Satan Met a Lady Page #2

Synopsis: Sardonic detective Shane, thrown out of one town for bringing trouble, heads for home and his ex-partner's detective agency. The business is in a sad way, and Shane, who has had the forethought to provide himself with a 250-dollar commission from an old lady on the train, is welcomed with open arms. When pretty Valerie Purvis walks in the next day willing to pay over the odds to put a tail on the man who did her wrong, Shane's way with the ladies looks like paying off yet again. But things start to go wrong when his partner is murdered, and Shane himself comes home to find his apartment wrecked by a gentlemanly crook who comes back to apologise -- and to tell him a fascinating fairy-story about the fabled Horn of Roland that looks like not being so mythical after all. Miss Purvis wants protection. The police want answers. And all sorts of people want the 'French horn'... but Shane is one jump ahead of everyone all the way. Well, almost.
Director(s): William Dieterle
Production: Warner Bros.
 
IMDB:
6.2
APPROVED
Year:
1936
74 min
73 Views


- Can you help me?

- If anybody can, we can.

- What's your trouble?

- Well, a man she met in Baltimore

promised to marry her and ran out on her.

- Yes, I know his kind.

- Sure you do.

She followed him to this town,

but she hasn't been able

- to get in touch with him.

- A rotten trick.

And, she thought... Yeah.

She wants us to find him for her.

- How?

- Well, she's been in contact

with her boyfriend's pal,

a man named Farrow.

- But Farrow won't tell her anything.

- We'll make him tell.

This means so much to me.

Could either of you

take care of it personally?

Now, that depends

on how much it means to you.

Well, I'll show you.

Would this...

Would this show you

how much it means to me?

$100?

I thought you really cared for the man.

Oh, but I do.

We'll find him for you.

Now, tell us where we can pick up Farrow,

and how do we know him

when we see him?

Well, I have an appointment

to meet him tonight at 8:00

- in the lobby of the General Fremont Hotel.

- That'll peg him for us.

Then all we'll have to do will be

to follow him wherever he goes,

and he'll lead us, eventually,

to your betrayer.

- Thank you so much.

- Thank you.

I couldn't find a taxi.

Let's go this way.

- What time do you finish tonight, kitten?

- Pretty late, daddy.

- Mr. Shane, telephone.

- Oh, thank you. Excuse me.

If you come back with some story

about having to leave,

I'll know it's a frame-up.

You don't say. I'll come right out.

Now listen, kitten,

I've got to go away for a little while,

but I'll be back before

the end of the last show.

- I'll wait for you near the dressing rooms.

- All right.

- Check, please.

- I knew it.

Remember to put this in the books,

charge to expenses,

for Mrs. R. Manchester Arden.

You'll have to take

a cab home alone, honey.

Well, you might at least

have given me some sort of an alibi.

I will. I've got a pip.

I have to go up to the graveyard.

The graveyard? What for?

To see about somebody

who's dead, of course. Come on.

Poor dear old Ames.

It's the first time he ever did anything

in an appropriate place.

You must feel kind of bad,

losing your partner so suddenly,

- just when the firm was getting going.

- Well, Dunhill, what's the dope?

One pill out of that old Webley

did the work.

- Right to his heart, through the side.

- What's...

What was he doing with his arm up

like this? Parting his hair?

I don't know. That big burn on his coat,

- that gun was poked right into his ribs.

- Let me see that.

- Oh, Dunhill, I didn't find anything yet.

- Well, keep looking.

Ames' gun was sorted away

in his shoulder holster.

- Was he working on a case, Shane?

- He was trailing a man named Farrow.

- A man named Farrow. What for?

- For $200.

Don't you want to take a closer look

at your silent partner?

No. No, you've seen everything I could see.

I'd better run along

and break the sad news to the widow.

Murgatroyd speaking. Shane?

Well, moonbeam,

where do we go from here?

I thought you'd know that.

You're supposed to be the man

that knows all the answers.

- Anything wrong?

- No.

- Hello, Shane.

- Why, hello.

Honey, I thought you might like

to join my friends here for a little party.

Sergeant Dunhill

and Police Detective Lieutenant Pollock.

- Gentlemen, Babe.

