Pushover Page #3

Synopsis: A bank heist yields $210,000. Soon, sultry Lona McLane, girlfriend of one of the robbers, meets Paul Sheridan and has a torrid affair. When she finds out Paul's a cop, to save herself she sets out to corrupt him. He's a pushover. But it won't be easy for Paul to get his hands on the money when he's part of a complex, peeping-tom stakeout. Soon, he's in much deeper than he'd planned, amid atmospheric night scenes.
Director(s): Richard Quine
Production: Columbia Pictures Corporation
 
IMDB:
7.0
Rotten Tomatoes:
80%
APPROVED
Year:
1954
88 min
185 Views


And you returned it.

He didn't do me

that big a favor.

So you're a friend

of Harry's?

That's right.

From St. Louis.

He dreamed up

a pet name for me.

He did that

for a lot of girls.

He never called me

anything else.

What was it?

He was kind of nervous when

I talked to him on the phone.

He gave me your name

and address, that's all.

A cop! A dirty,

lying cop!

Wait a minute, baby, take

it easy. Take it easy.

These last few days,

they weren't all just cop, were they, Paul?

No.

No, I learned everything I

wanted to know that first night.

I went on seeing you

because I wanted to.

But it's over.

What happens now?

I'm taking

you downtown.

A man named Eckstrom wants

to ask you some questions.

Well,

it's been weird

knowing you.

Not that

it matters, Paul,

but I didn't know

that Harry was

what he is.

He told me he owned

apartment houses in St. Louis.

He buy you

that coat?

Yes.

Who was his partner?

Partner? Yeah, there

were two on that bank job.

We only identified Wheeler.

I told you he didn't have any friends.

I met him at a nightclub on

the Strip. He came in alone.

He was always alone

if he wasn't with me.

And you let him

set up house for you?

All right.

He bought me

my clothes and my car

and a lease on a decent place to live in.

Things I've never had

in my whole life.

If you'd known where his dough came from,

would you still

have taken it?

Money isn't dirty.

Just people.

How's he getting

in touch with you?

He'd be crazy to try and you know it. Why?

It was just a lucky break

that we got a line on you.

He probably figures

you're clear.

Maybe he will try.

I suppose my

phone's tapped.

What happens to Harry

if he's caught?

He killed a man.

And the $200,000?

What do you think?

I think it's

a lot of money.

And right now

Harry's got it.

That's right.

Paul...

Go on home.

Why?

I wouldn't know.

Go on before I start thinking about it.

I don't want

to go, Paul.

Not yet.

We could have that money, Paul, you and I.

Look, Harry's going to

die no matter what we do.

So what difference will it make

if he shows up and he's killed?

Be a perfect set-up

for a cop, wouldn't it?

I could knock him off, hide the

money and call the meat wagon.

No questions asked.

Think what that money

could mean to us, Paul.

To you and me.

And I thought

I was using you.

Get out.

Get out!

Where'd she go?

Just drove around,

going no place.

Might have been trying to

make a contact or something.

She looks a little

frustrated at that.

Should one of us go down and relieve Paddy?

Hey, you with me?

What?

I thought one of us ought

to go down and relieve Paddy.

Yeah, yeah,

I'll do it.

What's she doing?

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Roy Huggins

Roy Huggins (July 18, 1914 – April 3, 2002) was an American novelist and an influential writer/creator and producer of character-driven television series, including Maverick, The Fugitive, and The Rockford Files. A noted writer and producer using his own name, much of his later television scriptwriting was done using the pseudonyms Thomas Fitzroy, John Thomas James, and John Francis O'Mara. more…

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Submitted on August 05, 2018

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