The Public Enemy Page #4

Synopsis: Tom Powers and Matt Doyle are best friends and fellow gangsters, their lives frowned upon by Tom's straight laced brother, Mike, and Matt's straight laced sister, Molly. From their teen-aged years into young adulthood, Tom and Matt have an increasingly lucrative life, bootlegging during the Prohibition era. But Tom in particular becomes more and more brazen in what he is willing to do, and becomes more obstinate and violent against those who either disagree with him or cross him. When one of their colleagues dies in a freak accident, a rival bootlegging faction senses weakness among Tom and Matt's gang, which is led by Paddy Ryan. A gang war ensues, resulting in Paddy suggesting that Tom and Matt lay low. But because of Tom's basic nature, he decides instead to take matters into his own hands.
Genre: Crime, Drama
Director(s): William A. Wellman
Production: WARNER BROTHERS PICTURES
  Nominated for 1 Oscar. Another 1 win.
 
IMDB:
7.7
Rotten Tomatoes:
100%
NOT RATED
Year:
1931
83 min
1,433 Views


-l should say so.

-Meet Mr. and Mrs. Doyle.

-We're honored, l assure you.

-Let's dance while they're fixing the tables.

-This way, please.

-Hiya, Nails.

-Hello, Tom.

-How are you, Mr. Nathan?

-Harry, making money?

-Right this way, please.

-Hello, Jim. How are you?

-Are you as happy as l am, Matt?

-Sure, honey.

You fellows don't know what it means

to a girl, getting married.

You knew all the time

l was going to marry you, didn't you?

Of course l did.

l was just thinking of Tom and Kitty.

Well, they're different.

l guess Tom ain't the marrying kind.

No, l guess not.

Are you sure that was old Putty Nose?

-l ought to know him when l see him.

-Sure you know him.

l suppose you'd like

to put in with him again.

That's the Fagin that

put something over on you, ain't it?

l had to laugh when l heard about that.

That guy's going to get you again.

He thinks you're soft.

-He ain't going to get me.

-We don't want any part of him.

l haven't got a thing to say, boys.

But they got the lndian sign on you, Tom.

-He thinks you're a cinch.

-ln a pig's eye.

That McGonagall ain't got a chance.

Take care of the women, Nails.

You're not going out

in the cold, dark night, are you?

Nails will see that you get home.

We got a little job to do.

Come on, Matt.

You're not gonna leave me tonight, Matt?

There's something we forgot to do, honey.

l'll be home later.

Come on.

Where's he going?

They're just walking around the block

to cool themselves off.

What are you worrying about? Sit down.

Have it ready at 8:00. Fill it with gas.

l'm going on a long trip.

Well, if it ain't Tom Powers and Matt, too.

How are you, boys?

-Been out of town?

-Yeah, l was down home, visiting.

-Got a little drink for us, Putty?

-Sure, Tom.

But l can't let you in just now.

You see, l've got a Jane inside.

l'll bring it right out to you.

Wait a minute, Putty Nose.

-We got words for you.

-What's up, Tom?

We got a little business to settle,

Jane or no Jane.

You ain't sore, are you, Tom?

l've always been your friend.

Sure. You taught us how to cheat,

steal, and kill. Then you lammed out on us.

lf it hadn't been for you,

we might have been on the level.

Sure. We might have been

ding-dings on a streetcar.

Come on.

A Jane, huh?

There ain't no one here but him.

l thought so.

Why, you dirty, double-crossing....

What are you squawking about?

You got plenty more coming.

What are you gonna do?

l don't want to die.

So you don't want to die?

Tommy, don't you remember

you and Matt...

how you used to be just kids

and how we were friends?

You won't let him, Matt.

l'll do anything for you from now on.

Ain't you got a heart, Matty boy?

Don't you remember

how l used to play to you?

And didn't l always stick up for you?

l ain't got this coming.

Please, Matt, don't let him.

l ain't a bad fellow, really.

Tommy, don't. Ain't you got a heart?

Tell me you won't let him, Matt, will you?

You remember that song l used to sing?

That song l taught you?

