Midnight Mary Page #4

Synopsis: A young woman is on trial for murder. In flashback, we learn of her struggles to overcome poverty as a teenager -- a mistaken arrest and prison term for shoplifting and lack of employment lead to involvement with gangsters. In a brothel, she meets a young lawyer, scion of a wealthy and prestigious family, who falls for her and helps her turn around her life. But her past catches up with her, and she must face the music rather than cause him scandal.
Genre: Crime, Drama, Romance
Director(s): William A. Wellman
Production: MGM
 
IMDB:
7.1
PASSED
Year:
1933
74 min
76 Views


The click of the wheel,

the pop of the cork...

...the seductive laughter of lovely ladies.

- The what?

- The seductive laughter of lovely ladies.

- I wanna go home.

- Upsy-daisy.

- Oh, Tom.

- Could I see you for a moment?

- Certainly.

- I'd like to see the manager.

- I'll show you to his office, madam.

Would you mind asking him

to step up here, please?

Just a minute, please.

- Good evening, Mr. Mannering.

- Hello, Charlie.

- Mr. Travers will have the usual.

- Huh?

You might bring me

a couple of pints of Clicquot.

That's okay.

- Yes, sir.

- Excuse me.

- Sam.

- Mm-mm.

There, without a doubt,

is the most tasty back...

...that these old eyes

have ever gazed upon.

I wouldn't want you

to betray a confidence.

But tell me,

who might that lovely lady be?

I couldn't tell you. She's been here

the last three nights alone.

Alone, huh?

Well, now, that's interesting,

if not important.

- Maybe she's dying.

- Help me lift her over here.

- She's all right.

- All right, she's all right.

Take it easy, boys.

All right, now.

I'm gonna go get the ammonia.

Hurry up.

Hey, got any ammonia? Girl just fainted.

No, not a drop.

I don't believe we've taken

one of your checks before, have we?

What is it you want?

An identification?

Here, I have my bankbook right here.

There you are.

An emergency call.

Have you got a sick woman in there?

You got here quick.

I didn't know they'd sent for a doctor yet.

Come on.

Hey, you're crazy

if you think you can get away.

- A cop passes this house all the time.

- He won't pass for eight minutes.

By that time, we'll be in Jersey City.

Come on, get them up.

She'll be all right.

Yeah.

Stay right where you are.

Keep working on that dame

if you know what's good for you.

Come on.

Get on your feet.

Come on, move.

Open that safe or I'II...

- Charlie, got any ammonia? Quick.

- Well, what's the rush?

Hatcheck girl passed out.

Wanna give her a sniff.

Yeah?

Stay back there and stick them up.

Take it easy.

Hey, you're not leaving.

I'd better see you to your carriage.

Stand still.

I beg your pardon.

I don't think we've met.

I'll go first.

Alley-oop.

This is the nicest way of leaving a party.

You avoid meeting so many dull people.

If we do meet anyone, I'm sunk.

Strange. I told my guide to meet us here.

Come on, gal, we've got

to find our way back to the settlement.

I ought to ask you

where you're taking me.

- Do you care?

- No.

Thank you very much.

You know, I never did like you

in that bathrobe.

I suggest something in crepe de Chine,

with one of those ducky...

...what do you call them?

You know, revers.

- Who lives here?

- I do.

- Oh, yeah?

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Anita Loos

Anita Loos (April 26, 1889 – August 18, 1981) was an American screenwriter, playwright and author, best known for her blockbuster comic novel, Gentlemen Prefer Blondes. She wrote film scripts from 1912, and became arguably the first-ever staff scriptwriter, when D.W. Griffith put her on the payroll at Triangle Film Corporation. She went on to write many of the Douglas Fairbanks films, as well as the stage adaptation of Colette’s Gigi. more…

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Submitted on August 05, 2018

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