Touch of Evil Page #5

Synopsis: Mexican Narcotics officer Ramon Miguel 'Mike' Vargas has to interrupt his honeymoon on the Mexican-US border when an American building contractor is killed after someone places a bomb in his car. He's killed on the US side of the border but it's clear that the bomb was planted on the Mexican side. As a result, Vargas delays his return to Mexico City where he has been mounting a case against the Grandi family crime and narcotics syndicate. Police Captain Hank Quinlan is in charge on the US side and he soon has a suspect, a Mexican named Manolo Sanchez. Vargas is soon onto Quinlan and his Sergeant, Pete Menzies, when he catches them planting evidence to convict Sanchez. With his new American wife, Susie, safely tucked away in a hotel on the US side of the border - or so he thinks - he starts to review Quinlan's earlier cases. While concentrating on the corrupt policeman however, the Grandis have their own plans for Vargas and they start with his wife Susie.
Director(s): Orson Welles
Production: October Films
  6 wins & 1 nomination.
 
IMDB:
8.1
Rotten Tomatoes:
96%
PG-13
Year:
1958
95 min
1,432 Views


What are you waitin' for?

We got work to do! - Okay, Hank.

What do you want?

- Nothing that you don't want, too.

Spit it out then.

Captain,

we can't stand here in the street.

Let's go somewhere nice and private,

where we can sit and have a drink.

I don't drink.

Look, Schwartz...

- Al.

We must show where

Quinlan himself got the dynamite.

If you're really with me on this,

we have to get some proof.

We've got your word.

- Let's do better than that.

In your country, too, when explosives

are purchased, a record is kept.

And we're going to look it up.

How about Quinlan's ranch?

Where's that?

- Just outside town.

While you're looking for the records,

I'll go out there.

One thing worries me still.

- What's that?

I could be wrong about this.

That would be very bad for you.

Let's see if you're wrong first.

Could you turn that music off?

Could you ask

those people next door to move?

I'm trying to sleep.

Where should I take you, doll?

You got the stuff?

I brought that.

The other guys got more.

What are you doing here?

Turn it down!

I'm the night man.

- Yeah?

A little early, ain't you?

- I thought I'd see if the new...

Which one of you is the day man?

- I am!

Beat it.

It's a mile and a half

down to the highway...

I think I'd better stay. - Go in

the kitchen and get something to eat.

I brought my lunch.

- Eat it now.

Now?

I know you. You're the Grandi boys.

Your Uncle Joe know you're here?

- Who could that be?

Take it easy, pretty boy.

What's the sweat about?

It's a tough rap to get caught with

this! - It's only the Vargas dame.

Yes Ma'am?

- Get me 1-2-1-2.

Very good. 1-2-1-2.

That's the police!

- Yeah?

It's the police alright.

What do we do now?

- Nothing...

Just relax and have ourselves a ball.

I'm very sorry, Mrs. Vargas.

Phone's temporarily out of service.

I'll call you

just as soon as it's repaired.

Better call Uncle Joe.

So that is our little arrangement?

A real sweet setup.

And all the help...

- Listen, if you knock somebody off,

there won't be any little arrangement.

Not with Hank Quinlan!

It's for you. - Yeah.

- Vargas can't hurt me.

Maybe not. But maybe,

with our little deal, we can hurt him.

I don't make deals.

Something wrong? - Nothing we can't

fix. - Where'd you get that "we"?

I haven't given you an answer yet.

You talk like this was some deal

where I ask you

to get me out of a rap.

No, that ain't it at all.

In this thing we're partners.

Shall we drink to that?

I don't...

Juanita, two more double bourbons.

Make 'em nice and big.

This better be important!

- It is.

We're crazy to even be here in Mexico.

- Vargas, you sent for us?

Not really. Mr. Schwartz insisted

that I... - Let's get to the case.

Chief Gould, Mr. Vargas.

- Where's this so-called document?

Perhaps we'd better go to my room.

In here, gentlemen.

- Go ahead. - No, I'll walk.

The lift is rather small.

Chief Gould...

Just press the second floor button,

I'll meet you there.

I still don't know

why Vargas couldn't come to my office.

He has practically cabinet status.

- If he's so important...

He can't make a formal call on you

without going though his consulate.

Cut the fancy talk.

What does it boil down to?

This Mexican's bringing charges

against a respected police officer!

That's what it boils down to!

You must be quick on your feet!

The lift is just slow.

This way, gentlemen.

After you.

I have it right over here.

There.

While you're looking at it,

allow me to finish a call.

Where'd you get this?

- From your department of records.

It doesn't mean anything!

Are you calling your wife?

You know who owns the Mirador?

June 18,

Hill's Hardware in Los Robles.

to H. Quinlan.

Quinlan needed dynamite

for his ranch. Simple coincidence.

Mr. Adair... Hello?

Mirador? My name is Vargas.

I'd like to speak with my wife.

I'm very sorry, but your wife

left definite instructions.

She's not to be disturbed.

Honey!

You, in the next room!

What is it?

