Underworld U.S.A. Page #2

Synopsis: Fourteen-year-old Tolly Devlin sees four hoods beat his father to death. Twenty years later, the killers have risen to the top of the crime syndicate and Tolly has a plan for revenge.
Genre: Crime, Drama, Thriller
Director(s): Samuel Fuller
Production: Sony Pictures Entertainment
 
IMDB:
7.5
NOT RATED
Year:
1961
99 min
109 Views


And Gela uses your salon

to stash his dope, huh?

Who knows?

Could be.

Hello?

Is Mr. Gela there?

You better get word

to Mr. Gela,

The girl backed down.

She wouldn't make the pick-Up.

Yes, she's still here with me.

Uh, the key?

I'll leave it on the shelf

in the closet for you.

What about the girl?

Cuddles.

Cuddles!

Did, uh...

did-Did he get sore?

Give me the key, baby.

Yeah, sure.

Here.

Did he get sore?

Gee, I-I'd rather be dead

than handle that stuff.

I mean, do you know

what I mean?

I went there, and when I got

halfway there, I couldn't.

I... I...

hey, Ill pick it up.

I'm gonna

miss you, baby.

Call him and tell him

Ill pick it up,

And Ill deliver it!

Come!

Oh, oh!

Hey, Im beat!

Come on, come on!

Who are you?

Narcotics.

I- I never pushed

any of that stuff.

Yeah?

I'll tell the department

to give you a soft knock,

If you cooperate.

Honest, I don't

know enough

To make a trade

with the law.

You know where that fits,

don't you?

This stuff uncut?

Hey, I need

a doc.

What's the name

of that guy I clobbered?

Aw, give me

a break.

Don't push me

for names.

That's where

it hurts.

What place is this?

It's all right, lady.

You're among friends.

Why didn't you take me

to headquarters?

It may not

be safe there.

Your lover might have

a pipeline to the police.

Oh!

He's not my lover.

If he's not your lover,

who is he?

Hey, look...

I don't want

no more trouble.

I done you a favor,

you do me a favor.

What's his name?

Gus.

Gus what?

Come on.

Cottahee.

What's his phone number?

Wilton, four...

five.

Four, five... yeah?

Five.

Five.

One.

One, yeah?

Nine.

Nine.

Thanks, cuddles.

Thanks.

I brought some

warm milk.

It's better than

black coffee.

Here, drink this.

Who are you?

Sandy.

Thanks for lettin' me

stay here.

Huh?

Oh, that's all right.

He's nice for a cop.

For a what?

I'll fix up

the couch for you.

Don't bother.

I'm going out.

Where are you goin'?

Look, let's have

a little dose

Of straight talk

right now, shall we?

That, uh...

cuddles character?

Who and what?

She got in a jam. And

you helped her out of it.

That's right.

Uh huh.

That's the first time you ever

stuck your neck out for anybody.

You know me.

I got a big heart.

Who is she?

Just a broad.

So you're telling me.

And why did you

bring her here?

It helps swing weight

to fix things up.

Why did you tell her

you were a cop?

I told you.

It helps swing weight

to fix things up.

What things?

She didn't want

to make a junk pick-Up.

Where did

all this happen?

In a backroom

of the elite espresso.

Where all they do

is sit around

And just drink coffee.

You never handled a gun

in your life. That's right.

Then what's this box

of bullets doin' here?

Hello, Gus?

Yeah, who is this?

Gus, Ill sell you back

that box of bullets.

What are you talkin' about?

Meet me in the alley

at elite espresso in one hour.

Hey, who is this?

Come alone and bring

Hey listen, I can't...

askin' for dough like that

has gotta get me to Gela.

Hold it, Gus.

What'd you

coldcock me with?

The phone.

Where's the dough?

You hung up on me

before I could tell you

That amount's tough to get

this time of night.

When can you get it?

Tomorrow.

I'll call you

noon sharp.

Now blow.

All right.

Where's the package?

A bullet won't buy

that cartridge box.

