Too Late for Tears Page #2

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
534 Views


Looking for what?

I didn't bring a warrant with me,

Mrs. Palmer.

Maybe I should go get one.

If I let you look around without one,

will you promise to tell me

what it's all about?

Perhaps it'll give me something

interesting to talk about

at bridge tonight.

Sure, Mrs. Palmer.

Thanks.

Leave them alone. Those are presents.

So, you've already

started spending it, huh?

- Spending it?

- Yes, honey, spending it.

I don't think I like that.

I'm sorry, but you're not making sense.

If you were an innocent housewife

with nothing to hide but the iceman,

you'd never let me in here.

You'd be screaming for that warrant

and sending wires to your congressman,

so let's cut the small talk.

- Where's my dough?

- Then you're not a policeman?

Only on my mother's side, honey.

Where's the dough?

Those things in the kitchen

happen to belong to my sister-in-law.

And I let you in because...

...well, housewives can get

awfully bored sometimes.

But believe me, I've no idea

what you're talking about.

You're too smooth, honey.

You're much too smooth.

Where's the dough?

- Where's that money?

- We sent it to the police.

You're a liar. You would have

told me that before now.

- I was afraid to.

- You should be. It was mine.

Why would anyone give up

that much hard cash? I don't get it.

- In fact, I don't believe it.

- It's the truth. I swear it is.

And I'm supposed to get up now

and walk out? Is that it?

Well, maybe I will.

But if you turned that money

over to the cops, it'll be in the paper.

If you didn't...

It will be. We sent it back last evening.

All right, I can wait a few more hours

and I doubt that you or your husband

will try a copper.

I'm going to buy an evening paper,

and there'd better be something in it

about money or I'll be around again.

And I'm afraid I'll be

awfully peeved at you, honey.

Bye now.

Alan, you're... you're home early.

Fitzsimmons called me from the bank today.

It seems as if your checks

have started coming through.

He thought I might like to know

that our account's down

a couple of hundred dollars.

I was going to tell you tonight.

There were things I needed, Alan.

Five hundred and eight dollars' worth

of necessities?

That was yesterday. How much today?

How much have you spent all together?

Seven hundred and ninety dollars.

About one tenth of one per cent

of the money we have.

So, you're counting the money in the bag.

We weren't going to touch it,

just leave it there and forget about it.

Now you're spending it like mad

and keeping books on it.

Because the money's ours.

If anyone knew we had it,

they would have been around by now.

I'm sending the claim check

to the district attorney's office

right now, tonight.

Don't I have something to say about that?

I won't let you do it.

I'll take the money and go off by

myself before I let you give it away.

And that's something I won't

let you do. I'm in this now.

If you're caught, I'm caught.

But I wouldn't want you

to do it anyway, Jane.

The money won't buy you anything.

It'll only make you miserable and unhappy.

Let me be the judge of that.

Were you happy when you married Blanchard?

I'm sorry, Jane. I... I didn't mean that.

Jane, Jane. What's happening to us?

What's happening?

The money sits down there in an old

leather bag and yet it's tearing us apart.

It's poison, Jane. It's changing you.

It's changing both of us.

I wish it were that simple, Alan.

But I haven't changed. It's the way I am.

You've got to let me keep that money.

- Don't. Don't, Jane.

- No, Alan.

I won't let you just give it away.

Chances like this are never

offered twice. This is it.

I've been waiting for it, dreaming of it

all my life, even when I was a kid,

and it wasn't because we were poor,

not hungry poor, at least.

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.

- 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,

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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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