Plot
Widmark plays Skip McCoy, an insolent pickpocket who steals the wallet of Candy (Peters). Unbeknownst to Skip or Candy, the wallet contains a microfilm of top-secret government information. Candy was delivering an envelope as a final favor to her ex-boyfriend, Joey. But Candy didn't know the envelope's content, nor did she know that Joey was a Communist spy.
Joey's espionage had been under Federal investigation for months. Skip is soon the subject of a manhunt: wanted by police, federal agents, and by Candy and Joey. Candy attempts to seduce Skip, but he turns her down. But when Skip discovers the importance of the microfilm, he rejects the cops' appeals to patriotism and instead offers the microfilm to whoever can deliver $25,000. After Candy realizes that Skip had set her up, she changes sides in the scheme and confesses her love for Skip.
A Communist agent interrogates Moe (Ritter, nominated for an Academy Award). Skip's only real friend, she refuses to rat him out. The agent kills her in cold blood, and Skip vows revenge. The agent, Joey, then confronts Candy in her apartment. She has obtained 4 of the 5 film slides from Skip, but refuses to tell Joey where the last is, and he shoots her. The cops then arrive and try to arrest Joey, who escapes and chases after Skip. He runs into Skip on the subway where the two engage in a climatic battle that ends with Skip beating Joey to death.
Thanking him for his help, the police wipe Skip's record, and he finally leaves with a recovered Candy hoping to start a new life.
Read more about this topic: Pickup On South Street
Famous quotes containing the word plot:
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)