I file faces,

and yours is familiar.

Yeah, well,

I been around.

You say you're

a pete man.

Yeah, that's my trade.

Prove it.

Prove it!

You, uh...

you heard the girl

tell Gus

She wouldn't make

the pick-Up.

Yeah, that's right.

So, you hit Gus

and took the key.

Yeah.

How'd you get her to take you

to the sports shop?

Told her I was

on a vice squad.

She bought that?

Yeah.

Well, I had to rough

her up a little bit.

Where is she now?

Who knows?

Check the hospitals.

My talkin' stoppin' you

from concentratin'?

Yeah.

But not on

this old box.

I known this hole

since I was a kid.

Close it.

So now you know

Im a pete man.

What about the dough?

Gunther?

Penny-Ante stuff here.

Smith still there?

Yeah,

he's still here.

We could've had

this meeting at my place.

Or mine.

Yeah, Im leavin'

right now.

It's okay with him, Gus.

Take care of the transfer.

Mr. Gela?

I'm sorry I called you

away from your meeting.

For 50 grand,

You didn't have to

bother me.

Mr. Gela.

Oh, I didn't know that

package belonged to you.

So now you know.

Yeah.

Now I know,

and the deal is off.

Now don't

push your luck.

I may be a sentimental

meathead,

But this time,

This package

is on the house.

On the house?

Why on the house?

Tom Devlin.

Who?

Tom Devlin.

He was my father.

I'm Tolly Devlin.

Devlin.

Devlin!

Yeah!

Yeah, yeah, yeah.

You used to work with him

in the '30s, right?

Now I know why

you look so familiar.

Yeah, yeah, yeah.

I used to work with him.

You and him was like brothers,

'til my old man got bumped off.

Who told you we were

like brothers?

Vic Farrar.

I met him

in a prison hospital.

Yeah.

Yeah, yeah.

He's from the old days too.

Mr. Gela.

You know them four gonzos

that bumped my father off?

Yeah?

They got paid off.

Burned to death

in a car wreck.

Who told you that?

Vic.

Died in my arms

in a hospital.

I ain't takin'

no package from you.

You tryin' to tell me

That you're

dumpin' 50 grand

Just because

of sentiment?

It would be like

tappin' my own father.

Hello?

It worked.

I scored with Gela.

Now keep that broad

in the house. She's hot.

Tolly.

Tolly, wait a minute.

Tolly!

Tolly!

What do you mean,

he's no cop?

He's a thief.

And he just

got out of prison.

He used me

to get his hands

On that stuff,

didn't he?

Yes.

Well.

I don't care.

He saved my life.

He thinks his old man and I

were blood brothers.

So, I put him on

for a fast 75 a week

As a numbers collector.

Relax, relax.

He's loaded with loyalty.

Anyway, Im runnin'

a check on him.

The name Devlin

Still rubs me

the wrong way.

Well...

Im a sentimental slob

When it comes

to lovin' a parent.

I wish my kid

felt about me

The way Tolly feels

about his old man.

Hey, what's this?

What?

This report on the police

chief. What is this?

Oh.

Chief fowler.

He wants me

to lay off my houses

For a few months.

Why?

He thinks someone

in our camp

Is selling him out

to Driscoll.

What are you payin' him? 5,000 a week.

That's a fat bonus

for a police chief.

That's more than I grease

my union lobby guys.

He's worth it! We're

clocking 100,000 a week

In girls, numbers

and distribution.

Five grand's a bargain.

Yeah, but maybe he's

usin' Driscoll as an alibi.

He's been tryin'

to get out for months.

You know that.

No, I don't think so.

Look, he's very close

to his family.

He's worried stiff

about that daughter of his.

Besides, I warned him he'd be

putting her head on the block

If he even tried to think

of crossing us.

The syndicate bosses

in the field

Command the rackets

Like generals in the field

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside the conventional studio system. Fuller wrote his first screenplay for Hats Off in 1936, and made his directorial debut with the Western I Shot Jesse James (1949). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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