Too Late for Tears Page #5

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'll take my chances.

- I'm telling you the truth now.

You won't be able to beat it out of him

or scare it out of him.

If I told him you were here yesterday

the police would have the money now.

And I... I don't think

I could take it if I lost it.

Let's get something straight, honey.

That's my dough you're talking about.

Only half of it.

You haven't a chance

of getting it without my help.

And how do you get it?

I don't know.

I'll work out something. I have to.

When I think of losing it,

I get deathly sick inside.

You know, I think

you're levelling with me.

Maybe I'll string along.

I'll think it over.

I've thought it over.

- What's your name, honey?

- Jane.

One thing. When you get that dough,

I've got to be in on it. Right at the time.

Otherwise, I might make

a nuisance of myself.

I... I may need your help.

How can I get a hold of you,

say... say about five o'clock?

Call that number.

For your sake, beautiful,

I hope you're not trying to soft-soap me.

I wouldn't take kindly to it.

What's the matter with you?

That's just to remind you, honey,

you're in a tough racket now.

Hello? Sadie, that you?

I'll take that, Mac.

Hello?

Danny. It's all worked out.

We'll get it tonight.

But I've got to know something first.

How do I know you'll be fair with me?

Listen, this is very important.

How do I know?

You don't. But I'll tell you something.

You've got ten times the chance

to get a straight deal from me

as I've got from you.

Now, what's the layout?

Well, be at Westlake Park

at nine o'clock tonight.

There's a big palm tree at the west end

of the lake. A palm tree. Be there.

I'll come alongshore in one of those

boats and signal you with a flashlight.

Be watching. I don't want to

have to do it more than once.

Yes, yes. I'll have the money.

Then why all the complications? Why

can't you just meet me somewhere?

I don't think I like your setup.

It sounds like a snipe hunt.

It's not a trap or whatever

you're thinking, Danny.

I... I had to choose a place

where you'd have to play fair with me.

Danny? Are you still there?

Yeah. All right, I'll be there.

West end of the lake

under the palm tree. Nine o'clock.

Alan, let's get one of the big ones

like we used to.

Them's for four people, lady.

Here, lady wants one of the big ones.

Like I said. Here comes one now.

What's the matter, sweetie?

You seem all tied up tonight.

There's nothing the matter.

I... I feel fine.

Remember what we used to call

these rides? Cruises into nowhere.

Seems a long time ago, doesn't it?

It was.

Long time ago.

We haven't changed a bit, Jane. Not a bit.

Alan, I... I want to go back to shore.

Why, Jane? We just got started.

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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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