.

Bye.

He's dead.

I shot him.

What do you mean?

Paddy Dolan.

What happened?

I killed him.

The poor, dumb, harmless...

He pulled a gun on me.

It went off. It was

an accident. I...

Are they after you?

No.

But everything's

gone wrong.

Paddy and...

And that

girl downstairs,

she saw me in your apartment. What girl?

The one that lives

next to you. The nurse.

Does she know who you

are? I don't think so.

But she'll remember me.

She'll remember me good.

Paul, look, we've got the

money. Why don't we get out now?

We haven't got the money! The car's gone.

How? Paddy must have moved it.

He couldn't have

moved it far.

It must be around here

someplace close.

Maybe we could

spot it from up here.

McAllister's

still down there.

You take that side.

I'll look over here.

Go on upstairs, Rick.

Who tells

Paddy's wife?

That goes with my job.

What are you going to

say? He killed himself?

What else can I say?

Get those people

out of there.

Anything serious?

No.

You know, you're a bitter

disappointment to me.

Oh?

The other night.

You were just

doing your job.

You are a policeman,

aren't you?

Paul!

That's it.

Go down to your apartment, stay

there a few minutes, and then leave.

I want the man that follows

you kept out at least an hour.

What are you going to do?

I'm going to put Wheeler's body

where it'll be found tonight.

Why? Why take

any chance now?

Tomorrow we... I can't do

it in the broad daylight.

And if that girl sees

me again, I'm through.

When they find the body, the stakeout

will be over and I'll be away from here.

Everything's going to

be all right? Sure. Sure.

You have a wonderful way

of sidestepping questions.

Shall I just stop

asking them?

Right now, yes.

But save them

for next week.

Next week?

You wouldn't be

asking for a date?

I can't even answer

that for sure.

Is your name

in the book?

Ann Stewart,

with a "W."

But you'd better call me at the hospital.

After our party tonight,

we may be evicted.

Was it that bad?

I didn't think so, but the

people next door apparently did.

People next door.

You don't mean 423?

Yes. Why not?

What happened?

Well, nothing, really. I went over

to borrow some ice cubes from him.

Him? You mean

her, don't you?

No, I mean him.

What time was it?

Well, about 11:
00.

Is he important?

He may have killed a man

last week and another tonight.

Do you think you could recognize

him if you saw him again?

Yes. I think I could.

Then you'll be hearing from

me sooner than I thought.

Good night.

Wheeler was here.

In her apartment.

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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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