Touch of Evil Page #6

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


A pigeon egg.

You did buy 17 sticks of dynamite?

You're telling a story.

I don't have to answer your questions.

The hired hand at your ranch says

he used 15 sticks. - My ranch!

You been spying out at my ranch?

Foreigner!

- Without my knowledge, Hank!

He's just asking, Hank.

What's that for?

It's for letting him ask.

- Hank, wait!

Watch your blood pressure!

- And you allow this foreigner...

We were just giving you

a chance to answer. - Answer? No, sir!

I won't take back that badge until

the people of this county vote for it!

Will you listen a minute?

I don't ever want to see that man

at headquarters again!

You backed him up! You stood by

while he impugned the integrity...

I tried to stop him!

- You realize what Vargas has done?

He's smearing hundreds of fine men!

Have you caused enough trouble?

I want you to apologize!

To Quinlan?

- And Chief Gould!

Should I get on my knees?

- If you had any decency, you would!

I won't give you the chance

to test your authority in this matter.

Al, have I still

any credit left with you?

Some. - Where can I find the records

of Quinlan's old cases?

I'll show you. - I'd like to get back

to my wife. I hope it won't take long.

Hank, you're not going without this.

Well...

Now I guess I can talk.

- What do you mean, Hank?

Well, I couldn't really say it

in my own defense. - Go on, Hank.

What do you know about Vargas?

Isn't he in charge of some cleanup

on this side of the border?

Narcotics, mainly?

- Narcotics...

He's a drug addict.

He's got

that young wife of his hooked, too.

If I hadn't seen that hypodermic

myself... - Hypodermic! You saw it?

I just said so, didn't I?

- Are you sure?

That's how he come to imagine

all those crazy things. It's typical.

That's what his wife was doing

in that dive on skid row.

Both a couple of junkies.

He's usin' the job as a cover-up.

You don't mean he's mixed up

in this dope racket himself?

Hank, if this

is just one of your hunches...

I don't ask you to believe it.

I know it's not my department, but...

I'd like to show you I'm not

talking out of the back of my neck.

Just be careful, huh?

- Chief, I'll be very careful.

This takes guts, Al.

Standing up to your boss this way.

You could do me a favor: help me

look for an office. - How's that?

Quinlan's intuition may still turn out

to be better that yours.

If so, my intuition tells me I'll be

going back to private practice.

Here are the other names you want.

- Look, I can finish this alone.

And maybe you can't.

Well, let me try anyway.

I have no right

to drag you further into this.

Gonna do it alone, huh?

Just solve the murder,

and also prove that the idol

of the police force is a fraud.

Amigo, you've got your work

really cut out for you.

Hello Tanya. Is Captain Quinlan there?

Now, Sargeant!

- Tanya!

I'll be right there!

What would Quinlan be doing here?

He used to hole himself up at your

place for days with a case of whiskey.

That was years ago.

Now he's on candy bars.

Not tonight.

No, lemme stay. I wanna watch.

Hold her legs!

No, let me go! Don't touch me! No!

Close the door.

So, this is where

you've been all afternoon?

How'd they let you in here?

A foreigner.

Hall of records is open to the public.

- What are you doing?

You'll find out tomorrow morning.

- I want to know now!

What's all this?

- Records of every case

where you or Quinlan

uncovered the principle evidence.

In each case, the defense denied

the existence of that evidence.

Are you tryin' to break him?

Him?

What about you?

You never

planted any evidence, Sergeant?

Of course not. Neither did Hank!

It's all there:
the axe in the Burger

murder, the dentures in the Yule case.

Planting evidence, framing suspects!

That's a lie!

- I think I can prove it, Sergeant.

Sure, you can smear him,

ruin his whole life's work.

Vargas, I don't even know where he is.

That's what you've done to him.

- What I've done? - Yeah...

He's on an important case,

and he's disappeared.

Good and drunk, probably.

After 12 years on the wagon.

That's what you've done to him.

What about Quinlan, Sergeant?

What's he done?

What about all those people

he put in the death-house?

Save your tears for them.

What seems to be the trouble?

- Trouble?

The lights. The lights

seem to be out in all the cabins.

Somebody's been

monkeyin' with them fuses.

If they think I'm gonna fix 'em,

they got another thing comin'.

It ain't my job to fix 'em,

even if I know how.

Could you please

show me to my wife's cabin?

No.

Ain't nobody here.

You must be mistaken. My wife's been

registered here since this morning.

My name is Vargas.

Vargas? - Would you look

in the register, please?

The register?

It might be cabin 6.

- Possibly...

Maybe 7.

- Yes... here.

May I?

There's nobody

been registered all week.

No, it's off the season.

Nobody hardly comes around at all.

I'm the night man.

There was that party...

Party? What party?

It's a mess, awful mess.

- Where?

If they think I'm gonna clean it up,

they got another thing comin'.

Terrible brawl.

Cabin number 7.

In the middle of the afternoon!

Cabin number 7.

This brawl. You mean

there was some sort of fight?

Fight?

- Yes.

No.

No, it wasn't that kind of a brawl.

It was one of them wild parties.

You know the kind?

This can't be my wife's room.

This ain't her clothes, huh?

It stinks in here!

Let's get some air in here.

It's a mess, it's a stinkin' mess!

Those wild parties!

There's my briefcase.

I left it with Susan, it...

I'm gettin' outta here!

My gun!

You haven't been here?

You haven't been in that room?

I just looked in.

- I had a gun in this case!

You didn't take it?

- What would I want with a gun?

Well, somebody wanted it!

If they hadn't put that Grandi boy

on the desk this morning,

this wouldn't have happened.

- Grandi?

Who d'you think this belongs to?

- Where are they?

The kids?

- Yes.

Please!

Rancho!

- Rancho Grande? - Yes.

You got her undressed?

- We scattered the reefers around.

You didn't use

none of that stuff yourselves, huh?

You think we're crazy?

No Grandi gets hooked.

Understand? That's the rule.

We blew smoke on her clothes,

that's all.

We put on a good show, to scare her.

Let's hope it was good enough.

When she wakes up, she's gotta think

maybe something did happen.

Now beat it.

- What about our dough?

We weren't doing it for fun.

- You'll get your dough tomorrow.

Okay.

Beat it.

Turn out the light.

- Why?

Nobody can see you up here.

You sure?

- Of course I'm sure.

What are you doing?

I brought you up here for a reason.

- I don't get it.

I don't even see why we had to

bring her all the way to town.

I couldn't drive out to the motel.

My car's known.

So what?

You're a cop making an arrest.

The vice boys will do that.

What's that for?

Turn around!

Get the phone.

Now dial 1-2-1-2.

That's the police!

- Go on, dial it!

Stop, Quinlan. You're drunk.

Just stop and think for a minute!

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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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