Satan Met a Lady Page #8

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
66 Views


the "Criminals Wanted" files at the office.

Pleased to meet you, Madame.

I'm telling you, mister!

Lie down on the floor

and keep out of sight.

- Are you hurt, darling?

- Come on, you, get up.

What are you doing to my Kenny boy?

Your Kenny boy only killed Farrow,

and tonight he killed Espinoza

out there on the pier.

- All right, take him away. Her, too.

- Here's his gun.

- He's in it, too.

- All right you, come on.

I say, what's up?

Take him along,

he's not as pure as he looks.

I say, Mr. Shane, that's not cricket.

- All right, take him along.

- Come on.

Well, Pollock, I've made a hero out of you.

Some people may even think

you're a detective.

Say, wait a minute.

What are you trying to do?

Stall out of that Ames murder?

Now, you oughtn't to say that to me

after what I've done for you.

Now, listen. There's $10,000

reward up now for Ames' killer,

and I need it.

But you're going to need brains to get it.

That's going to make it hard

for you and easy for me.

Easy.

- Say, wait a minute.

- Lieutenant.

- Did you get them all?

- Yeah.

- Did you get that girl, too?

- What girl?

Well, there was a girl here

when the shooting started.

Purvis. Come on.

Hello? Shane?

Good morning. How you doing?

Two tickets on the 3:45 train going north?

Okay. I'll meet you at the station.

- Oh, goodbye, Shane!

- Hello, kitten.

Say, when I get a little time,

maybe you and I can have some fun.

Hey, where's the telegraph office?

Board!

Here, send this wire for me.

And here's the money.

Hey, sir.

- What track is the 3:45 on?

- There she goes, boss.

Hello, boys. Looking for me?

Hey, boy, where's the telegraph office?

Straight ahead, boss.

And will you please send this for me?

- Well, where's the money?

- Send it collect.

Look, why did you sell them the trumpet

for less than they offered you?

In spite of my better offer,

in spite of me. Why?

Honey, days ago, I got this letter

from a professor of history,

telling me that there might be

such a trumpet,

but that there couldn't possibly

be any jewels in it.

- I didn't want to gyp you, honey.

- You're an angel.

I told you when a couple of murders were

cleared up, you and I could have some fun.

We will, won't we?

It's nice that it's all over, finally.

I got so tired of the whole mess.

Being afraid, hiding, telling lies.

Remember the first lie

you told me, darling?

About wanting to find a sweetheart?

It worked.

It found me a sweetheart, all right.

It'll be for always now, won't it, Shane?

You know, if it was only

the Ames killing, I should think

it'd have been simpler

to stay there and prove that

Farrow shot him.

If I could stay and prove that,

I wouldn't be running away, baby.

Then the police were right.

You really did it.

I never thought you'd say

that to me, darling.

You know I didn't kill Ames.

Even if you did,

it wouldn't make any difference to me.

I just thought that you were

the only other one who could've done it.

- The only other one except you, precious.

- Shane.

Honey, it blows.

You wouldn't accuse me

of a thing like that, even in kidding.

You know I didn't do it.

Down in your heart, you know it.

My love, that graveyard's famous

as a nice, safe place for lovemaking.

Ames knew that, and he'd have gone

there to be alone with you, darling.

And when you two went sneaking in there,

you'd have pretended you were frightened.

And you'd have a good, tight hold

on his right hand,

so he couldn't reach for his gun.

Then, suddenly,

you'd pretend you heard something.

And you'd grab him quick,

and cling, whimpering to him,

pretending you were afraid of ghosts.

And the poor chump would put his arms

around you and he'd hold you close,

and he'd tell you

in that brave company voice of his,

"There's nothing to be afraid of."

And you,

you'd stick a gun you got from Farrow

in Ames' side and you'd let him have it.

Then Ames fell dead

across somebody else's grave,

and you threw Farrow's gun

down beside the body,

figuring it was a cinch

for the police to grab Farrow for murder

and for you to grab

the trumpet for yourself.

Oh, then you knew all the time

that I'd killed him.

And yet, you loved me enough

not to give me up.

To take a chance of running away with me.

Oh, I was wrong to think

that you're cruel and brutal, darling.

You... Oh, you're marvelous.

Precious, I told you when we got

a couple of murders cleared up,

you and I could have a lot of fun.

The late evening paper!

Evening paper!

Get the evening paper!

- Oh, we'll have one.

- Yes, go ahead.

I'd love to know what happened

to Madame Barabbas and her gang.

Here you are.

Late evening paper, magazines.

Oh, hello.

You remember me.

Yeah, we got a telegram to pick you up

on the Ames murder case in San Morego.

I had my secretary send that.

- You've got him?

- I've got her.

I just couldn't get her to confess until

she thought we were safe and on our way.

Come on.

- She's gone.

- Huh?

How would you...

How would you like to make $10,000?

No, ma'am,

I'm a respectable, law-abiding woman.

Be quiet, and listen to me.

Well, Shane, I guess you're under arrest.

Oh, keep your shirt on,

she's here somewhere.

Hey, man!

Let me have them bracelets,

and give me my $10,000.

You'll miss that reward, won't you, Shane?

Now, I'll miss the $10,000, all right,

but I'll miss you, too, honey.

- I thought you cared about me.

- I do, Valerie.

But I won't play the sap for you.

You gave the works to the Englishman,

the Spaniard, Farrow and Ames.

The last three fell for you

and they're dead.

I'm crazy about you, sweetheart, but I just

won't be the fourth guy to die for you.

No.

But for me, you'll go through

something that'll be worse than death.

Because you'll always remember me,

the one woman you couldn't take

for both love and money.

The one woman who handed you

double-cross for double-cross

right up to the end.

'Cause now you found a woman

can be as smart as you are.

Someday you'll find one who'll be smarter.

She'll marry you!

- Hello!

- Hello, kitten.

How you doing, Shane?

- Well, I cleared up a couple of murders.

- Now we can have a lot of fun.

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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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