Border Incident Page #4

Synopsis: To penetrate a gang exploiting illegal Mexican farmworkers smuggled into California (and leaving no live witnesses), Mexican federal agent Pablo Rodriguez poses as an ignorant bracero, while his American counterpart Jack Bearnes works from outside. Soon, both are in deadly danger from the ringleader, sinister rancher Owen Parkson, and find night on the farm to be full of shadowy film-noir menace...
Director(s): Anthony Mann
Production: WARNER BROTHERS PICTURES
 
IMDB:
7.1
Rotten Tomatoes:
67%
PASSED
Year:
1949
94 min
311 Views


- No, seor. Hugo is no fool.

I could use some crossing cards,

but how do I know what you tell me is...?

Is true?

By this, seor.

You're full of surprises, aren't you?

What's the deal? Proposition.

Oh, $20 for each one.

Twenty dollars? Is that all?

That's all. Only $20.

Just a moment, please.

I wanna talk to my foreman.

Ill be right back.

- He's very amiable, no?

- Who knows?

Ill tell you what,

let me think this over, huh?

You paisan... You boys

go down to the bunkhouse.

Have the cook fix you breakfast,

come back, and Ill give you my answer.

- Oh, thank you very much, seor.

- You are wonderful man.

And don't hurry, huh? Sometimes

it takes me a while to make up my mind.

What is cheaper than time, seor?

Everybody has the same amount.

Your hands, Pablito, they still hurt?

There are times a man wishes

he had no hands.

Even a burro can tell you are no bracero.

Here, amigo, for you.

I found them unattached.

Such things should be put to use.

Look, Pablito, that shirt.

A different man wears it.

One of the smugglers who got us here.

Oh, there are probably many such shirts.

Yeah, I know, Joe.

I know, you need 90 workers right away.

Well, you still owe me 3000 for the workers

Ive sent you in the past two months.

Yeah, I know.

I know, your crops are ready for harvest.

Well, you've got an easy out.

You just send me the check,

and you get your braceros.

Bye.

You want my decision?

All right. Bring him in.

You know him?

He's the man with the permits.

You have made a negotiation

with Hugo, huh?

Yes. The kind of negotiation

he understands.

Go back to Hugo. Tell him to behave.

Tell him I want 200 braceros ready for me

as soon as I send for them.

- Get going.

- Wait a minute.

- What about my shirt and the jacket?

- You know them?

Yeah, they're a couple of cheap

border crooks.

- They stole that stuff out of my room.

- Oh, they did?

Take them off. Hurry it up!

Hand them to the man.

Now, get out of here!

Now we can get down to business.

Call your shot.

Sit down.

What did you have in mind?

No sense beating around the bush.

You've got something I want,

Im willing to pay for it.

I don't know you from a bar of soap.

You can beat it, Clay.

I don't think, Mr. Parkson, Hugo's gonna

appreciate my company no more.

You can hang around the bunkhouse

till I send for you.

Anything you say.

You don't seem very cooperative.

I didn't ask you guys to interfere.

What's the matter, Mac?

I got you out of a tough spot, didn't I?

I don't know.

- Where are those permits?

- I got them in a safe place.

- I need them.

- Sure you do. Everybody does.

First those two scorpions tried to get them,

then Hugo wanted them.

Your pal here even tried

to make a deal with me for them.

Just a little spadework, Parky.

Trying to help you out.

Yeah, thanks, Jeff.

Now, I don't wanna fool around

with no go-between, see?

I find if you do business with the top man,

you get the top price.

You're talking to him. How's $5 apiece?

- You have over 400, haven't you?

- Around 425.

Only, the price is $ 10 apiece.

You see, I know a little town

down in Peru...

...where with 4 and a half grand I can

buy myself a lot of peace of mind, see?

Its a deal. Where are they?

A friend's holding them for me

in Kansas City.

Now, I could send him a wire

and tell him to airmail them down here.

You give me half of the dough down...

...and put me back over the border

where the heat ain't so bad.

- Write your wire.

- Wait a minute.

What color dough are you using?

The color of the dough is okay.

Write your wire.

How do I know

you won't double-cross me?

You don't.

Its dealer's choice, and Im the dealer.

Write your wire.

Parkson Ranch, is that the address?

