Too Late for Tears Page #4

Synopsis: One night on a lonely highway, a speeding car tosses a satchel of money, meant for somebody else, into Jane and Alan Palmer's back seat. Alan wants to turn it over to the police, but Jane, with luxury within her reach, persuades him to hang onto it "for a while." Soon, the Palmers are traced by one Danny Fuller, a sleazy character who claims the money is his. To hang onto it, Jane will need all the qualities of an ultimate femme fatale...and does she ever have them!
Director(s): Byron Haskin
Production: United Artists
 
IMDB:
7.4
NOT RATED
Year:
1949
99 min
509 Views


I suppose in a way it was far worse.

We were white-collar poor,

middle-class poor,

the kind of people who can't quite

keep up with the Joneses

and die a little every day

because they can't.

That's why I married Blanchard.

I married the first man who asked me

because I... I thought he had money.

It's... it's true, Alan.

And you're right, I wasn't happy.

I was almost glad when he...

Jane.

But things have changed now, Alan.

This is different. We'll be happier

than we ever dreamed we could be.

Sure we will, Jane.

But the money won't help.

There'll always be Joneses

with a little more.

The only thing worth having is

peace of mind,

- ...and money can't buy that.

- But...

...you agreed to wait for one week.

All right, we'll wait.

But we're not going to keep it.

It's almost wrecked us, sweetheart.

But I think it would take more

than 100 grand to do that.

How about it? Hm?

I got an idea.

We'll go on a date. Not tonight.

I've got to see old man Barrett tonight.

But tomorrow night we'll do the same

things we did on our first date. Remember?

We'll have dinner at Rimoli's,

then we'll go down to the lake,

and get one of those fancy little boats

and go for a ride.

How about it? Is it a date?

It's a date, Alan.

You got a good lock.

I don't usually have so much trouble.

Did you think of knocking?

Yeah, but then I thought about the dull

reading I found in the newspapers.

Nothing at all about a bagful of dough

turning up at police headquarters.

Would you care for a drink, Mr. Fuller?

You know, honey, you got quite a flair.

I like you. Too bad you're a chiseler.

At the risk of seeming tedious,

just where did you stash my cash?

You didn't tell me

if you wanted that drink.

And you didn't tell me

where you put my dough.

I don't have your dough.

- Let us not haggle.

- We're not going to.

My husband has the money,

and two days from now he's going

to turn it over to the police.

You don't tell me?

Nice story.

Better than yesterday.

I like that trick with your eyes too.

I'm just taking my cue,

like a little gentleman.

- You're taking it a little too fast.

- Isn't that what you wanted?

Did you notice where the liquor was

when you went through my kitchen?

- Sure.

- Go make us a drink.

- Stalling, honey?

- What do I call you besides stupid?

Ha-ha. Stupid will do,

if you don't bruise easily.

Otherwise you might try Danny.

If you're not stalling, get to the point.

What's on that lovely blonde mind?

I told you. My husband

is going to give the money up.

- I don't intend to let him give it up.

- Neither do I.

I swear, if you go near him, neither

one of us will ever see a cent of it.

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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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