Come to the wall,

so I can whisper.

Yes?

You know what the boys

are trying to do, don't you?

They're trying to get in there.

They went to get the master key.

You know

what marijuana is, don't you?

Yes...

You know what a Mary Jane is?

You know what a mainliner is?

I think so.

But what's that got to do with me?

You take it in the vein.

You're telling me

the boys are drugged? Is that why...

You think

they're ready for that stuff yet?

Not yet, kid.

The fun is only beginning.

Hank, I've been looking

for you in every bar in town.

I've been in half of them,

only on the wrong side of the border.

I never drink on my own beat.

- Give us some black coffee, quick!

I don't need black coffee. - We're

meeting Vargas at his hotel. - Motel?

Right here, across the street.

- I don't need any coffee yet.

Not yet?

This is a swell time to get fried!

- My job's over, Pete.

You oughtta work on Sanchez.

Vargas is telling the O.A.

that you planted the dynamite. - Fool.

They're takin' him seriously.

I mean Sanchez. Dynamite's no way

to kill. Did I tell you the smart way?

Sure. Strangling.

- Clean, silent.

You told me all that.

Come on, finish your coffee.

I don't usually talk about my wife.

- Never when you're sober.

She was strangled, Pete.

- I know.

She was working at a packing plant.

The killer had the cord right there.

No fingerprints on a piece of string.

- What do I owe you?

That half-breed done it.

But I was just a rooky cop.

$ 4.75.

I followed him around,

eating my heart out,

tryin' to catch him,

but I never did.

Then the Lord done the job for me

in some mud-hole in Belgium in 1917.

That was the last killer

that ever got out of my hands.

Where're you going?

- To Seor Vargas' meeting.

He wants to fight dirty, OK.

That's the fight he's gonna get.

Perhaps...

- What?

Perhaps he honestly thinks Sanchez

is guilty. - No "perhaps" about it.

Hank Quinlan is an honest cop.

- There are all kinds of policemen.

A few take bribes...

Quinlan never took a dollar.

- Most are honest, yes...

But even some of the honest men

abuse their power in other ways.

Come in, Hank.

I don't know

whether I'm welcome or not.

I want you to hear this.

I've heard it already.

Our friend Vargas has some

special ideas about police procedure.

Seems to think it don't matter

whether a killer is hanged or not.

A policeman isn't a dog-catcher,

putting criminals behind bars. No!

In a free country, a policeman

is supposed to enforce the law.

The law protects guilty and innocent.

- Our job is tough enough.

It has to be tough.

A policeman's job is only easy

in a police state. That's the point!

Who's the boss, the cop or the law?

Where's your wife, Vargas?

You know as well as I do.

Sgt. Menzies drove her to the motel.

You're still here?

I'm checking out now and joining her.

Any reason for asking?

No. No special reason at all.

I just wondered...

Whaddya know! Mother pigeon

and her nest...

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Orson Welles

George Orson Welles (; May 6, 1915 – October 10, 1985) was an American actor, director, writer, and producer who worked in theatre, radio, and film. He is remembered for his innovative work in all three: in theatre, most notably Caesar (1937), a Broadway adaptation of William Shakespeare's Julius Caesar; in radio, the legendary 1938 broadcast "The War of the Worlds"; and in film, Citizen Kane (1941), consistently ranked as one of the greatest films ever made. In his 20s, Welles directed a number of high-profile stage productions for the Federal Theatre Project, including an adaptation of Macbeth with an entirely African American cast, and the political musical The Cradle Will Rock. In 1937 he and John Houseman founded the Mercury Theatre, an independent repertory theatre company that presented a series of productions on Broadway through 1941. Welles found national and international fame as the director and narrator of a 1938 radio adaptation of H. G. Wells' novel The War of the Worlds performed for his radio anthology series The Mercury Theatre on the Air. It reportedly caused widespread panic when listeners thought that an invasion by extraterrestrial beings was actually occurring. Although some contemporary sources say these reports of panic were mostly false and overstated, they rocketed Welles to notoriety. His first film was Citizen Kane (1941), which he co-wrote, produced, directed, and starred in as Charles Foster Kane. Welles was an outsider to the studio system and directed only 13 full-length films in his career. He struggled for creative control on his projects early on with the major film studios and later in life with a variety of independent financiers, and his films were either heavily edited or remained unreleased. His distinctive directorial style featured layered and nonlinear narrative forms, uses of lighting such as chiaroscuro, unusual camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. He has been praised as "the ultimate auteur".Welles followed up Citizen Kane with 12 other feature films, the most acclaimed of which include The Magnificent Ambersons (1942), Touch of Evil (1958), and Chimes at Midnight (1966). Other works of his, such as The Lady from Shanghai (1947) and F for Fake (1973), are also well-regarded. In 2002, Welles was voted the greatest film director of all time in two British Film Institute polls among directors and critics. Known for his baritone voice, Welles was an actor in radio and film, a Shakespearean stage actor, and a magician noted for presenting troop variety shows in the war years. more…

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