Care of postmaster, El Centro.

Postmaster, El Centro.

There you are.

"Box 1510, Main Post Office,

Kansas City, Missouri.

Dear Roy, please airmail me

my manuscripts...

...care of postmaster, El Centro, California. "

That's fine. Thanks.

Now, look. Look, Im hotter than

a firecracker, I tell you.

Put me back over the line.

If the feds pick me up, I face a 20-year rap.

We'll take awful good care of you.

Its to my interest.

I think the little room

up in the water tower will be best, huh?

Set Clay to work on it.

All right, fella. Let's go.

Hey, Parkson...

...how do you know

that wire's gonna pay off?

I don't.

But you're gonna be my guest here

until I find out.

Long distance.

A person-to-person call to Doc Bryler.

The Blue Swan Inn,

Kansas City, Missouri.

Now, we get

25 cents American an hour.

We work 10 hours a day,

that's $2.50 a day.

We work six days a week,

that's $ 15 a week.

But the major-domo then takes $3

from each one of us for himself...

...and $6 for our meals.

So, amigos, we then have

for ourselves $6.

And how much is this

in our national money?

Oh, that's 40...

Forty-one pesos, 10 centavos.

- Are you sure, Pablo?

- Yes.

Even in Guadalajara we earn more.

- It is like this everywhere?

- No, no, no.

Most ranchers pay legal wages.

That's where Im going,

where they pay right.

You can't, compadre. You can't.

None of us can.

We're here against the law,

so the law can't help us.

Get in there and stay there.

What's going on in here?

Get to bed, you monkeys.

You got work to do in the morning.

Put that light out.

So you tried to run away,

Juanito, huh?

No? What, then?

It was only I did what the cook told me.

What does the cook have to do

with your condition?

The cook told me to take

some food to the water tower.

I see the man they keep there.

This major-domo is very mad with me.

He beats me.

What do you mean?

What man?

The americano we saw in Mexicali.

The one with the beautiful shirt.

He give you the matches.

Juan, you sure? He's a prisoner?

So I think. What else?

You haven't mentioned this to anyone?

- Yes.

- To whom?

- To you, Pablito. I just told you.

- Yes, I know, I know.

- But not to anyone else, huh?

- No.

- Pablo, where are you going?

- Go to sleep, Juan.

Bryant.

- Yeah, what do you want?

- What's going on in there?

Im writing the story of my life.

What did you think?

Shut up and go to sleep.

Bearnes.

Bearnes.

- Who is it?

- Its me, Rodriguez.

Oh, boy, am I glad to see you.

- But the name is Bryant now.

- Bryant?

- Yeah. How did you get here?

- They brought us here.

Listen, tomorrow night

I will try to get you out.

You mustn't do that yet.

I have to stay a while.

- Why?

- Well, the plan is beginning to work.

Now, here's what you do.

You go to the immigration office

at Calexico and get ahold of Neley.

- Yes.

- He's the chief inspector.

Make sure he knows where I am

in case of a slip-up.

- Right.

- When you see him, you tell him...

Look out.

- What are you doing, talking to yourself?

- Yeah, sure. I do it all the time.

What's the matter with you, partner?

Nervous? Can't you sleep?

I ain't supposed to sleep.

Why don't you bring your chair up here,

Rate this script:0.0 / 0 votes

John C. Higgins

John C. Higgins (April 28, 1908 – July 2, 1995) was an American screenwriter. During the 1930s and early 1940s, the Winnipeg, Canada-born scribe worked on mostly complex murder mystery films, including the Spencer Tracy film Murder Man (1935). During the late 1940s, Higgins continued to pen thrillers, including semidocumentary-style films, including director Anthony Mann's He Walked By Night, Raw Deal, T-Men and Border Incident. Higgins also wrote horror films like the Basil Rathbone starrer The Black Sleep (1956) and Higgins last film Daughters of Satan (1972). Higgins also wrote the science fiction film Robinson Crusoe on Mars (1964) and the adventure film Impasse (1969). more…

All John C. Higgins scripts | John C. Higgins Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Border Incident" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/border_incident_4503>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Border Incident

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what does "FADE IN:" signify?
    A A transition between scenes
    B The end of the screenplay
    C A camera movement
    D The beginning of the screenplay