- Pleased to meet you, I hope.

I got out to the graveyard

just after you'd left. Sorry I missed you.

Yeah, so am I. There's no place

I'd rather see you than in a graveyard.

Pardon me, please.

Roy here tells me

that you were in an awful hurry

to get away from that cemetery.

I couldn't bring Ames back to life

no matter how long I stayed.

Oh, but you said you were leaving

to break the news to the widow.

And you didn't go out there

and tell the widow.

- No.

- No.

Instead, you phoned your secretary

to tell her.

If this is boring you, sweetheart,

we'll leave.

- Oh, no. Go ahead.

- Oh, Shane, don't be so stingy.

How do you expect us

to turn up anything on the Ames killing

if you don't give us what you got?

You needn't get a headache

over Ames' murder.

- I'll bury my own dead.

- That's what I thought.

That's exactly why I came to see you.

Now, Shane, give us the lowdown.

- Where were...

- Pardon me.

Well, this is the best place

in the world for third degree.

- Isn't it, Roy?

- I'll say so.

Now, wait a minute, Shane.

Your partner Ames was shot

while tailing a man named Farrow.

And shortly after you left your

partner's dead body, Farrow was killed.

- I killed him for revenge.

- Cut that out.

Farrow died before he could say

who shot him.

Oh, but you're not a man

to need his word for it.

Babe and I are trucking along

if you're through.

- Not so fast.

- You're not ready to pinch me yet,

- are you, Pollock?

- No, not yet.

Swell. Come on, heartthrob.

Now will you have the name

on this door changed?

Just "Ted Shane, Private Operator."

- You win by process of elimination.

- Anything important happen?

A great, big, tall Englishman called.

- Oh, what did he want?

- He didn't tell me.

- What was his name?

- He didn't tell me.

That was a lovely case

you sent me out on last night.

I know, precious.

Widows are tough to initiate,

but if she turns up here,

keep her away from me.

- How could I?

- Hello, kitten.

Come in if I scream.

Well, I was just standing here

and zip, she went in. I couldn't help it.

Poor kitten.

Oh, Shane, did you really kill him?

Who put that bright idea

in your pretty little head?

Be kind to me, Shane.

Now you'd better go home and take

some sleeping tablets and get some rest.

And you will be careful

about coming here, won't you?

And I'll come to see you as soon as I can.

- How soon?

- Just as soon as I can.

How long do you have

to wear black, honey?

Don't you like me in black?

Oh, you look so good that people

will think you killed Ames just so

you could have mourning clothes

to make you look more gorgeous.

Well, now, don't worry

about the insurance or anything.

- I took care of the insurance already.

- Oh, well, then you'll be all right.

- Be kind to me, Shane.

- Excuse me.

- Shane speaking.

- How you doing, Shane?

- How am I doing?

- "Be kind to me, Shane."

Well, anyway, you love me

and know I wouldn't do anything wrong.

- Well, you might've killed Ames.

- Listen,

I'm supposed to be

a detective solving a crime case,

and everybody thinks

I committed the crimes.

Mrs. Ames thinks I killed her husband.

And the police think I killed Farrow

to avenge the husband.

And now you start.

But you were late

picking me up last night.

You know, precious, I wouldn't let

a little thing like killing Ames

make me late for a date with you.

Did you kill him? No kidding?

Hey, Shane, you better get

over here right away.

That Purvis dame is checking out.

The porter went upstairs for her bags.

Here.

Union Depot.

- Running out on me?

- I remember now.

- You're the other man.

- That's me, sister.

I've been named as the other man.

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Brown Holmes

Brown Holmes (December 12, 1907, Toledo, Ohio – February 12, 1974, Los Angeles County, California) was an American screenwriter who worked for several major Hollywood studios in the 1930s and 1940s. Among his credits are several highly regarded prison films: I Am a Fugitive from a Chain Gang (1932), 20,000 Years in Sing Sing (1932) and Castle on the Hudson (1940). He also wrote or co-wrote two adaptations of Dashiell Hammett's 1930 detective novel The Maltese Falcon: The Maltese Falcon (1931) and Satan Met a Lady (1936). more…

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Submitted on August 05, 2018

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