You remember, Tommy.

Back in the club,

how you kids used to laugh at that song.

Guess l'll call up Gwen.

She ought to be home by now.

Let me make you a cup of tea.

l got to be getting back on the job

in a minute.

My, but it's good to see you again.

l was beginning to think l'd lost you.

You can't lose me that easy.

Poor Michael.

l'm afraid he's working himself

into an early grave.

Days on the cars, school at night,

and studying in between.

Listen, Ma,

l came over to give you something.

Here, take this.

When you need more, just say so.

l'm making plenty.

You're a good boy, Tommy, but l can't.

-Take it.

-Mike wouldn't like it.

-Mike ain't got nothing to say about it.

-No?

Listen to me.

l've got something important to say.

Keep it to yourself.

Nobody wants your two cents.

l don't want you two boys fighting.

lt ain't right for two brothers.

There won't be fighting.

Only, l don't need his preaching.

-What is this, Ma?

-Tommy gave it to me to buy some things.

-Ain't that nice of him?

-lt's more than you can do.

We don't want your money.

l'll look after Ma.

-On two bits a week?

-Ma don't drink champagne.

How do you know?

l used to dance when l was a girl.

l won't argue with you, and

l can't tell you all l'd like to in front of Ma.

But get an earful of this:

You ain't welcome in this house.

That's blood money. We want no part of it.

-Hiding behind Ma's skirts, like always.

-Better than hiding behind a machine gun.

You're too smart.

-l'm going, Ma.

-And don't forget your change.

-Money don't mean nothing to me.

-No, l guess not.

But with no heart or brains,

it's all you've got. You'll need it.

Why you sneaking, stooling....

Michael, why did you hit him?

l may leave town next week.

You don't care, do you?

When l first met you,

l sort of figured you was on the make.

Not much. You know what l mean.

And besides that...

l figured you was sort of different, too.

That is, different from the kind of girls

l was used to.

l don't go in for these long-winded things,

but with me, it was always yes or no.

And l could never figure you out.

-Now can you?

-No.

But l guess l ain't your kind.

-l think l better call it quits.

-Don't be like that, Tommy...

because l ''go for you,'' as you say.

Maybe too much.

You know, all my friends...

think that things are different between us

than they are.

They figure they know me pretty well...

and don't think l'd go

for a merry-go-round.

Do you think

l'm giving you a merry-go-round?

-No, l--

-Then do you want things to be different...

to please your boyfriends?

No, but how long can a guy hold out?

l'm gonna go screwy.

-Where are you going?

-l'm gonna blow.

You're a spoiled boy, Tommy.

You want things,

and you're not content until you get them.

Or maybe l'm spoiled, too.

Maybe l feel that way, too.

But you're not running away from me.

Come here.

Now you stay put,

if you know what that means.

My bashful boy.

You are different, Tommy.

Very different.

And l've discovered

it isn't only a difference in manner...

and outward appearances.

lt's a difference in basic character.

The men l know...

and l've known dozens of them...

they're so nice...

so polished, so considerate.

Most women like that type.

l guess they're afraid of the other kind.

l thought l was, too.

But you're so strong.

You don't give, you take.

Tommy, l could love you to death.

Oh, nuts.

ls Tom here?

Nails is dead.

-Who killed him?

-Nobody. His horse.

He was thrown off in the park,

kicked in the head.

-You got that horse that killed Nails?

-You mean Rajah?

He bad animal. Terrible.

Yeah, what's he worth?

Spirited horse.

l told Mr. Nathan not to ride him.

What's he worth?

He could be bought for $1,000.

You see, it's--

-Never mind. Here.

-Where's he at?

Stall Number 3.

Stay where you are.

Right now, we ain't got a chance.

Since Nails has gone, his mob has

scattered. They're ten-to-one against us.

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Kubec Glasmon

Kubec Glasmon (August 12, 1897 – March 13, 1938) was an American screenwriter from Poland, who was nominated for the now defunct category of Best Story at the 4th Academy Awards. He was nominated for Best Story with John Bright for The Public Enemy. more…

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Submitted on August 05, 2018

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