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
534 Views


Miss Palmer's my husband's sister.

Go ahead.

Is there anything you would like to add?

Something you didn't put into your report?

No, not a thing.

Mrs. Palmer, there's nothing illegal

about being missing.

We only work on a missing person's

case if it's a juvenile

or if there's some evidence of foul

play or a suicide or an accident.

When we get evidence that it is

something else, and it usually is,

we don't touch it.

I see.

So, you see, Mrs. Palmer,

it isn't exactly playing ball with us

to hold anything back.

Hold what back, Lieutenant?

The other woman, Mrs. Palmer.

What... what do you know about her?

Well, it's the only thing

we've uncovered so far.

A Bel Air resident... he's vice president

of a furniture plant out in Vernon...

was pulling out of his driveway

last night,

when this car... uh, your car, driven

by a woman, almost crashed into him.

A man dressed like you described

your husband, same size, everything,

gets out of the car.

Apparently, they'd had a quarrel.

Well, that's about all our informant saw.

All he did was spot the license number.

It might have been foul play. I doubt it.

I... I suspect they patched it up.

Do you know anything

about this woman, Mrs. Palmer?

Not very much, I'm afraid.

I... I've only seen her once or twice.

She... she's a little taller than I am.

Hair a little darker.

Brown eyes, I think, but...

...I don't know her name

or where she lives.

Jane, you never told me. Why?

Because I didn't think it meant...

Hello?

Yes. It's for you.

Oh, I told the Bureau I'd be here.

Thank you.

Hello? Yes.

Uh-huh.

OK. Thanks. Goodbye.

I'm afraid that wraps it up.

If you really want some action

on your husband, Mrs. Palmer,

I'd suggest you bring in

some private help.

Your car was located

12 miles south of San Diego,

just this side of the Mexican border.

Your husband wasn't in some kind

of trouble, was he, Mrs. Palmer?

No, or... or not that I know of.

Are... are you sure it was our car?

Yes. I'll see that it's sent back.

Good luck.

And thank you, Lieutenant.

Goodbye.

I know Alan wasn't seeing

another woman, and so do you.

Where Alan's concerned, my dear,

you're blind. It's time you knew it.

Your description of this other woman,

Jane, it sounded very much like you.

What do you mean by that?

What are you trying to imply?

I'm not quite sure.

Well, hello again! We always seem

to be colliding in hallways, don't we?

Yes, we seem to.

Jane, this is the man I mentioned

to you. He flew with Alan.

Mr. Blake, my sister-in-law.

- How do you do, Mrs. Palmer?

- How do you do?

I'm sorry to hear about Al,

but I'm sure he'll turn up soon.

Thank you.

Will you excuse me, Jane? Mr. Blake.

Well, she seems to be a bit upset.

Has there been some news about Alan?

No, but they were very close, you know.

Oh, I know.

Did you want to see Alan

about anything special?

Oh, no, we were just very good friends.

I see.

- Would you like to come in?

- All right.

Kathy didn't tell me much about you,

Mr. Blake. Did you know Alan well?

Well, I thought I did. It'd be hard to

believe Al took after some wild geese.

He was always an advocate

of the home and hearth.

I... I always thought so.

Won't you sit down?

All right.

Uh... go ahead.

Well, I was about to say

I'm here on a vacation,

and I was wondering

if I might help in any way.

I think the police are doing

all that can be done.

What did Alan usually call you, Mr. Blake?

Don. When there were ladies present.

Which wasn't often, I hope.

What squadron were you flying with?

The same as Alan's, Mrs. Palmer.

Wouldn't you rather call me Jane?

All right.

- Would you like a drink?

- I didn't think it was that noticeable.

- What?

- The thirsty look.

Come on, let me help. Or let me watch.

Where were you stationed in England?

- Don't you know?

- Of course.

I keep forgetting. Stonehurst

or something like that, wasn't it?

Yeah, something like that. Ipswich.

I didn't know we had

any operations in Stonehurst.

Well, all those places in England

used to sound alike to me.

I seem to worry you, Mrs. Palmer. Why?

Why do you say that?

I don't know. I... I sense a third-degree

quality in this conversation.

Could I be wrong?

Yes, you're wrong.

I'm just curious about you, Mr. Blake.

No, you don't worry me.

But it's possible

you're beginning to intrigue me.

Oh, let's wait till we're sure

Al isn't coming back, hm?

You made quite a bit out of

that remark of mine, didn't you?

Well, I didn't think I made any more

out of it than I found there.

I'm afraid you did.

If I should hear from Alan,

where can he get in touch with you?

I'm staying at the Villa Vista Hotel.

Oh, by the way, uh... on my way out,

shall I take the guy in the plaid suit

off your back?

What did you say?

Looks a little pale.

I think I can handle him all right.

- What are you talking about?

- The guy in the plaid suit.

He was lurking around

the dark end of the hall,

making like a tenant trying to find a key.

I watched him for a while as I got

off the elevator. Made him nervous.

He must be from the police.

Sure.

That's right. They're looking for Al.

They probably figure the best place

to find him is where he lives.

Thanks for the drink...

Mrs. Palmer.

Sharber.

Sharber.

Hello, Mr. Jack Sharber, please.

Mr. Sharber, this is Jane Palmer,

Alan's wife. Yes, I'm fine.

Mr. Sharber, you were at Ipswich

with Alan, weren't you?

Do you remember a Don Blake?

No, Blake.

You don't? Mr. Sharber,

could you drop by here tonight?

It would only have to be

for a minute or so.

Could you come by tomorrow, then?

All right, fine. It's the Chateau Michel,

apartment 514.

Thank you, Mr. Sharber.

Tomorrow night, then.

Seven o'clock. Goodbye.

You stupid fool. You were seen out there.

For all I know, the man

who saw you was a detective.

Relax, tiger. There are other people

on this floor, you know.

What do you want?

- Find the ticket?

- No.

Too bad. I don't like to think

what'll happen inside you if you don't.

I came up to tell you something, tiger.

If you get that dough and dust with it,

it'll be very, very bad.

- I don't intend to.

- Fine.

But let me tell you why

it'll be very, very bad.

You want to know about that, don't you?

Listen, Danny, we can't be

fighting each other now.

- We've got to help each other.

- Yeah? Why?

Kathy, my sister-in-law,

she's getting suspicious.

She's beginning to figure

the whole thing out.

- How? What's she got?

- She heard me come in last night.

I denied it, but I know

she doesn't believe me.

She knows Alan wouldn't

have gone out to get liquor,

because there was plenty here.

She knows Alan's gun was gone.

I don't know how, but she does.

She... she's going to trip us up,

Danny, I know it.

Maybe it's time to clear out.

Chalk it up to experience.

We can't. We've got to stay here

until we find that ticket.

You mean stay here till she tells

her story to the cops? Is that 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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