Pickup on South Street Page #3

Synopsis: On a crowded subway, Skip McCoy picks the purse of Candy. Among his take, although he does not know it at the time, is a piece of top-secret microfilm that was being passed by Candy's consort, a Communist agent. Candy discovers the whereabouts of the film through Moe Williams, a police informer. She attempts to seduce McCoy to recover the film. She fails to get back the film and falls in love with him. The desperate agent exterminates Moe and savagely beats Candy. McCoy, now goaded into action, confronts the agent in a particularly brutal fight in a subway.
Director(s): Samuel Fuller
Production: Twentieth Century Fox
  Nominated for 1 Oscar. Another 1 win & 1 nomination.
 
IMDB:
7.8
Rotten Tomatoes:
90%
APPROVED
Year:
1953
80 min
300 Views


- Take a look around. You're getting paid for it.

- You want a beer?

- Sure, I'll have a beer.

- How's the whip?

- You know the whip - always in the pink.

Yeah. I got no electricity here,

but the beer's always cold.

- You want one, Mac?

- Tiger's waitin'.

Okay. Here's the opener.

Come on. Let's go.

Oh, uh, Winoki, just two things.

After you give my place the broom,

leave it the way you found it, huh?

And when you got enough beer,

lower my icebox back in the drink.

Come on, Mac.

He's here.

That's fast work.

I hope he didn't throw that microfilm away.

- How do you want to handle this?

- He got me suspended twice for smacking him.

Cost me six months' pay.

Do you mind waiting outside?

I want to handle this my way.

Sure.

I was picked up.

No resistance.

- You better make this stick.

- You only been out a week...

and right away those fingers

gotta play the subway circuit.

What did you do with the wallet

you lifted from the girl?

Back up the pinch with a charge

or drive me back to my shack.

I'll drive you back in a hearse

if you don't get that kink out of your mouth.

Now, look, buster...

you've been whip of this squad

long enough to know...

that a guy with my rating

wouldn't grift a dame on the train -

not with three strikes on me.

Ah, you'll always be a two-bit cannon.

And when they pick you up in the gutter dead,

your hand'll be in a drunk's pocket.

- You were spotted lifting that wallet.

- Only amateurs are spotted.

- So?

- So it's my word against one of your whiz cops.

That girl was carrying T.N.T.,

and it's gonna blow up right in your face.

- What girl?

- I'm gonna jam that grin right down your teeth.

Go ahead, slug me. Go ahead.

I'll make a bigger stink than last time.

I'll see you hit the backyard

without pay for one year.

Go on, knothead. Slug me. Come on, hit me!

Come on, hit me, will ya?

What's the matter? You nervous?

- Come on.

- Zara.

All we want is the wallet.

If you got rid of it, tell us.

- If you tossed the film away, tell us where.

- Who's he?

None of your business.

Just answer the man.

Now, wait a minute.

I've been clean ever since I got out last week.

Wouldn't touch a nickel if it was

laying in the street. Word of honor.

Why don't you haul that girl down here

to identify me? It's my word against hers.

No. It's your word against mine.

I saw you close her purse.

All right. So it's your word.

But you gotta nail the goods on me,

and I'm clean.

Go ahead. Fan me.

Give me the works.

That film you stole had government

information on it - classified.

We've been following this girl for months.

And just as we were about to

grab a top Red agent...

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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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