Midnight Mary Page #2

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
84 Views


Not you, you big ape.

Come on.

- Hey, look what I got for you.

- What?

Orchids.

- How many?

- Six.

Oh, that's vulgar.

I never wear more than four.

Oh, that's all right. Suit yourself, kid.

Hello, Churchie old boy.

I'm always glad to see you.

What a nice boy. Let's fix this bow.

Hey, what do you think of this suit, huh?

I got it from some tailors downtown.

- Some class, eh?

- The coat's too long.

Too long?

Hey, Puggy,

what do you think of this suit?

Good, huh?

Hmm? Oh, it's all right.

The coat's a little bit short.

Short?

Oh, what do you two guys

know about it?

Just a couple of dumb thugs.

Hey, Leo,

what do you think of my new suit?

Fine.

The coat's a little too tight.

Too tight?

That's what I said.

Transgressor in the third, 6 grand, huh?

Say, Mary, how do you like my new suit?

Whose is it?

Oh...

Ain't he cute? He's only 6.

- Say, listen, one more word out of you...

- What word do you want?

- Oh!

Oh, baby, I'm sorry.

- You know I didn't mean it.

- Aw. Now there's nothing left but marriage.

I like your new suit, darling.

I thought you would, honey.

Bunny, time for you to get going.

Gee, I'm kind of nervous.

Are you sure there ain't any chance

of anything going wrong?

I haven't failed yet, have I?

Let me do the worrying.

Oh, everything's gonna go all right.

Just like clockwork.

You'll see.

Blimp, Puggy.

Set your watches by mine, 6:51.

- Got it?

- Okay.

Oh, Churchill.

Churchill, that wall needs something.

What is it?

Possibly a nice etching.

Etching. That's black-and-white, isn't it?

No, I think I'd like something in color.

Suppose you pick it out for me.

I like the prints you got

for the dining room.

I'd be very glad to.

You know, there was a picture I saw once

when I was a kid.

It was just a cheap copy of some painting,

but I've never forgotten it.

There were a lot of trees.

Not ordinary trees.

It was mysterious, kind of.

With a mist over everything.

So it didn't look real,

you know, nothing you could grab onto.

It was like music.

I don't suppose you know

what I'm talking about.

- Well, maybe I don't either.

Oh, I know exactly.

Get me a cigarette.

Why don't you keep some around here?

Yes, sir.

You must feel pretty pleased

with yourself.

It takes a big shot to get tough

with an old guy like that.

- Oh, be nice, Mary.

- I've told you before.

I don't want you giving orders

to people who work for me.

- I'm not gonna dress yet, Anna.

- Yes, ma'am.

What's the matter?

Aren't you coming in to dinner?

I'm having mine in here.

- Why?

- I like to be alone once in a while.

"The Life of Madame Reca... "

Recamier.

Recamier. That's right.

Thanks.

What do you wanna read

a book like this for?

What can you learn from a dame

that lived a hundred years ago?

Figure out things for yourself.

- I've figured out one thing for myself.

- That you're stuck on me, isn't that it?

Don't, Leo.

Sometimes I think if I don't get away

from you, I'll go out of my mind.

That's only sometimes.

You'll never get away.

You belong to me.

I've never belonged to you. Never.

No, no, don't, Leo. Please, Leo.

Leo.

I suppose that didn't mean a thing, huh?

Listen, baby, you can walk out on me

any time you want to.

I'll never go after you.

But you'll always come back.

Twenty-eight.

Thank you.

Listen, you go ahead. I'll wait here.

Sammy, I'm surprised at you.

- Oh, but I wanna go to sleep.

- We could fix up a cot for him.

No, the little man gets peevish

about this time.

You mustn't give in to him.

He went to bed three nights ago.

Upsy-daisy.

- Now, the little reefer and mittens.

Oh...

Ooh.

I'm grieved at you, Samuel, I really am.

You've no appreciation

of the finer things.

You wanna go home to your lonely bed.

An upstairs life is calling to us.

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?

- Yeah.

I was born in this house. My father too.

Say, aren't you hungry?

- I haven't got time to think about it.

- I'm so hungry I could eat a wolf.

Maybe you've never eaten a wolf.

Properly seasoned, they're delicious.

Will you tell me what we're doing here?

I thought it'd be good to pop in here...

...till the boys in blue

get through blowing their horn.

Thanks.

Have you got a cigarette?

- Maybe you'd like a drink?

- No, thanks.

- Coffee, then?

- Yes, I'd love some.

Is there anything I can get you, sir?

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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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