Pickup on South Street Page #5

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
305 Views


Oh.

- So you're the muffin.

- What do you mean?

Oh, one cannon talks to another,

word gets around.

What was in the wallet?

That's pretty.

- Something personal.

- How personal?

What difference does it make?

He didn't know what was in it when he took it.

How do you know?

You got a boyfriend?

- Why?

- Like to buy him a tie?

I happen to carry a complete line

of personality neckwear.

- Bargain prices.

- Look, I'll tell you all the facts - nothing else.

- Now, you want to do business?

- You got any happy money on you?

"Happy money"?

Yeah. Money that's gonna

make me feel happy. What else?

How happy?

$50.

Hey.

Take your time looking.

Want a beer?

I want my wallet.

- What wallet?

- The one you lifted from my bag today.

Oh, now,

do I look like a pickpocket?

You sure do.

Wipe your face off.

How much did Moe get out of ya?

Huh?

I figure you shelled out

about 50 bucks to find me...

if I know Moe.

Huh?

Moe's all right. She's gotta eat.

Crummy tie.

- Look, did you throw it away?

- Hmm?

Mr. McCoy, I gotta find that wallet.

- Why?

- It's no good to you or to anybody else.

No?

What's the matter,

I bust somethin'?

- I think I'm sick.

- Sit down. Let's see.

Find out the trouble.

Oh!

That's where it hurts.

Let's fix it up.

You just relax.

All right now, muffin.

Let's have a small dose of straight talk.

There was some film in it.

You mean you ransacked my joint

just to find some film?

You got me in an awful mess

when you took it.

What kind of a mess?

You workin' for some blackmailer?

Oh, no. Nothing like that, Mr. McCoy.

They're pictures of my brother Mickey.

He's a war hero in Korea,

and my mother's waiting to see them.

Uh-huh. Why didn't you

go to the cops, honey?

Well, I got in a little trouble with them...

and... it'd kill my mother if she -

- You know what I mean?

- Yeah, sure.

Feel better?

Does, uh, beer always do this to you?

What kind of trouble did you get into

with the cops, muffin?

- Oh, a girl makes mistakes.

- Mm-hmm.

- I was only asking 'cause, uh -

- 'Cause what?

Yeah.

You look for oil,

sometimes you hit a gusher.

Am I talking too much?

Why talk?

How much is your brother worth?

What do you want? Blood?

I just want to make your old lady happy.

That's all.

Then you do have it.

We'll just see, muffin.

There might be another little old lady

looking for pictures of her boy.

I gotta make sure it's your brother Mickey.

- I'll tell my mother.

- You do that.

That's the girl.

I'll check with you later.

Hello, Tiger. You're waking up

half the waterfront with those clodhoppers.

- You're not losing any time.

- Neither are you.

- Did you make a deal?

- Go on, drum up a charge.

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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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