Underworld U.S.A. Page #4

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
106 Views


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

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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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